(1) Recent research in instrumental music education (band and orchestra)
 
"Middle/Junior High School Band Directors' Views Regarding Reasons for Student Dropouts in Instrumental Music."  CLICK HERE for the complete citation and the source of the article online.

Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47(Spring 1999):78-87. Expert teachers rate intonation more important than those who have never taught, they may be more sensitive to balance than their younger colleagues. There are other findings here and note the caveats.

Gillespie, Robert and Hamann, Donald L. "The Status of Orchestra Programs in the Public Schools." Journal of Research in Music Education 46(Spring 1998):75-86. "Findings indicate a continued enrollment increase in school orchestras in the 1990s, although the number of orchestra teachers has remained stable." Much more, including a profile of orchestra teachers.

LeCroy, Hoyt. "Community-Based Music Education: Influences of Industrial Bands in the American South." Journal of Research in Music Education 46(Summer 1998):248-264.


(2) Recent research in choral music education
 

Davis, Anita P. "Performance Achievement and Analysis of Teaching During Choral Rehearsals." Journal of Research in Music Education 46(Winter 1998):496-509. Among the other findings of this research is that teachers say less as their choral ensembles improve.

Demorest, Steven M. "Improving Sight-Singing Performance in the Choral Ensemble: The Effect of Individual Testing." Journal of Research in Music Education  46(Summer 1998):182-192. This research demonstrated that individual testing was found to be an effective means of improving individual sight-reading performance in group instructional situations.
 
 

(3) Recent research in elementary music education
 
"Music Education and Student Self-Concept: A Review of the Literature." CLICK HERE for the complete citation and source of the article online.

Should children be taught a song phrase by phrase or "immersed the song," singing beginning to end with no repeats of sections. This research says that children make fewer errors when they are "immersed."  Klinger, Rita; Campbell, Patricia Shehan; and Goolsby, Thomas. "Approaches to Children's Song Acquisition: Immersion and Phrase-by-Phrase." Journal of Research in Music Education 46(Spring 1998):24-34.

What kind of activities do children like in the elementary classroom? One-half of these 2,251 students liked to play instruments most. Read what the other half liked in Bowles, Chelcy L. "Music Activity Preferences of Elementary Students." Journal of Research in Music Education 46 (Spring 1998):193-207.

Southern Divsion/Kentucky Music Education Association Meeting, May 7-10, 2001, Louisville Kentucky, Research Poster Session -- Abstracts

(1) "Serendipitous Benefits of Community Service Components in
University Performing Ensembles"

Abstract

This study observed enrollment in a univsrsity elective performing ensemble across a ten year period to determine if enrollment pattems differed when community service opportunities were embedded in the class. Specific community service events included partnerships between university students and various community/state populations. Community service was provided through the Adopt-A-Choir program, pairing the glee ctub students with (1) choirs in the local public schoors (Bowers, 1995), (2) the Senior Singers, a choral ensembls housed within the senior citizens program supported by the city government (Bowers, 1998), and (3) public school choirs across the state, connected through a glee ciub performance tour. Subjects included those univarsity women students enrolled in the Women's Glee Club at a large Southem university, from the 1990 fall semester through the 2000 spring semester (N=1278).  Of pariicular interest was whether commufiity service partnerships coincided with increased enrollment in the performance ensemble. Enrollment numbers were sorted into music major, non-music major, choral/general music education majors, and music therapy majors to determine in which groups enrollment gains occurred. Enrollment increased across the ten year period, with larger gains noted after community service programs were introduced, though cause was not isolated. Music education and therapy student numbers increased as did nonmaprs, and program benefits were noted.

Judy Bowers
The Center for Music Research
Florida State University
Tallahassee, FL 32306-1180
jbowers@garnet. acns.fsu.edu

and

Nicole R. Robinson
The University of Memphis
Scheidt School of Music
Memphis, TN 38152
Nrrobnsn@memphis.edu

(2) "The Effects of Musical Performance and Cognitive Strategies on the Musical Self-
Efficacy and Self-Esteem of Juvenile Delinquents and Disadvantaged Children"

Abstract

The purpose of this study was to investigate the effects of musical performance and cognitive strategies on th;e musical self-efficacy and self esteem of juvenile delinquents and disadvantaged youth. Forty-five male juvenile delinquent subjects, ranging in age from twelve to nineteen years of age, participated in a guitar course that used five experimental conditions of musical performance: performance only, cognitive strategies and performance, cognitive strategies only, vicarious experience, and a control group.

The results indicated that performance and performance combined with cognitive strategies were effective in significantly increasing musical self-efficacy and self-esteem in juvenile delinquents. Additionally, the effects of altering the musical self-efficacy and self-esteem for the performance only and performance with cognitive conditions had lasting effects. In fact, the cognitve strategies only and vicarious experience conditions scored lower than the control group, suggesting that these conditions were better off without treatment.
      This study indicates that musical performance and cognitive strategies may be used in educational settings to assist at-risk students in developing positive expectations towards musical experiences and enhancing general self-esteem. Furthermore, the use of the guitar in educational settings may have the potential to reach all types of students.

Roy Kennedy
Tennessee Technological University Cookeville, TN 38505
(931) 372-6301
RKENNEDY@tntech.edu

and
Steven N. Kelly
Florida State University Tallahassee, FL 32306-1180
(850) 644-4069
kelly_s@cmr.fsu.edu

(1) T. Earl Hinton, "History of the Tennessee Music Educators Association." Now online, CLICK HERE.

(2) Review by William R. Lee in the History of Education Quarterly 39(Fall 1999): 352-354. Sondra Wieland Howe, Luther Whiting Mason: International Music Educator (Warren, Michigan: Harmonie Park Press, 1997). This work describes the work of the most influential U.S. music educator in the late nineteenth century. (For access to the 'history of music education' website, CLICK HERE.)

(3) Carol A. Prickett and Madeline S. Bridges, "Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors." Journal of Research in Music Education 46(Winter 1998):461-468.

(4) Livingston, Carolyn.  "Charles Faulkner Bryan's Legacy for General Music." Journal of Research in Music Education 46(Summer 1998):223-238. Professor Livingston is organizing Bryan's papers and is writing a book on him.

(5) Carl King, "Around the Block Again!" Tennessee Musician 50(No. 2, December 1997).

(6) Carl D. King with Kathryn May, "On the Opportunities and Challenges of Block Scheduling." Journal of Music Teacher Education 7(No. 2, Spring 1998).  (Subtitles: King: "Impact on Methods Courses" and May: "Insuring Successful Internships.")

Online resources (CLICK HERE) in MUSICA. Article discusses non-musical outcomes.

Abstracts of Research of Interest to Music Educators

 
Musical Preferences in the Secondary School

Hargreaves, David J., Comber, Chris, and Colley, Ann. "Effects of Age, Gender, and Training on Musical Preferences of British Secondary School Students" Journal of Research in Music Education 43(Fall 1995): 242-50.

 The purpose of this study was to determine the extent that age, gender and training have on musical preferences of eleven and twelve-year old students as compared to fifteen and sixteen year-old students. As part of the study, the students completed a questionnaire on which they responded either "like", "neither like nor dislike", or "dislike" to a variety of musical styles. These styles included rap, house/acid, reggae, blues, heavy metal, jazz, classical, country and western, chart pop, folk, opera, and rock. The students also rated their amount of musical training. These results were coded and an analysis of variance was computed. Girls were noted as having significantly more training than boys. A MANOVA was computed on the preference ratings. Gender was only seen as significant for boys in the categories of heavy metal and rock, and for girls in reggae, chart pop, jazz, classical, folk, and opera. Training showed a significant effect on the preference for "serious" music such as classical, jazz, opera, folk, and blues at the .001 level. Rock was significant at the .05 level. The results showed that as there is an increase in age, there is a decrease in preference for a large variety of styles. Gender showed that girls had a preference for a larger variety of styles than did boys. This also could be as a result of the more musical training that the girls had which was also a predictor of preference for more "serious" styles of music. --Abstracted by Wendy Mahaney.

Are Long Tones Overrated?

Fink, Reginald H. "Are Long Tones Overrated?"  The Instrumentalist  21 (November 1966):16.

Long tones are a recommended part of virtually every warm up and lip building routine. Many teachers take ensembles or private students through these exercises as a remedy for tone problems and a sound builder. Fink, however, feels that this exercise is overrated and does not do all that it is reputed to do. Fink suggests lip slurs, legato studies, and vocalises, and buzzing exercises (citing Schlossberg) as alternatives for the long tone routine. He says that long tones are a great tool for warming and tuning up but warns the reader that they can be damaging. Very long tones (12-20 seconds) can actually hurt embouchures and prematurely fatigue players.

 
Vocalises, he says have "their own built-in safeguard against damaging overexertion, provided the student and/or teacher are listening closely." When tension creeps into the sound, it is more detectable and the student can rest and relax momentarily."Long tones are here to stay, but they will never be a substitute for any or all of the other lip building routines," Fink says. -- Abstracted by John Burroughs.

What Do Students Believe About the Causes of Success in Music?

Roy M. Legrette, "Causal Beliefs of Public School Students about Success and Failure in Music" Journal of Research in Music Education 46 (Spring 1998): 102-111.

The purpose of this study was to apply principles of Attribution Theory to a test group of instrumental students. The Attribution Theory states that motivation and achievement are influenced by students' beliefs about the causes of success or failure at given tasks. Four attributions commonly associated with this theory are ability, effort, task difficulty and luck.  It was noted that many studies have been conducted in educational psychology and related fields, but few addressed music education. Seven studies were cited including three which dealt with instrumental music students. The last was conducted by the author. His study concluded that students placed more importance on effort than ability. Therefore, the students would be willing to attempt the same task in the future with the hope of a better outcome. Future research was recommended.-- Abstracted by Jenny D'Andrea

Edward P. Asmus, Jr., " Student Beliefs About the Causes of Success and Failure in Music: A Study of Achievement Motivation" Journal of Research in Music Education
34(Winter 1986): 262-278.

The purpose of the study was to test the Attribution Theory in a broad spectrum of elementary and secondary school music students employing a greater number of independent variables than previous studies. The study has shown that younger students tend to place more importance on effort-related attribution. Older students change toward ability-related attributions. Further research was recommended. -- Abstracted by Jenny DíAndrea

Research on Block Scheduling

Blocher, Larry. "A Closer Look at Block Scheduling." Teaching Music 4(April 1997): 38 - 39, 78.

The purpose ofthis study was to investigate the effects of block scheduling on music performance and nonperformance classes. Data for schools in Kentucky, Michigan, and Indiana (N=72) was gathered through a questionnaire that was sent to music educators who were using 4 x 4 block or a modified block schedule for the 1994-1995 school year. The questionnaire asked about they type of block scheduling used, how long it had been used, student enrollment information in performance classes before and after block scheduling implementation, class conflict information, and general school demographic information.

The study found that in Kentucky, 69% of all music teachers reported a decrease in enrollment in performance classes. In Michigan, 67% reported a decrease in enrollment in performance classes, while 45% of teachers responding in Indiana reported a decrease. Kentucky respondents expressed concern about keeping advanced academic students in music classes.Reasons for decreasing enrollment in performance classes was reported to be scheduling conflicts. This includes conflicts with advanced placement classes, and conflicts with elective courses.The final section of the report was reserved for educators to freely express their views of block scheduling.-- Abstracted by Kelley Burroughs.

Does Repetition of Songs Affect Musical Preferences

Bradley, Ian L. "Repetition as a Factor in the Development of Musical Preferences" Journal of Research in Music Education  (Fall 1971).

The purpose of this study was to determine if a program consisting only of repeated listening experiences of contemporary art music without any instruction would result in any changes in musical preferences of seventh grade students. The students were given a listening pretest that consisted of tonal, polytonal, atonal and electronic music. A mean score for each category was calculated. After fourteen weeks of repeated listening sessions in which each of the twelve selections were heard three times, the students were given a posttest. All four of the categories showed significant gains in preference. Polytonal, atonal and tonal music each had very similar gains, that were significant at the .001 level. Electronic music showed a smaller gain that was significant at the .05 level. The conclusion was that repetition as a method of teaching has its place in the general music classroom. It was proved to be very effective in producing positive preferences for more serious music. -- Abstracted by Wendy Mahaney
 
 
 

William -Lee@utc.edu
Dr. William R. Lee
Department of Music
The University of Tennessee at Chattanooga
615 McCallie Ave. Chattanooga, TN 37403-2598
(423) 755-5269 (Office)
(423 755-4601 (Secretary)
(423) 755-4603 (fax)