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Funded by the Social Sciences and Research Council of Canada (SSHRC) grant, this national study examines arts-based adult education organizations involved in dance, music, drama, and visual arts with a philosophical perspective aligned with a multiliteracies theoretical framework. Multiliteracies considers how cultural and linguistic diversity must be fostered to encourage adults to thrive in all learning environments and recognizes that multimodality provides an expanded way to engage in literacy practices. Utilizing Carey Jewitt's four theoretical tenets to characterize multimodality serves to structure the analytical framework for the findings and discussion of this paper. Multiple case studies and constructivist grounded theory were used for the methodology. Some of the sites discussed in this paper include an art gallery; an immigration museum; and a chamber music organization that offers interactive performances. Participants included adult educators and learners who had options around face-to-face interviews; observations; document analysis of lesson plans or exemplars; or secondary data analysis of original ¿lm footage shot in these spaces. This research has found that arts-based approaches can infuse the work of adult educators to engage adult learners in inclusive pedagogy and active citizenship.

A standalone literature review was conducted to ascertain the extent and status of research on the practical inclusion of Chinese music in Western educational contexts. The study identified a body of journal articles and postgraduate theses on the topic. The papers were analysed to discern what might constitute best practice classroom approaches to teaching and learning Chinese music. Based on the review's criteria for inclusion -- papers were in English, praxis-oriented, peer-reviewed and published over the past three decades -- the study found that the number of publications was limited (19) and that in terms of established pedagogical approaches they engaged, some gaps existed, certain pedagogies were minimally represented and some were perhaps too recent to have been trialled. Even so, the study concluded that while best practice is an elusive notion, Chinese music forms and styles appear to be compatible with a range of educational settings and Western-oriented music teaching and learning approaches.

The Library of Congress announces the acquisition of a collection of major cultural significance, the music manuscripts and papers of renowned contemporary American composer, conductor, and writer John Adams. Recognized [...]

The not-so-bygone worlds of music and colonialism in the twentieth century have yielded a wealth of scholarly 'paper knowledge' in the twenty-first of which to build off new archival-musicological work. This article takes a particular archiving direction by turning to paper itself – and pivots the postcolonial pen around the texts and textures of re-engaging colonial history in postcolonial music scholarship. I explore these writing stakes through my adopted narrative of 'the post/colonial music archive', as shaped by paper and paper's sounding elements of tone and voice. Crisscrossing between the colonial moment and the postcolonial pen, I straddle this developing narrative of the archive, and the registers and inflections of extant source narration for what they can jointly vocalize about the music making of the Municipal Brass Band in 1930s treaty port Shanghai, and the Sino-British Club in postwar colonial Hong Kong – two ostensible musical worlds of 'Britain in China' in the twentieth century, here thrown into disarray by the post/colonial archive's own inchoate, counter-tales. Ultimately, in this process, postcolonial music scholarship gains further traction and meaning as a multi-articulating inquiry – and a turn of mind that does not let colonial history and its persistent challenges for writing go askew. [ABSTRACT FROM AUTHOR]

The present study examined the cross-modal cueing effect of musical rhythmic beats on non-native speech rhythm production. Two groups of Chinese learners of French were cued respectively with rhythmic beats that either matched (matching group) or mismatched (mismatching group) the rhythm patterns of the target French sentences. The participants were asked to produce the target sentences after cueing and their speech production was compared with their baseline condition in which no cueing was used. The results showed that the matching group produced the target French rhythm significantly better after cueing with musical rhythmic beats that matched the French rhythm, in contrast to the mismatching group where no significant improvement was found. Individual differences in auditory short-term memory and rhythmic skills were not related to improvement in producing French rhythm after cueing. The results suggest that musical rhythmic cueing can be used to improve non-native speech rhythm production, further indicating a close link between speech and music in the temporal domain., (© 2024. The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature.)

The Music Division of the Library of Congress has acquired the papers of renowned composer Charles Wuorinen (1938-2020). Collection materials acquired from the composer's estate are remarkably complete; they span [...]

English language education nowadays is not merely about the instruction and acquisition of linguistic knowledge and skills. Instead, it has progressed to the real-life applications of the target language, which further requires a mastery of cultural knowledge and skills. In terms of culture, English as a Foreign Language (EFL) learners, compared to native speakers of English, own their unique native culture. Yet, since language teachers tend to focus on the delivery of English cultural knowledge, EFL learners' native culture is sometimes shadowed in the mainstream English classrooms worldwide. To this end, this exploratory paper aims to advocate attention to the importance of EFL learners' native culture awareness and share some practical teaching and learning experiences in an English course called "Multimedia and Foreign Language Learning." The paper outlines the pedagogical design of the course in China, providing classroom examples and practical suggestions to course designers, educators and instructors. We expect to give insights into integrating native culture into foreign language education in university settings.

Categorizing music pieces by composer is a challenging task in digital music processing due to their highly flexible structures, introducing subjective interpretation by individuals. This research utilized musical data from the MIDI and audio edited for synchronous tracks and organization dataset of virtuosic piano pieces. In this work, pitch and duration were the musical features of interest. The goal was to innovate an approach to representing a musical piece using SentencePiece and Word2vec, which are natural language processing-based techniques. We attempted to find correlated melodies that are likely to be formed by single interpretable units of music via co-occurring notes, and represented them as a musical word/subword vector. Composer classification was performed in order to ensure the efficiency of this musical data representation scheme. Among classification machine learning algorithms, k-nearest neighbors, random forest classifier, logistic regression, support vector machines, and multilayer perceptron were employed to compare performances. In the experiment, the feature extraction methods, classification algorithms, and music window sizes were varied. The results were that classification performance was sensitive to feature extraction methods. Musical word/subword vector standard deviation was the most effective feature, resulting in classification with a high F1-score, attaining 1.00. No significant difference was observed among model classification performances., (© 2023. Springer Nature Limited.)

The composer, author, and teacher, John Cage, was exercised by our 'inability' to truly listen when approaching sound. In exploring the influences on Cage's avant-garde style, specifically the spiritual discipline found in both Zen Buddhism and Chance operations, this paper attempts to distinguish his philosophy (and use) of "silence" and "chance" as an aesthetic pedagogy. In accordance with Dewey's aesthetic theory and Shusterman's Somaesthetics, resolving the inability to listen is aesthetically conceived as somatic 'attuning' to the occurrence of chance sounds in the ambience of the world. By maintaining Cage's spiritually informed approach as a compositional framework, this paper highlights how his philosophy of silence is pedagogically illustrative of the "active" engagement we can have with the world. This approach is most apparent in Cage's "4'33"," where the 'musicalizing' of everyday sounds erodes the boundaries between art and life, creating a continuity with the world. Somewhat problematically, Cage attempted to make this possible by channelling experience into a state of immersion, unifying art and life by 'letting go' of subjectivity. But as is shown by the Fluxus artists who were inspired by Cage's teachings, the possibility for negotiating Cage's terms brings with it an opportunity to theoretically reflect on the educational processes that underpin Cage's approach to sound.

This paper explores the use of testimonio methodology, born from Chicana/Latina feminist thought and epistemologies as a way of exploring the languaging and knowledge production practices of minoritized communities as a platform to share their/our wisdom/voices in applied linguistics. As such, testimonio is a methodology that allows racialized scholars and accomplices to foreground their/our languaging and knowledges and thus disrupt deficit framings. This paper explores the benefits of using testimonios in applied linguistics as one way of disrupting epistemological racism. Drawing on examples from three different youth who took part in a multiyear culturally sustaining systemic functional linguistics oriented program we show the power of using various types of testimonios to examine/understand the languaging and literacies practices of racialized youth. Implications indicate that the co-creation of knowledge/understanding is what makes testimonios a powerful and insightful methodology.

Objective: Music is a very crucial art form that can evoke emotions, and the harmonious presence of the human voice in music is an impactful part of this process. As a result, vocals have had some significant effects on contemporary music. The mechanism behind the cochlear implant (CI) recipients perceiving different aspects of music is clear; however, how well they perceive vocal tuning within music it is not well known. Hence, this study evaluated the mistuning perception of CI recipients and compared their performance with normal-hearing (NH) listeners., Study Design, Setting, and Patients: A total of 16 CI users (7 cisgender men, 9 cisgender women) and 16 sex-matched NH controls with an average age of 30.2 (±10.9; range, 19-53) years and 23.5 (±6.1; range, 20-37) years, respectively, were enrolled in this study. We evaluated the mistuning ability using the mistuning perception test (MPT) and assessed self-perceived music perception and engagement using the music-related quality-of-life questionnaire. Test performance was measured and reported on the item-response theory metric with a z score ranging from -4 to +4., Results: A significant difference in the MPT scores was found between NH and CI recipients, whereas a significant correlation was noted between the music-related quality-of-life questionnaire-frequency subscale and MPT scores. No significant correlations were found between age, CI age, and CI usage duration and MPT performance., Conclusions: This study revealed that musical mistuning perception is a limitation for CI recipients, similar to previously evaluated aspects of music perception. Hence, it is important to consider this aspect in the assessment of music perception, enjoyment, and music-based auditory interventions in CI recipients, as vocals are paramount in music perception and recreation. The MPT is a convenient and accessible tool for mistuning assessment in CI and hearing-aid users., Competing Interests: The authors disclose no conflicts of interest., (Copyright © 2023, Otology & Neurotology, Inc.)

This research paper aimed to develop a training curriculum to enhance the competency of music teachers in Buriram Province who graduated from Rajabhat University and became professional teachers in active learning management. The study involved 50 music teachers who participated in workshops and academic exchange forums. The training curriculum consisted of eight components, including the development of active learning unit plans and lesson plans. The research instruments used were the training curriculum, the active learning unit plan assessment form, and the active learning lesson plan assessment form. The use of the curriculum resulted in positive outcomes, with most of the active learning unit plans receiving high assessment scores, and the academic exchange forums effectively showcased best practices. This study provides insights into the development of a training curriculum aimed at enhancing the competencies of music teachers in active learning management, which can be adapted to other teaching fields.

Effective arts learning requires the development of important literacies. While investigation of discipline-specific literacies has filtered the literature, it is unclear if these literacies are acknowledged, understood, and/or taught. In this paper, we share the classroom discourse of two arts teachers in early and middle years across visual art and music--to determine how discipline-specific literacies are used and taught. Findings show that these teachers intuitively and consistently share age-appropriate arts-literacies and use semiotic metalanguage with their students to express and make meaning through arts practices. With contemporary research in the field of literacy consistently acknowledging the diverse ways we communicate and the importance of creative thinking and aesthetic-artistic reasoning, it is critical that classroom data, such as shared in this paper, is considered for future curriculum development. We conclude by recommending strategies and considerations for arts teachers when planning and implementing arts literacies to improve students' applied understanding.

Mutational signature analysis is a recent computational approach for interpreting somatic mutations in the genome. Its application to cancer data has enhanced our understanding of mutational forces driving tumorigenesis and demonstrated its potential to inform prognosis and treatment decisions. However, methodological challenges remain for discovering new signatures and assigning proper weights to existing signatures, thereby hindering broader clinical applications. Here we present Mutational Signature Calculator (MuSiCal), a rigorous analytical framework with algorithms that solve major problems in the standard workflow. Our simulation studies demonstrate that MuSiCal outperforms state-of-the-art algorithms for both signature discovery and assignment. By reanalyzing more than 2,700 cancer genomes, we provide an improved catalog of signatures and their assignments, discover nine indel signatures absent in the current catalog, resolve long-standing issues with the ambiguous 'flat' signatures and give insights into signatures with unknown etiologies. We expect MuSiCal and the improved catalog to be a step towards establishing best practices for mutational signature analysis., (© 2024. The Author(s).)

The field of education is in dire need of different ways of thinking about attracting, supporting, and retaining school leaders. We see the idea of punk as a space that may offer some leeway for thinking differently about professionalism for school leaders. In this paper, we draw on thinking about punk subcultures to recognise the ways in which leaders hold self-expression and identity as important, while also thinking about how leaders as a collective might push back against some of the narrow ideas of who or what a school leader can be and do. We present findings from a mixed-methods study of women school leaders from around the world. Drawing on an anonymous survey and interviews, and literatures from sociology, fashion studies, and cultural studies, we explore women's experiences and identities as school leaders. The paper contributes to our understanding of professionalism and identity and also how we can better attract, support, and retain school leaders.

Facilitating an inclusive pedagogy to close the gap that exists within the teaching of Indigenous Knowledge in Australia is a tall order for many teachers. This paper draws on responses to a national study and explores how music educators include Aboriginal and Torres Strait Islander music and culture into their practice. An online survey (December 2022-February 2023, N=109) informed the findings. Using thematic analysis, two themes (teaching challenges and opportunities, and bridging the gap) are discussed and key recommendations offered. Findings suggest that walking carefully towards bridging the gap is an opportunity for educational change in contemporary Australian classrooms.

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment-by-moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music-theoretically motivated grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic-processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof-of-concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small-scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large-scale and ecological testing., (© 2023 The Authors. Cognitive Science published by Wiley Periodicals LLC on behalf of Cognitive Science Society (CSS).)

Introduction and Aims: Czech music therapists lacked the skills and knowledge to adapt their practice to virtual music therapy (VMT) at the beginning of the COVID-19 pandemic, when physical contact was restricted. The aims of this project were to implement the best evidence-based recommendations concerning VMT in the practice of Czech music therapists and increase the number of therapists using VMT., Methods: The project used the JBI Evidence Implementation Framework to promote change in the practice of participants. A baseline audit of 26 practitioners was conducted using questionnaires and interviews. The audit criteria consisted of 8 best practice recommendations, followed by the implementation of targeted strategies and a follow-up audit., Results: Of the 26 music therapists, 18 began practicing VMT following the rollout of the implementation strategies. Strategies included educational workshops, instructional materials, technological support, individual counseling, and interactive training sessions. There was an increase in compliance with all audit criteria. The most critical barriers were lack of knowledge about VMT and lack of technical skills; lack of resources; technological challenges; low confidence of music therapists to provide VMT; and reduced need for VMT after the lockdown restrictions were relaxed., Conclusions: The implementation project helped to overcome temporary pandemic restrictions, increase the quality of VMT practice, develop strategies for VMT training, and identify reasons for using VMT during the pandemic and beyond., (Copyright © 2023 JBI. Unauthorized reproduction of this article is prohibited.)

Music performance anxiety (MPA) is a common damaging phenomenon in musicians' careers. Mindfulness stands as a promising construct to prevent MPA. However, the relationships between mindfulness and MPA are scarcely explored, alongside other relevant attention-based (e.g., self-consciousness) or emotion-based constructs (e.g., negative affect). This study explores the relationships between these constructs. A sample of 151 musicians was assessed to explore the relationships between these constructs. Self-reports of mindfulness, MPA, negative affect, and self-consciousness were applied. We implemented network analysis following a general (second-order) and specific (first-order) framework. Networks showed dispositional mindfulness as negatively associated with negative affect and MPA in both general and facet levels, while mindfulness in past performances was only negatively associated with negative affect. MPA was positively associated with negative affect and self-consciousness. Mindfulness displayed light or no associations with self-consciousness. Therefore, mindfulness seems to be a relevant construct toward MPA. We propose a preliminary model to improve mindfulness research and interventions applied to music performers. We also outline limitations and future directions., (© 2023 The Authors. Scandinavian Journal of Psychology published by Scandinavian Psychological Associations and John Wiley & Sons Ltd.)

Aim: To determine the impact of classical music on the anxiety and pain perception of patients who underwent thyroid fine-needle aspiration biopsy (TFNAB) for the first time., Methods: In a prospective randomized controlled design, TFNAB patients were randomized into the intervention and control groups. The State Anxiety Inventory (SAI) before and after the procedure and the visual analog scale (VAS) after procedure were used for measuring anxiety and pain., Results: A total of 82 patients were included. There was no significant difference between the music intervention group (n = 41) and control group (n = 41) in terms of age, gender, work status, highest education level, SAI score before TFNAB, and duration of the procedure (p > 0.05). It was observed that the anxiety level before TFNAB was higher in women in all patient groups (p = 0.009). While the SAI score decreased significantly in the music intervention group (Z = - 3.62, p < 0.001), there was no significant difference in the control group (Z = - 1.41, p = 0.157) after TFNAB. However, no significant difference was found in terms of VAS between two groups (p = 0.075). The duration of the TFNAB procedure was correlated with the change in the SAI score (r = 0.382, p < 0.001)., Conclusion: This is the first study to examine the impact of music on patients' anxiety and pain perception during the TFNAB procedure. Despite the fact that classical music intervention did not decrease pain perception, it significantly reduced patient anxiety. Music is an easy-to-implement intervention that can be considered as an effective method for reducing patient anxiety during TFNAB., (© 2023. The Author(s), under exclusive licence to Hellenic Endocrine Society.)

Hundreds of studies regarding music's effects on mental health have accumulated across multiple disciplines; however, access to and application of music as a support for mental health remains limited, due in part to the multidisciplinary nature of related research and difficulties synthesizing findings. This qualitative study is the first to address these barriers by gathering current thought leaders and stakeholders at intersections of music and mental health, representing multiple disciplines and backgrounds, to (1) document understandings of and recommendations for the field, and (2) examine how views converge or conflict. Participants (n = 36) viewed preliminary results of a global scoping review, then engaged in focus groups which were transcribed and de-identified for analysis. An interdisciplinary research team coded and iteratively analyzed transcripts. Six themes emerged: Barriers to Quality/Improved Research, Disciplinary Differences, Research Recommendations, Implementation and Access, Public Perception and Education, and Need for Training. Discussions offered wide-ranging observations and recommendations while revealing challenges and opportunities related to interdisciplinary work. Findings indicate broad agreement regarding current barriers and opportunities at intersections of music and mental health. While highlighting challenges, participants also indicated multiple avenues for advancing research quality, intervention effectiveness, and equitable access to music as a support for mental health. Responding to the study's illumination of the benefits and challenges of interdisciplinary work, four brief recommendations are offered to support future efforts., (© 2021. The Author(s).)

Teacher Efficacy (TE) refers to teachers' confidence in their ability to promote student's learning. Research shows that generalist teachers' TE for music education is generally low, with many teachers associating music education with innate musical talents -- a problem exacerbated by music education programmes that focus on singing or playing instruments. Musical play is a form of music education in which young children more or less freely explore and create with sound with limited guidance from a teacher, requiring fewer musical skills. This paper reports on an in-situ professional development program (PD) that focused on musical play as a means of enhancing early years teachers' TE for musical play and for music education in general. For this study, a mixed method exploratory multiple-case study was used. Three early years teams (N = 14) took part in a PD that focused on knowledge and skills related to facilitating musical play. Data were collected through surveys and interviews. Findings demonstrate that taking part in the PD enhanced teachers' TE for musical play and for 50% of the respondents for music education in general. The PD's design features longer duration, collective participation, active learning and qualitative curriculum materials had contributed to teachers' learning.

While writing is undeniably an essential part of higher education, in music education, musical performance skills form the core of assessing students' results. However, higher music education is experiencing growing demands on research activities parallel to heightened requirements on music performance students' abilities to formulate themselves around their main field of study. This paper turns to theses as discursive acts embedded in higher music education. The present study investigates how master theses construct educational ideals by analysing written components of successfully completed theses within music performance programmes in Sweden. The paper shows that the theses treat a variety of subjects which are justified from five different perspectives: "Improve," "Succeed," "Share," "Acclaim" or to "Discover." Two diametrically opposed kinds of purpose statements are revealed; they appear as either impersonal and distanced or intimate and personal. Influences of traditional academic writing manifest themselves while conservatory ideals around craft, individualism and hierarchies are reproduced. It is argued that the self-exploratory approach -- which is a characteristic feature on an overall level -- excludes collective knowledge building as well as social perspectives on art and music.

The paper outlines the design of a LEGO Serious Play (LSP)-based undergraduate management module delivered to a diverse group of students, and consequently evaluates the LSP workshops. It argues for the importance of participatory and co-creational approaches to management education, and demonstrates that LSP is a method that has the potential to address these requirements. This paper is unique in outlining the use of LSP throughout an entire intensive management module, including the assessment. It also contributes by utilising music to enhance the benefits of the LSP method. Student reflections have been used to evaluate the learning experience; additionally, I draw on my positionality as a lecturer and LSP facilitator to reflect on the benefits and challenges of the LSP method. The reflections were analysed using Braun and Clarke's (2006) thematic analysis. The findings identify LSP as a learning method where the benefits outweigh its limitations, and highlight that LSP also helped develop important management and employability skills.

This paper aims to study how different musical act modes influence the student's psychological state, creative development, and music appreciation. In particular, the research focuses on concert videos, video clips, and audio records. Based on the Likert scale, the authors determined that video clips significantly influenced students' learning process since they contributed to the combination of visual and sound effects. Video concerts were less important. Concerts are mainly staged actions with frequent use of pre-recorded music, affecting the accuracy of singing techniques. The authors concluded that the most effective approach is systematical learning using the effect of colors and sounds with a preliminary analysis of musical compositions. The results showed that the most significant number of students significantly improved their knowledge (87%, with an average score of 0.92), and the elements of a musical act (rhythm, color scheme, text, and performance) influenced their development. The practical significance of the paper lies in the use of approaches to learning using colors and sound effects with an emphasis on the development of certain elements. The study prospects involve determining how effectively the elements of a musical act influence the psychological state resulting from comparing music genres.