Queensland's music outcomes: building pedagogical bridges

This paper discusses the challenges surrounding the implementation of the Music strand of the new syllabus for secondary teachers within the context of emerging trends in pedagogical reform in Queensland, and identifies several areas where research is needed to inform classroom music teaching practice and to guide teacher training programs. Secondary music teachers (Years 8-10) have not had the same systemic, school-based curriculum guidance that was given to teachers in years 1-7. This has resulted in a plethora of teaching and learning practices in lower secondary classrooms, many of which may be more experiential than developmental in approach and which may have little reference to the types of music programs common in primary classrooms.

User-centric music information retrieval

The rapid growth of the Internet and the advancements of the Web technologies have made it possible for users to have access to large amounts of on-line music data, including music acoustic signals, lyrics, style/mood labels, and user-assigned tags. The progress has made music listening more fun, but has raised an issue of how to organize this data, and more generally, how computer programs can assist users in their music experience. An important subject in computer-aided music listening is music retrieval, i.e., the issue of efficiently helping users in locating the music they are looking for. Traditionally, songs were organized in a hierarchical structure such as genre->artist->album->track, to facilitate the users’ navigation. However, the intentions of the users are often hard to be captured in such a simply organized structure. The users may want to listen to music of a particular mood, style or topic; and/or any songs similar to some given music samples. This motivated us to work on user-centric music retrieval system to improve users’ satisfaction with the system. The traditional music information retrieval research was mainly concerned with classification, clustering, identification, and similarity search of acoustic data of music by way of feature extraction algorithms and machine learning techniques. More recently the music information retrieval research has focused on utilizing other types of data, such as lyrics, user-access patterns, and user-defined tags, and on targeting non-genre categories for classification, such as mood labels and styles. This dissertation focused on investigating and developing effective data mining techniques for (1) organizing and annotating music data with styles, moods and user-assigned tags; (2) performing effective analysis of music data with features from diverse information sources; and (3) recommending music songs to the users utilizing both content features and user access patterns.

The effect of music listening maps on second grade music students' preference for and understanding of orchestral music

This study investigated the use of music listening maps to help learning and the preferences of second graders for orchestral music. Subjects were a population of four 2nd grade classes, and were randomly divided into two groups. The investigation was a counterbalanced, post-test only design, lasting for three consecutive classes. Two treatments/lessons were presented and a third lesson was a review. In Treatment 1 Group I used listening maps first, while Group II received instruction without listening maps. In Treatment 2, the order was reversed. Two post-tests and a comprehensive test were administered. An affective survey was administered after the treatments, measuring student preference and attitude. When listening maps were presented, scores were significantly higher. It did not matter whether the listening maps were presented first or not. Results of the survey show student preference will increase with music listening maps.

Intersections: proceedings of the youth work and music education symposium

The ‘Intersections: Youth Work and Music Education’ Symposium took place on Friday, 27th June 2014 in University College Cork. This event, held in association with the Institute of Social Sciences in the 21st Century (ISS21), was made possible thanks to funding from UCC’s Strategic Research Fund. The principle aim of this seed funding is to generate new research interests and this presented the ideal opportunity for developing collaborative relationships between youth work and music education lecturers, researchers and practitioners across the island of Ireland. This led to the formation of a new ‘Intersections’ research cluster, comprising representatives from four third-level institutions, each of which offers both youth work and music education undergraduate and/or postgraduate programmes, namely: University College Cork; National University of Ireland, Maynooth; Dundalk Institute of Technology; and, University of Ulster. This document presents some preliminary findings from primary research conducted through each of the participating institutions in their local areas. Data was also collected during the symposium, through engaging in small group discussions populated by the event’s participants. The publication and dissemination of this document was included in the original Strategic Research Fund proposal. Its intended audience includes youth workers, music educators, community-based practitioners, policy-makers and academics who are motivated and enthused by the possibilities of music-oriented youth work in Ireland and beyond.

Overnight Summer Music Camp and the Impact on its Youth: A Case Study

This qualitative case study explores an overnight music camp, Camp Encore Coda. The purpose is to gain an understanding of the environment, uncovering the unique ways it impacts the social and musical developments of its participating youth while contrasting it to that of the traditional classroom. Framed by the concept of multidimensional growth, data were collected using surveys, interviews, focus group, and observations. The study uncovered exorbitant levels of social and musical growth among the youth; all directly linked to isolation from technology, communal living, and musical immersion in a community of practice. There lacks a significant amount of music education research attempting to explore and provide an initial evaluation of the learning opportunities unique to overnight music camps. This is particularly significant for music educators who strive to continue the advancement of the field through positive impact on students inside and outside of the school classroom.

Modern Horn Playing in Beethoven: An Exploration of Period Appropriate Techniques for the Orchestral Music of Beethoven for the Modern Horn Player

Thesis (D.M.A.)--University of Washington, 2016-06

Intercultural musical learning in the era of technology

Foreign students abroad need to feel integrated in the new community, which includes complex learning processes in multicultural environments. The fact that we have experienced these processes ourselves was certainly a motivation for this research, especially knowing that we could contribute to help our fellow Portuguese brass players undergoing the same experience. From the singularity of music performance in the style of playing and communication emerge many cultural aspects, which have been developed through centuries of orchestral practice. As the new students are confronted with the aesthetic musical concepts and both professional and social practices of the country they arrive in, they strive to understand these concepts and adapt themselves to the values promoted by the new music practice. The aim of this on-going research is the study of the integration of brass music students in German universities and in the German society. Notably, through the understanding of intercultural processes experienced by the students, professors can become more aware of the challenges that concern music education. In this research all ten Portuguese brass students enrolled in any German music university in the last five years were interviewed in order to deeply understand this process. With a growing importance of the technological facilities, students are able to gather more information, to prepare themselves for the new concepts they try to embrace and to better deal with a different culture.

Movement Sonification: Effects on Motor Learning beyond Rhythmic Adjustments

Motor learning is based on motor perception and emergent perceptual-motor representations. A lot of behavioral research is related to single perceptual modalities but during last two decades the contribution of multimodal perception on motor behavior was discovered more and more. A growing number of studies indicates an enhanced impact of multimodal stimuli on motor perception, motor control and motor learning in terms of better precision and higher reliability of the related actions. Behavioral research is supported by neurophysiological data, revealing that multisensory integration supports motor control and learning. But the overwhelming part of both research lines is dedicated to basic research. Besides research in the domains of music, dance and motor rehabilitation, there is almost no evidence for enhanced effectiveness of multisensory information on learning of gross motor skills. To reduce this gap, movement sonification is used here in applied research on motor learning in sports. Based on the current knowledge on the multimodal organization of the perceptual system, we generate additional real-time movement information being suitable for integration with perceptual feedback streams of visual and proprioceptive modality. With ongoing training, synchronously processed auditory information should be initially integrated into the emerging internal models, enhancing the efficacy of motor learning. This is achieved by a direct mapping of kinematic and dynamic motion parameters to electronic sounds, resulting in continuous auditory and convergent audiovisual or audio-proprioceptive stimulus arrays. In sharp contrast to other approaches using acoustic information as error-feedback in motor learning settings, we try to generate additional movement information suitable for acceleration and enhancement of adequate sensorimotor representations and processible below the level of consciousness. In the experimental setting, participants were asked to learn a closed motor skill (technique acquisition of indoor rowing). One group was treated with visual information and two groups with audiovisual information (sonification vs. natural sounds). For all three groups learning became evident and remained stable. Participants treated with additional movement sonification showed better performance compared to both other groups. Results indicate that movement sonification enhances motor learning of a complex gross motor skill-even exceeding usually expected acoustic rhythmic effects on motor learning.

“You’re a whole group of people singing”: sharing and learning together in The Choir of the Hawthorn U3A

For older people group music making can assist them remain independent and active in the community. Across Melbourne there are many non-competitive leisure based choirs made of older, active volunteer participants. This paper presents the findings of a phenomenological qualitative case study that was undertaken with members of The Choir of the U3A Hawthorn. This group is auspiced by the international University of the Third Age (U3A) that promotes life-long learning and personal fulfilment amongst older people. In 2008 we began a large joint ongoing research project between Deakin University and Monash University, Well-being and ageing: community, diversity and the arts in Victoria. In 2013 members of the U3A Hawthorn Choir were interviewed about their perceived benefits concerning active music engagement in choir membership. Participants recounted joining the group for different reasons including a positive attitude to singing, convenience, and a desire for social connectedness. Those interviewed considered ongoing choir membership an effective use of leisure time that also provided opportunities for shared learning and personal validation. The data were analysed using Interpretative Phenomenological Analysis and are reported under two themes: Music engagement and Social connections. Membership of the Hawthorn U3A choir provided participants opportunities for friendship, companionship, happiness, a sense of belonging, and acceptance. This resilient community music group (first formed in 1996) has maintained a busy schedule of rehearsals and performances. This music making offers significant ways for older people to maintain well-being and contribute to the wider community.

Community music: making social, community and music connections in Australia

Choirs are an important part of the social and cultural tapestry of any community. Participating, learning music and performing are key factors to joining music organisations such as choirs. Singing in a choir as a music activity within communities is found to be participatory and voluntary, providing an opportunity for civil expression, identity and connectedness. The focus of this paper involves three choirs from my wider research project ‘Spirituality and Wellbeing: Music in the community’ that started in 2013, in Melbourne (Australia). In May 2014, I visited three choirs for a week in the city of Warnnambool, a regional district in Victoria (Australia). I draw on Yin’s (2003) categorisation of case study methodology that is explanatory, exploratory and descriptive. I draw on observation notes and focus group semi-structured interviews to analyse and code the data using Interpretative Phenomenological Analysis. The findings include why people join choirs in regional towns, what they enjoyed that contributed to their wellbeing and why they want to sing about issues that make connections to social justice, the environment and the community. Though generalisations cannot be made to other towns or choirs, it is hoped that the findings may provide a vehicle for further dialogue where

Fostering cultural diversity in Australia: a case study of teaching, learning and assessing African musical arts

Australia is forged by ongoing migration welcoming a range of cultures, languages and ethnicities thus celebrating a diverse range of musical arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in particular where authentic teaching and learning is facilitated may help foster understandings of culture in educational settings and the wider society. As a migrant forming part of the African Diaspora in Melbourne, I am strongly connected to my ancestral homeland (South Africa) when teaching African music to Australian tertiary students. Having gained ethical clearance to undertake the two research projects at Deakin University in Melbourne (Attitudes and perceptions of Arts Education Students: preparing culturally responsive teachers and Pre-service teacher attitudes and understandings of Music Education), I discuss tertiary students experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview, questionnaire, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into themes. By offering a discussion of assessment and evaluation, I explore and invite international dialogue in regards to how best we can prepare, assess and evaluate our students to improve the quality of musical arts education.

Composing, performing, and reflecting: teaching and learning in higher education

This case study adds to a growing body of literature that focuses on preparing generalist teachers in music education for the primary classroom. As part of my wider research on “Pre-service teacher attitudes and understandings of Music Education,” this paper situates itself within the Bachelor of Education (Primary) teacher education course at a university in Melbourne (Australia). Drawing on student questionnaire data, observation notes, and anecdotal feedback gathered in May 2015, I discuss student understandings and perceptions of music teaching and learning in a core unit (Primary Arts Education: Music Focused Study). This paper highlights the opportunity and challenges of music composition and performance as a group assessment task. The findings show that student confidence and competence improved through the creative music process. It can be argued that music teaching and learning in a pre-service teacher context is most effective when composition, performance, listening, and reflection are interconnected. Follow up research need to be undertaken in relation to how students use songs and group work to foster creativity in their future classrooms. Limitations of the study are acknowledged and generalizations cannot be made to other pre-service teacher courses in Australia

Academic Writing & Publication: My Journey of Learning Through the Development of Articles from my Masters Thesis

Abstract: In this essay, I discuss how I turned my masters thesis into three peer reviewed publications and the lessons I learned about academic writing and publication in the process.

Investigating ‘moments’ for student agency through a differentiated music curriculum

Research provides compelling evidence linking music-making to academic achievement and increased wellbeing for disengaged students. However, in the Australian context, education policy has narrowed its focus to literacy and numeracy, with an associated ‘accountability’ framework of mandated assessment and reporting practices. Within this context teachers are being asked to demonstrate how, through their pedagogical practices, they meet the needs of all their students. As a result of this, differentiation has become the lens through which student learning and engagement are being monitored. Drawing on data from a large state secondary school, this paper examines how a differentiated music curriculum is being implemented to support student agency. We demonstrate that, through a range of formal and informal music programs, agency is enhanced through the development of self-reflexive and self-referential learning practices. However, we suggest that differentiation, alone, does not unmask the reasons behind students’ different learning experiences nor does it necessarily redress entrenched educational inequalities. We also suggest that the ‘moments’ for student agency, created by these music programs, may have as much to do with the ‘fragile’ position of music within the broader school curriculum where the spotlight of high-stakes testing is directed elsewhere.