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This study aims to determine the perceptions of fine arts high school music department students about the concept of "instrument training" through an alternative measurement and evaluation technique "Word Association Test (WAT)". In this study, the survey model, one of the qualitative research methods, was used. The study group of the research consisted of 110 students studying at Nevit Kodalli Fine Arts High School Music Department in the 2021-2022 academic year. The data were obtained by applying the "Word Association Test (WAT)". Firstly, WAT was explained for informative purposes during the application. Then, the students were asked to write the first 5 words that they thought were related to the key concept of "instrument training" within 1 minute. Afterwards, they were asked to make a sentence related to these answer words. The obtained answer words were analysed by content analysis technique. As a result of the analysis, the answer words that the students associated with the key concept of "instrument training" were grouped under 9 categories (teaching materials, performance anxiety, motivation for the instrument, social skills, attitude towards the instrument, technical skills, student capacity, education and training). According to the order of these categories, the most frequently associated answer words with instrument education were instrument, etude, excitement, working, cooperation, happiness, note, talent and teacher. Under the category of performance anxiety and motivation related to the instrument, the students showed a negative distribution on the word "tiring". It was observed that the students had a positive cognitive structure in all categories.

In northeastern Thailand, the beating heart of tradition and music intertwines seamlessly. The objective of this study was to explore the significance of percussion instruments in Isan Thai folk music within the context of music education and learning. The scope of the research site spans the northeastern Provinces of Thailand. The study employs qualitative interviews with experts and practitioners, complemented by field visits and observations. The findings emphasize that Isan Thai folk music serves as a cultural bridge, nurturing mutual understanding and expressing the extraordinary occurrences within the community. Music education emerges as a pivotal tool in safeguarding the cultural heritage of Isan Thai folk music, offering students a window into diverse cultures, and enriching their appreciation of the world's cultural tapestry. Despite challenges such as a dearth of successors and waning interest among the younger generation. The preservation of Isan percussion instruments is an invaluable component of intangible cultural heritage, thus contributing substantially to the broader discourse on cultural heritage preservation and the role of music education in fostering cross-cultural appreciation and understanding.

Bronze drums, esteemed artifacts saturated in cultural significance, have been integral to the heritage of ethnic communities in Southwest China for centuries. This study aims to investigate the educational and literacy perspectives regarding bronze drums in contemporary learning resources within the region. Conducting fieldwork in Guangxi, Guizhou, and Yunnan -- renowned for their rich bronze drum culture we engaged six key informants selected for their cultural proficiency and educational involvement. Interviews and documentaries were used to gather first-hand information about the cultural significance of bronze drums, how they were categorized by gender, and how they changed from being passed down orally to being written down formally. Findings highlight bronze drums as invaluable resources for contemporary education, emphasizing their role in cultural preservation and literacy development. This research encourages the utilization of cultural traditions as effective tools for education and heritage preservation, ensuring the continued relevance of Southwest China's unique heritage in a rapidly evolving world.

Traditional Chinese fiddle instruments have a long history, with their origins dating back over a thousand years. They are an integral part of Chinese culture and have evolved over time, incorporating various regional styles and techniques. The objective is to examine the historical perspective on literacy and learning resources of traditional Chinese fiddle musical instruments in Jiangxi Province, with a primary focus on Jiujiang City. The study employs a multidisciplinary approach, drawing from ethnomusicology, organology, and musical acoustics, to unravel the intricate cultural, social, and historical context of fiddle music. Key informants, including master craftsmen and experts in fiddle production, provide valuable insights into the region's musical heritage. The research also explores the emergence of the Zhonghu, a plucked stringed instrument, and its role in Chinese folk music. The study's findings reveal the rich cultural landscape of Jiujiang City, characterized by the fusion of fiddle music with silk and bamboo music, private music clubs, religious ceremonies, and Taoist traditions. In conclusion, this research contributes to the preservation and enrichment of Jiangxi's cultural heritage and offers insights into the continued development of traditional Chinese fiddle music education and cultural preservation.

The objectives of this research were to study (1) the development of knowledge on the aesthetics of Lam in Ubon Style, and (2) the process of transferring knowledge to inherit the performing arts of Molam Morlam-Ruang-Tor-Klon in Ubon style. Data from documents and fieldwork were analyzed and presented using descriptive analysis. The results showed that there are developments and changes according to the eras, divided into the old era before 1937, a few numbers of performers; the changing era into theatrical performance; the modern Morlam era brought popular musical instruments to play; and the current Morlam era, in which light and sound technology is used to help in the performance of three aspects of aesthetics: melody, poetry, and aesthetics of singing techniques. Regarding the process of transferring knowledge, the results indicated that two national artists have provided knowledge by practicing the performing arts in singing, dancing, and poetic gestures. Improvements are made in each area to enhance learners' skills development. The study provides significant insight and implications for developing learners' skills in performing arts at home.

Chinese music has played a significant role in the lives of the Chinese people for generations, being passed down from one generation to the next. Particularly, Changchao Lu's Guqin teaching holds valuable academic insights. Therefore, this study aims to investigate the transmission of Guqin knowledge and literacy by Changchao Lu. The researchers used qualitative approaches, specifically interviews and observations. The study's findings illustrate that Changchao Lu's Guqin playing style exhibits attributes of tranquility, minimalism, strength, and adaptability. The instructor's pedagogical approach integrates conventional and progressive elements, placing significant emphasis on a comprehensive and balanced educational experience. He established the College of Chinese Arts, which aimed to amalgamate conventional and contemporary Guqin education. The institution prioritized several aspects, such as theoretical knowledge, performing skills, pedagogy, and even the craft of instrument-making. The use of online technologies, the promotion of collaborative learning, and the implementation of a student-centered approach all improve the educational experience. Changchao Lu's activities encompass the integration of Guqin, a traditional Chinese musical instrument, into rural schools, the promotion of cultural understanding, and the active engagement of local education officials. In addition, he engages in collaborative efforts with local governmental bodies to rejuvenate rural culture by means of Guqin, therefore nurturing artistic potential and establishing connections between Guqin art and local industry.

The purpose of this study is to uncover and comprehend the current state of pre-service music teachers' use of self-regulated learning skills in instrument education, as well as the obstacles they face and the techniques they use to develop these skills throughout their instrument education. The data were obtained from participants' experiences and opinions and may be used to develop a conceptual framework concerning self-regulated learning skills and how these skills can be applied in teaching. This study reveals the importance of autonomy and co-regulation in the learning process, with a focus on teachers' roles in fostering student autonomy and giving support. Previous research has shown that self-regulation tactics can be incorporated in education to improve learners' self-regulation capacities. This study suggests that the "Individualized and Co-regulated Teaching Model in Instrument Education," a student-centered method that stresses dialogue-oriented learning, teacher-student interaction, and tailored learning needs may be appropriate for many learners. Teachers are encouraged to adopt individualized teaching orientations, allowing students to set their own learning goals and monitor their progress, as guided by this model. Furthermore, efficient communication and co-regulation between teachers and students promote self-regulation and musical development. Given the growing importance of self-regulated learning skills in the distance learning era, educational programs should focus their development and empower learners to become independent, and lifelong learners through collaborative knowledge production. The findings of this study imply that more research on the application of self-regulation skills in instrument acquisition among lower-achieving or less-experienced students is needed. Overall, this study highlights the importance of self-regulated learning skills in instrument teaching and advocates its incorporation into instructional procedures.

The aim of this study is to investigate the "Carcassi Guitar Method" in terms of content. The research has a descriptive design based on the document analysis model, one of the qualitative research methods. Within the scope of the research, the edition of Matteo Carcassi's guitar method, the original name of which was "Methode Complete pour La Guitarre", named "Carcassi Method for the Guitar", published by Oliver Ditson Company with the editorship of G.C. Santisteban, was obtained, and the 12 parts of the method and the subjects included in the chapters were examined by documentary scanning method. As result of the research: It has been revealed that the content of the method includes scales, cadences, etudes and pieces in all tones, exercises related to the subject are included in all parts of the method; on the other hand, the method is far from being a source of repertory due to the low number of pieces in the content.

The aim of this study is to prepare activity-based lesson plans for amateur guitar education to teach basic positioning and playing techniques, and to test the effectiveness of this teaching method. The research model is a single-group pretest-posttest design, and it was carried out with 5 students at the beginner level for 4 lessons of instructional process. The data obtained from performance tests were evaluated based on a 5-point Likert scale determined by three field experts, and the average success scores of the students for the relevant unit were determined. As a result of the evaluation, student achievements ranged between 87.19-100, and it was concluded that guitar education based on activity-based lesson plans was successful.

Conservatoires train musicians to high levels of proficiency in performance and other 'principal study' disciplines, but often, teaching is perceived as a second-class profession, and little is known about how music students learn to facilitate music making in others. Yet, conservatoires have a responsibility to contribute to the development of the music education workforce. Building on Shulman's Pedagogical Content Knowledge model (PCK), two new constructs are created from data gathered through textual narratives and semi-structured interviews from over 100 music undergraduates who reflect on their instrumental teacher education in a UK conservatoire. Transferable Content Knowledge (TCK) encapsulates the transferable skills that students develop in a conservatoire setting, enabling them to become confident communicators and collaborators. Values-Based Knowledge (VBK) nurtures a sense of social responsibility, raising students' awareness of the professional qualities and behaviours necessary to forge positive relationships and create stimulating learning environments. The emergent 'Developing Pedagogical Knowledge' (DPK) framework offers scope to explore the transition from student to teacher across other phases of education and in other disciplines.

This qualitative study employed Gagné Integrative Model of Talent Development as a conceptual framework to explore the perspectives of nine Asian American parents on their musically talented children in Western classical music culture in the United States. Musically talented children, defined by [Gagné, François, and Gary E. McPherson. 2016, September. "Analyzing Musical Prodigiousness Using Gagné's Integrative Model of Talent Development." In "Oxford University Press EBooks," 3-114. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199685851.003.0001], as individuals who rank within the top 10% of their age peers. This distinction is made to differentiate talent from giftedness, which pertains to exceptional natural abilities or aptitudes. The analysis yielded five macro themes: (1) children's innate abilities and importance of hard work; (2) parental sacrifice and investment; (3) benefits and challenges; (4) influence from Asian culture; and (5) future expectations. This study offers deeper insights into the complex interplay between children's individual abilities and parental investment, which can be influenced by cultural identity and work ethics, especially in Asian American communities. The findings illuminate the intricate process of nurturing gifted and talented young children from a parental perspective and provide implications for how parents can support their children's talent development.

Practice is essential to the acquisition and development of musical skills, requiring musicians' time, investment, application, motivation, metacognitive strategies, and ability to self-regulate. Research in children's music practice indicates the type, quality, and duration of practice, along with adult support, contributes to fluency in musical development; and when progress occurs, children invest in further practice. However, nuances in children's lived experiences of musical practice that influence these critical factors are largely unknown. To understand the complex issues in children's practice, this study employed a unique pairing of Interpretative Phenomenological Analysis and Participatory Action Research to investigate 14 seven-year-old beginner cellists' practice during early learning and explored how their thoughts and experiences evolved over the first 18 months of lessons. Providing rare insight into children's perceptions of musical development and the vital role of parents and teachers in nurturing engagement, three superordinate themes emerged: (a) four approaches to practice, characterized by practice structure, learner behavior, and family support, (b) a three-phase practice process, and (c) perfection ideation. Positive experiences, including creative activities, within these thematic contexts fostered children's enjoyment in early musical development, supported productive learning interactions, and sustained engagement. Together, the findings have meaningful pedagogical implications for instrumental music teaching practice.

Multi-styles string education includes musical practices from close to 30 identified styles. Adding the multi-styles approach into curriculum may not be easy: Pedagogies may be different from those needed for Western classical music, the primary style most practicing teachers have studied. As such, the decision to start incorporating multi-styles into curriculum can present a challenge as an unsupported leap in an unknown direction. This study examined how string teachers implement a multi-styles approach into their P-12 string class curricula. Questions guiding this study are: (1) How do school orchestra teachers describe their visions for a multi-styles approach to curriculum? (2) What planning and action is taken in order to enact their visions, including programme and infrastructure changes, additional resources, professional development? Data were collected through a qualitative interview design and analysed through a queer theory lens. Themes include blurred visions of multi-styles, stepwise shifts in curriculum and pedagogy through a both/and student-centred approach, and the utilisation of human resources. We found that multi-styles is less a curriculum and more a philosophical approach. However, the name itself of this approach caused dissonance, leading towards a vague future. Implications provide new avenues of research and practice in this line of inquiry.

The purpose of this study was to investigate Hong Kong preschool teachers' music-specific professional development (PD) preferences and analyze the potential differences among teachers with varying levels of teaching experience (beginning, experienced, and advanced). A survey was developed to assess four music-specific PD preferences: content, facilitators, types, and activities/resources. We found that respondents (N = 1,019) preferred PD that was centered on musical creativity and curriculum integration; facilitated by experts in pedagogy and music performance; conducted as short workshops and mentoring sessions; and focused on observation, skill acquisition, and practice. The data also revealed significant differences between beginning, experienced, and advanced teachers and their PD preferences. Beginning teachers showed a higher preference for graduate studies and blended PD. Beginning and experienced teachers were more interested in playing instruments and in learning by observing other teachers. Advanced teachers showed preference for PD focusing on dance and music appreciation. The study shows that teaching experience is a crucial factor for determining preschool teachers' music-specific PD preferences. Implications include considering teachers' interests, motivations, and needs while planning and designing PD for preschool teachers. Further research should explore what teachers with different profiles require in specific educational settings.

Self-regulation strategies and behaviors are important aspects of instrumental music learning because they allow students to set learning goals by testing and controlling their cognition, motivation, behaviors, and emotions. This work investigates the self-regulation processes of four young instrumentalists (aged 10-11 years) in their initial stages of viola and violin learning, during practice with Plectrus, a real-time instrumental intonation training and assessment software. The qualitative-hermeneutical nature of this research employed a multiple case study design to investigate the construct of self-regulation within a software-supported instrumental learning process. Data were collected from the participants' practice diaries over a 4-week period. The final practice session was also analyzed from audio-visual recordings. The results indicate that, despite their limited experience, the students showed a diversity of strategies and behaviors with which they self-regulated their cognitions, motivations, behaviors, and emotions. However, not all the students employed the same processes, and there was variability in the frequency of their use. One of the students showed more self-regulatory processes than the rest and achieved the best scores, although it has not been possible to establish a relationship between the scores and self-regulation.

While creativity is a primary focus in music education, its exploration within the realm of music studio teaching is considerably less extensive compared with other educational contexts. Moreover, the related research is predominantly focused on creativity in developing music skills. In the present study, we explore how Spanish instrumental music teachers (n = 10) perceive creativity and its development among students in the music studio, in the absence of predefined limitations (i.e., with respect to various forms and definitions of creativity inherent in the music studio as perceived from their viewpoint). By means of a case study methodology, we gathered data over a one-year period through a questionnaire, in-depth interviews, participants' written essays, and researchers' journal entries following observations of the participants' teaching practices. Subsequently, qualitative analysis was conducted using thematic analysis. Among our main results, we found tensions between our participants' theories and their practices, evidence for an underlying individual-centered theory of creativity, both positive and negative attitudes toward the development of creativity among their students, and ignorance of creativity in music listening. Our study implications emphasize the urgency of implementing strategies to enhance teacher self-awareness and underscore the need for further investigation into music studio teaching with a specific focus on creativity.

Research on the educational applications of social robots has shown how they can motivate children and help improve academic learning outcomes. Here, we examine how robots can support skill learning and, more specifically, musical instrument practice. Drawing from social facilitation theory and evaluation apprehension theory we expected that the robot's mere presence would impact children's performance and that this effect would be contingent upon the children expecting the robot to evaluate their performance. We report an experiment with children (N = 31) aged nine to twelve who practiced a familiar and new piece alone, in the presence of an evaluative robot, and in the presence of a non-evaluative robot. We found that children performed better in terms of rhythm, pitch, and general impression in the presence of the non-evaluative robot. These findings offer important insights for designing robot tutors for music learning.

Mariachi programs entered the public schools in the Southwest in the late 1960s and early 1970s when the Chicano movement ushered in an awakening of pride in Mexican heritage. The purpose of this historical biography was to examine the life and career of mariachi educator Ezekiel (Zeke) Castro (b. 1939). Zeke Castro taught mariachi and orchestra in Texas for more than three decades. He influenced generations of mariachis and was a trailblazer in mariachi instruction within the field of music education. The contribution of mariachi educators to the history of music education is not well-documented and Zeke Castro's story is significant. The culmination of Zeke's work contributed to the establishment of several public-school mariachi programs and to mariachi becoming a sanctioned University Interscholastic League event in Texas.

Sensory learning can be traced back to ancient Greek times, and the sense of touch holds multiple types of benefits for classroom music learning. Touch is also a prerequisite for children's future intellectual and social development. Between ages three and seven, a child's physical and perceptual development is in a formational stage. Despite challenges that can sometimes be associated with touch, for example, behavior issues, overcrowded classrooms, increased student needs related to touching, teacher liability, and spread of viral germs, tactile activities involving human touch and manipulatives can prepare students to play musical instruments, think abstractly, and achieve socioemotional competency. Human touch activities can foster self-awareness, awareness of others, and even empathy. This article examines past theories and practices involving tactile learning, discusses research findings relevant to music instruction, offers strategies and ideas for using tactile activities, and proposes a rationale for integrating tactile learning within general music instruction.

In the modern world, there are an enormous number of changes due to the COVID-19 pandemic. This fact influences all areas and, in particular, music education. The connection between the pandemic and changes in music education related to oboe teaching will be considered in this work. The research investigates the correlation between music education (oboe teaching) and education modes (offline and online). This correlation was tested for veracity by using statistical analysis of data sets (Student and Shapiro-Wilk tests). These data sets were obtained using a survey that evaluated practice and theoretical skills. The participants were categorized into two distinct groups for this investigation: the control group, characterized by offline education during the experimental phase, and the experimental group, which encompassed both offline and online educational modalities. The survey contained different tasks that illustrated students' evaluations of their improvements in learning to play the oboe. A fundamental objective of this study involves substantiating the conjecture that online education, particularly in the context of the pandemic, exerts an adverse impact on oboe pedagogy. It was shown from the results (teachers' interviews) that some problems (like lack of connection with teachers, problems related to self-education, and students' cheating) have a negative impact on learning to play the oboe, especially on practice skills. However, most of the students evaluated their improvements at a high level, but this perspective lacked empirical basis. It should be noted that there was some improvement in theoretical knowledge, but almost all teachers thought this fact was related to cheating. It also should be noted that students evaluated their skills in the period of offline education lower than teachers.

The purpose of this Self-Study of Teacher Education Practice (S-STEP) was to examine faculty and student perceptions of co-curricular experiences between an undergraduate instrumental conducting and a junior-level music education course. To help students develop their conducting and pedagogical skills simultaneously, music education and conducting faculty co-taught their courses and developed and implemented co-curricular assignments for 14 co-enrolled participants. Data were collected from faculty journals, meeting transcriptions, participant surveys, and interviews. Findings indicate that the collaboration and co-curricular experiences promoted student and faculty growth. Increased podium time and peer teaching opportunities during which students are given feedback greatly improved students' perceived level of comfort and confidence in front of an ensemble. In addition, the co-teaching and co-curricular assignments between conducting and music education courses promoted substantial growth in students' conducting and pedagogical skills and their ability to connect the two. Implications for music teacher education, future research, and further revision of these collaborative practices are discussed.

The purpose of this study was to investigate secondary instrumental music education in rural Mississippi. This descriptive study investigated the experiences, attitudes, beliefs, and perceptions that rural instrumental music educators ("N" = 58) held about their schools, students, and communities. Furthermore, we examined how participants defined success for their programs, what challenges and rewards they experienced in their positions, and what skills they considered most important for rural music educators. Results indicated that while rural music educators find the musical aspects of their positions rewarding, such as fostering a love of music in their students, they believe that non-musical skills related to teaching were more important than their own musical skills. The three greatest challenges named by participants were limited funding, lack of resources, and little support. Conversely, the most frequently reported reward was student personal growth. Implications for music teacher education are discussed.

The purpose of this study was to examine instrumental music lessons taught for schoolchildren over the radio by Joseph Maddy in the 1930s and early 1950s. Research questions addressed (a) conditions, circumstances, and details surrounding the lessons and (b) pedagogical principles, strategies, methods, and didactic materials utilized in these broadcasts. Maddy, a pioneer in music education and a professor at the University of Michigan, taught band instruments over WJR in Detroit beginning in February 1931. He added lessons for strings in January 1933 and continued both series for the next four years. After a successful trial over WMAQ in Chicago during the 1935-1936 school year, the National Broadcasting Company (NBC) scheduled Maddy's band lessons nationwide starting with the 1936-1937 season. Maddy expanded the program beginning fall 1937 to include winds, percussion, orchestral strings, piano, accordion, and fretted instruments. The broadcasts ended in spring 1939 due to lackluster sales of instructional materials and other factors. String lessons returned in February 1950 and continued locally through the fall of 1951 over WUOM at the University of Michigan. These programs contributed to the development of school bands and orchestras in North America and hold implications for distance learning in music today.

In a report commissioned by the Society for Music Analysis to address a gap in music literacy, McQueen (2020) identified instrumental teachers as an important part of music education both within schools and in the community. This article takes as a starting point McQueen's (2020) proposal that 'it is through instrumental tuition that music literacy in its many forms is likely to develop' (65) to tease through some of the implications it might have for contemporary perspectives on music education. In doing so it assesses the relationship between music literacy and music analysis as a complex one involving professional partnerships which can lead to 'a clash of allegiances' (83) evident in versions of curriculum knowledge and the values underpinning them. My aim is to bring forward discussions surrounding instrumental teaching and school curricula and argue that greater collaboration between all those engaged in music education will address issues arising from and perpetuated by their separation.

With this paper, we share an activity for the undergraduate mathematics classroom called "The Harp Project" that leverages the aesthetic nature of both the mathematical and the musical arts. This project was conceived as a STEAM/PBL project with the added feature that it was carried out in pieces by an entire class. Anecdotal evidence suggests that the uncommonly high level of students' interest and engagement in the experience and the communal feel of their participation can be attributed to this collective quality of the project's design. For this reason, we invite others to consider this curricular experience as it appears viable for supporting efforts to cultivate a broader population of students with an affinity for mathematics.

This paper aims to study the features of vocal improvisation using interactive musical technologies. The survey method contributed to determining the level of vocal skills of 214 respondents auditioned before the experiment. The authors developed a training programme based on previously received information. It included breathing, technical, aesthetic, and vocal improvisation skills. The results showed that 93% of the experimental group believed that interactive technologies had advantages in the educational process, and 63% of the control group believed that they had no advantages. The survey of the students allowed identifying elements that required improvement or changes in the curriculum. The students of the experimental group showed that using national Chinese instruments for accompaniment was important for 32% of the respondents, 27% chose the answer "other", which included systematic and more frequent cross-sections of knowledge, the involvement of foreign approaches to learning. The calculation of the level of knowledge obtained showed that 88% of the students demonstrated a high level in the experimental group, a low one was only in 2%. Study prospects relate to studying technical and aesthetic elements to be applied during classical and folk vocal performance.

This action research study provides insight into the learning of university music education students who participated in a popular musicianship experience. The participants were thirty-four music education students (i.e. pre-service music educators) at an American university enrolled in a student-directed Popular Musicianship course. Although given access to "rock band" instruments and sound equipment during the semester-long experience, they did not receive any direct instruction from the faculty instructor of record. After organizing into bands, the participants were challenged to prepare for performance two or three songs, including one cover and one original song. They also indicated the confidence they had in their ability to lead their future students in popular music making. This measure of self-efficacy was collected at the beginning, middle, and end of the experience. Also, participant written descriptions of their experiences was analyzed qualitatively. The findings of the study indicated that participants believed their overall musicianship benefited from the experience due to the challenging nature of vernacular music making, which was also enjoyable and rewarding. The experience also appeared to impact their teaching philosophies for the future. Finally, their self-efficacy increased significantly across the experience.

'Simultaneous Learning' (SL) is a pedagogical approach aimed at fostering enjoyable and proactive music teaching. Developed by the British educationalist Paul Harris, SL has been taught worldwide for the past two decades but has not yet been investigated by a scholarly publication. We thus focused our research on the first usage of SL in the context of one-to-one instrumental music lessons by training a selected group of teachers who had no prior experience with this approach. The data was collected through in-depth semi-structured interviews, focus group interview and journals kept by the teachers. We then used Interpretative Phenomenological Analysis (IPA) to understand the teachers' and students' experiences of instructing and being instructed according to the SL approach, respectively. Based on our results, we provide a structure to their lived experiences and explore the meanings they attached to them, among which positive experiences, challenges and the influence of SL on particular skills are identified. Furthermore, we offer implications that may benefit studio music tuition based on the insights provided by our analyses.

Feedback is a powerful influence on learning and achievement in the instrumental music lesson, though this impact may render positive as well as negative implications to learning. The impact of feedback is thus foundational to the ways music teachers impart knowledge, skill, planning, reflection, and student motivation. This article provides an analysis of feedback- feed up-feed forward concepts through a musical instruction lens, and reviews evidence related to the impact of feedback given on student learning and achievement. A qualitative investigation of Australian instrumental music teachers working in secondary schools, this study analyses cohorts of novice, developing and expert level teachers, progressing through initial theory-practice constructs, towards development and expertise of personalised and experientially dynamic feedback episodes. Expert level teachers reflect on a wider palette of approaches, with wisdom, passion, and the capacity for accommodating diverse learners and differentiated strategies. Discursive analysis of constructivist and student-centred approaches that infuse with explicit instruction are used to offer implications to how feedback can be used to enhance enduring learning and teaching in instrumental music studios and classrooms. It provides insights into teacher growth, knowledge, and development of instrumental music teachers in the profession across the lifespan.

Gaelic is an endangered language, but the traditional music associated with it thrives. Among individuals committed to learning Gaelic as a heritage language who also engage in traditional music-making, intense experiences shape the connection between language and music. The present study examines the connection between intensely motivating 'flow' experiences in music and language using qualitative data. In this context, flow is defined both at the individual level, consistent with much of the literature, but also at the group level which contributes a more nuanced, group-oriented conceptualisation of flow experiences. Data come from a sample of 54 participants recruited via social media and associated with traditional music and Gaelic language. The results show the depth of connection to traditional music developed over years that appears to feed into a motivation for language learning. The concept of group flow is prevalent in the descriptions, even though it was not measured directly. Group flow offers a nuanced lens through which to view how the connection between music and language developed in a context where language revitalisation is taking place.

This paper investigates the relationship between music qualification choice and academic performance in secondary education in England at Key Stage 4 (KS4; usually at ages 15 and 16). We analysed data from 2257 pupils at 18 educational settings in a city in the southeast of England. Two regression analyses with clustered errors modelled KS4 music qualification choice and GCSE academic achievement in English, Mathematics and other English Baccalaureate subjects, while controlling for a range of demographic, academic and socio-economic variables. Choice of music as a subject at KS4 was positively associated with the total volume of KS4 qualifications entered for examination and was also predicted by coming from an affluent neighbourhood. Furthermore, this choice of music at KS4 was associated with greater academic performance on English Baccalaureate subjects above and beyond other significant predictors (gender, language, prior academic achievement, total volume of KS4 qualifications and neighbourhood socio-economic status; local Cohen's f-squared = 0.09). These results point to moderate but significant additive effect of studying music at KS4 in relation to performance on core GCSE subjects. We also found that schools with KS4 music qualification choice greater than the national average were higher in overall academic attainment, in the proportion of pupils attending extra-curricular instrumental lessons, and in our composite measure of school's engagement with a local music education hub. The results are interpreted in light of sociological theories of education in an attempt to better understand the underlying systemic factors affecting youth music engagement.

Music and the arts are of growing interest in promoting success in school and psychological development of young people in general. However, there are few studies focused on the relationship between music and, more specifically on school engagement of vulnerable students. Thus, this exploratory study aims to understand the perceived impact of student participation in a school percussion group on school engagement. The research followed a qualitative methodology through individual semi-structured interviews. Six pupils aged between eleven and fifteen, two teachers of these pupils and two of the percussion group facilitators took part in the study. The results reveal a positive impact perceived by the participants arising from participation in the percussion group, with emphasis on the behavioural dimension of school engagement. Considering the relation between school engagement and learning processes, promoting school engagement through musical activities could be an innovative strategy to promote school success.

The aim of this study is to prepare activity-based lesson plans for amateur guitar education to teach note theory and practice on guitar, and to test the effectiveness of this teaching method. The research model is a single-group pretest-posttest design, and it was carried out with 5 students at the beginner level for 4 lessons of instructional process. The data obtained from performance tests were evaluated based on a 5-point Likert scale determined by three field experts, and the average success scores of the students for the relevant unit were determined. As a result of the evaluation, student achievements ranged between 97,5-100, and it was concluded that guitar education based on activity-based lesson plans was successful.

Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups -- scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.

Curricula are the guidelines prepared to carry out education and training activities in accordance with their purposes. Teaching programs are prepared based on the goals of the school or educational institution, student needs, learning and teaching processes, course contents, learning materials, measurement and evaluation systems, teacher and student roles and relationships. The curriculum aims to develop students' knowledge, skills and abilities in a specific discipline by supporting their individual development. It can be said that education and training programs have a structure that changes and develops people's behaviors and thoughts in many ways. Students, teachers, and educational programs are among the most important elements that shape and guide the education system. Therefore, while creating the education program, it should be aimed to be focused on meeting the needs of the society as well as the views of students and teachers. Fine Arts High Schools are private schools that aim to provide students with artistic and cultural skills. They offer educational programs where students can develop their skills in art branches such as music, painting, dancing, and increase their artistic accumulation with art history, aesthetics and culture courses. This study aims to determine the differences in the individual instrument (Violin) course curriculum conducted in Fine Arts High Schools between 1990-2022. Relational screening pattern based on qualitative research model was used in the study and status determination and evaluation was performed. In the study, the relevant reports published in the Republic of Turkey Ministry of National Education and MoNE Journal of Communiqués were used to specify the main objectives and program objectives of the individual instrument (violin) course curricula of Fine Arts High Schools between 1990-2022. Document analysis, which is used in case studies, was used in the analysis of the data. When examining the violin curricula in fine arts high schools from their establishment to the present day, it becomes evident that there has been a continuous emphasis on the development of technical and theoretical knowledge, as well as repertoire building. As a result of the research, it is concluded that the violin lesson curriculum of 2022 covers the programs of previous years. Also in order to cultivate well-rounded musicians in fine arts high schools, it is crucial to develop an education plan that not only focuses on technical and theoretical aspects but also places a strong emphasis on enhancing musicality, interpretation, and music literacy. The results were collected under the relevant programs and suggestions were made for the field.

This study uses a qualitative methodology. The objective was to examine a musical instrument for teaching the creation and acoustic characteristics of Guhu of the Zhuang ethnic group in Guangxi, China, about shape and structure to summarize raw materials, craftsmanship, and process of Guhu, then measure by acoustic instruments, conclude the acoustic characteristics of Guhu, and discuss the use and functional significance of the instrument more accurately and logically. The raw materials, tools, production points, and specific steps of Guhu are systematically recorded by interviews, observation, and personal experience. Several acoustic measurements are made to explore the acoustic characteristics of Guhu. Guhu's culture and characteristics are fully demonstrated in the core of technical practice and the theory of technical knowledge. The study results show that: the traditional production method. Overall, it has the potential to be universal and representative of acoustic characteristics. Guhu's wood, leather, and aggregate materials are all standard. Guhu's creation has an influence on its shape, structure, and acoustics. Guhu is being improved as time passes, and research into characteristics is also helping guide the development of a more standard production process and a new improvement scheme. This will result in the integration of knowledge to study techniques and methods for creating Guhu that will last indefinitely.

This study uses a qualitative method and the theory of cultural ecology. The objective was to study the history and development of intangible dance in the Grand Canal section of Henan, China. through text collection, interview, observation, and field investigation. This study's groups were divided into four groups. The first group had 8 people. The second group is made up of 4 people. The third group is made up of 7 people and the fourth group is made up of 8 people. The study's results show that the openness of the social space is reflected in the fact that the canal space is an integrated and interactive linear cultural space. The sustenance of the spiritual space is reflected in the belief in the Fire God and the long-established performance spirit, namely mutual respect, mutual love, and mutual concession, which reflect the way of life of Chinese villagers for thousands of years. Intangible cultural heritage dance music in Henan Province is primarily blowing and beating music. The commonly used instruments are suona, sheng, bangzi, cymbals, big gongs, small gongs, big drums, big drums, small cymbals, war drums, water cymbals, horse gongs, Dou, side drums, soprano drums, three gongs, tenor gongs, tiger gongs, etc. The music's rhythm is strong, powerful, majestic, and powerful. From the standpoint of music form, it is primarily divided into two categories: accompaniment and rap. The accompaniment music is mainly blowing and beating, while the content of rap music is mainly narrative, telling folk stories, or leading the lead singer.

This study used a qualitative and descriptive methodology to classify and examine the large amount of information that was collected through field research. The research objective was to examine the history and development of Heluo Dagu in Henan Province, China. Field investigation, a questionnaire survey, literature research, a case analysis, and comparative induction were all parts of the study. The interviews were divided into three with key informants and two with general informants. The study's results are as expected, as the history of Heluo Dagu is rooted in ancient Chinese rap music, dating back more than 3,000 years to the Zhou Dynasty. In the early stage, rap music has gone through such musical forms as "advocating you," "Gu Meng," "Chengxiangzhou," "talking," "changing Wen," "Zhugong Diao," "Guzi Ci," "Singing and Earning," "Ci Ci," and "Tao Zhen," which laid a solid historical foundation for the formation of Heluo Dagu. The early forms of Heluo Dagu after its formation include "three-string Hingzi Shu," "Luoyang Qinshu," "Dagu Shu," and "single Dagu." The development of Heluo Dagu has experienced: the first stage in 1905 AD, "drum touch string," "Dagu Jingqiang"; the second stage of the "Three Imperial Meetings"; the third stage, "Baishan Huang," and "Heyang Dagu." At present, the development of Heluo Dagu has been inherited by six generations of artists.

This study used a qualitative research and interview methodology with the objective of examining the development and analyzing the playing pattern of Huigu of Zhuang nationality in Mashan County, Guangxi. The fieldwork method is mainly used for collecting data, together with the information from the document. The study's result showed that the process of making HuiGu requires the preparation of tools and instruments used to make musical instruments. and the process of preparing wood, cow hide, and Zhumie to be assembled to make HuiGu. On the playing mode of HuiGu, we found that there were the following types of play styles: (1) Single drumming mode; (2) group drumming patterns; (3) group playing mode; (4) parade performance mode. Playstyle Huigu can be found at Drums of Dragon Dances, Wedding Drums, and Harvest Drums.

This study used a qualitative research methodology. The research objective was to describe the knowledge and development of the Chinese yangqin. discusses the current situation of the yangqin in Chinese music culture from the three aspects of its origin, evolution, and development. Using literature and interview methods, the distribution, name, and form of yangqin in various countries around the world are combs, and the origin theory of yangqin is compiled and supplemented. The area was selected in China. The fieldwork method is mainly used for collecting data, together with the information from the document. The study's result showed that Yangqin has long communicated with Chinese folk art since its introduction into China. It has developed into a unique Chinese national musical instrument through the improvement and innovation of shape, timbre, percussion instruments, and rhythm. Chinese yangqin not only absorbed the essence of Chinese traditional music culture but also drew lessons from western composing techniques and performance techniques of other musical instruments, which provided new ideas for Yangqin's works and was conducive to the development of Yangqin music and the exchange of Chinese and Western cultures.

Music students often encouter problems in reading sheet music, because of the complexity of Traditional Music Notation (TMN). Klavar is an alternative music notation system that is simple, intuitive, and easy to learn. Thousands of compositions from many composers are available in Klavar. In its original form, Klavar can be considered as tablature for keyboard instruments. The present paper compares advantages and disadvantages of Klavar and TMN. Subsequently, the author proposes an innovative extention of the Klavar music notation, such that enharmonic notes can be discriminated, and harmonic and melodic lines can be identified. The resulting Klavar20 notation is complete, since it contains all the composer's information and is therefore useful for all instruments. Further, it is comprehensible--since the score is easy to read--and compatible with all music already published in Klavar. Music educators should familiarize themselves with Klavar20 and stimulate teaching of this notation to students who might otherwise stop taking music lessons.

This study aims to develop educational software for the instrument (guitar) training course through gamification. The study was carried out by basing on the design and development research method and the processes included in the analysis, design, development, implementation, and evaluation phases of the method are considered as the sub-problems of the study. In each phase, interview techniques were used and the participants were determined according to the requirements of the phases. The results reveal that students find the education with traditional methods in instrument education boring and therefore their motivation is low. As a result of the studies carried out to offer solutions to the existing problems related to motivation in instrument (guitar) education, a mobile application called Gitarist was developed and the application was revealed as a product. In the implementation phase, it was concluded that the application developed through gamification techniques had motivation-enhancing effects on students. In line with the results, some suggestions were made for technology-supported studies to be carried out in the future.

Ram Tone is a traditional play that is unique to Thailand. It is a popular folk play in all regions of Thailand and has been popular since ancient times. Ram Tone is a band dance with male and female dancers dancing in a circle, accompanied by tone, cymbaling, and Krab. The objective of the present study is to learn more about Ram Tone's literacy preservation and knowledge transmission in Mahasarakham Province, Thailand. The information is offered by knowledgeable individuals, practitioners, and general informants through qualitative research methods, including preliminary surveys, interviews, and observations. The researchers assessed the data for accuracy, evaluated the data in relation to the desired objectives, and presented the study findings using descriptive analysis. The results of this study show that the Kantharawichai District and Mahasarakham Province have acquired knowledge and built on their indigenous wisdom through the development of the Ram Tone dancing stance and educational curriculum.

The Guqin is a string instrument that has been played in China for over 3,000 years. It is famous for its meditative, soothing sound and is frequently associated with Confucianism, Taoism, and Chinese literati culture. The instrument has seven strings that can be plucked with a plectrum or with the fingers. The Guqin's sound is said to resemble a gentle breeze blowing through the trees, and it is frequently used in Chinese music to evoke feelings of tranquility and introspection. This study was conducted by statistically analyzing field research data and making recommendations for their educational status. In this study, samples of local Guqin musical instruments were selected, and a field study was carried out for the three local Guqin musical instrument groups, the Guangling sect, the Jiuyi sect, and the Yushan sect. The questionnaire was administered to 180 participants and included a literature analysis. The results of this study show that the province of Guizhou is home to a diverse collection of peoples, and the art of the Guqin is being modernized and incorporated to produce a form of art that the general populace appreciates. It is possible to make innovations and explore ways to form an ensemble using Guqin, Guzheng, Dizi, and other ethnic instruments, hold various Guqin concerts and art festivals, and engage in cultural and artistic exchanges. Guqin music will be celebrated at an increasing number of festivals in the future.

The aim of this study is to reveal the applications for the tools, methods, and strategies used to provide motivation in online instrument education in line with the opinions of instrument educators. In the study, interview, observation, and literature review, which are among the qualitative research methods, were used. Within the scope of the research, 41 teachers who provided online instrument training were interviewed, and 10-hour lesson observations were made. In the content analysis based on the ARCS model, it was observed that teachers used technological tools and applications to provide motivation in their lessons, included games, and planned their lessons according to age groups and individual differences of students in online instrument education. To provide motivation in the context of the ARCS model, it was seen that they applied the most to establish interest and the least to the satisfaction dimension. Based on this research, it has been proposed to use methods and strategies that motivate students in online courses and to develop online pedagogical approaches and technological course programs.

The majority of the pieces that make up the structures of the piano are wooden products. Large piano brands provide resources for the materials. They use various forest products or they create their own forests. Respecting life, biodiversity together with protecting nature and our world are important elements for sustainable environmental awareness. The sustainable environmental awareness is developing by ensuring that current needs are met and transferred to future generations with controlled consumption without destroying natural resources. In this study, it was aimed to examine the knowledge levels of the piano educators regarding the sustainable environmental studies of the piano producer Steinway & Sons brand, and also the production of the Steinway & Sons brand with sustainable environmental awareness. The research is limited to the Steinway & Sons brand. The lecturers in Turkey constitute the scope of the study and the ones who are conveniently reached make up the participants of the study. Qualitative research methods are used in the study. The data are obtained by document review method, content analysis and questionnaire. The results showed that; majority of the lecturers do not have any knowledge about the dimensions of sustainability in piano production, such as energy use, material use, recycling and responsible forestry.

The fact that the violin is a fretless instrument brings along intonation problems both in its performance and in its education. The introduction of technology into educational environments day by day, has led to the need to try different methods besides the traditional methods for solving intonation problems. The aim of this study is to examine the effect of computer-based visual feedback on the student's intonation on the violin. For this purpose, an 8-week experimental process was carried out with 8 violin students studying in the 2nd, 3rd and 4th grades of the music teaching undergraduate program in the 2021-2022 academic year. In the quantitative dimension of the research, which was designed with mixed method design, a pretest -- post-test single-group experimental design was used. The quantitative data were collected with the intonation evaluation form and the qualitative data were collected with diaries and a semi-structured interview form. The dependent samples t-test was used in the analysis of the quantitative data, and descriptive analysis technique was used in the analysis of the qualitative data. In the implementation process of the study, students were given visual feedback only with Cubase VariAudio software. At the end of the study, it was seen that computer-based visual feedback contributed positively to the intonation skills of the students. The students stated that the study made an abstract situation concrete, offered an opportunity to make self-evaluation, contributed positively to the motivation and limited class hours, and that they wanted to use it while practicing on their own.

This study aims to examine the studies scanned in Web of Science and Scopus databases between 2006-2020 on the use of augmented reality applications in music education in terms of their descriptive features, methodological features, and outcomes, and to reveal the trends in this field. The criterion sample approach was utilized in this qualitative study, and 35 selected studies were reviewed using the publication classification form and analyzed using the content analysis method. The descriptive and methodological feature data were translated into frequency values using the SPSS 22 program and then interpreted using tables and charts for easy comprehension. Furthermore, the advantages and limitations of AR applications utilized in music education, which were the research's outputs, were coded, organized into relevant categories, and interpreted. The results showed that most studies focused on piano and guitar education for beginners; no studies were undertaken on wind instruments or voice training. Studies, particularly in recent years, have focused on user experience research. Furthermore, it was found that AR applications have the advantages of increasing and facilitating student learning performance, making learning exciting and fun, and providing motivation. Some challenges during use, owing to technical issues and limited field content in the programs, resulted in limited improvements in music education.

The purpose of this research is to determine the effects of flipped learning-based guitar instruction on students' motivation, attitude, and accompaniment skills. This experimental study consisted of 26 students who were attending the lectures at Fine Arts Education Department of Music Teaching. A random sampling technique was employed to select 14 students for the experimental group and 12 students for the control group. Data collection tools used included instrument motivation scale, attitude scale towards instrument, and guitar accompaniment evaluation form. During the twelve-week intervention, both the control group and the experimental group trained for one hour each week. Students in the experimental group performed significantly higher accompaniment skills than students in the control group. The flipped learning model was found to be more effective than traditional learning method. Based on the results of the study, some recommendations were made for future studies.