Contents
Forewords & Messages
1. Welcoming Messages p.4
2. About APSMER (Asia-Pacific Symposium for Music Education Research) p9
3. Organizing Committee of APSMER2019 p10
4. About MPI’s Music Program p11
5. About ISME World Conference 2020 p12
6. MPI Campus Map p13
Program
7. Rundown p14
8. Detail Program p16
9. Keynote Speech p23
10. ISME Open Session p26
11. Program of Welcome Concert p27
12. Performing Groups p29
Acknowledgements
13. Students Volunteers p35
14. Supporting Partners p36
Astracts p40
] 3 [ Speech at the Opening Ceremony of the 12th Asia-Pacific Symposium for Music Education Research
Prof. Im Sio Kei President of Macao Polytechnic Institute 2019.07.16
Distinguished guests, Ladies and Gentlemen,
On behalf of the Macao Polytechnic Institute, I would like to welcome you to the “12th Asia-Pacific Symposium for Music Education Research”! On the occasion of the 20th anniversary of Macao’s returning to the motherland, we are honoured to organise this international event in the music education industry.
Culture and education have always been one of the key directions of Macao well supported by the Government. Art education is a key foundation for cultural development. Music, as an important measure of art education, plays a considerable role in developing students’ personality, culture, and sentiment. Deeply aware of the importance of music education, Macao Polytechnic Institute, as the only higher education institution in Macao that simultaneously offers music, design and visual arts, has always been committed to educating music professional artists and music educators who serve Macao. On the basis of the review of the UK Quality Assurance Agency for Higher Education, the Bachelor of Arts in Music programme has also been accredited by the Higher Education Evaluation and Accreditation Council of Taiwan. This year, we are also starting to offer the Master of Interdisciplinary Arts programme to strengthen the development of higher-level local cultural creative talents and promote the development of the industry.
Founded in 1997, the Asia-Pacific Symposium on Music Education Research (APSMER) has entered its twelfth year. The APSMER has become the important regional conference of the International Society for Music Education (ISME) since 2007. The symposium aims to share professional knowledge, skills and experience, exchanges and opportunities among students and teachers in the field of music education in the Asia-Pacific region, and to advance the development of theory in music education.
] 4 [ The theme of this year’s symposium is “Music Education in the Dawn of a New Era”, which happens to be similar to the motto of the Macao Polytechnic Institute. Macao is in the new era of “Belt and Road” and the construction of the Guangdong-Hong Kong-Macao Greater Bay Area. The Macao Polytechnic Institute is also actively cooperating with the development of the Macao SAR and striving to collaborate with cultural and creative talents from the Greater Bay Area that promote the development of the economic diversification. Music is an art that bolsters the level of the human mind. I believe that through the symposium’s keynote speeches, paper presentations, workshops, etc., all of you can share and discuss the ideas with each other and bring out the deeper understanding on comprehensive development and innovation of music education, and also have positive significance on the development of music programmes at the Macao Polytechnic Institute.
Finally, I wish the “12th Asia-Pacific Symposium for Music Education Research” a complete success! Let me sincerely wish you all a happy and rewarding time in Macao! Again, welcome all of you! Thank you!
] 5 [ Welcome Message from the President of International Society for Music Education (ISME)
It is my great pleasure to welcome you to the 12th Asia-Pacific Symposium for Music Education Research/6th ISME Regional Conference in Macau! ISME is delighted to be supporting this exciting event that brings together scholars, students, teachers, and performers from the Asia-Pacific region and other parts of the world. The conference theme, “Music Education in the Dawn of a New Era” is a bold statement that speaks to the capacity of music educators to imagine not just what is probable or predictable, but what might be possible in an era marked by increased fragmentation, dissolving boundaries, rapid change, mobility and uncertainty. How might our collective imagination about the future enrich and stimulate the work we do today?
The conference theme reminds us of the need to rethink old concepts and systemic structures that bind us and keep us from envisioning new possibilities. What does this ‘new era’ of music education look like? Although we need to imagine new possibilities, John Dewey reminds us that we should not let our imagination run loose to the point that we build “castles in the air”. Our ideas need to be rooted in the reality of the world today. And as researchers, our ideas are the result of painstaking work, as well as critical and ethical scrutiny, so that we can make an impact on music education in meaningful ways.
I’m excited about the possibilities of this conference to engage all of us in imagining what the future of music education might look like. You will be inspired by the beautiful surroundings of Macau and the many opportunities you will have to share thought-provoking ideas and take part in meaningful dialogues about forward looking directions for music education.
I warmly welcome you to what is sure to be an exciting, inspiring and memorable event!
Warm wishes,
Susan O’Neill ISME President
] 6 [ Welcome Message from the Chair of the Board of the Asia-Pacific Symposium for Music Education Research
Welcome to APSMER 2019! As Chair of the Asia-Pacific Symposium for Music Education Research, I warmly welcome you all to the Macao Polytechnic Institute for the 12th Symposium.
Today we celebrate the fact that Macao, which joined APSMER in 2017, is hosting this year’s wonderful Symposium. My sincere gratitude goes to Dr. Baisheng Dai and his team, all of whom have worked extremely hard to organise this entire event. In addition, I wish to thank ISME and NAMM for their unfailing support; in particular, I would like to single out the President of ISME, Professor Susan O’Neil, who, in addition to delivering a keynote speech, will meet our delegates from the Asia-Pacific region in order to understand how they think and view the global development of music education.
Macao is a small but lovely city. Since returning to China in 1999, it has been actively – and rapidly – developing in many and various aspects. These include its higher education, artistic and cultural practices, as well as its tourism industry. Please spend some time, either before or after the Symposium, exploring both the Chinese and Portuguese culture of Macao. I have no doubt you will take back fond memories when you leave.
I sincerely hope you all enjoy this Symposium and have fun meeting old, as well as making new, friends!
Professor Bo-Wah LEUNG, PhD Chair, Board of the Asia-Pacific Symposium for Music Education Research
] 7 [ Thanks Message from the Chair of APSMER2019 Organising Committee (Closing Ceremony)
It has been a great honour for the Macau Polytechnic Institute (MPI) to have hosted the 12th Asia-Pacific Music Education Research Forum. This international music education event has brought together music scholars from dozens of countries and regions in the Asia-Pacific region to MPI. I hope that while you were having discussions about the academic side, you also took some time to enjoy the food and cultural artifacts of Macau, an international and leisure city for tourism, as well as visiting some of the historical sites and attractions here in Macau. I hope by now you have a very good impression of this city that was built upon Chinese and Western culture, and is now a special administrative region of China.
This year, coinciding with the large-scale art event organised by the Macau government called Art Macau, running from June to October, Macau will be filled with all kinds of exciting art activities. As the only university in Macau offering degrees in music, design, and visual arts, Macau Polytechnic Institute is also one of the main venues for the city’s art event, as well as being involved in planning a series of events, including this international music education forum. Over these few days, you can also see various art exhibitions at Macau Polytechnic Institute, to experience different artistic atmospheres.
This forum was mainly planned and implemented by the music program of MPI. Our School of Arts offers bachelor’s degrees in music, design, and visual arts, and a master’s degree in interdisciplinary art. The music program cultivates talents at MPI with a “small but beautiful, small but refined” strategy. So far, it is the only professional music degree program in Macau. The teachers of the music program are all specialized in different fields of music. Today, the academic achievements of the music teachers are exhibited on the 4th floor of the Meng Tak Building in MPI. I would like to thank all of my colleagues in the music program for their assistance in the smooth operation of this international event.
I would also like to take this opportunity to thank the international academic institutions ISME and APSMER for giving our institute the opportunity to host this academic event, thank all the supporting partners and performance groups. The list of these organizations has been included in the poster and booklet of this conference.
Finally, I wish you all good health and that everything goes well!
Professor Dr. Hsu Hsiu-Chu, Director of School of Arts, Macao Polytechnic Institute ] 8 [ Chairman of the APSMER2019 Organising Committee About APSMER (Asia-Pacific Symposium for Music Education Research)
Initiated by the Research Commission of the International Society for Music Education (ISME, https://www.isme.org), the Asia-Pacific Symposium on Music Education Research (APSMER) was founded in 1997 by three founders, namely, Prof. Tadahiro Murao from Japan, Prof. Gary McPherson from Australia, and Prof. Hong-soo Lee from Korea. Prof. Gary McPherson proposed the naming of APSMER (Asia-Pacific Symposium on Music Education Research). Since its founding, it has provided a forum for Asia-Pacific researchers, graduate students and teachers in music education to meet every two years. APSMER became the regional conference of ISME in the Asia- Pacific region in 2007. The symposium aims to share knowledge and experience among music educators in the Asia-Pacific region and to provide opportunities for music educators to develop networks and work collaboratively in advancing the theory and practice of music education. APSMER 2019 is the 12th Symposium to be held in Macao. Previous conferences have taken place in Seoul (1997), Launceston (1999), Nagoya (2001), Hong Kong (2003), Seattle (2005), Bangkok (2007), Shanghai (2009), Taipei (2011), Singapore (2013), Hong Kong (2015), and Melaka (2017).
Current Board of APSMER Chair Prof. Bo-Wah Leung, The Education University of Hong Kong, Hong Kong
Secretary Dr. Chee-Hoo Lum, National Institute of Education, Singapore
Members Prof. Margaret Barrett, University of Queensland, Australia Prof. Jessie Chen, National Taichung University of Education, Taiwan Dr. Baisheng Dai, Macao Polytechnic Institute, Macao Prof. Hiromichi Mito, Meiji Gakuin University, Japan Prof. Steven Morrison, University of Washington, USA Dr. Narutt Suttachitt, Chulalongkorn University, Thailand Prof. Ramona Mohamad Tahir, University Teknologi MARA, Selangor, Malaysia Prof. Jiaxing Xie, China Conservatory of Music, China Prof. Jong Mo Yang, Busan National University of Education, Korea
] 9 [ 12th APSMER organized by Macao Polytechnic Institute
Organizing Committee: Chair: Prof. Dr. Hsu, Hsiu-chu (Director of School of Arts, Macao Polytechnic Institute) Executive Chair: Dr. Dai, Bai Sheng (Associate Professor, Coordinator of Music Program) Committee: Dr. Dai, Ding Cheng (Professor) Dr. Leung, Hio Ming (Associate Professor) Dr. Mok, Kin Yee Raymond (Associate Professor) Leao, Maria Vanessa (Associate Professor) Luong, Kim Ying (Associate Professor) Dr. Kwok, Ka Ho Timothy (Lecturer) Dr. Wang, Xi (Lecturer) Administrative Support: Mak, Pio Luis; Mok, Pui Chun Esther Website Technical Support: Mok, Pui Fan Fanny; Chan, Fai Man Jose
The organizing committee is composed of all full-time teachers of music program of MPI.
International Paper Jury of APSMER 2019: Prof. Bo-Wah Leung, The Education University of Hong Kong, Hong Kong Prof. Margaret Barrett, University of Queensland, Australia Prof. Jessie Chen, National Taichung University of Education, Taiwan Prof. Hiromichi Mito, Meiji Gakuin University, Japan Prof. Steven Morrison, University of Washington, USA Prof. Ramona Mohamad Tahir, University Teknologi MARA, Selangor, Malaysia Prof. Jiaxing Xie, China Conservatory of Music, China Prof. Jong Mo Yang, Busan National University of Education, Korea Dr. Baisheng Dai, Macao Polytechnic Institute, Macao Dr Chee-Hoo Lum, National Institute of Education, Singapore Dr. Narutt Suttachitt, Chulalongkorn University, Thailand
A total of 310 proposals were received and each proposal was reviewed by the jury. The results are as follows: 85 Paper Presentations 6 Panel Discussions/Symposia 4 Workshops 67 Poster Presentations 1 Forum for Graduate Students (including 7 papers)
] 10 [ About the Music Program of Macao Polytechnic Institute
The Bachelor of Music program was established in 1997, and it is the only higher professional music education course in Macao SAR. The four-year full-time academic program is mainly taught in Chinese. There are two professional specialties, “music education” and “music performance”. The program is aimed at students in Macao and neighboring areas such as Mainland China, Hong Kong and Taiwan, and it is committed to cultivating students to become musical performers, with a focus on artistic practice, music education in teaching and research, and a combination of high moral character and quick thinking. After the Macao Polytechnic Institute passed the evaluation of the Higher Education Quality Assurance Agency (QAA) in 2013, and in 2014, the Music Program was evaluated and approved by the professional department of the Taiwan Higher Education Evaluation Center. The quality of the school has achieved double international academic recognition. It became the first art discipline in Macao to pass international academic certification.
Features of the music program: Excellent teachers with international education background. Diverse and practical curriculum. High quality and abundant teaching equipment. A variety of academic workshops, master classes and student art practice activities. “Small-scale intensive” school-running features (music performance skills are all taught one-on-one, group classes up to 22 students) The Bachelor of Music program also emphasizes a local and overseas exchange of learning and performance exchange opportunities. Exchange student project institutions include the Music Department of Northwestern Christian (USA), the Art Academy of the University of Aveiro (Portugal), Taiwan University of Arts and Dong Hwa University. Moreover, current cooperation agreements include China Central Conservatory of Music, Shanghai Conservatory of Music and Xinghai Conservatory of Music.
Achievement Exhibition of Academic Staff of Music Program of MPI Venue: 4th Floor of Meng Tak Building, MPI
] 11 [ ] 12 [ MPI Campus Map
] 13 [ Rundown
Registration -15 July 2019 (Monday) 10:00-18:00, Auditorium, Macao Polytechnic Institute
Conference Day 1- July 16 (Tuesday) 09:00-18:00 Registration (Auditorium) 09:30-10:00 Opening Ceremony (Auditorium) 10:10-11:00 Keynote Speech I (Auditorium) 11:00-11:20 Tea Break (Cafeteria on 1st Floor of Wui Chi Building, outside of Lecture Theatre) 11:20-13:00 Paper Presentation I (M402, Lecture Theatre 2, Lecture Theatre 3) 11:20-13:00 Panel Discussion I (Lecture Theatre 1) 11:20-13:00 APSMER Board Member Meeting (M409, by invitation)
13:00-14:30 Lunch Break (Cafeteria on 1st Floor of Meng Tak Building)
14:30-16:10 Paper Presentation II (M402, M409, Lecture Theatre 1, 2 & 3) 16:10-16:30 Tea Break (Cafeteria on 1st Floor of Wui Chi Building) 16:30-18:00 Panel Discussion II (Lecture Theatre 1) 16:30-18:00 Panel Discussion III (Lecture Theatre 2) 16:30-18:00 Panel Discussion IV (Lecture Theatre 3) 16:30-18:00 Poster Presentation I (M419, M423) 16:30-17:30 Workshop I (M402)
19:30-21:00 Welcome Concert (Auditorium)
Conference Day 2 - July 17 (Wednesday) 09:00-09:50 Keynote Speech II (Auditorium) 10:00-11:15 Paper Presentation III (M402, M409, Lecture Theatre 1, 2 & 3) 11:15-11:30 Tea Break (Cafeteria on 1st Floor of Wui Chi Building) 11:30-13:00 Panel Discussion V (Lecture Theatre 1) 11:30-13:00 Panel Discussion VI (Lecture Theatre 2) 11:30-13:00 Graduate Students Forum (Lecture Theatre 3) 11:30-12:30 Workshop II (M402) 11:30-12:30 Workshop III (M409)
12:30-14:00 Lunch Break (Cafeteria on 1st Floor of Meng Tak Building) 14:00-14:30 Performance Show: Picturesque (Auditorium)
14:40-16:20 Paper Presentation IV (M402, M409, Lecture Theatre 1, 2 & 3) 16:20-16:40 Tea Break (Cafeteria on 1st Floor of Wui Chi Building) 16:40-18:10 ISME Open Presentation (Auditorium) 16:40-18:10 Poster Presentation II (M419, M423)
] 14 [ Conference Day 3 -July 18 (Thursday) 09:00-09:50 Keynote Speaker III (Auditorium) 10:00-11:40 Paper Presentation V (M402, M409, Lecture Theatre 1, Lecture Theatre 2, Lecture Theatre 3) 11:40-12:20 Tea Break (Cafeteria on 1st Floor of Wui Chi Building) 12:20-13:0 Closing Ceremony (Auditorium)
13:00-14:30 Lunch (Cafeteria on 1st Floor of Meng Tak Building)
] 15 [ Detail Program
Conference Day 1 - July 16 (Tuesday)
10:10-11:00 Keynote Speech I Auditorium Prof. Susan O’neill, Visions and Challenges of Transformative Music Education: Creating Equitable, Inclusive Dean of Education at and Culturally Responsive Music Learning Communities Simon Fraser University in Vancouver, Canada
11:20-13:00 Paper Presentation I M402 Jason Chen Mobile Composing: Professional practices and impact on students’ motivation in popular music Xin Liu An Exploration of College Music Teachers and Adult Learners Using WeChat in Music Teaching and Learning in China Leung Chi Hin Empowering Students to Become Music Inventors through the Application of Coding, Electronic Building Blocks and Contemporary Music Composition Techniques Clarence Tan, Video Use in Music Teacher Professional Development: Joanne Wong, Investigating Teacher Interactions and Behavior in an Online Professional Development Alfredo Bautista Environment Lecture Theatre 2 Joo Yeon Jung, Jihae Shin, Popular music band program in Korea: Its impact on elementary students’ musical and Soojin Lee extra musical aspects Koh Chee Kang Maximising rehearsal effectiveness and efficiency: Perspectives from four secondary school band directors in Singapore Shahanum Md Shah Musical and Non-Musical Benefits of Participating in Marching Band Competitions Among Malaysian and Indonesian High School Students Lecture Theatre 3 Yasuko Murakami Consideration on instrumental activities in elementary school: From the perspective of continuity from early childhood education Siu-hang Kong The Impact of Societal Factors on Young Student Musical Preferences in Contemporary Hong Kong Bei Song, Yafeng Pan, Interpersonal Brain Synchronization during Music learning Activities: Based on Yi Hu Educational Neuroscience Jasmine Peh On 21st Century Competencies: A Content Analysis of Music Education Literature
11:20-13:00 Panel Discussion I Lecture Theatre 1 Lily Chen-Hafteck Reforming Music Teacher Education: Efforts to implement Culturally Responsive Wencui Huang Pedagogy in California, USA and Guangxi, China Xiaoning Qin
14:30-16:10 Paper Presentation II M402 Hung Pai Chen, A study on the co-relation between piano teachers’ belief and practice in university Ying Ting Liao music departments Suga Hiroshi The emergently interactive process between a music instructor and a student for producing musical expression Barbara Hojean Chung Exploration of Modeling Strategies in Applied Piano Studios in Korea Carell Ethilca Belandres & Original Philippine Piano Method Book for Young Beginners Chieko Mibu M409 Ronglong Music Group Activities for Older Adults in Thailand Wangpreedalertkul December R. Valenciano & Music Education for All: Open School of Music Maria Sherla A. Najera
] 16 [ M409 Narutt Suttachitt Music for Enhancing Healthy Living of the Elderly Prof. Ikuko Shitamichi The songs for public health in Japan in the early 20th century. Saaya Nosohara Lecture Theatre 1 Yuki Kono Sounds of empowerment: Facilitators and participant learning in a U.S-based Okinawa community music group Saya Thuntawech The Ideal Thailand Music Faculties in the 21st Century Sheau-Yuh Lin The model construction for music teacher recruitment in Taiwan through a Delphi survey Shimizu Minoru The truthful pleasure of music activity : Postulating a definition through the use of ontology with the concepts of mono and koto in Japanese philosophy Lecture Theatre 2 Puxiao Zhou Reform of Primary School Music Education-A Practice of “Art and Aesthetics”: The Chieko Mibu Integrated Curriculum in Shishi Primary School, Chengdu, China- Cong Jiang, Xinyu Liu The rhythmic features of Chinese children’s folk songs for music and language learning Li Xiaofei Transmission of Peking Opera in Schools: A Case Study of Peking Opera curriculum in Beijing Can Lu, Graham F. Welch, Singing competency of Primary school students in Hunan and Guangdong province, Jo Saunders China Lecture Theatre 3 Marina Wai-yee Wong Hong Kong Specials Schools Music Teachers’ Perceptions of Creativity and their practices in Music Classrooms for Students with Severe Intellectual Disabilities Hang Su An exploratory study of music teaching and learning interactions of three children with ASD Flora Fong Lap Ip Is it music education or music therapy? Music teachers’ perception of music education for children with Severe Intellectual Disabilities (SID) Jacqueline Smith The status of music therapists working with children with autism spectrum disorder in school settings, implications for music educators
16:30-18:00 Panel Discussion II Lecture Theatre 1 Dr. Masafuni Ogawa Issues of Movable-Do and Fixed-Do Systems at Grade Schools in Asia Dr. Hong-Ky Cho Dr. Xuerong Cui Dr. Hsiao-Shien Chen
16:30-18:00 Panel Discussion III Lecture Theatre 2 C. Victor Fung Music Participation and Quality of Life of Senior Citizens in Japan Hiromichi Mito Chihiro Obata Hiromi Takasu Nozomi Azechi Yoko Ogawa Hiroshi Suga Yuki Kuwaharada
16:30-18:00 Panel Discussion IV Lecture Theatre 3 Hung Pai Chen Technology in Music curriculum and its Practice Tadahiko Imada Joo Hyun Kang Shahanum Mohamad Shah Pan-hang Tang
16:30-18:00 Poster Session I M419 Marina Wai-yee Wong Analyzing the Development Process of Macau Secondary Schools Music Curriculum Guan Tao A study of Ethnic Identity and Teaching Strategies for Anti-racism Music Courses: A Case Study of Han and Minority Students in Yan yuan County of Tibetan-Yi Corridor
] 17 [ M419 Kumiko Koma, Mika Ajifu, Music Education as a Bridge Between Schools and Society Noriko Ishigami, Miyako Onozawa, Yukiko Tsubonou Guo Xiaolin A Study on the Influence of the Pop Music applied in the Music Appreciation Class for Students in Grade 8 on Students’ Music Learning Interest and Achievements Cancan Cui Do Parental Values Towards Children’s Music Learning Vary in Guilin, China, and Tampa, USA? Amanda Watson House Concerts: a community partnership between performer and audience Amanda Watson Music teacher performance reviews in schools: One Australian example Chang Liu, Aiqing Yin The Effects of Parental Involvement in Instrumental Music Learning-Based on 7-12-Year-Old Instrumental Music Learners in China Dan Yang A Hundred Years of Music Teaching Method Textbook Development in China Cong Jiang, Zhuoqun Liu The melodic features of children’s folk songs for early music and language learning Chalinee The Study of Curriculum, Teaching and Assessment about Keyboard Skills for Suriyonplengsaeng Pre-college Students Zhang Jiashuo Return of Music Education: based on Rogers’ Functional Perfection Education Shuai Li A Case Study of Music Micro-teaching Iok Meng Li Designing classroom music assessment activities in Macao secondary schools Sumie Tonosaki Practicing the sound education for children with hearing impairment
M423 Ai Kosugi Can dance possibility live in music education? A consideration on the possibility of physical-expression Yuki Ishikawa On the separation of form and content in music education Daini Chen The Cultivation of Music Teachers in the Multicultural Background Joo Young Kim Rhythmic improvisation for creativity of Early childhood based on Orff Schulwerk Biyu Tong A Study on the Diverse Growth paths of Music Teachers of Elementary and Secondary Schools Yameng Wu A Comparative Study of American National Core Music Standards (2014 Edition) and Chinese High School Music Curriculum Standards (2017 Edition) Ikue Medo Collaborative Musical Activities of Children Aged 0-3 Years Old: analysis of free instrumental playing Celeste Manrique Romulo The Inclusion of Traditional Music Practices in the Philippine Music Curriculum: Bringing Marinduque Province’s Innovated “Putong” Experience in the Classroom Natsumi Fujii A Study on the Formation of the Physical Intuition of Contemporary Dancers: Focusing the Music Influence in the Physical Movement on the Contemporary Dance Workshop Kazuhiko Kinoshita How can we use sampling for music making in music education? Vivienne H. Sang Music board games create learning engagement Dou Junhong Structure, Deconstruction and Reconstruction: Concept Generation of Musical Creativity Soichi Kanazaki Creative Music Activity for Children: Forming the Bridge between “Graphic Score” and “Sound Education” Thanraphat State and problems of music education in Thailand’s higher education of Ditdumrongsakul 21st Century John Perkins “‘A newcomer in my home country’: ‘Resonant readings’ of narratives to mediate Xin Hu anti-colonial discourses” Bethoven Pahugot Creating Piano Pieces for Piano: Inspired by the Songs of the Kalawisan Cantoras
16:30-17:30 Workshop I M402 Leung Chi Hin The Future Orchestra at Present: e-Orch Workshop
] 18 [ Conference Day 2 - July 17 (Wednesday)
9:00-9:50 Keynote Speech II Auditorium Prof. Patricia Shehan World Music Pedagogy as Pathway to Intercultural Understanding Campbell, University of Washington, USA
10:00-11:15 Paper Presentation III M402 Violetta Ayderova, Compilation of Malaysian Folk Songs as Additional Material for Viola Intermediate Level Wong Huei Yi @ Repertoire Colleen Wong, Christine Augustine, Suflan Faidzal Arshad MyungJin Yang A Suggestion of Music Education for an Era of Aging Population: A Case Study of a Group Piano Class of Yangwon Elementary School of Senior Citizens Fang Liu Musical Practice During Middle Childhood: A Study of The Influences in Asian-American Children’s Instrumental Practice at Home Setting M409 Hui-Ju Kuo An action research on applying tone-painting in music appreciation for first-grade students Wei-lin Huang An investigation into pre-service teachers’ use of musical skills in Chinese Kindergartens Daisuke Terauchi Pedagogical Possibilities of the Application “Sanka Play” for Performer and Audience Interaction in Elementary School Music Classes Lecture Theatre 1 Leonard Tan, Investigating the Efficacy of Video-Based Professional Development: Voices from Teacher Chua Siew Ling, Participants Alfredo Bautista Tadahiko Imada Soundscape, Universal Design and Music Education Chen Linlin & HsinYen Yu Study of the Adolescent’s Opinions about the Influence of Pop Music on Their Health Cognition Lecture Theatre 2 Yuan Jiang A comparative study of Chinese and American piano performance programs in university-level institutions Tung-Yun Chien A study of Music Course Implementation of Elementary School Life Curriculum in Taiwan Jihae Shin Becoming a music teacher: Korean music student teachers’ perceptions about their student teaching experience Lecture Theatre 3 Sayuri Ihara The Exploration of Musical Instruments to Develop Children’s Musical Experiences Yang Yang Mapping Music Education Research in Mainland China (2006 - 2017): A metadata-based Systematic literature review Cancan Cui Validation of A Chinese Version of Kenny Music Performance Anxiety Inventory: A Pilot Study
11:30-13:00 Panel Discussion V Lecture Theatre 1 Dr. Somchai Trakarnrung Riding the waves of change: Rethinking and reframing the future of music education in Dr. Khanithep Pitupumnak Thailand Miss Ngarmta Nandakwang Dr. Nantida Chandransu
11:30-13:00 Panel Discussion VI Lecture Theatre 2 James Lee Huan Siak Re-situating Technology-based Music Lessons in the 21st century Chua Siew Ling Adeline Tan
11:30-13:00 Graduate Students Forum Lecture Theatre 3 Zhang Siqi A Preliminary Study of the Development of Elderly Music Education in Small and Medium-sized Cities in China Zheng Yimeng We Media public account -- a new approach to music education Ziyu Wu Music Early Learning Programs: Case studies of philosophy, structures and activities ] 19 [ Lecture Theatre 3 Wang Xiaolu The Creativity Li Xiang-Jing’s Nanyin Poetry And Painting Chen Jingjing, Cai Lihong The Transboundary and Amalgamation of Basic Music Education from the Perspective of Aesthetic Education Jiang Lyu A model construction and application research of the art course portfolio evaluation in Shanghai high school
11:30-12:30 Workshop II M 402 Koji Matsunobu 3D designing and printing the shakuhachi that actually allows you to play a tune: A new approach to world music pedagogy
11:30-12:30 Workshop III M409 Earl Clarence Lomuntad Introducing Interlock with the Philippine Kalutang (musical sticks) Jimenez, Amil Kim Quan Capitan, Celeste Manrique Romulo, Lilymae Franco-Montano
14:40-16:20 Paper Presentation IV M402 Zhefu Li Review and Prospect of Research on Information Technology and Music Classroom Teaching Lisa Tokie, Noriko Tokie The Application of ICT (Information & Communications Technology) on Creative Music Making in Elementary Schools Zoey Zheng Self-Media Public Account - A New Path of Music Education Le Zhang Cultivating International Mindedness through an Online Music Teacher Training: Benefits and Challenges M409 Kuo, Tzu Chun Teaching and Learning of Music in Preschool from the Talent Development Program for Preschool Children: A Case Study of Happy Preschool Wong Kwan Yie, Wang I Ta The application of body-movement as teaching tools in the children group singing lesson Margaret S. Barrett & Music Early Learning Programs: Enduring outcomes for children and their families Graham F. Welch Tse Zhuoying Sonic Awareness, Exploration and Experimentation: Infant agency and relationship with Natalie Alexandra performers and parents in a performance for early years – A Case Study Lecture Theatre 1 Emily Good-Perkins Is There Room for Cultural Relevance and Student Agency Within the ABRSM Examination System?: Hong Kong Music Teachers’ Perceptions of the ABRSM Examination System Aiqing Yin, Chang Liu Action Research on Freshman Seminar in NENU——With “Music: From Experience to Expression” As a Case Kam-Yuen Au, An investigation on the perceived values of primary school music ensemble Koji Matsunobu competitions: a qualitative inquiry on the major stakeholders of two Hong Kong primary schools Ya Hui Huang, The moment of transformation: a music education project for junior-high dropouts Hung Pai Chen Lecture Theatre 2 Yanhan Zhang A Comparative Study on Documents in Music Curriculums of General High School in Chinese Mainland and Taiwan Hung Pai Chen, Learning Arts from Daily Surroundings of Living and Nature: An Interdisciplinary Ting-Yin Lin Curriculum Iok Meng Li Music Curriculum For Secondary Schools – A New Era of School Music Education in Macao Violet Tsang Music Education in Muslim Schools: A Comparative Study between Hong Kong and London Lecture Theatre 3 Junge Du Sustainability of traditional music in Southwest China Lexuan Zhang Understanding the Guangdong Province Outstanding Music Classes’ Teaching Pattern, Teacher-Student Interactive Behavior and Teacher’s Perceptions Ying Bao, Study on the relationship between the development of community education and the Yan Li inheritance of local music culture in China ] 20 [ Guo Yaolin The Policy Shift of Traditional Music Education in Mainland China 16:40-18:10 Poster Session II M419 Chihiro Obata Questionnaire Survey on Singing by Fifth- through Ninth-Graders Students in Japan: Focusing on Inferiority Complex toward “Onchi” Consciousness Yukari Kon The Current Status Related to Music Appreciation Classes in Elementary Schools in Japan Jun Niu Research on the Development of Music Textbooks in Primary and Middle schools in China during the 40 Years of reform and Opening-up Jiahang Liu Calm Thinking About Online Instrument Tutoring Shinko Kondo Quality of excellence of teaching music: a comparative study of elementary general music classrooms in the United States and Japan Akihiko Nakamura Evaluation of Emotional Aspects of Students by Association Method: Focus on Music Lessons Based on the TAS Model Kaoru Mori Parody Songs: Children’s Spontaneous Music Making and Resistance in the Classroom Mariko Kai, Kanoko Fujio, How Does the “First-Person Learning” Effect the Ability of Nursery Teachers to Encourage Mutsumi Igarashi, Musical Expression in Children? Junko Takahashi, Ryo Hasegawa Xiaoju Li Calm Thinking About Music Education of Chinese Excellent Traditional Culture: Connotation Characteristics, Policy Changes, and Education Inheritance Pimonmas Promsukkul Cooperative Learning Theory and Group Piano Teaching in Higher Education A Case Study of the College of Music, Bansomdejchaopraya Rajabhat University Hiromi Takasu, Examining the Significance of Musical Activities for Seniors in a “Super-Aging” Sahomi Honda Society Nozomi Azechi, What are the difficulties for beginners in matching their timing and changing tempo Masami Yoshimura with other musicians Feng, Xiaoning Traditional Materials in the Music Textbook Published by People’s Music Publishing House of Compulsory Education in China Shuzhen Mo An case study of the Efficiency of Google Classroom in performance assessment Christine Augustine, Undergraduate Music Students’ Holistic Development in Capstone Project Wong Huey Yi@ Colleen Wong, Zaharul Lailiddin bin Saidon, Zamrus bin Hashim Vivienne H. Sang Music board games as effective pedagogies for music literacy Eunkyoung Kwon, Educational approach to the social role of music using TV commercial music Leonard Y. Lee M423 Queeny Rose Ann P. Tubong of Marinduque Peñaflorida Hu Yijie The Nationality, Multiplicity and Interest of Preliminary Piano Lessons for Children The Integration and revision of Local Piano Enlightenment Textbooks Resources Teng Teng Research on Academic Social Function for Music Education in the Digital Age Xing Yiwen Exploration of Children’s Singing Voice Zhu Jianjian Study on the Learning and Health Improvement Function in Piano Teaching for Middle-aged and Senior People Jia Wang Kindergarten Teachers’ Methods to Promote Children’s Musical Experiences Chie Yamamoto Feature of self-cultural education in social studies in Cambodia Soma Takeo Of talking about musical images He Yang Sunnie Drawing to learn music – a case study in Hong Kong Miki Yamabe The Tendency of American Music Education Seen in the meeting of Music Supervisors’ National Conference Before the Establishment of Music Department Kumi Matsuyama Administrating research of art fields Martin Emo Ableton Live… meet the secondary music teacher! Professional development for secondary music teachers Eva Kwan Pre-Professional Service Learning in Music Education ] 21 [ Tian Yao nong The teleology of music education in general schools M423 Barry Kwok Yeung Lee Enhancing Young Children’s Social-Emotional Development through Visual-mediated Margaret Wing Chi Lau Music Movement -- A Preliminary Study Luo Jingheluo The New Idea of Music Education Based on Cultural Psychology Shu Ting Chen A Study of Implementing Digital Music Composition in University General Education in Taiwan: An Example of “Music Appreciation” Course
Conference Day 3 -July 18 (Thursday)
9:00-9:50 Keynote Speech III Auditorium Prof. Yu Danhong, The Current Development Trend of Music Education in China Shanghai Conservatory of Music, China
10:00-11:40 Paper Presentation V M402 Yuki Morijiri, Paul Smith The perceived impact of learning approaches from Creative Music Making abroad for Japanese students in teacher education Houw Ping Lau Assessing student composers’ metacognitive awareness of their compositional processes Wang I Ta Application of Meditation, Self-Regulation and Emotional-Regulation in Music Practice and Performance John Perkins Choral Dialoguing in the Face of Privileged Fragility M409 Bo-Wah Leung Learning Cantonese operatic singing in a university setting: Community music education in university Zhang Siyu A correlational study of Parenting Style and Musical Academic Achievements Hui Zhou Research on the Strategy of Cultivating Prospective Preschool Teachers’ Sense of Rhythm Based on Eurhythmics Teaching Method Puxiao Zhou Reform of Primary School Music Education-A Practice of “Art and Aesthetics”: The Integrated Curriculum in Shishi Primary School, Chengdu, China- Jiaxing Xie O2O--An Effective Way to Music MOOCs Lecture Theatre 1 King Cheung Calvin Lee Factors affecting the motivation of Studio-based instrumental learners in Hong Kong: Case studies Christina Chan Looking for lost notes: Exploring the instrumental pedagogies for partially sighted children and young people with Albinism Chang Liu, Aiqing Yin The Effects of Parental involvement in Instrumental Music Learning——Based on 7-12-year-old Instrumental Music Learners in China Lecture Theatre 2 Krit Niramittham & Philosophical Insights from Thailand: A Content Analysis of Royal Addresses on Thai Leonard Tan Music Education from His Majesty King Bhumibol Adulyadej Yang, Jong Mo Analysis of nationalism in music textbook used by Korean elementary school in China and Japan Alfredo Bautisia; The role of classroom video in music teacher research: A review of the literature Clarence Puay-Yon Tan; Joanne Wong; Colleen Conway Lecture Theatre 3 Emma Saxton Classroom Music: A worthy investment or just a waste of time. Angela Hao-Chun Lee The Effects of the Ukulele on the Experiences and Leisure Activities of Positive Aging in Taiwan Lin-Yu Liou; Evaluating learning motivation and experiences of junior high school students in music Kiyoshi Asakawa; composing activities: Using the scale of Japanese nursery rhyme Yuki Hikichi
] 22 [ Keynote Speech I
Prof. Susan O’Neill Susan O’Neill is Professor and Dean of Education at Simon Fraser University in Vancouver, Canada. She is President of the International Society for Music Education (ISME). Susan has been awarded visiting fellowships at the University of Michigan, University of Melbourne, and Trinity College Dublin. She has published widely in the fields of music psychology and music education, including contributions to 15 books published by Oxford University Press. She has been awarded major grants for international collaborative research, and has developed intercultural programs and an award winning intergenerational arts program. Her current research examines young people’s engagement with creative technologies, creative and collaborative approaches to music learning, and the social impact of music on young people’s lives.
10:10-11:00 , July 16 2019, Auditorium Visions and Challenges of Transformative Music Education: Creating Equitable, Inclusive and Culturally Responsive Music Learning Communities
Abstract: How can we ensure that all students have access to quality music learning opportunities? Key challenges in addressing this question world-wide include the need to respond to technological innovation and social inequity by removing barriers to participatory, collaborative and culturally responsive music learning opportunities for all. I will introduce frameworks and evidence-based practices that engage music students across a full range of learning backgrounds, strengths, needs, and interests. These transformative music education frameworks acknowledge how crucial it is to understand students’ diverse and multiple music learning and social identities, and to help students make connections with the world around them. The aim is to provide leadership for music educators to support both educational practice and outcomes by “tuning in” to student music learning and taking steps to actively innovate in response to students’ strengths. By creating and facilitating effective conditions for learning these approaches help music teachers make a positive impact on music education through improved student engagement, achievement, and wellbeing.
] 23 [ Keynote Speech II
Prof. Patricia Shehan Campbell Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the University of Washington, where she teaches courses at the interface of education and ethnomusicology. A singer and pianist, with studies of Japanese koto, Celtic harp, Karnatic Indian mridangam, and Bulgarian and Wagogo song, she has lectured internationally on the pedagogy of world music and children’s musical cultures. She is the author of Music, Education, and Diversity: Bridging Cultures and Communities (2018), Teaching Music Globally (2004), Songs in Their Heads (1998, 2010), Lessons from the World (1991), co-author of Music in Childhood (2017, 4th edition) and Redefining Music Studies in an Age of Change (2017), co-editor of the Global Music Series and the Oxford Handbook on Children’s Musical Cultures (2013). Campbell is recipient of the 2012 Taiji Award and the 2017 Koizumi Prize for work on the preservation of traditional music through educational practice, and was designated the Senior Researcher in Music Education of the National Association for Music Education in 2002. Board member of the Association for Cultural Equity, she is educational consultant in the repatriation of Alan Lomax recordings to the sources. She is editor of the seven- volume series on World Music Pedagogy (2018-19) for practicing and prospective teachers.
9:00-9:50 , July 17 2019, Auditorium World Music Pedagogy as Pathway to Intercultural Understanding
Abstract: The convergence of music, education, and diversity is notable within the frame of World Music Pedagogy (WMP), in which intercultural understanding is realized through remarkable experiences within school music programs. With a commitment to meeting diversity mandates in educational settings, WMP emerged from 40 years of cross-talk and collaboration of educators with ethnomusicologists as a means for understanding music as a global phenomenon. Previous efforts for teaching world music are commendable although pedagogically unsystematic and incomplete, often superficial, sometimes disconnected from sound through notation-only “materials”, and thus are incapable of meeting aims of musical and cultural understanding that are timely and necessary. Democratically speaking, WMP considers the complexities of diversifying the musical content of curricula, the intercultural facets of the teaching-learning interface, and the myriad ways in which social justice is achieved through transformative course design. It acknowledges the importance of recordings (when circumstances do not allow for the hiring of culture-bearing artist- musicians) to initiate and advance learning, and it offers a pathway for children, youth, and adult learners to know music by listening, participating in and performing it, engaging in creative-inventive variations of it, and understanding the meaning and value of the music to “source musicians”. As intercultural education seeks to promote an understanding of people in a wide array of cultures, World Music Pedagogy provides pathways for supporting students to grow more widely and deeply musical, as well as more culturally compassionate, through a pedagogical process that considers music as sound, behavior, and cultural meaning.
] 24 [ Keynote Speech III
Prof. Yu Dan-hong Dr. Yu Danhong, Professor of Shanghai Conservatory of Music; She served as Dean of Music Education Department from 2002 to 2018, and is currently the Curator of the library. She served as the board member of APSMER in 2009 and 2013; Now she is a member of ISME, member of NAfME, and member of AERA. She is also the executive director of Music Education Branch of China Education Society and the deputy director of Chinese Music Education Academic Committee. She is also the Art textbooks review expert of China’s Ministry of Education; member of Compilation Group of Music Curriculum Standards for Compulsory Education of the Ministry of Education; Board member of Shanghai Musicians Association, member of Shanghai Federation of Literary and Art Circles, member of Music Education Committee of the Chinese Musicians Association, honorary member of the Music Education Association of the Czech Republic. She is also an editorial board member of China’s national music core journal “Music Art”; Editor-in-chief of the “Music Education in China” Yearbooks, editor-in-chief of Music textbook for high schools; Director of the “Music Education Teaching Research Base” of Shanghai Key Humanities Disciplines; Chief professor of Music Education Research Team of the “Plateau Project” ( by Shanghai Municipal Education Commission) ; Chief professor of the Music Education Team of the National Double First-class universities.
9:00-9:50 , July 18 2019, Auditorium The Current Development Trend of Music Education in China
Abstract: Since the early 1980s, the Chinese music education community has been in frequent contact with the outside world. After nearly 40 years of study and exchange, music education in China has developed by leaps and bounds. The construction of the music education discipline has begun to take shape. The academic exchanges between China and foreign countries have been smooth. The large number of Western academic works that we have translated into Chinese in the past two decades has enabled us to quickly integrate with the study of the outside world and gain the ability to dialogue and communicate in the same context. At the moment, the development of music education in China begins to show the following characteristics: 1. The theory and practice of the music education discipline have made great progress; 2. We have actively carried out a phased summarization of the discipline; 3. We explore the music education system with Chinese characteristics; 4. We have developed from one-way input to two-way exchanges. It is believed that in the near future, Chinese music education can become a powerful research force in the field of international music education, showing the world China’s distinctive traditional music education materials, Chinese-style classroom teaching and educational theory construction.
] 25 [ ISME Open Session
This session provides an opportunity to explore the core values, key challenges and actions that matter most to music educators worldwide. The discussion will assist the International Society for Music Education (ISME) in developing a 6-year strategic plan. Both ISME members and non-members are welcome to join this discussion.
Consultation for ISME 6-Year Strategic Plan 2020-2026
ISME is launching a consultation process to reinvigorate the Society’s mission and activities. This is an opportunity for ISME members and partners to help shape the future of ISME. We want your ideas and suggestions for key priorities that relate to ISME’s core values: International Community, Intercultural Understanding, and Advocacy. In this session, the ISME President, Susan O’Neill, will provide an overview of the need for a strategic plan for ISME and the consultation process. She will then lead a discussion to consider your ideas for shaping ISME’s future.
The aim of the ISME 6-Year Strategic Plan is to articulate a broad set of priorities areas (or key challenges) that will give direction and inspiration to ISME’s activities over the next six years from August 2020-2026. The plan will serve as a guide for the planning of future world conferences, the development work that is needed to help us support future projects and activities, and the implementation of new initiatives that will support ISME’s goals.
Agenda 1. Why does ISME need a strategic plan? 2. Overview of the consultation process 3. SWOC analysis (Strength, Weaknesses, Opportunities, Challenges) for ISME as an international music education organisation 4. Discussion questions: • How can/does ISME work to build and maintain a worldwide community of music educator? • How can/does ISME foster respect for international and intercultural understandings and cooperation? • How can/does ISME promote access to quality music learning opportunities for all people? 5. Other priorities for ISME?
Date: 16:40 - 18:00, July 17 Venue: Auditorium
] 26 [ Welcome Concert Program
Date: 19:30, July 16, 2019 Venue: Auditorium, Macao Polytechnic Institute
1. Sea of Wisdom Composed by Daisuke Shimizu Conductor: Hugo Loi Hon Cheong Performed by Macau Pui Ching Symphonic Band
2. Three Ayres from Gloucester Composed by Hugh Stuart I. The Jolly Earl of Chomondeley Arranged by Robert Longfield II. Ayre for Eventide III. The Fiefs of Wembley Conductor: Chung Sai Hou Performed by Macau Baptist College
3. Holberg Suite, Op. 40 (1st, 4th and 5th movt.) Composed by Edvard Grieg Conductor: Francis Kan Performed by Macao Orchestra
4. Autumn Moon on a Calm Lake Composed by Lu Wen-Cheng Arranged by Yang Chun-Lin Gaohu: Zhang Yue-ru Erhu:Dong Li-zhi Zhonghu: Li Feng Cello: Han Yang New Horse Racing Composed by Huang Hai-Huai Arranged by Chen Yao-Xing, Chen Jun 1st Erhu: Dong Li-zhi 2nd Erhu: Sun Hua-ran Yangqin: Li Ke-wei Cello: Han Yang Percussion: Wang Juan Performed by Macao Chinese Orchestra
5. Trio for Oboe, Clarinet and Bassoon Composed by Wolfgang Mozart Allegro from Divertimento No.1 KV 439b Oboe: Wai Teng Che,Tina Clarinet: Pui Kwan Ko, Kose Bassoon: Pui Kam Leung, Kim Performed by Macau Band Directors Association
6. Two Saxophones and Piano Composed by Guillaume Connesson Saxophone: Timothy Sun, Hugo Loi Hon Cheong Piano: Sandra Poon Performed by Macau Band Directors Association
] 27 [ 7. Vocal Solo: Chi il bel Sogno from La Rondine Composed by Giacomo Puccini Soloist: Xi Wang Piano: Timothy Kwok Performed by Macao Polytechnic Institute
8. Chorus The Battle of Jericho Traditional Spiritual Arranged by Moses Hogan Introduction and Toccata Composed by Yang Hong-Nian Conductor: Liu MingYan Performed by Macao Youth Choir
9. Chorus Spring Dreams Composed by Chen Yi Ciao Bella Ciao Italian Traditional Arranged by Ben Parry Conductor: Maria Vanessa Leão Performed by Dolce Voce
Concert Staff Programme Co-ordinator: Dr. Bai-Sheng Dai
Artistic Director: Dr. Xi Wang Dr. Kwok Ka-Ho Timothy
Stage Director: Dr. Kin-Yee Raymond Mok
Moderator: Chan I (Year 3. Student of Bachelor of Arts in Music, MPI) Choi Ka Ieng (Year 4. Student of Bachelor of Arts in Chinese-English Translation and Interpretation, MPI )
] 28 [ Welcoming Music in the Opening Ceremony (9:30-10:00, July 16, Auditorium)
Guzheng Trio Song of Sisters, Composed by He Zhanhao
Performers: Wong Hio Lam (Student of Music Program of MPI), Chu Chak Ieong & Sou Chi Kei (Students of the School of Music of the Macao Conservatory)
Music Performance in Closing Ceremony (12:20-13:00, July 18, Auditorium)
A Cappella A Dip into Macau Composer: Lui Man-shing A cappella arranged: Lin Shihan@WaterSingers Words and lyrics: Lau Siu Hong Samuel
Performer: Water Singers
“A Dip into Macau” is rearranged from the traditional cantonese music “Stepping High”, the signature work of composer Mr. Lui Man-Shing. The four singers will act as pandas, tour guide and driver to show audience the wonderful city of Macau.
] 29 [ The Macao Chinese Orchestra
Established in 1987, the Macao Chinese Orchestra (MCHO) is a professional orchestra under the Cultural Affairs Bureau of the Macao Special Administration Region (MSAR) Government. The Orchestra has always adhered to its principles, namely “taking root in Macao, facing the world, inheriting Chinese and Western traditions and disseminating culture”. Liu Sha is now the Music Director and Principal Conductor of MCHO.
The Macao Chinese Orchestra has made great efforts to promote music art education and culture and demonstrate its concern for society by going deep into the community and schools. It has been actively participating in the Macao International Music Festival, Macao Arts Festival and Celebration of the Anniversary of Macao’s Handover to China. It has also been strengthening the nurture of small and medium-sized arts groups and young musicians with an aim to promote local Chinese music development and trying to put music performances into stage of World Heritage Sites, parks etc to enrich residents’ lives and activate the artistic genes in communities.
Macao Orchestra
Formed in 1983, the Macao Orchestra is a professional ensemble under the auspices of the Cultural Affairs Bureau of the Macao S.A.R. Government. It is now a distinguished orchestra of Asia, performing Chinese and Western classics throughout the times. It has also played a key role in the music and cultural life of Macao residents and overseas audiences.
In 2001, the orchestra was extended into an orchestra with double winds; today, it has developed into a small-to-medium-sized orchestra of around 60 outstanding musicians from more than ten countries and regions. Each season 90 different concerts and outreach programme would be held, presenting to the public, comprehensively and systematically, classics from both Western and Chinese. Meanwhile, the orchestra has been endeavouring to invest in creativity and vitality in terms of music education and community promotion, organising a series of “Music for All” concerts. The orchestra also visits schools, community and the underprivileged groups in order to enlarge the audience base of classical music and even help young musicians realise their music dream.
] 30 [ Macau Baptist College
Macau Baptist College was established in Macau by Macau Baptist Church in 1955 and is a publically aided school. We provide education from kindergarten straight through to secondary Form 6. Our school’s vision is “Macau Baptist College, using Christian values and educational principles, aims to cultivate a new generation of students who will have a healthy self-image, positive energy, and a sense of responsibility for the community.”
Music and Art is an important developing aspect of our school. We offer violin and orchestral lessons for each student from primary one to primary six. We also provide each student with their own musical instrument and one or two systematic lessons every week. For children, learning a musical instrument is good training to develop listening skills, as it can expand the brain’s sensitivity and enhance the children’s creative development.
Macau Pui Ching Symphonic Band
Macau Pui Ching Symphonic Band was established in the winter of 1993 with the aim of nurturing students’ interest in music, enriching their leisure time and educating time on the importance of team spirit. The Band, which consisted of about 40 members in the wake of its establishment, grew rapidly through the efforts by the school, the instructors and the students, and began to take part in a variety of public performances and musical competitions. In 1996 and 2002, by the recommendation of the Macau Band Directors Association, the Band participated in the 9th and 12th conference of Asia and Pacific Band Directors Association in Hong Kong and Guangzhou and was highly credited with excellent performance. Since then, the Band had participated in multiple APBDA and other international wind fairs and festivals.
Over the past two decades, Macau Pui Ching Symphonic Band had nurtured a considerable number of musical talents in Macau, and many of the old members have become the new instructors. Today, the Band comprise of more than 90 members is presenting itself with a new image of increased vitality.
] 31 [ Macau Band Directors Association
Macau Band Directors Association is a non-profit music association founded in 1996. Since its establishment, the association has worked to achieve its aim to promote wind music activities and its development. MBDA’s members include wind band conductors, instrumental instructors and students. The association has held many large-scale wind music activities, including the annual Macau Band Fair, in which many experienced wind band conductors, wind soloists and educators perform in the concerts and conduct master classes.
In order to establish and maintain connections with other wind band associations in the Asian region, MBDA joined the Asia Pacific Band Directors’ Association in 1998. In August 2006, the association successfully hosted the 14th Asia Pacific Band Festival and Asia Pacific Band Directors’ Association (APBDA) Conference in Macao.
Performers:
Soprano: Dr. Xi WANG
Opera News praised Xi Wang with ‘a musician who has an impressive artistry and musicality’. Wang has collaborated with world-class musicians, including composers Jake Heggie, Ruo Huang and Rufus Wainwright, and conductors like Carlo Rizzi and Patrick Summers. She has shared the stage with Frederica von State, Kiri Te Kanawa and others. Wang has appeared with leading opera houses including San Francisco Opera, Glimmerglass Opera, New York City Opera, Des Moines Metro Opera, and Cincinnati Opera. On the concert stage, Wang has frequently toured Cincinnati, San Francisco, Atlanta, Beijing, Hong Kong and Italy singing choral and oratorio works. She received her Doctoral of Music Arts from University of Cincinnati College Conservatory of Music.
Pianist: Dr. Timothy Kwok
Praised by Fanfare magazine for his “fun, energetic performance,” pianist Timothy Kwok has appeared in concert series and festivals such as Italy’s Fazioli Concert Hall, Cincinnati’s Bearcat Piano Festival, Beijing Modern Music Festival, Hong Kong Government’s Our Music Talents recital series, and Guangzhou Symphony Orchestra’s season opening week. As an orchestral soloist, he was invited to give four performances of Qigang Chen’s piano concerto Er Huang, including its Guangzhou and Foshan premieres. He has also collaborated with renowned musicians like Bin Huang, Huan Jing, YuanPu Chiao, Colleen Lee, as well as musicians from the China National Symphony Orchestra, Taiwan Philharmonic, Hong Kong Chinese Orchestra, Suzhou Chinese Orchestra, and Hong Kong Sinfonietta. He received his musical training at The Chinese University of Hong Kong, Indiana University Jacobs School of Music, and University of Cincinnati College-Conservatory of Music.
] 32 [ The School of Music of the Macao Conservatory
The School of Music of the Macao Conservatory has been established for 30 years. It is the largest music school in Macau with the most complete disciplines, professional teachers and the largest number of students, providing secondary education and universal arts education.
The School of Music adheres to the tenets of “Professionalism and Universality; Art and Life” and is committed to providing various systematic music training courses for Macao citizens. The school’s continuous courses for music are divided into two categories - Chinese music and western music. There are instrumental and vocal majors, as well as related theoretical courses and music practice, providing students with comprehensive music education in the popular arts.
In 2009, the School of Music launched the first full-time music technology course, in cooperation with the middle school affiliated with the Central Conservatory of Music in Beijing. It became a formal public school providing secondary school education for students who are interested in music. The school provides a systematic and comprehensive music education, as well as a six-year secondary school social education course.
The “Macao Youth Choir” of the music school was established in 2004. It has been active in local and foreign music events and competitions for many years and has won various international awards. Furthermore, the Guzheng Recital Group was established in 1999, and each member has been a winner of the Macao Youth Music Competition.
Dolce Voce
Dolce Voce (“sweet voice” in Italian), with an objective to promote the art of choral singing, enrich the choral music culture of Macau and to offer high standard choral music to the people of Macau, was founded in 2008. With most members being holders of Degree in Music, and under the leadership of Ms Maria Vanessa Leão, Dolce Voce is determined to explore different music genres, from sacred to popular, through renaissance to the contemporary. Together they try to blend their voices with different flavor, thus creating a new choral experience for themselves and the audience.
Dolce Voce has made over 60 performances after its establishment and is frequently invited by the Government to perform in major musical occasions, including the 24th and 30th Macau International Music Festival, and the original musical “Sing High” produced by the Cultural Centre of Macau. Besides giving regular performances in Macau, the Choir has also travelled by invitation to different places, including “Beijing Modern Music Festival”, “Oriental Concentus International choral Festival” in Taiwan, “ Vienna World Peace Choral Festival” and its debut UK concert tour in 2015, giving concerts in Scotland and England. All of its appearance was highly acclaimed and appreciated by the public.
] 33 [ Water Singers
Water Singers, with all members graduated from the Music Program of MPI, is an all- female a cappella group from Macau founded in 2014. Inspired by water imagery, Water Singers dedicates to explore the possibilities of combination of all-female a cappella and performance art from the perspective of female. Through merging music and aesthetic of theatre, the group never stops its pace in innovation of performance style and always aims at presenting eye-opening audiovisual enjoyment to the audience. With its unique style, they were widely acclaimed at TPAM in Yokohama 2018 with their new work, “Picturesque 2.0”. In 2016, as the first Macao a cappella winning team, Water Singers was prized as the ‘Jury’s choice’ at Asian cup A cappella competition in Vocal Asia Festival and were nominated for the ‘Best New Group’ at Beehive Awards. Water Singers also earned high reputation in 2016 Chengdu International Youth Music Week, Hefei X Macao Play Rock Music Festival and 2017 VAF Voice of Asia Concert’ in Hong Kong. The group was invited by Ng Cheuk Yin, the famous Hong Kong composer, to sing for the Hong Kong Dance Company, “Lady White of West Lake”. Water Singers has been devoting in the development of music industry in Macao. Their music was also heard on the stages of ‘Performing Arts Gala’, music theatre ‘The Bizarre Fairy Tales’, ‘The Fairy Tales from the World of Chaos’ and ’Music Everywhere’ in the Macao International Music Festival.
Performance Show: Picturesque《音感》
Date: 14:00-14:30, July 17 2019 Venue: Auditorium, Macao Polytechnic Institute
Picturesque by Water Singers, created a soundscape environment for audience to experience a journey of sound in theatre. When the music notes are transformed to the contacts of perception, what you can see is the sound.
] 34 [ Acknowledgements
Students Volunteers: You Xuanyuan Wong Hio Lam Lam Hio Ian Manhao Cheng Patricio Cheong Pou Ian Tam Mei Ian Leong Kuai I Chao Kai Kai Wong Sok Ian Hu Shuyuan Wong Sin Teng Chio Kam Cheng Leung Pui I Feng Guolin Wong Noi I (group leader) Chan I Ao Tek Long Ou Deming Yang Yejing
Photographer: Hoi Kin Fai Deng Chu Ying Zheng Nancy Lio Sok Wai Sio Seng Tak
Abstract Editors: Lei Weng Lam Choi Ka Ieng Choi Chi Iao
Graphic Design: Cheong Veng San, Flora Public Relations Office of Macao Polytechnic Institute
Web Page Design & Maintenance: Mok Pui Fan, Fanny & Chan Fai Man, Jose Computer Service Centre of Macao Polytechnic Institute
Supporting Partners:
] 35 [ International Society for Music Education (ISME)
ISME is proud to sponsor this conference in the Asia Pacific region and our President looks forward to meeting many of you during the conference. Specifically, at consultations on the development of the new ISME strategy. ISME was founded in 1953, affiliated to the International Music Council and UNESCO. It has members in over 80 countries and is the premiere international organisation for music education.
The purpose of ISME is to promote the learning and teaching of music for all people, to support the professional growth of music educators throughout the world, and to encourage the teaching of the diverse musical practices of various cultures.
If you are an individual music educator or practitioner in anything from early childhood through to music for aged care, from a university-based researcher through to private instrumental teacher, professor of music education through to a new graduate starting your first job in a primary school… there is a place for you at ISME as an individual member.
ISME is well known for its World Conferences and Regional Conferences which provide important opportunities for networking, sharing and learning. ISME also strives to provide activities, resources and opportunities for members in between conferences. These are important because there are members who for a variety of reasons will never be able to attend a conference.
Activities include the peer-reviewed International Journal of Music Education and its Spanish- language counterpart. ISME also launched a new book series which gives members opportunities to have their work published. ISME runs a grant program which can provide funding for projects and an opportunity for members to submit reviews of other books that might be of interest to other members. The monthly newsletter provides news updates, blogs from Board members and reminders of membership benefits. www.isme.org
] 36 [ National Association of Music Merchants (NAMM)
The National Association of Music Merchants (NAMM), established in 1901, is the not-for-profit association that strengthens the global music, sound and entertainment technology products industries. Our association and trade shows serve as the crossroads for professionals seeking the newest innovations in music, recording technology, sound and stage products.
The NAMM Foundation and its market development programs advance opportunities for people of all ages and abilities to make music and grow the market. Year over year, these initiatives continue to expand their reach by way of NAMM’s Circle of Benefits business model, which channels trade show, membership revenues and donations back into the industry, supporting music education, professional development and policy issues the world over.
The projects and programs of NAMM public affairs and The NAMM Foundation seek to: • Stimulate interest and commitment to music making and create a demand for music products • Inform public perceptions about the essential qualities and value of music education across the lifespan through our public relations and advocacy efforts • Advocate for public policy and laws that advance access to music learning and eliminate barriers to music-making opportunities for people of all ages
Music Making grants support a variety of nonprofit public service organizations who expand the opportunity to access music education for thousands of individuals, as well as provide innovative music education and hands-on music making programs.
NAMM is proud to be a supporter of ISME and its regional and global conferences. In addition, the ISME-NAMM Foundation Community Music Development Grants provide one to two years of funding to individuals or teams in order to support projects that have a significant community development component. These projects advance knowledge of the diverse ways in which people involve themselves in recreational music activities, driving new means to inform music learning and teaching practices.
For more information on NAMM and the NAMM Foundation, visit namm.org.
] 37 [ Art Macao
“Art Macao” will be a five-month mega international arts and cultural event, featuring the “Art Macao: International Art Exhibition”, in which visual arts works will be presented at various exhibition venues in Macao, including exhibitions to be held by the Macao Museum of Art, hotels and integrated resorts, and foreign consulates. Art installations will also be displayed in outdoor public spaces, providing ideal hotspots for checking in through social media. In addition to the exhibitions, a feast of diverse musical and theatrical performances will also be presented from June on, as well as the International Youth Dance Festival, the International Youth Music Festival, the International Youth Drama Festival, and the Visual Arts Exhibitions of Macao Higher Education Institutions.
From June to October this year, Macao will be imbued with artistic vitality and creativity, promising surprises at each corner. Let’s enjoy an unforgettable artistic summer full of emotions!
http://www.artmacao.mo/2019/en/
] 38 [
ABSTRACT Paper Presentations
Jason Chen (ID30) Mobile composing: Professional practices and impact on students’ motivation in popular music
This pilot study focuses on the use of mobile tablets to allow secondary students to compose in class with the application GarageBand. The empirical research has two aims: to demonstrate the possibility of using mobile tablets as a composing device and to examine professional practices for using mobile technologies in music learning. A 12-week e-learning curriculum was specially designed for students to learn to use mobile tablets to compose popular music. A total of 159 secondary school students participated in the study and responded to a set of pre- and post-activity questionnaires, modelled on items developed for a motivational study by McPherson and O’Neill (2010). The paired-sample T-test compared the mean score changes in the dimensions of intrinsic value, attainment value, utility value, perceived cost and expectancy in motivation. Furthermore, one-way analysis of variance compared the mean scores for scale questions on learning motivation between groups based on number of years spent learning to play an instrument as revealed by the student survey. The findings of SPSS analysis reveal that both non-instrument learners and instrument learners showed significant increases in motivation when using mobile tablets as an instrument to compose popular music in class. Different modes of learning, limitations and recommendations are also discussed in mobile composing.
About the Author: Dr. Jason Chen is an Assistant Professor in the Department of Cultural and Creative Arts at the Education University of Hong Kong. His articles have been published by the top-ranked journals - International Journal of Music Education, Research Studies in Music Education, Music Education Research, Oxford Handbook of Music Technology and Education.
] 40 [ Xin Liu (ID85) An Exploration of College Music Teachers and Adult Learners Using WeChat in Music Teaching and Learning in China
WeChat is a free App for the mobile phone researched and developed in China. It has become one of the most suitable platforms for online teaching and learning in recent years since it can transmit text messages, voice messages, video calls, and documents. Currently, college music teachers in China have used WeChat in mobile education. It has become a new online teaching mode. In this study, 30 college music teachers engaged in WeChat teaching are interviewed. Questionnaires are sent to 500 adult learners who have learned music through WeChat. This study is guided by the following questions: (1) What are the music subfields in which college music teachers have used WeChat to teach, and what are the teaching contents? (2) What are the purposes for college music teachers in different academic areas to teach music using the WeChat platform, and what are their methods and effects? (3) What are the advantages and disadvantages of WeChat music teaching in terms of teaching objective, content, method, and evaluation when compared to traditional classroom teaching and other online teaching modes?
Findings of this study will offer implications for this new online teaching mode, bringing forward effective suggestions for teaching music using WeChat in colleges and universities. The author will propose specific measures and strategies for global development of WeChat teaching in the future.
About the Author: Professor Liu Xin, Dean of the School of Music, Northeast Normal University, Master Tutor, Master of Piano Performance and Teaching, Doctor of Music Curriculum and Teaching Theory. Member of China Music Education Academic Committee, Piano Academic Committee of China Music Education Association, Chinese Musicians Association and vice chairman of the Piano Branch of Jilin Province Musicians Association. Her main research interests are music education, piano performance and piano teaching. She was awarded with the Italian Government Exchange Scholarship and had been a visiting scholar at Bologna Conservatory.
] 41 [ Chi Hin Leung (ID110) Empowering Students to Become Music Inventors through the Application of Coding, Electronic Building Blocks and Contemporary Music Composition Techniques
In this case study, the researcher investigates the undergraduate students’ experiences of collaborative creativity through innovative STEAM initiatives. The study traces the experiences of three participant groups of various music background in (1) inventing musical instruments through the application of electronic building blocks, (2) creating pieces of creative music for the instruments by applying relevant composition techniques, and (3) performing or improvising original compositions over the course of a composition portfolio. Through the focus group interviews of the participants, analysis of the group creative music projects, reflection of the participants and lesson observation, the findings response to the research question in regard to how do students collaborate in a creative music project in STEAM, and to what extent does the STEAM in music project create a collaborative learning environment for creative music-making. Participants found that the novel experience in STEAM motivates them to experiment with the feasibility of using electronic building blocks to generate unexpected sound effects, while the student- centred approach enabled better creative thinking. Participants state their role in the collaborative creative environment and how they proceed from one stage to another. This study supports the design of a curriculum that allows a collaborative environment for creative instrument making and music making. The STEAM initiative was new to the participating students who appreciated and enjoy the collaborative process of music-making, especially in the sound exploration and organisation. Participants worked harmoniously in a group without any conflict and transformed different opinions into another form that fitted the artistic goal of the music project. Participants were stimulated to generate innovative concepts with the application of coding and electronic building blocks.
About the Author: Chi-hin Leung is a contemporary composer and music educator who was awarded the Gold Medal from International Invention Innovation Competition in Canada, the Special Prize from the Romanian Inventors Forum, President’s Award for Outstanding Performance in Teaching and many. Leung is the Assistant Professor at the Education University of Hong Kong, President of the Hong Kong Association for Music educators, Apple Distinguished Educator, Vice Chairman of the Hong Kong Composers’ Guild, and Commissioner of the Music in School and Teacher Education Commission under ISME.
] 42 [ Clarence Tan, Joanne Wong, Alfredo Bautista (ID167) Video Use in Music Teacher Professional Development: Investigating Teacher Interactions and Behavior in an Online Professional Development Environment
This paper seeks to understand the ways in which primary and secondary level music teachers in Singapore apply/transfer their pedagogical content knowledge (PCK) into a classroom context, after having undergone a video-based professional development (PD) course. Specifically, we sought to answer two research questions: (1) What and how do teachers apply/transfer what they learn in the video-mediated PD prototype to their own classrooms? and (2) What were the main challenges experienced by them as they applied/transferred their learning into their own classrooms. Participants include teachers that are regarded as music subject specialists, as well as generalist teachers who teach music in schools but are otherwise non-music specialists. The paper will explore how teachers behave and interact online in video-based professional development courses delivered by the Singapore Teachers’ Academy for the aRts (STAR), and is written as part of a research project, “Towards Responsive Professional Development for Singapore Music Teachers”, consisting of three phases, with this project currently being its third phase. Earlier phases explored the PD motivations and needs of teachers with different levels of specialization in music education, and initial findings indicated that both music specialists and generalists highly valued live and video-mediated peer observation as forms of professional learning. This motivated us to proceed with the development of video-based learning resources (video clips) to aid in music teacher professional development, with online professional development courses in mind. These video clips contain lessons conducted by experienced music teachers in Singapore classrooms, and also include videos of master teachers demonstrating innovative teaching approaches. They also illustrate ways in which the music syllabus can be taught and how student-centric principles can be enacted. The platform utilized for the delivery of the PD prototypes included an online discussion forum, where the music teacher participants were able to interact with their other fellow colleagues, as well as the professional development facilitators. Classroom observations and interviews were conducted post-course with the teachers, and the qualitative data collected were coded through a thematic and inductive process. We will then discuss how the findings from the classroom observations and interviews could be insightful for the music education fraternity as a whole. The analyses suggest that what teachers apply also depended on their prior pedagogical content knowledge, and raises questions about the extent which video-based professional development could be effective. We propose suggestions that can be implemented in future video-mediated music teacher professional development courses.
About the Author: Clarence Tan is a Research Assistant in the Visual and Performing Arts Academic Group within the National Institute of Education - Nanyang Technological University, Singapore. His research focuses on music teacher professional development, and how modern technology can assist music teachers in improving their content and pedagogical knowledge.
] 43 [ Yi Hsin Huang (ID78) A Study of the Influence of the Rock Band Program on the Resilience of Teenagers.
This research is a case study. The purpose of this research is to study the influence of junior high school rock band program has on the resilience of teenagers. “Resilience” is an important counseling idea that stresses to increase the individual and environmental protective factors, and reduce the impact of risk factors in order to achieve intervention goal in a case. The researcher is a junior high school counselor. The rock band program of this research is a program developed by researchers based on the theory of music community, the strategy of resilience, and the integration of rock and roll education. Research participants are rock band members led by the researcher. The band was founded one year ago and it includes 13 to 15-years-old teenagers. The research includes in-depth interviews with eight teenagers, two high-risk teenagers, a pair of teenagers’ parents, principal, rock band’s teacher, and two documentary photographers supplements by the researcher’s participant observation and the observer’s direct observation, data collection and analysis. The following are the investigated results: (1) Participate in the rock band program to promote the internal protective factors of adolescents’ self- efficacy, self-esteem, problem-solving ability, perseverance and interpersonal skills. (2) Participating in the rock band program provides external protective factors such as multi-learning opportunities, peer-to-peer relationships, teacher positive relationships, and family positive relationships to teenagers. (3) The research presents the process of two high-risk teenagers participating in the resilience of the rock band program. (4) This research also proposes a strategy for managing a rock band to affect the resilience of teenagers as a reference for future counselors and music educators.
About the Author: YI HSIN HUANG, Taipei National University of the Arts.
] 44 [ Joo Yeon Jung, Soojin Lee, Jihae Shin (ID82) Popular music band program in Korea: Its impact on elementary students’ musical and extra musical aspects
Music educators have begun to involve various genres and styles which learners usually enjoy in their daily lives in their teaching (Byo, 2017; Kallio, 2017; Weiss et al. 2017). This educational trend prompted continuous efforts to incorporate popular music into mainstream music education (Humphreys, 2004) and popular music band program has been considered as a new ensemble program in schools. Therefore, this study seeks to develop a popular music band program to analyze its impact on students’ musical and extra musical aspects. 35 students and their parents who participated in popular music band program, called Little Bob Dylan Band, completed the survey and individual interviews. This program, however, let students closely experience and play pop music, which they can hear everywhere in their lives. Also, in their daily lives, elementary students continued to enjoy knowledge attained in the program and enthusiasm towards pop music by searching and listening to relevant repertoires. Furthermore, while participating in popular music band program, elementary students could develop an ability to analyze the quality of popular music. Elementary students learned popular genres including hip-hop, rock, pop, analyzed music chords and lyrics of selected popular music, and while discussing with team members, they expressed the group’s story into musical sounds through band instruments. Participant students became to be interested in various elements of the music they hear, including the styles, rhythms, melodies, artists, played instruments, and tone colors; and they enjoyed talking about the quality of music and their likes and dislikes of music. The results showed that Little Bob Dylan Band expanded the range of musical experiences elementary students can enjoy in their lives. Most musical activities the elementary students had had in their schools or extra-curricular classes were limited to children’s songs and classical music. It was difficult for elementary students to closely experience popular music in educational setting, although they had often encountered them in their daily lives. As we found that this program became a gateway to popular music for elementary students, we felt the need to select appropriate repertoire for young students in terms of the musical abilities, propriety of lyrics, range of musical genres, and representativeness of repertoires. Among tremendous amount of popular music repertoires in Korea and abroad, we should consider various aspects of musical features to select music, therefore this program can be a good pathway for participants to popular music experiences.
About the Author: [email protected]
] 45 [ Koh Chee Kang (ID298) Maximising rehearsal effectiveness and efficiency: Perspectives from four secondary school band directors in Singapore
One of the challenges band directors in Singapore encountered was the lack of rehearsal time. According to Price (2006), band directors “are to talk less, teach the band the meanings of conducting gestures, and conduct in such a way that portray the music accurately and effectively (resulting) in more effective and efficient rehearsals and better and more musical performances.” With this context, the study aimed to gain insight into four secondary school band directors of varied profiles (i.e., age, teaching experiences and individual conducting accomplishment) through adapting the concurrent verbal protocol analysis (Svenson, 1979) to allow individual respondent to “think aloud” verbalising their thoughts in conducting effective and efficient band rehearsals. Four emerging themes (i.e., error detection/correction, mode of communication, lesson planning, student engagement) were identified. It was found that accomplished band directors focused on expressiveness aspect of the piece through non-verbal conducting gestures whereas less accomplished directors preferred more talking and focused on correcting pitch, rhythm and articulation during rehearsals. Both groups, however, felt the importance of lesson planning to set rehearsal goals and design activities for student engagement and better use of rehearsal time. This study will potentially provide insights on the design of band curriculum guide and provide the band fraternity a better understanding of how rehearsal efficiency and effectiveness could be maximised. Further research could explore making comparative analysis of rehearsal episodes or frames by accomplished and less accomplished band directors.
About Author: Dr Koh Chee Kang is a Senior Specialist (Music) from the Ministry of Education, Singapore. He previously taught classroom music and wind band in China, Hong Kong, Singapore and USA, and completed his doctorate in Music Education at the University of Illinois at Urbana-Champaign under the supervision of Gary McPherson.
] 46 [ Shahanum Md Shah (ID245) Musical and Non-Musical Benefits of Participating in Marching Band Competitions Among Malaysian and Indonesian High School Students
Participation in competitions is an integral part of a school band program apart from the routine practice and rehearsals, parades and shows, workshops and clinics. The experience of participating in competitions is in itself a good learning process for band members. The comments and scores given by adjudicators during competitions provide feedback for bands to evaluate their level of performance and identify areas that need improvement. As such, band competitions can be a vehicle for future improvement and development (Drum Corps Europe, 2011). As a way of providing a platform for bands to perform, the Ministry of Education Malaysia or other organizations organize a yearly national marching band competition. The competition also acts as a mechanism for bands to improve themselves and benchmark their achievements against other bands. However today, organizing of band competitions is challenged by many factors, among them the emphasis on academic skills, the examination-oriented mindset of parents, the high cost of participating in marching band competitions, and budget cuts to these activities. There is deep concern over the impact of these issues on the future of the marching band as a co- curricular activity. As what is deemed as a valid reason to rationalize the value of participating in marching band competitions, the purpose of this study was to examine the musical and non-musical benefits of participating in marching band competitions among Malaysian and Indonesian secondary school band members. The study’s research questions are as follows: (1) What are the perceived musical benefits of participating in marching bands competitions among Malaysian and Indonesian marching band members? (2) What are the perceived non-musical benefits of participating in marching bands competitions among Malaysian and Indonesian marching band members? (3) Is there a difference in perceived benefits between Malaysian and Indonesian marching band members?
The quantitative method was used for data collection in this study. A survey questionnaire consisting of three sections in the current questionnaire: Section A consists of items pertaining to demographic data of the respondents, Section B consists of 48 questions relating to the musical and non-musical benefits of participating in marching band competitions, and Section C is an open-ended question for respondents to indicate their most memorable experience participating in marching band competitions. Subjects will be required to respond to each question using a 5-point Likert scale anchored by the terms Strongly Disagree (1) to Strongly Agree (5). Using stratified sampling, the questionnaire was distributed to secondary school band members in Malaysia and Indonesia, whose bands have participated in at least three band competitions. Among reported benefits included developing musical skills such as memorization, and learning life skills that are directly relevant to their overall education such as responsibility, leadership and teamwork.
About the Author: Shahanum Mohd. Shah is Professor of Music Education at the Universiti Teknologi MARA, Malaysia where she is also currently the Deputy Dean (Research & Industry Linkage). She holds a B. Music (Perf.) (Hons) degree from Adelaide University, Australia and the M. Mus. Ed. and PhD degrees from Indiana University, Bloomington. Shahanum’s research interests include psychology of music, music teaching and learning, assessment, and the Malay gamelan.
] 47 [ Yasuko Murakami (ID83) Consideration on instrumental activities in elementary school: From the perspective of continuity from early childhood education
The relationship children in early childhood have with instruments goes beyond the general way of playing instruments, as they would stack instruments on top of each other or jump on instruments. This behavior, when referencing the idea of communicative musicality advocated by Malloch and Trevarthen (2009), implies that children are exploring the instruments, and their behavior can be regarded as learning the culture in multiple modes by establishing a relationship with instruments. On the other hand, instrumental instruction in school education is mainly about playing various instruments where students are expected to play music accurately. Perhaps there is a need to question the continuity between children’s behavior of freely exploring instruments and so-called act of playing instruments. To consider the continuity between children’s relationship with instruments and so-called instrumental instruction by taking instrumental activities conducted at elementary schools as cases. The target for this study was 32 first-grade students and one music teacher at a public elementary school in Tokyo. Cases used were classes which contained instrumental activity during the observation period of June 20xx to January 20xy. We filmed the overall activity scene using one video camera, and took field notes as necessary. The video transcription and field notes were transcribed to ELAN and used as data. Instrumental instruction conducted at the elementary school included the activity of listening to the sound of instruments including echoes, and the activity of capturing the instrument’s characteristics through tactile, visual, and auditory senses. The former activity was to establish the environment for listening to the sounds one makes, and the latter activity was to promote a deeper relationship with the instrument itself. It can be said that the activities promoted understanding towards the instrument’s characteristics through one’s body, as the basis for playing music. At elementary schools, students are expected to acquire various knowledge and skills related to music while enjoying musical activities. To support such knowledge and skills, they need to gain and accumulate various experiences such as fully exploring the instruments and listening closely to the sounds they make; therefore, it can be said that perhaps we need instruction which utilizes these accumulated experiences as the basis for playing music correctly.
About the Author: Yasuko Murakami is an associate professor at Kyoritsu Women’s University teaching music education. After completely Ph.D., she is now involved in elementary school and pre-school teachers training. Her research focuses on mainly the activities with musical instruments which is held in pre-school and elementary school.
] 48 [ Siu-hang Kong (ID38) The Impact of Societal Factors on Young Student Musical Preferences in Contemporary Hong Kong
The relationship between ongoing societal factors and individuals’ musical preferences has been extensively examined in the Western context; however, the scholarly attention paid to the sociological influences on students’ musical preferences in the Chinese context is still limited. With a particular reference to Hong Kong, China, this study focuses on junior secondary school students’ (Grades seven to nine) musical preferences and how those musical preferences are shaped by different societal factors. Given its British colonial history, Hong Kong is renowned for blending Eastern and Western cultures, and these historical and cultural backgrounds may also reflect the musical preferences of its students. As an international financial centre, Hong Kong is also ranked as one of the most economically advanced cities in China. Given this well established technological development, Hong Kong is viewed as an information-rich society. Two research questions are addressed in this study: (1) How do students perceive their musical preferences? and (2) To what extent do different social and cultural factors shape these students’ musical preferences in Hong Kong?
A survey was distributed to nine Hong Kong secondary schools, followed by semi-structured individual interviews. Using a synthesis of 1,614 completed questionnaires and 28 in-depth individual interviews, the quantitative and qualitative findings offer nuanced insights into these students’ perceptions of their musical preferences as well as how societal influences have shaped their musical preferences in the contemporary Hong Kong context. The study found that societal factors—language, family socialisation, and technology—significantly shape students’ musical preferences, and their music listening behaviour, which to some extent also reflects the legitimate social values in contemporary Hong Kong. The study also argues that music listening is not only deemed an aesthetic and leisure activity, but also a means of socialisation that reflects the dynamic changes in social values in Hong Kong. Further, advanced technology and online media, by providing a readily-available platform for accessing major musical resources and information, also influences students’ music listening behaviour. In its attempt to provide further implications for music education, this study offers a more complete picture of the social influences on students’ musical preferences and their perception of different musical genres in the changing Hong Kong society and the Chinese community in the broader sense.
About the Author: Dr Siu-hang Kong obtained his PhD in music education from the Hong Kong Baptist University and is currently an appointed lecturer in early childhood education in the Hong Kong Institute of Vocational Education. His research interests include the sociology of music education, the comparative study of music education and early childhood music education.
] 49 [ Bei Song, Yi Hu, Yafeng Pan (ID57) Interpersonal Brain Synchronization during Music learning Activities: Based on Educational Neuroscience
Much of music learning emerges as a result of interaction between instructors and learners. Yet, this interpersonal process has been poorly characterized from the perspective of educational neuroscience. With the rapid development of technologies, researchers have made a breakthrough in the study of human brain and neural mechanism of music learning. In this study, our goal was to characterize the learner-instructor interaction during music learning from the perspective of educational neruoscience, and explore whether and how the quantity of interactive learning might facilitate these neuropsychological processes. Twenty-four undergraduate students and a music instructor participated in the study. We recorded their brain activities using functional Near-Infrared Spectroscopy (fNIRS) during the acquisition of two chinese art songs. We made two fundamental observations. First, during the interactive learning task, brain activity recorded from the bilateral Inferior Frontal Cortex (IFC) synchronized across the learner and the instructor. Second, such IBS was observed in particular when the learner was observing the instructor’s vocal behavior and when the learning experience entailed a turn-taking and more active mode of interaction. We observed IBS during an interactive learning task implying acquisition of a music song. The IBS was detected in bilateral inferior frontal cortex. Thees results indicate that interactive learning of music can be characterized in terms of IBS. Furthermore, they suggest that the learner’s involvement in the learning experience are key factors driving the alignment of neural processes across learner and instructor. Such alignment impacts upon the real-time acquisition of new information and eventually upon the learning performance. The present study characterized music learning from the perspective of educational neuroscience. We observed that both behavioral performance and IBS increased as a function of interactive learning. Specifically, we observed that brain activity in the IFC synchronized across the learner and the instructor, particularly (i) when the learner was observing the instructor’s vocal behavior and (ii) when the learning experience entailed a turn-taking and more active interaction. These results suggest that IBS might stand for a characterization of interpersonal learning, increasing as a function of the learner’s involvement, and eventually predicting learning performance.
About the Authors: Dr. Bei Song, Professor of Harbin Conservatory of Music, Heilongjiang Province, China Post-doc of the School of Psychology and Cognitive Science, East China Normal University, Shanghai, China Yafeng Pan & Yi Hu: School of Psychology and Cognitive Science, East China Normal University, Shanghai, P.R. China
] 50 [ Jasmine Peh (ID94) On 21st Century Competencies: A Content Analysis of Music Education Literature
Over the past decade or so, the 21st Century Competencies (21CC; also known as “21st Century Skills”) have attracted significant international attention (e.g., European Parliament and the Council of the European Union, 2007; National Research Council, 2012; Partnership for 21st Century Skills, 2009; Trilling & Fadel, 2009) due to its relevance in enabling students to handle the needs and demands of a rapidly changing world (Dede, 2007). Such is the ubiquity of 21CC that there are now several 21CC frameworks internationally (see Voogt & Roblin, 2012). In music education, writers and researchers have argued that music offers a powerful means to develop these important, relevant and timely skills (e.g., Tan, 2017). Several others (e.g., Shuler, 2011) have also examined what has come to be known as the “Four Cs” (i.e., creativity, critical thinking, communication, and collaboration), either as a suite of dispositions or individually. However, as far as can be determined, there is a lack of a systematic analysis of the available literature in music education. The purpose of this study was to analyse the content of music education literature on 21st Century Competencies. The specific research questions were: (1) Which 21CCs were of interest to writers and researchers in music education? (2) How were 21CC developed through musical activities? (3) What are the implications for 21st Century music education? To address these questions, I used the terms “21st Century Competencies,” “21st Century Skills,” and “music education,” as keyword search on Google Scholar. Using guidelines by Littell, Corcoran, and Pillai (2008), the articles were examined by the author and another independent reviewer for their suitability for inclusion in this analysis. Data were then coded and analysed for emergent themes. Findings indicated that (1) Creativity, (2) Communication and Collaboration, and (3) Information and Communication Technology (ICT) emerged as key 21CCs in the music education literature. Implications for music education theory and practice will be discussed in light of the findings.
About the Author: Jasmine Peh was awarded Master of Arts (Research) from National Institute of Education-Nanyang Technological University in 2019. Her research interests in music education include 21CC, curriculum, and “joy of learning”. An educator, Jasmine teaches music and the English Language at secondary level, she also specialise in playing the double bass.
] 51 [ Hung Pai Chen, Ying Ting Liao (ID40) A study on the co-relation between piano teachers’ belief and practice in university music departments
The purpose of this study is to try to demonstrate a picture of piano teachers’ beliefs and how they came to be believed in practices in university music departments. The researcher started her piano learning in a very young age and, through the years, she had dearly experienced different aspects of the co-relation of piano teacher’s belief and its practice and how it would affect the student. While related studies are few in Taiwan, this study expects to add new pages to the belief-practice correlation and provide piano teachers in general a helpful reference in their teaching; and, further, offer new thinking to teaching models and contribute to contemporary piano learning methods in university music departments. The study uses qualitative research method. The literature on the subject was reviewed before the research process was designed. Semi-structured interviews are conducted for obtaining research data and five piano teachers who teach in university music departments in Taiwan are involved in this study. These interviewees are invited to talk about their music learning, teaching experiences and, more importantly, their beliefs on teaching and approaches of practicing. Questions regarding their personal aspects, such as: the role as a teacher, difference among students, and teacher-student interaction are addressed. The study result is presented in three dimensions: teacher’s experience in music learning and teaching, his/her belief, and the co-relation between belief and practice. The preliminary result of this ongoing study confirms that both the education learning and teaching experience are significant in building a piano teacher’s belief, and would further affect his/her teaching practice. The researcher will discuss the approaches teachers use in practicing their beliefs and try to find a vein connecting piano teachers’ background, training, belief and practice, and provide suggestions for future teachers and, hopefully, contribute to university music departments as well as piano teaching in general.
About the Authors: Hung-Pai Chen is a researcher and Assistant Professor of Music at National University of Tainan, Taiwan. She is now a commissioner of the ISME Commission on Policy: Culture, Education and Media. Her research interests include music education policy, music teacher education, technology integrated education as well as arts education. [email protected] Ying-ting Liao is a masters program student of National Pingtung University, Taiwan. Her research area is the doctrine and belief, professional development and teaching practice of a professional piano teacher. She receives her Bachelor’s degree majoring in piano performance from the National Taiwan University of Arts. [email protected]
] 52 [ Hiroshi Suga (ID96) The emergent interactive process of producing musical expression between a music teacher and a student
Previous studies have suggested that successful musical instruction is characterized not as a technical mastery that effectively shepherds performers to their definitive goal but as a manner of practical thinking for decision making through a dialogue with an unpredictable, unstable, and context-dependent situation. I expect to get new implications for music teacher training by observing musical expression instruction by a practical expert with the perspective of “teaching as an improvisation.” The purpose of this study is to develop a theory for producing musical expression around the emergent interactive process between a musical instructor and a student for producing musical expression. Research questions are defined as follows; (1) Which word does a teacher use to facilitate the emergent process? (2) What does the instructor think when uttering such words? (3) What does the student think about modifying his or her musical expression through the use of the teacher’s words? Two female university teachers -- a pianist and a soprano vocalist -- and two female university students were the participants of this study. I videotaped lessons by the teachers and interviewed them about their thought processes during the lessons as well as their impact on the students’ performances while watching VTRs of the lessons. In addition, I interviewed the students about how they modified their musical expressions based on the teachers’ instructions. I segmented all of the text data, transcribed the VTRs and the recordings of the interviews according to their content, and categorized all of the content from the bottom up following the procedures of the modified grounded theory approach (M-GTA). From this analysis, I developed a model of interactions between teachers and students for improving musical expression from the viewpoint of interactive bodily judgment by bodily metacognition. Indications for music teacher training are discussed from the viewpoint of this model.
About the Author: Hiroshi Suga works as a professor of music education at the Graduate School of Teacher Education, University of Miyazaki. My current research is about the process of teaching musical expression I make analyses of musical lessons using the qualitative method including Grounded Theory Approach.
] 53 [ Barbara Hojean Chung (ID114) Exploration of Modeling Strategies in Applied Piano Studios in Korea
Applied music instruction involves one-on-one teaching taught in the context of private studio lessons. This unique educational setting has been examined for its effectiveness in music teaching, and many studies have identified the use of modeling strategies as a crucial component related to teaching private studio lessons. Some of these studies were approached with a microscopic lens by selecting and comparing one or two modeling strategies in fixed settings to look for the qualities of effectiveness. However, very few studies have used comprehensive observations by exploring characteristics of modeling strategies commonly used in private studios. Even fewer studies have explored modeling strategies used in private piano studios involving international educational settings. The purpose of this study was to explore modeling strategies in piano studios in Korea. Three case studies of three renowned Korean piano teachers were conducted by observing 27 hours of piano lessons, and administering Video-Stimulated Recall interviews with the three teachers and their students. The lesson observations were done in an effort to determine which and why modeling strategies were used by the three Korean piano teachers. Interviews with the teachers, field notes, and interviews with the students were analyzed for agreement or conflict among the perceptions of modeling strategies used in piano studios in Korea. The study found there was much agreement among the teachers in current use of several common types of modeling strategies, including a newly identified strategy. These included performance modeling, vocal singing modeling, visual modeling, conducting, and spoken rhythms. The study also found that the students of the three Korean piano teachers understood the effectiveness, functions, and objectives of using certain modeling strategies in the piano studios. In addition, there was also evidence of students’ negative perspectives of the modeling strategies used by their teachers. Since this study involved adult piano student participants, examinations with different age groups of piano students are recommended for additional insights into the use of modeling strategies in piano studios. It is also recommended that more study be done on the newly identified strategy to evaluate its use in the piano studios.
About the Author: Barbara Hojean Chung is a lecturer of Music Education and Piano Pedagogy at Yonsei University, Seoul, Korea. She earned her M.M. in Piano Performance and Piano Pedagogy from University of Illinois at Urbana- Champaign and received her Ed.M. and Ed.D.CT. degrees in Music Education from Teachers College, Columbia University.
] 54 [ Carell Ethilca Belandres, Chieko Mibu (ID277) Original Philippine Piano Method Book for Young Beginners - Modeled from Japanese Piano Method Books and a Development of a Music
This research focuses on creating a piano method book for young beginners in the Philippines modeled from Japanese piano method books. Amidst the rich cultural heritage, the Philippines has been greatly challenged in promoting its culture through music education because there is no music publishing house for piano scores in the country. The study has the potential to develop an exclusive publishing house for music in the Philippines. The research commenced with a survey of Filipino piano teachers in order to know the most crucial problems on not having any original piano method books. Important historical claims in Philippine music education cited that there was an emergence of musical publishing houses during the Spanish era in the 16th century until the Post War era in the 20th century. However, despite abundant in music heritage and performers, the initiative has never been conducted nor seriously discussed: to open a publishing house to support the artists locally, to provide more standardize and effective music teaching materials, to aid the learning of the students musically and culturally, to open opportunities for Filipino composers and pedagogues to impart their skills, and to make affordable and locally made music method books as to not rely on sources from abroad. On this condition, the researcher made a visit and interview to two of Japan’s top music publishing houses, given their relevant advice on making method books and starting the business venture of opening music publishing house in the future. It followed with the making of an original Filipino piano method book based on a detailed analysis of Japanese piano method books. In order to test the effectiveness of the method book, it will be taught to Filipino children in partnership with music schools and non-government organizations. Recitals and interview will culminate the final study in which the results will be presented. The original Philippine piano method book, made in collaboration with Filipino artists and composers, is designed to promote the cultural heritage using folksongs, riddles, and rhymes common to Filipino children, in which they relate and connect to their daily lives and environment as well as to build standard piano techniques. This research is conducted with the intention of being an aid for the rebirth of the music publishing houses in the Philippines, and eventually, contributing to the globalization of music education.
About the Authors: Carell Ethilca Belandres is from the Philippines currently studying Masters in Music Education at the Elisabeth University of Music, Hiroshima, Japan. A graduate from St. Scholastica’s College, Manila, she has been gathering research on how to improve Philippine’s music education by starting to make original, effective, and affordable music method books. Chieko Mibu is a professor of Elizabeth University of Music, chair of Music and Culture Department. A graduate from Tokyo University of the Arts, she’s engaged in art administration for years and personnel training before returning to the academic field. The main research area is applied to musicology, music education, and cultural economics.
] 55 [ Ronglong Wangpreedalertkul, Preeyanun Promsukkul (ID182)
Music Group Activities for Older Adults in Thailand
Thailand is moving toward an aging society following the world experiencing growth in the number of older adults population which increased dramatically, by 2050 all regions around the world will have a quarter or more of their populations at ages 60 and above. The service for older adults is gradually gaining popularity by society. Education for older adults is one of the services that might be considered. One of the issues related to the concept of quality of life is that most older adults do not have social well-being. As people are getting older, they do not have much contact with their friends, most of them cannot access the technologies, older adults are losing contacts with society. The objectives of these studies are 1) to review the scope of music group activities for older adults in Thailand. 2) to classify the type of music group activities in Thailand. This study used a documentary research methodology to gather the information from news, documents, reports, researches, in-depth interview from 4 assemblies and using content analysis to synthesize the data. The results found that there are many assemblies of older adults in Thailand, the main objective is for social skill, well-being, and quality of life followed by musical skill. Classified into two group 1) Non-formal education: Schools for older adults and Music Academies, provide courses for older adults who are interested in music and want to fulfill their needs for social living, the tuition is applied. 2) Informal education: Older adults club and Non-Formal and Informal Education: NFE, provides a music activity for various aims to fulfill their needs, developed some physical and mental area, competition, and careers, no tuition is applied. Music Activities for older adults mostly use pieces from their era or Thai traditional music to be instructional media. The activities are arranged 1-2 times a week; each session is at least an hour long. Follows the aging society situation in Thailand which would increase growth fully in 2 years, the Thai Health Promotion Foundation aims to found 2,600 schools for older adults by 2021. This study has realized that Thai society is paying more attention to the necessity of older adults’ social living and music education to create quality and delightful sunset years.
About the Author: Ronglong Wangpreedalertkul is a music group and piano instructor with nine years of experience. She is also a master degree in music education candidate. Ronglong takes an interest in education for early childhood and elderly. She wants to create a music community for elders in Thailand to spend their quality life after retirement.
] 56 [ Maria Sherla A. Najera, December R. Valenciano (ID211)
Music Education for All: Open School of Music
The Open School of Music or OSM is a 5-month music program done biannually which is intended for the communities within and around the University of the Philippines (UP) in Diliman Quezon City. The UP campus is specially located within a wider community made up of many barangays. A barangay is the smallest administrative division in the Philippines and is also termed as a village, district or ward. The music lessons in OSM are given for free and it has been running since 2016. The “open school” pedagogy and philosophy was the foundational and guiding principle of Engracia Lim, an alumna of the Master of Music degree in Music Education at UP. She pioneered OSM as a music program that offers free music lessons taught by volunteer teachers to any interested student, regardless of their age, social class, religion, gender and educational background. In collaboration with the UP College of Music-Music Education Department, it was launched in 2016, through the support of the UPD Extension Office Grant which provided its primary necessities like the acquisition of musical instruments. It was eventually integrated into NSTP-CWTS (National Service Training Program Civic-Welfare Training Service) a service-learning course where music students enrolled could act as volunteer-teachers in the program. Presently, it offers lessons both for Western and Asian Music consisting of Violin, Voice, Guitar, Keyboard and Angklung. In this study, the underlying principles of OSM will be examined in both philosophical and sociological frameworks. The concepts equity, life-long learning, cultural responsiveness and re-placing are seen using the phenomenological approach on the analysis of the interviews, participant observation and ethnography of the stakeholders of OSM. A secondary source of data is provided by the video and photo documentation of OSM. OSM is a living example of community music where music serves as a vehicle for enriching musical engagement in places and countries where disparity in social status, level of educational attainment due mainly to poverty is prevalent. It aims to provide a model for music education pedagogy that supports social interaction and unity, a space “open” to all without discrimination.
About the Author: Maria Sherla A. Najera is the chair of the Music Education Department of the University of the Philippines College of Music. She was a fellow of Salzburg Global Seminar on The Transformative Power of Music. Her research works are on Community Music and Service Learning. She presented Strike a Chord: Harmonizing Music with Service in APSMER 2017. December Ragragio Valenciano is a faculty member of the Music Education Department, College of Music University of the Philippines. She holds a Bachelor of Music in Music Education, has been Rotary Study Exchange Grantee for Music Education in Pennsylvania USA. She is a co-author of textbooks on Asian and Western Music for High School in the Philippines.
] 57 [ Narutt Suttachitt (ID306) Music for Enhancing Healthy Living of the Elderly
The objective of this research was to study the music teaching by Pattana Sukasem for enhancing healthy living of the elderly at Payao Province. The qualitative research method had been employed. The informants were as follows: 1) Pattana Sukasem, the principal of Payao School for the Elderly, 2) 8 teachers trained by Pattana Sukasem, 3) 200 elderly people participated in music classes for enhancing healthy living, and 4) 2 persons being responsible for the teaching process. Research instruments used were interview forms, questionnaires, and observation form. Results shows that 1) Pattana Sukasem, retired teacher, has developed the music teaching method for years: the main objective of the teaching is for enhancing healthy living of the elderly, both physical and mental. By using angklung as the music instrument, the elderly will play the instrument by looking the hand signs directed by Pattana Sukasem. 2) The elderly participated in teaching are the persons who can come to school by themselves. No music background is equired. 3) Teaching methods include 3.1 the objective of teaching is for enhancing physical and mental health of the elderly, as well as social and emotional well- being. During the teaching process, the elderly has to play angklung by paying attention to the hand signs done by the teacher. The process of doing this will directly enhance physical and mental health and social and emotional supports; 3.2 the songs used mostly are diatonic music without accidentals and pentatonic music. They are folk, traditional and pop music; 3.3 the hand signs used adapted from Kodaly’s hand signs; 3.4 music teaching activities includes a) warming-up; b) music activities: playing and singing by hand signs; c) art activities – integration with music. The important of teaching music by Pattana Sukasem is mainly to enhance the elderly’s well-being, however music playing skills have increasingly developed. The angklung bands are arranged to show in several local festivals.
About the Author: Dr. Narutt Suttachitt, Chulalongkorn University, Thailand
] 58 [ Ikuko Shitamichi, Saaya Nosohara (ID284)
The songs for public health in Japan in the early 20th century
In Japan, school music education began as “Shoka (the song education)” after the Meiji restoration. The newly established Meiji Government strived to remake and develop Japan into a modern nation equal to the Western nations. “Shoka” played an important role to enlighten Japanese people in those days. A lot of “Shoka” were composed and published to teach history, moral, geography and sanitation. While “Shoka” is the significant theme of many music educators and researchers, the early history of the song education in Japan remains still obscure. It is necessary for music educators to discuss various aspects of the beginning of song education. The purpose of this study is to investigate the historical enlightened songs and to explore the use of songs to promote health in Japan in the early 20th century. In this study, “Eisei shoka “(the songs for public health) are examined. Four “Eisei shoka” were published during 1900 -1912. It is a period in which the school song education began to spread. In addition, the Russo-Japanese war fought during 1904-1905 and this war affected the health consciousness of Japanese people. This study focuses on the four “Eisei shoka” which were written by different composers and songwriters. The music score of “Eisei shoka” was published along with words. Tunes of “Eisei shoka” are very simple and easy to sing. Their musical forms are binary, keys are major, and meters are in 2/4. In contrast, the words are long and hard to memorize and understand. For example, one of “Eisei shoka “ (composed in 1902) has 174 refrains. The meaning of the words implies sanitation, food safety, hair-washings, hygienic appearances, sitting positions, diligence, life attitudes, mind and body to defend Japan and so on. The method of this study is to research the historical background of these songs from literature and then analyze a tune and words of each song. The background information includes song titles, composers, songwriters, tune books, publication dates and uses of schools and communities. Finally, the traits of four different “Eisei shoka” are discussed in terms of their role and meaning of both music education and health education at that time. As a result, this study shows that song was used not only for education at schools but also at homes and in society.
About the Author: Ikuko Shitamichi is an associated professor of music education at Tokyo College of Music. Research interests are the history of music education, college songs and student musical activities. Saaya Nosohara is a doctoral student of Tokyo College of Music and a lecturer of Sakushin Gakuin University Women’s College.
] 59 [ Yuki Kono (ID273) Sounds of empowerment: Facilitators and participant learning in a U.S-based Okinawa community music group
Community artists have the potential to empower people through locally- based music activities, especially for marginalized populations. Empowerment is an idea and process through which individuals and groups who feel powerless due to systems of oppression develop active engagement and commitment toward becoming aware of their position in society. In the US, a “country of immigrants”, there are numerous groups which support the lives of marginalized people through music activities, like for “Nikkei” or Japanese descendants. Previous research on the Japanese Taiko drumming activities shows that Japanese descendants in the US have struggled to reverse Asian American stereotypes like being quiet, hardworking, model minorities, or people who feel powerless in the Western dominant society. According to community music research, facilitators are recommended to apply strategies like interactive and creative “musiking” through acts of hospitality, which encourage interactive communication among the community members. The purpose of this study was to explore what strategies community music facilitators use to encourage empowerment within an Okinawan drumming and Sanshin group based in the Pacific Northwest. Participants in this study met weekly for rehearsals, guest performances, and social interactions. They were from a variety of social backgrounds which included age-range (from infant to elder), ethnicity (first, second, or third generation Japanese, people from Okinawa, and Americans), and language proficiency. Qualitative data were collected over 5 months and included participant observations and interviews with the facilitators and other rehearsal participants. Grounded theory was applied during data analysis which focused on the way facilitators elicited and individuals experienced empowerment. Results indicated facilitators were not strictly top-down; instead, they facilitated and fostered flexibility towards elements like peer learning. Participants performed traditional and modern songs but were also encouraged to create “their own style” while still maintaining the elemental features of the music. This balanced flexibility enabled participants to feel comfortable and successful. Finally, three major themes were present during the activities which contributed to participants feeling empowered: (1) each individual had the opportunity to be in the center and build their confidence performing, (2) people had enough flexibility in the learning environment to connect and talk with each other about their worries and daily life, (3) diverse members had the opportunity to feel united and successful in honing “their” Okinawa music style. Implications from this research indicate the importance of flexibility in empowering diverse community members as well as allowing for a more personalized approach to creating culturally specific music performance.
About the Author: Yuki Kono is a Ph.D Student of Music Education at Tokyo Gakugei University, Japan, and has been a visiting student at the University of Washington since the spring of 2018. Her research focuses on diversity and social justice in music education, especially in Japan.
] 60 [ Saya Thuntawech (ID98) The Ideal Thailand Music Faculties in the 21st Century
In Thailand, music in higher education has been a part of the Thai educational system for more than 80 years. There are over a hundred music degree programs from undergraduate to doctoral degrees provided by 68 tertiary educational institutions. According to Thailand Qualification Framework (TQF), there are defined characteristics of desired faculties; nevertheless, ones for music faculties remain unspecified. The study aims to investigate the characteristics of the ideal tertiary music faculties suitable for Thailand in the 21st century. It leads to the main question: What are the desired characteristics of the ideal music faculties for Thailand in the 21st century? The qualitative approach design was employed in this research study. The key instruments conducted were documentary research method and semi-structured interviews. The research population includes Thai institutes which provide music programs in higher education levels. Eleven administrators of music institutes, resulting from purposeful sampling, participated in the interviews. The results found that there are many issues about the music institute’s faculties in Thailand. One of the problems is teachers’ morals and ethics. Therefore the institute should concern teacher ethics as the first priority. The tertiary institute definitely needs talented masters to be instructors, but those masters should also have characteristics of a good teacher. They should be good at teaching, great in communicating with others, and are dedicated to students. They must encourage students to explore knowledge outside the classroom and can foster students to be good persons. The instructor should guide students to have experiences in the profession by letting students work together in projects or performances. Moreover, the music institute should balance characteristics of instructors between specialists and educators. Based on studying in higher education in Thailand lacks of transparence in the profession, universities and institutes cannot produce a suitable manpower to serve the world. It is too late for nurturing talents to match the current situation, such as following the OHEC regulations. Many instructors in the institutes at this time do not work in the same field as they graduated. Furthermore, some of them cannot adapt their knowledge to solve problems or cannot teach students. These remain the challenges that institutes should be able to tackle.
About the Author: Saya Thuntawech is a native Thai. She completed a Doctoral of Philosophy degree in Music at College of Music, Mahidol University. Currently, Saya works as a private piano teacher and part-time lecturer at Faculty of Art Education, Bunditpatnasilpa Institute, Thailand. Her areas of interests in research include topics in music in higher education and music pedagogy.
] 61 [ Sheau-Yuh Lin (ID104) The Model Construction for Music Teacher Recruitment in Taiwan through a Delphi Survey
The researcher conducted and completed the research project “Music Teacher Recruitment: The System Evaluation and Model Construction I” to investigate the first stage of music teacher recruitment issues at the elementary and junior high school levels in Taiwan. It was funded by the National Science Council and was aimed to be a two-year project. This current proposal was the second stage of this project. Specific research questions were identified as follows: (1) What are the feasible administrating organizations for music teacher recruitment at the elementary and junior high school levels? (2) What is the feasible model for paper-and-pencil tests in the music teacher recruitment system? (3) What is the feasible model for teaching demonstration tests in the music teacher recruitment system? (4) What is the feasible model for interview tests in the music teacher recruitment system? (5) What are the appropriate alternatives for paper-and-pencil tests in the music teacher recruitment system? The method of Delphi technique was adopted for three rounds. The consulting team consisted of 18 experts of three different recruiting backgrounds, namely, recruiting judges or paper-and-pencil test constructors, administrative personnel members, and music teachers who were successfully recruited. The Delphi surveys were developed and administered to all 18 experts for three rounds to seek for consensus. Statistical data including Mean, Mode and Quartile deviation were collected in a 7-point Likert-type scale, and qualitative information was also analyzed. The consensus of allowing the Department of Education in every city/county to form a committee as the feasible administrating organizations for music teacher recruitment at the elementary and junior high school levels was reached. Regarding the feasible model for paper-and-pencil tests in the music teacher recruitment system, the consulting team agreed highly in the function, content, time, item Snumbers and item types. As to the feasible model for teaching demonstration tests, the consulting came to great consensus in the function, content, time, teaching resources restriction and assessing criteria. When it comes to the feasible model for interview tests, the consulting team reached consensus in the function, content, time and assessing criteria. The least consensus was found regarding the appropriate alternatives for paper- and-pencil tests in the music teacher recruitment system.
About the Author: Sheau-Yuh Lin is currently Professor at Department of Music as well as Dean of College of Humanities and Arts, University of Taipei. Her research interests include psychological foundations of music education, music assessment and music teacher education. Lin has participated in a number of research projects and is the advisor of about ninety theses. She serves as the vice chair of the editing board of a TSSCI-approved journal “Research in Arts Education.”
] 62 [ Minoru Shimizu (ID107) The truthful pleasure of music activity: Postulating a definition through the use of ontology with the concepts of mono and koto in Japanese philosophy
What is the truthful pleasure of music activity? This question may be unreasonable because of the ambiguity of music as a phenomenon, but it is also an essential problem that cannot be ignored. Mistaking non-essential events for essential events causes difficulties for humankind. The gratification obtained from experiences other than music is often mistaken for the pleasure of music itself. Music tends to be used by people as a tool for generating happiness because it possesses the attractive property of enriching the human mind. Competitive events that occur in educational places may be employed as an example. The excessive practice of club activities in Japan has currently become a problem and musical club activities are no exception. The competitive spirit usually leads to rigorous rehearsals that become routine, for instance, in wind ensembles and chorus clubs in schools. In response to this disturbing trend, the Ministry of Education, Culture Sports, Science and Technology as tried to establish guidelines for club activities and to institute balancing plans. However, the Ministry’s response alone will not solve this problem. People desire contests; formal attempts to restrict and regulate rivalry cannot overcome human desire. Musical activity includes research and all human endeavors should contribute to the general well- being of human life and to the longevity of human society and the world it inhabits. Hence, it is vital that people are encouraged to begin the contemplation of an activity with a fundamental discussion pertaining to the nature and definition of true happiness. In contrast, the problem cannot be avoided because happiness is an indistinct and indefinite construct. Similarly, music must be discussed in terms of essential pleasure to avoid the difficulties that occur due to misunderstandings. Phenomena that involve human beings are inherently many factored and ambiguous. A re-consideration of the fundamental concepts trough philosophical thinking that takes a phenomenological view-point may be valuable. This paper structures the contemplation of music as a phenomenon in the following manner: From where does the fundamental desire or music itself emanate? What types of acts are likely to satisfy that essential desire? A philosophy that captures phenomena from the relationship between mono and koto (things and matters) exists in Japan. This theory was posited by Bin Kimura, a Japanese philosopher whose thought was influenced by the phenomenology of western philosophy and the ideas of Japanese philosophers Tetsuro Watsuji and Kiraro Nishida. This research project aims to capture the essential significance of music and the nature of current musical events, including club activities conducted in schools.
About the Author: Minoru Shimizu is a senior lecturer of music education and composition at the hirosaki university in Japan. My degree is Doctor of Philosophy. My reserch is music-making and music philosophy. I had worked as a music teacher of the junior high school for 20 years. I have composed works for students.
] 63 [ Puxiao ZHOU, Chieko Mibu (ID288) Reform of Primary School Music Education -A Practice of “Art and Aesthetics”: The Integrated Curriculum in Shishi Primary School, Cheng-du, China
This research is about the reform of primary school music education especially in the development of art integrated curriculum. The art integrated curriculum, through music and arts, in Southwest China is a combination of these two kinds of discipline and knowledge to improve the interaction between students and teachers, to develop comprehensive ability training, and strengthen the class’s interests. China officially launched a new round of basic education curriculum reform in 1999. The purpose of the new curriculum reform is to update the concept and change the way of teaching and learning. It also aims to rebuild the school management and education evaluation system. As a new teaching method using the textbook “Art and Aesthetics”, the integrated curriculum aims to change the content and structure of the curriculum, to break the teaching barriers of traditional single subjects, and to explore new teaching models. Overall, it is the combining of two or more disciplines to making the school curriculum more interesting, innovative, and returning to reality. The research methods focus on literature research, field investigation, and in-depth interview communication. With the research experience in 2016, the researcher participated as one of the editors of the new art integrated textbooks “Art and Aesthetics” in Shishi Primary School of Chengdu City and elaborated the development of curriculum integration. The combination of music and art courses enhances students’ interest and ability to innovate, thereby promoting and supporting each other in terms of artistic feelings, cultural understanding and capacity development. It also promotes the development of students’ performance and creativity. At this stage, although the art integrated curriculum has been developed in Southwest China, it still faces some challenges. The content of the textbook has not been standardized and the basis for the use of the textbook is limited different from previous textbooks. Teachers need to design an effective teaching method, strengthen existing teaching methods, increase students’ interest, and use interdisciplinary thinking to cultivate talents. To conclude, the compilation of integrated curriculum is conducive to promoting the reform of the curriculum and improving the quality of music education. It can aid to expand the scope of education and enhance communication between teachers and students, resulting in greater quality of education. The curriculum integration program also inspires educators around the world to innovate educational concepts and educational materials. Therefore, they must remain open and ready to adapt to new and evolving standards of education and globalization.
About the Author: Zhou Puxiao is currently studying Masters in Music Education at Elisabeth University of Music, Hiroshima, Japan. She has experiences in primary school front-line music education in China. As an editor, she contributed to innovating new textbooks for music and art integration and devotes her research on music integrated curriculum. Dr. Chieko Mibu is a professor of Elizabeth University of Music, chair of Music and Culture Department. A graduate from Tokyo University of the Arts, she’s engaged in art administration for years and personnel training before returning to the academic field. The main research area is applied to musicology, music education, and cultural economics.
] 64 [ Cong Jiang, Xinyu Liu (ID71) The rhythmic features of Chinese children’s folk songs for music and language learning
Chinese children’s folk songs, spread widely in the past, are seldom sung today which are substituted by newly composed children’s songs with western heptatonic style. Chinese children’s folk songs are characterized by pentatonic in musical aspects and Mandarin’s rhyme in linguistic aspect, and also by their cultural connotation. Therefore, Chinese children’s folk songs are good heuristic materials for music and language learning in early ages. Children could learn and assimilate Chinese traditional pentatonic music style and rhyme of local dialects, and learn the tales, historic stories and custom as well. However, few studies focus on children’s folk songs’ rhythmic and melodic features which are internalized as implicit knowledge in our mind. Some scholars found that rhythm characters in children’s songs may affect children’s perception of rhythmic grouping (Iversen, Patel & Ohgushi, 2006). This study investigates the relationship between rhythmic pattern and lyric rhyme in children’s folk songs, and whether the congruence of rhythmic pattern and lyric rhyme can be perceived. It is hypothesized that children’s folk songs with more congruence in music and lyric are preferred. We take children’s folk songs from Shandong province as examples. The text-rhythm relationship is analyzed, considering rhyme, grammar, intonation, syntactic structure and other relative linguistic characteristics. Then a questionnaire is designed, in which some typical phrases/lyric are shown with no rhyme, and children are asked to choose the most congruent version from three rhythmic melodies (including original version and two revised versions). In Shandong children’s folk songs, there are many sentences with “3-3” six characters and “4-3” seven characters, which form four-sentence-structure with 4 beats or 8 beats. The features are consistent in music and language. As hypothesized, children prefer the congruent versions in rhythm and rhyme, which are mostly the original version. According to this study, rhythmic features of children’s folk songs are internalized as part of adults’ implicit knowledge, while such implicit knowledge is not so stable for children. Compared with modern western style children’s songs, which are not consistent in music and Chinese, children’s folk songs influence the acquisition of implicit knowledge of rhythm in folk music and language.
About the Author: Jiang, Cong, PhD., assistant professor at College of Music, Capital Normal University; Deputy secretary of Chinese Society for Music Psychology. Research projects include Tritone paradox in Beijing people; Beijing calling/peddling and Beijing time-honored brands; Beijing folk songs and folklore. Research Interests are music psychology, music education, folk music, folklore. Liu, Zhuoqun, undergraduate student at College of Music, Capital Normal University, major in music psychology, research interests are in melody and music in advertisement.
] 65 [ Xiaofei Li (ID73) Transmission of Peking Opera in Schools: A Case Study of Peking Opera curriculum in Beijing
Transmission of traditional music in the modern world has been a major issue in the field of music education. Different issues have been raised on how to preserve the traditional art forms for further development. Peking Opera is a representative Chinese traditional art popular in Beijing. However, Peking Opera has been experiencing difficulties of transmission in schools because of the oral tradition and apprenticeship approach. The Beijing Government has advocated teaching Peking Opera in the school Peking Opera curriculum to promote Chinese traditional culture education. The teachers who teach Peking Opera in schools are professional Peking Opera artists. This study aims to investigate and examine the current practice of Peking Opera curriculum in school. An elementary school from Beijing was the subject of the case study with observation and interviews as research tools. A cross-case analysis reveal that the modern school have transformed the nature and characteristics of transmission of Peking Opera from apprenticeship mode to popularizing education. According to the findings from the study, transmission of Peking Opera in school has been influenced by the Western music culture to a large extent. Findings also reveals that the practice of Peking Opera curriculum in school need strong support in school policy, and the school often take the Chinese traditional culture education as a campus feature. The implementation of Peking Opera curriculum takes the form of popularizing education in the class and key training in the community activities. The appearance of Peking Opera curriculum in school may shed light on preserving, inheriting, and further developing traditional performing arts in the modern school.
About the Author: Xiaofei Li. Department of Art, School of Art & Communication, Beijing Normal University,19 Xinjiekouwai Road, Haidian District, Beijing, China
] 66 [ Can Lu (ID74) Singing competency of Primary school students in Hunan and Guangdong province, China
Singing is a common place activity for primary school-aged children in school, home and wider community settings. While many research studies have focused on children’s singing behaviour and development in Western contexts, limited research has been undertaken in mainland China. Consequently, a quantitative-based study was conducted across 2017-2018 which generated N = 1608 singing assessments, mainly from children in Hunan province, China and with a minority from Guangdong province (n = 46). The basis for the research is grounded in elements of social ecology theory that constrain, shape and nurtures singing development. The proposed presentation reports participants’ singing competency by geographic location (urban and non-urban) and local income level (higher and lower income), drawn from Grades 2-5 in six schools. Variables include age (7-11y) and sex. The number of female assessments was n = 649 (48.4%). Within the overall dataset, 42.66% of the participants were assessed twice, once each year (2017-2018). Children sang three criterion songs, Twinkle, Twinkle, Little Star, a Chinese nursery song Little Donkey, and Happy Birthday. All sung performances were audio recorded. Sung data were analysed using two established developmental measures and then were normalised and analysed by geographic location and income using independent-samples t-tests. Overall, urban participants (M = 77.28, SD = 15.75) had more advanced singing development than non-urban participants (M = 71.48, SD = 16.81) (t(1,338) = 6.31, p<.0001), and participants from higher income families (M =76.34, SD = 15.64 ) could significantly sing better than participants from lower income families (M = 70.77, SD = 17.27 ) (t(1338) = 6.20, p<.0001). A two-way ANCOVA was conducted to assess the interaction between the geographic location and the income. There was no significant interaction effect (F(1, 1336) = 2.16, p = .14). More details related to other variables will be reported in the presentation. Emergent data raise important questions for educators as to how best to address socio-cultural factors that can inhibit singing behaviour and development.
About the Author: Can Lu is entering her final year as a PhD student at the Institute of Education, University College London, UK. Her doctoral research is focused on children’s singing and vocal development in mainland China.
] 67 [ Marina Wai-yee Wong (ID4) Hong Kong Specials Schools Music Teachers’ Perceptions of Creativity and their practices in Music Classrooms for Students with Severe Intellectual Disabilities
Research on creativity in music education are diversified and there are debates on “how to define creativity in music”, “the measurement of product and process of creativity” and “the contexts where creativity can be learnt or taught”. Teachers’ perceptions on students’ creativity are influenced by their musical and professional experiences. Research on the music creativity of people with special needs found that engaging students with special education needs could enhance their creativity, expressiveness, collaboration and participation. The purpose of this research is to explore special school’s music teachers’ perceptions of creativity and their practices in music education for students with severe intellectual disabilities (SID) in Hong Kong. The Research Question are: (1) What are music teachers’ perceptions about creativity in music education for students with SID? (2) What are the observed practices of music teachers in music classrooms for students with SID? Qualitative multiple case studies were employed. Data was collected through face-to-face interviews and classroom observations. Each participant selects four music lessons for observation. Video-reflection and post-observation interviews were conducted to solicit teachers’ perceptions on the practices that they regarded as effective in developing creativity for students. Purposeful sampling was employed. There are altogether three music teachers from special schools for children with SID participated in this study. All data were transcribed and checked by the participants, coded, categorized and analyzed. The findings of this study include: (1) music teachers believed that the purpose of music education for students with SID covers musical and non-musical perspectives, such as therapeutic purpose due to the limitations of their intellectual and physical disabilities; (2) music teachers’ perceptions of creativity in music classroom for students with SID are diversified, ranging from teacher-guided creativity to student-initiated creativity; and (3) the observed classroom practices that music teachers regarded as effective in developing creativity in music classrooms for students with SID were listening activities and exploration of sounds.
Teachers’ perceptions of creativity are related to their classroom practices. Future research may further explore the classroom practices that music teachers regarded as effective in developing creativity in music classrooms for students with SID, so as to inform music teacher education.
About the Author: Marina Wong is an associate professor and Director of Doctor of Education Program at the Department of Education Studies of the Hong Kong Baptist University. She obtained PhD at the University of British Columbia in Canada, specializing in Curriculum Studies (Music Education). Her research interests include integrated arts curriculum, assessment in arts education, curriculum studies, inclusive music education and music education for students with intellectual disabilities.
] 68 [ Hang Su (ID31) An exploratory study of music teaching and learning interactions of three children with ASD
What are the music teaching process and learning experiences for children with autism? Few articles focus on summarizing from teaching observations and under what circumstances music teachers can relatively easily communicate with students from different angles and conduct teaching. In this qualitative study, three individual teaching and learning processes and responses of the students with autism have been observed, recorded, and analyzed with their teacher’s recall interviews in a summer school program. Findings show that having joint attention and communication based on the reciprocal understanding between the teacher and the children attracted children’s attention. Eight to nine-year-old high-medium functioning students with autism tend to learn and repeat independently, which would help them to recall and build evolving connections of prior knowledge. Pre-set rules and instant evaluation records can lower the risk of having challenges. Reciprocal and appropriate asking and answering can help to chain the learning materials together. Additionally, colors, pictures, and stories help a lot to crystallize the learning goal and process.
About the Author: Hang Su, Ph. D. Candidate of Music Education at the Ohio State University, Columbus, OH 43210, U. S. A. Email: [email protected]
] 69 [ Flora Ip (ID191) Is it music education or music therapy? Music teachers’ perception of music education for children with Severe Intellectual Disabilities (SID)
Music activities are central to both music education and music therapy. It may be hard to differentiate between the two when creating music experiences for children with severe intellectual disabilities (SID). When designing the music curriculum for SID children, teachers’ perception of music education for their students influences the planning and implementation of the music curriculum. This study aims at exploring the perceptions of music teachers of SID children in Hong Kong and the way such perceptions influence their practices of curriculum adaptations. One unit of a module in the music curriculum of a special school for children with SID was studied in-depth to examine the teachers’ planning and design of lessons, teaching process, and evaluation of students’ learning. This qualitative multiple case study investigates two music teachers’ perceptions and practices. Data were collected through pre- and post-lesson interviews, class observations, and examination of school documents. The two teachers were selected among a group of music teachers in special schools for children with SID in Hong Kong. The selection criteria include professional training in both music education and special education. Results suggest that music teachers perceive music as a means to foster students’ extra-musical development an important element in music curriculum for SID children as well as music learning. Music teachers’ perceptions of the learning priorities for SID students influence the focus of their adapted music curriculum. Such differences were found in several areas, including the design of learning activities, presentation of learning materials, teaching instructions, the support provided for children and assessment of learning. Music teachers agree that music education is valuable for the development of SID children, both musically and extra-musically. Teachers believe that children with SID are capable to learn music, but those who prioritize music learning over extra-musical development place more emphasis on enticing musical responses through adaptations of music curriculum and instructions. Music teachers’ perceptions of the importance of music learning for SID children contribute to the focus on which the music curriculum is adapted.
About the Author: Flora Ip is an educational psychologist. She is a PhD candidate at Hong Kong Baptist University. Her research interests are special education, curriculum adaptation, and music education for children with intellectual disabilities. She is involved in teachers’ professional development in the areas of inclusive and special education.
] 70 [ Jacqueline Smith (ID230) The status of music therapists working with children with autism spectrum disorder in school settings, implications for music educators
Music educators are finding increased numbers of children diagnosed with autism spectrum disorders (ASD) in their music classrooms and ensembles (U.S. Department of Education, National Center for Education Statistics, 2016). The prevalence of autism caused the members of the American Music Therapy Association (AMTA) to declare a focus on research in music therapy and ASD (AMTA, 2015a). The purpose of this study was to examine the status of music therapists working within school settings and the strategies they used for successful outcomes with students with autism spectrum disorder (ASD). In addition, I examined the strategies that music educators used when working with students with ASD, and their perception of support from special education professionals including music therapists. The research questions were: (1) To what extent are music therapists providing services to students with ASD in school settings? (2) What strategies do music therapists use to successfully include children with ASD in group settings? (3) What strategies do music educators use to successfully include children with ASD in music classrooms or ensembles? (4) To what extent do music educators collaborate with special education professionals to successfully include children with ASD in music classrooms and ensembles?
Participants (N = 603) were music educators and music therapists who answered a questionnaire about their work with children with ASD in school settings. I used factor analysis to examine the underlying structure of the support strategies used by music educators and music therapists when working with children with ASD. I found that successful strategies could be placed into one of four areas, social support, sensory support, structural support, and communication support. Music educators responded almost equally at all grade levels that they felt that it was important to collaborate with music therapists, but the level of importance decreased as music educators gained more teaching experience. Implications are that music educators should provide opportunities for children with ASD to participate in a variety of music activities including singing and playing instruments even if they have limited verbal skills. They should make accommodations to help children with ASD to plan and prepare for transitions within their music classes and ensembles. Lastly, music educators should collaborate with music therapists to help students with ASD to develop the social skills necessary to participate in group music making activities.
About the Author: [email protected]
] 71 [ Violetta Ayderova, Wong Huei Yi @ Colleen Wong, Christine Augustine, Suflan Faidzal Arshad (ID197)
Compilation of Malaysian folk songs as additional material for viola intermediate level repertoire
The purpose of this study is to include folk songs of ethnic groups of Malaysia along with classical repertoire as learning material to enhance the performance skills of students and sustain the identity of folk songs. By learning both classical and folk music, students will be able to further enhance their abilities in expressing the meaning of music. The ornamentation types presented in both classical and folk music will teach students to perform in different styles. Transcriptions of Malaysian folk songs for intermediate level viola were created referring to the repertoire of international music syllabuses. The research study is guided by the following questions: which folk songs should be chosen to enrich students’ knowledge of different types of Malaysian ethnic music and what kind of ornamentations should be learned in this level. The qualitative approach methodology using the ADDIE (Analysis; Design; Development; Implementation; Evaluation) model was used, allowing researchers to collect a repertoire of various ethnic folk songs supported by technical exercises. The analysis was divided into two: 1) identifying requirements of international syllabuses; and 2) identifying existing published folk songs. In the design process, based on the objectives, appropriate folk songs were chosen to fulfill the requirements. During the development and implementation process, the chosen folk songs were distributed to experts and students. An evaluation was carried out based on the analysis of feedback received. The researchers hope that in the future the repertoire of Malaysian folk songs transcribed for intermediate level viola will receive international recognition in music education.
About the Author: Violetta Ayderova obtained her Master of Viola Performance from the Tashkent State Conservatory of Uzbekistan in 1998. Currently, she is a lecturer at the Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris (UPSI), Malaysia. Her research interests focus on viola pedagogy and performance, including the design of music books and scores based on Malaysian traditional and folk music. She has presented research papers at the International Music and Performing Arts Conference (IMPAC) in Tanjung Malim, Malaysia (2016 and 2018); the Asia-Pacific Symposium for Music Education Research (APSMER) in Melaka, Malaysia (2017); the 1st Lombok International Edu-Tourism Conference (LIETC) in Lombok, Indonesia (2017); and the National Research Seminar 2019 (SPK) in Tanjung Mali, Malaysia (2019). Email: [email protected]
] 72 [ MyungJin Yang (ID219) A Suggestion of Music Education for an Era of Aging Population: A Case Study of a Group Piano Class of Yangwon Elementary School of Senior Citizens in Korea.
National Statistical Korea reported that the population of people of over sixty-five in 1965 was only 2.9% among the whole population while it would be a complete aging society in 2022 as the population of over sixty-five will grow by about 14%. As facing this era of an aging society, the proper concept of music education is needed. After life-altering events such as retirement, or entrance to a retirement community, many adults seek new learning experiences as a way to fill increased time for leisure activity. In this time, learning music instruments is often chosen for personal enrichment and to enhance one’s quality of life. A study conducted in 1996 reported that a majority of adult respondents preferred to participate in leisure activities that were conducted in group-based, social environments. Like this, a strong need for socialization may also play a motivational role in adult piano study. Group piano teaching is a contrary concept of the traditional individual piano lesson. The group piano pedagogy is based on group dynamics. The principal things of the group piano pedagogy are interaction, competition, and a sense of belonging. The group has a common goal so that they cooperate and encourage each other. Because of this positive potential of group piano study, not only seniors’ musicianship and performing skill grows but also they are unified with the love of music. Related to this social phenomenon and based on the advantage of the group piano pedagogy, this study reports how learning piano in a group setting could be a case of proper music education for seniors. The research is conducted as a case study of the group piano class of the Yangwon Elementary School of Senior Citizens in Korea. Following items are included: (5) The curriculum and contents of the group piano class for two semesters in the Yangwon school. (6) Music education theoretical basis of the group piano teaching deriving positive effects for the seniors (7) The required ability of the piano teacher for successful teaching in a senior group setting. (8) Derived effects and prospects through the group piano class in the Yangwon School.
About the Author: Dr. MyungJin Yang, lecturer at SangMyung University, and KICS Arts School in Korea. Graduated SangMyung University. Master of Music in piano performance and piano pedagogy from Temple University (USA). Doctorate in piano performance and pedagogy from the University of Wisconsin-Madison (USA).
] 73 [ Fang Liu (ID305) Musical Practice During Middle Childhood: A Study of The Influences in Asian-American Children’s Musical Practice at Home Setting. Teachers College, Columbia University, New York City
This study is to investigate the influences that affect Asian-American children in middle childhood’s musical practice at home setting. 141 people who resided in the United States joined the study. There were 52 Asian-American students who were from beginners to international music competition winners, 68 parents who were first-generation immigrants and have been living in the United States from 1 to more than 20 years, and 21 teachers with different nationalities who were novice teachers to college professors. There were 3 customized online surveys sent to the students and the parents from the Asian-American community, and the teachers who have Asian-American students.141 interviewees sent back their responses. The author analyzed the individual answers and compared the results with the different perspectives from the students, the parents and the teachers. After analyzing the data, the results can be discussed by Zimmerman’s the six dimensions of self- regulatory. 1) Motive. The students’ motivation are family and friends while the parents’ purposes are for their children to enjoy music and college application. 2) Method. The students do not practice with the efficient methods that the teachers modeled for them due to lack of patience and misunderstanding of the assignment. 3) Time. Crowded schedule from school and supplemental classes, and students’ poor time management. 4) Performance outcomes monitoring/ evaluating. The students do not know how to assess their playing at practice and their parents could not help them. 5) Physical environment structuring/ the practice environment. Not every parent knows that setting a quiet practice environment for the children is essential as most of the children practice in their living rooms while siblings walking around. 6) Social factors. The students practice because “they want to make their parents happy”, but 67.16% of the parents got mad at the students during home practice. Most of the teachers do not give homework other than classical music while the students like to listen to other genres of music. Conclusion. There are conflicts and misunderstanding among students, parents and teachers as the study shows a few concerns: the cultural differences between the first-generation parents and the second- generation students. The assignment misunderstanding between the teachers and the students. The collaboration between the parents and the teachers are essential for students’ learning. In addition, suitable assignment content/repertoire, Self-regulation/assess, and good communication are important in children’s practice at home setting.
About Author: Fang Liu (Vivian) serves as a piano adjudicator in New York State School of Music Association, Piano applied lesson instructor at Teachers College of Columbia University, and Co-founder of New York Global Music Competition. She holds her master’s degrees in Piano Performance from New York University and Music Education from Teachers college, Columbia University.
] 74 [ Shun-Chun Chen, Hui-Ju Kuo (ID36) An Action Research on Applying Tone-Painting in Music Appreciation for First-Grade Students
Zoltán Kodály believed that music was for all human. The Kodály Method was not merely pursing demeanor, but also dedicated in elevating the sensitivity of beauty, art, and life. The researchers of this study led students to recognize the music elements through folk music and classical music. In addition to cultivating the tendency of listening music quietly, researchers also taught students to listen to music with awareness. The purpose of the study aimed to investigate the use of the Kodály Method in music appreciation for first-grade students while tone-painting was utilized as the medium. Through tone-painting, students were able to recognize the meaning and the emotion in music. In other words, it enhanced students’ capability of music appreciation. Moreover, teachers as researchers also learned from the procedures and results as professional growth. This research was conducted in an elementary school in Taichung, Taiwan. One class of first-grade students were sampled as research participants. This experiment teaching was administered twelve classes in twelve weeks. To document the information of students’ learning behaviors, data collection included self-examination sheets of teachers, feedbacks from the students, film recordings, and suggestions from colleagues’ observations, and so on. The research results were validated by multiple educators and experts via triangulation method. During the research, teachers as researchers modified the teaching procedures based on student’s feedbacks, learning progress, and accomplishment of their works in class. Based on the results of this research, researchers provided a case of Kodály Method application in music appreciation as well as recommendations to those who were willing to teach music appreciation in the future.
About the Author: A music teacher at Sing-Ping Elementary School, also a piano teacher of Yong-An Music Studio. She obtained a master degree in piano performance from National Taipei University of Education, and held a piano recital at Yu-Xian Hall in 2017. Shun-Chun Chen is committed to children’s music education, and has participated many Kodaly and Orff workshops. Currently she is working on her second degree in education in National Taichung University of Education.
] 75 [ Wei-lin Huang (ID39) An investigation into pre-service teachers’ use of musical skills in Chinese kindergartens
Music plays an important role and a vital element of children’s learning and development. Many studies have identified that music education in early childhood have positive effects on improvement of skills, such as language skills, social skills, and logical and emotional intelligence. In China, the national curriculum guideline of early childhood education contains five subject areas, which arts education is one of the main area. Besides, the main focus of arts education in early childhood teacher preparation programme is music curriculum. The music curriculum courses are taught throughout the preparation programme in many Chinese normal universities and provided both theoretical knowledge and practical skills. These courses include musicianship, singing class, piano class, piano accompaniment of children’s music, and theories for early childhood music education. This research study seeks to investigate what musical skills that pre-school pre- service teachers used and how they used it during their placements. The participants of this research are 19 students, who are all year 4 students of undergraduate level and studying in a Chinese normal university in Southern China. Their placements were undertaken in three kindergartens. One of the kindergartens is located in mainland China and two of them are in Macau. Data was collected through semi-structured interviews after the placements. This research study found that the most useful skills that participants reported are singing and piano skills, which they learned from teacher preparation programme. Moreover, the participants often used music to help children establish routine (i.e. transition activities), built academic connections, and manage classroom. This is then discussed in relation to the role of music in the classroom and characteristics of music engagement among these three kindergartens.
About the Author: Dr. Wei-Lin Huang (PhD, Royal College of Music) is a lecturer at the School of Education, South China Normal University. Her current research project focuses on music education and teacher education in early years, which is supported by the People’s Government of Guangzhou Municipality.
] 76 [ Daisuke Terauchi (ID120) Pedagogical Possibilities of the Use of the System “Sanka Play” as a Prompt for Interaction Between Performers and Audience: Considering the Results of Two Examinations of Music Classes in the 5th Grade of Elementary School
In 2017, I developed a computer application named “Sanka Play” which enables audience members to participate in an improvisational performance by offering their own requests in real time to performers. In free improvisation, performers are influenced by the atmosphere of the audience in most cases. While the interaction which arises between audience and performers is generally non-verbal, the “Sanka Play” system allows prompt verbal interaction between performers and audience. This research aims to consider the positive pedagogical possibilities of using “Sanka Play” for music classes in elementary schools. I used a hypothesis verification approach as a research method. The hypothesis is that “Sanka Play” for group improvisation activities in music class encourages various styles of expressions among the students. The idea of focusing on improvisation utilizing each player’s resources of expression is influenced by the work “Cobra” by the American composer John Zorn and the work “Conduction®” by the American composer Lawrence “Butch” Morris. The “Sanka Play” application was used in two 5th grade music classes in an elementary school, one taught by Daisuke Terauchi, and another taught by Yoriyuki Hode. A close observation of the video recordings of these classes revealed that the “Sanka Play” application induces students to use various ways of expression such as music, dance, mimic acting, and even Karate. In addition, various requests from the students were made not only to improve the performance in general but rather to help bring out the particular strengths of each student’s performing ability. On the other hand, the students sometimes sent jocular and impracticable requests, which suggests that it is advisable for teachers to provide guidelines for productive interaction to students in advance. From educational viewpoint, this kind of interactive improvisation activity could be an opportunity to nurture consideration for others. As these points indicate, the observation reveals the pedagogical usefulness of “Sanka Play” and several factors teacher should consider when using the system. In conclusion, this research illustrates the possibilities of employing a new teaching approach in elementary music classes. Rather than focusing on transmission of knowledge and skill acquisition from teachers to students, “Sanka Play” encourages students to make creative use of their own inherent resources for expression.
About the Author: Daisuke Terauchi, Composer, Improviser and sound artist Daisuke Terauchi (b.1974) received a Master in Music and Doctor in Design. Currently teaching at Hiroshima University as an associate professor. Some of his scores and CDs have been published and his music has been performed at many concerts, festivals etc. in 12 countries.
] 77 [ Leonard Tan, Alfredo Bautista, Chua Siew Ling, Alvyn Eng (ID195) Investigating the Efficacy of Video-Based Professional Development: Voices from Teacher Participants
In 2017, the Singapore Teaching Practice (STP) was introduced as a model that makes explicit how effective teaching and learning is achieved in Singapore schools. Hence, a video-mediated professional development for music teachers was developed and conducted by the Singapore Teachers Academy for the aRts (STAR) to encourage the observation, analysis and discussion of teaching processes and teaching actions in the context of music lessons. According to Shulman (1986, 1987), Pedagogical Content Knowledge (PCK) is the synthesis of two types of knowledge, namely Subject Matter Knowledge (i.e., what teachers know about what they teach), and Pedagogical Knowledge (i.e., what teachers know about teaching and instructional methods). With the mediation of video and online technologies, the aim is to help teachers make explicit their tacit knowledge and shape their beliefs on quality teaching and learning by providing them with a common language and framework to plan, discuss, and reflect on their classroom practices. These paper reports findings from a research project that aims to investigate how video-based professional development (PD) could be effective in fostering music teachers’ Pedagogical Content Knowledge (PCK). The research involves case studies of video-mediated PD prototypes with different groups of teachers. This paper focuses on how teachers experience their learning in the online component of these video-based PD prototypes. Participants are Primary and Secondary music teachers from Singapore, including specialists and generalists, whose voices are captured through individual written reflections and interviews on their learning journeys during and after their respective courses. The study found that participants’ experience with online learning could be very different from the facilitator’s perspective. In addition, the contexts and teachers’ prior experiences also impact how they are experiencing the learning and what they are taking away from the video-based sessions. Greater awareness of these issues could directly inform the work of teacher educators and researchers, as online PD is an area of growing importance. Importantly, this study will also enrich the thin international literature on video- mediated music teacher PD.
About the Author: Dr. Leonard Tan is Assistant Professor of music at the National Institute of Education, Nanyang Technological University, Singapore. His research interests include philosophy and psychology of music education, frequently incorporating cross-cultural perspectives. Chua Siew Ling & Alvyn Eng, Singapore Teachers’ Academy for the aRts, Ministry of Education, Singapore; Alfredo Bautista, The Education University of Hong Kong
] 78 [ Tadahiko Imada (ID208) Soundscape, Universal Design and Music Education
The purpose of this paper is to develop the universal design in music education based on the concept of soundscape in order to bring creativity and collaboration into the music classroom. The specific research question was: How can music teachers develop all the children’s creativity at elementary, secondary and special needs schools? In order to answer this question, action research was undertaken at elementary, secondary and special needs schools in Hirosaki, Aomori, Japan. Though we live in what is called the post-modern world, the term universal still matters. Physics, for example, has progressed from one set of “universals” to another-- from Newton to Einstein. However, in the case of cultural products like music, counting commonality does not directly connect a “universal” as post-structuralists argue. Many ethnomusicologists, simultaneously, have gone off in quest of the universals of music. McAllester (1971) and Blacking (1973) pays attention to musical commonalities such as some sense of the tonic; some kind of tonal center; structural principles in music across many different cultures. The same thing applies to music psychologists. Harwood (1976), for example, pays attention to human behaviors such as the perception of pitches and so on. Even though the use of research methods based on formalism or structuralism, they operate with the assumption of the universals of music, that is to say, we do not yet know the answers toward the universals of music. What is more problematic, however, is that they merely pursed universals pre-existing music and acoustic cultures. In short, they are not interested in creating the brand-new universals of music at all. The concept of design has, however, always been proposed in order to create we have never seen, heard or touched. Based on the concept of soundscape design, the Canadian composer R. Murray Schafer (2005) indicts current music education: that foreign music, music composed by others is valued above our own or anything we could achieve, and music has been isolated from contact with other subjects (science, the other arts and the environment). Many students become discouraged because of meeting excessively high technical demands. His indictment and the concept of universal design by the American architect Ronald Mace can be considered compatible since Mace proposed such principles as equitability, flexibility, simplicity and intuitiveness in use, tolerance for error and low physical effort. Referring to both soundscape and universal designs, this paper attempts to enter that discourse.
About the Author: Tadahiko Imada is Professor at Hirosaki University. His PhD is from the University of British Columbia. Dr. Imada is the author of The Music of Philosophy: Music Education and Soundscape (Koseisha-Koseikaku), and co-author of A Little Sound Education (with Schafer, Shunjusha); The Oxford Handbook of Philosophy in Music Education (Oxford University Press) and Creativity in Music Education (Springer). Email: timada@ hirosaki-u.ac.jp
] 79 [ Linlin Chen, HsinYen Yu (ID210) Study of the Adolescent’s Opinions about the Influence of Pop Music on Their Health Cognition
With the development of network technologies, listening to music has become an important leisure lifestyle in people’s daily life. Rather than passive exposure to music in childhood, the adolescent has accepted and identified with pop music culture as the important consuming subject. This thesis aims to study the adolescent’s opinions on the influence of pop music on their health cognition, including the following two research purposes: (5) The adolescent’s opinions of the positive influence of pop music on their health cognition; (6) The adolescent’s opinions on the negative influence of pop music on their health cognition.
This thesis adopts the focus-group interviewing method for data collection, studies eight ninth-grade students of a Taipei junior high school, and discusses the following three topics through four focus group interviews: (1) Whether pop music can effectively adjust the adolescent’s feelings and emotions? (2) Whether pop music can unconsciously enhance the adolescent’s self-cognition and social identification? (3) Whether negative information carried in pop music such as violence, sexual behavior and so on catalyzes the adolescent’s passive cognition? Through analysis of the data collected by focus groups, the following three conclusions are made: (4) The adolescent can sense the positive and negative influence of pop music on their health cognition; (5) The adolescent regard that pop music exerts more positive influence than the negative influence on their health cognition forming; (6) The positive influence of pop music on the adolescent’s health cognition includes promoting the adolescent’s self-adjustment of emotions and developing the adolescent’s sense of self-cognition and social belonging.
About the Author: Linlin Chen, 2016 graduated from Beijing Normal University and majored in music performance. Presently studying at the Graduate Institute of Arts and Humanities Education in Taipei National University of the Arts, majoring in music education and music psychology.
] 80 [ Yuan Jiang (ID235) A comparative study of Chinese and American piano performance programs in university-level institutions
As we work and study in our increasingly globalized society, there is a growing trend of Asian music students who choose to pursue higher education in the United States. Among these Asian music students, there are many Chinese pianists, who often begin their training at a very young age and are successful on the concert stage in their homeland. These individuals still choose to further their musical training in the United States. Elite music institutions in America are also seeking and recruiting a large number of Chinese pianists. This trend raises questions regarding how piano study in China compares to piano study in the United States. The purpose of this study was to promote a greater understanding of Chinese and American piano performance programs in higher education by examining selected university-level institutions. This descriptive research approach investigated admission requirements, curriculum design, and the course offerings of piano performance degree programs in both countries. Additionally, this study bridged collegiate students and faculty members’ perceptions in order to explore the similarities and differences of university- level piano performance study programs in China and the United States. Twenty representative institutions were selected for comparison. Results indicated that all the selected university-level institutions offer piano performance programs up to master’s level. Chinese institutions have a larger piano student population. The ratio of faculty members to degree-seeking piano students is smaller in Chinese institutions. The piano program curricula at the selected institutions had a similar structure, but the balance of required credits in each area was noticeably different. The curriculum seemed more flexible in Chinese institutions, whereas curricular weight tended to be placed on the piano study in American institutions. Common core courses were found at the selected institutions. However, Chinese institutions offered courses based on both Western and Chinese cultures. This study offered us updated information and insight for piano students regarding their preparation of college choices for higher education. Information from this comparative study will give faculty members and prospective students a clear view of the current state of university-level piano programs in both countries. The results of the study valuable for institutions in both countries as they continue establishing and developing their piano programs and facilitate international exchange.
About the Author: [email protected]
] 81 [ Tung-Yun Chien (ID162) A study of Music Course Implementation of Elementary School Life Curriculum in Taiwan
The Directions Governing for the 12-year Basic Education Curricula in Taiwan is scheduled to be implemented in August 2019. The life curriculum is the thematic integrated curriculum and the integration of the areas of natural science, social studies, arts and integrative activities in the first stage of the elementary school. Although life curriculum emphasis on “students as the subject of learning”, but life curriculum teachers’ professional training and teaching experience are still influential to the knowledge and understanding in acting of the curriculum. This study was to explore the music course implementation of elementary school life curriculum in Taiwan. Through a literature review regarding the implementation of life curriculum in Grade 1-9 Curriculum, classroom observation and semi-structured interview of six lower grade elementary life-curriculum teachers with music and non-music educational backgrounds to collect dates to conduct the research so as to achieve an overall understanding of the situation. The research conclusions were obtained as follows via the comprehensive analysis of the dates: (9) The life-curriculum teachers’ professional training and teaching experience are influential to the knowledge and understanding in acting of the curriculum. Teachers ought to understand the teaching theory of relative life curriculum and carry out in real teaching. It’s helpful for students in learning music competencies and merging the curriculum. (10) The low-grade music teaching is more suitable to use as the playing ways, games should be simple, easy and creative. Teachers should put multiple evaluations into practice and combine with teaching effectively and teaching materials should be the livelihood and using multimedia aids into the integrated curriculum. (11) Examining the textbooks of life curriculum, the integrated curriculum affects musical essence teaching, the goal in musical teaching is not clear. Music teaching materials and activities lack diversity, inconsistent in editing. (12) It is hard to have a common consensus and cooperative time in life curriculum among the teachers that teach the social study, arts and humanity and science and living technology.
About the Author: Tung-Yun Chien is a music teacher of the Masai Elementary School of Yilan county in Taiwan. Her doctoral dissertation was about the discussion of music education policy at elementary and junior high school in Taiwan. Her work focuses specifically on school music education and teacher education in her research.
] 82 [ Jihae Shin (ID134) Becoming a music teacher: Korean music student teachers’ perceptions about their student teaching experience
Student teaching is the culminating field experience in a teacher preparation program. It allows prospective teachers to have hands-on experience (Posner 2000; Conway 2009) while implementing instructional skills, classroom management, and content knowledge in schools (Kelly 2008). Student teachers can also integrate educational theory with practice and reflect on what they observe and teach (Beck, Kosnik, and Rowsell 2007; Adoniou 2013) while collaborating with other teachers (MacLeod and Walter 2012). Currently, most research studies on music student teaching primarily focus on student teachers in the United States and Europe; there is little research on the perceptions of music student teachers who are educated in Asian countries. The purpose of the study was to explore Korean music student teachers’ perceptions of their student teaching experience. Eight student teachers in a university located in the eastern region of Seoul, Korea participated in this study. To collect data for this study, in-depth interviews, observation, and documents were used. The results of this study showed student teachers considered the connection between theoretical knowledge and practice to be an important element for authentic teaching. Student teaching provides student teachers with an opportunity to integrate educational theory with practice (Brouwer and Korthagen 2005), but we should be cautious about this integration. Above all things, music student teachers need to be allowed to incorporate what they learned in a university into a teaching context, and the transition from the university to practicum should be continuous and collaborative (Adoniou 2013). Another finding of this study was that student teachers valued having a community of peers during student teaching. Previous studies focused on the relationships among cooperating teachers, university supervisors, and student teachers (MacLeod and Walter 2011), but this study showed that collaboration among student teachers was another powerful learning opportunity for student teachers’ expertise. Teacher education programs will be better able to use student teachers’ collaboration if the early stage of a teacher collaboration group is properly guided (Stanely 2009; Draves 2017b). This study supported the idea that reflective teaching should be incorporated into a teacher preparation program (Stegman 1996;). While participating in student teaching, music student teachers need to reflect on mentors’ classes as well as their own teaching to become more professional educators. However, as both previous research (Noffke and Brennan 1991; Killian and Dye 2009) and this study suggested, music teacher educators need to emphasize the ‘quality’ of reflective teaching.
About the Author: [email protected]
] 83 [ Sayuri Ihara (ID87) The Exploration of Musical Instruments to Develop Children’s Musical Experiences
The aim of this study is to reveal the importance of the exploratory actions that children perform with musical instruments. Children tend to treat musical instruments in a variety of ways, including in unique personal ways. Although such explorative activities might not seem particularly important for child development, educators believe that this type of exploration actually plays a critical role in development. There are no previous studies in music education, however, that promote children’s free interaction with musical instruments. However, particularly in the field of developmental psychology, new evidence has recently been put forth supporting the viewpoint that children benefit from free play, such as the idea of Affordance by James Gibson (1904-1979) and the dynamic systems approach by Esther Thelen (1941-). This study aims to reveal the importance of children’s exploratory actions through a longitudinal observation of children’s behaviors as they play with musical instruments. This research was mainly accomplished via fieldwork, which was conducted in a Japanese public kindergarten about three times per month for two years. A small area in the kindergarten was designated as the study area and equipped with some child-sized percussion instruments were set, including a small djembe, a guiro, a woodblock, small maracas, and sound shapes. One boy and one girl who had frequently come to the space were chosen as participants, and their behaviors were video recorded; in addition, detailed notes of their actions were taken in order to understand the entire process. The data were analyzed on the basis of five behavioral features: (1) the instruments they chose, (2) the way they played with/used them, (3) what they said, (4) how long they played with/used them, and (5) how they related to other people when they played with/used them.
Both children developed stable relationship with the musical instruments and listened carefully to the sounds they made as they freely used them, that is, engaged in explorative experiences. In addition, they could increasingly control their body to make the desired sounds. Their explorative actions not only inspired their imagination, but also developed their listening and moving skills. Thus, exploring musical instruments can enrich children’s musical experiences. Furthermore, it was also found that we should be attentive to the environment with musical instruments in order to deepen children’s musical experience, such as choosing appropriate musical instruments, taking care of the volume of the room, and respecting the diversity of children’s musical experience.
About the Author: [email protected]
] 84 [ Yang Yang (ID123) Mapping Music Education Research in Mainland China (2006 - 2017): A metadata-based Systematic literature review
In Chinese literature, studies on music education started booming in early 1980s and have been increasingly influenced by educational movement worldwide. Whilst a number of English literature have discussed the music education in Mainland China from particular political, sociocultural and educational perspectives, these seems to be underrepresented amongst a vast body of educational studies. A recent search on CNKI, a national database covering 97% of Chinese academic publications, about 26 literature reviews on music education were found, whereas over 23,000 journal articles are in the field of music education. Given that most of these reviews did not specify the method for reviewing, it would be very difficult to piece together a comprehensive picture of and research interests in music education studies in Mainland China. Therefore, a systemic literature review in this area seems to be very necessary and urgent. According to CNKI, over 19,000 Chinese academic literature that contained ‘music education’ in the titles were published during 2006 and 2017. Mapping prominent features of music education research at national and/or international views can be technically challenging and methodologically problematic by reviewing only a few selected research publications from such a large collection of literature. To resolve these problem, descriptive and analytical attributes of 2,800 (approximately) academic literature, selected from over 60 prestigious(core) journals, were firstly coded using MaxQDA. The subsequent literature review comprises two sections: (1) metadata attributes analysis that provides a concrete framework for literature selecting and mapping, and (2) thematic analysis and reviewing of selected literature in reference to additional academic publications. The preliminary findings from the research raised serious concerns on general research quality and imbalanced practices of conceptual versus empirical approaches amongst these studies. Whilst the review primarily focused on educational research in music, discussions were further extended to its relation to and influence on studies in musicology, ethnomusicology, music psychology and music technology, etc.
About the Author: Yang Yang, PhD in Music Education (UCL-IoE), Assistant Professor at Department of Cultural and Creative Arts, The Education University in Hong Kong and Deputy Director for Research Centre for Transmission of Cantonese Opera. Research area includes Chinese music (UNESCO ICH), research methodology in music education and music psychology.
] 85 [ Cancan Cui (ID125) Validation of A Chinese Version of Kenny Music Performance Anxiety Inventory: A Pilot Study
Kenny Music Performance Anxiety Inventory was created by Kenny (2011) based on a theory proposed by Barlow (2000) to evaluate the emotion-based theory of anxiety. This instrument is a revised and expanded version of the original 26-item inventory (Kenny, Davis, & Oates, 2004). This new version includes 40 items with 12 underlying factors which can be divided into three categories: (1) Early relationship context, such as generational transmission of anxiety and parental empathy; (2) Psychological vulnerability, which involves depression, hopelessness, controllability, trust, and pervasive performance anxiety; and (3) Proximal Performance, which concerns proximal somatic anxiety, worry/dread (negative cognitions), pre- and post- ruminations, self and other scrutiny, opportunity cost, and memory reliability. Questions were set on a seven-point Likert Scale (0/6= Strongly Disagree to 6/0= Strongly Agree). Items from the English version have demonstrated high internal reliability (a=.94; Kenny, 2009). The purpose of this pilot study was to verify whether a Chinese version of the Kenny Music Performance anxiety inventory can be used to assess Chinese music student’s performance anxiety. The main research question was: what are the reliability and validity of the Chinese version of the Kenny Music Performance Anxiety Inventory? The researcher initially translated the instrument into Chinese and asked five experts in music and measurement to validate this instrument’s comprehensiveness and understandability for Chinese students. Then, three Chinese undergraduate music students participated in a trial to verify that the Chinese translation was understood. Two hundred and thirty hardcopy questionnaires were distributed at a Normal University in southern China. In total, 185 (N = 185) participants completed the questionnaires. Results indicated that the Kenny Music Performance Anxiety Inventory measured the music student’s performance anxiety. The Cronbach’s alpha of each factor is very high: interaction relationship context (a=.967); psychology vulnerability (a=.960); proximal performance concerns (a=.982), which indicates very good internal consistency. Confirmatory Factor Analysis (CFA) yields a result of CFI = .649. After modification, the CFI improved to .81. Based on the results above, this Chinese version can successfully measure college student’s music performance anxiety. Whereas the low CFI score potentially indicates two concerns which future researchers need to consider. Initially, the translation of the measurement may not have been accurate and understood by Chinese students. Therefore, some statements might not be in accordance with the Chinese culture, which might have led to different results compared to the original study in English.
About the Author: Cancan Cui, currently a doctoral student in music education program at the University of South Florida. I am from China and my research interest is in educational psychology in music education and music education in China. Email: [email protected]
] 86 [ Zhefu Li (ID215) Review and Prospect of Research on Information Technology and Music Classroom Teaching
The application of information technology in music classroom teaching is a new perspective of teaching reform in China in the 21st century. The pervasive application of modern educational technology has brought unprecedented changes to music teaching concepts and practice. This article reviews master’s theses and doctoral dissertations about music classroom teaching in the latest decade. Based on the analysis of 97 related literature, the literature research has been increasing and reached its peak in 2017. Its development process is closely related to curriculum reform. The researchers focused on teaching (music) professional and modern educational technology. The application of information technology in music teaching is studied from three aspects: teaching resource construction, classroom application and curriculum reform. Both theoretical and practical research face enormous challenges and obstacles in selecting courses, teaching courses, teaching management, student management, teaching evaluation, and balanced allocation of educational resources. The application of information technology is a good attempt in music classroom teaching. However, in the process of music classroom teaching, teachers need to use teaching methods skillfully. Modern educational technology contributes to music classroom teaching and helps solve bottleneck problems encountered in teaching. We should be soberly aware that the application of modern information technology is inseparable from the guidance of modern educational philosophy. Music classroom teaching needs to highlight the characteristics of music at any time, and it needs real and effective information technology to support it.
About the Author: Zhefu Li, Master of Music Education, Conservatory of Music, Capital Normal University, research direction is music education, won the first prize of the 5th National Music Education Paper Contest. He presided over and completed a municipal project, and two academic papers were Listed in the national core journal.
] 87 [ Lisa Tokie, Noriko Tokie (ID251) The Application of ICT (Information & Communications Technology) on Creative Music Making in Elementary Schools
In 2017, a new course of study for elementary schools was initiated by the Japan Ministry of Education, which focused on Information related education. For Music curriculums, the use of ICT in class was highly focused. However, there have been some problems in implementing the curriculum. The disparity of equipment, and location between schools, and the weak responsiveness from teachers has delayed the introduction of ICT in the classroom. The purpose of this research is to consider the effectiveness, and the improvements needed, to effectively use ICT in our country’s elementary schools. To experience actual Music lessons, the author visited an Elementary school, which used software called “VOCALOID”, educational software developed by the Yamaha Corporation. Through the analyzing process, the author will report on the achievement and the assignment that the author currently has, from that lesson. In 2018, T Elementary School in I prefecture had been using “VOCALOID” for Creative Music Making in class throughout the year. In March, the author visited the 6th- grade class for two-hour classes, 6 hours in total. In preparation for their graduation ceremony in March, the 6th-grade students worked to write original songs to mark their 6 years of elementary school by using “VOCALOID”. In the activity, students worked in groups to create their Music. Surrounding a tablet, all 4 groups made a song with a length of 16 measures. On this visit, the author found children learning different music elements independently, and by consulting each other they were challenged to made changes to make improvements by themselves. Focusing on the possibilities, ICT has great merit for children, especially in creative musical expression. Unlike other subjects, music skills and music reading ability does not affect their progress. The author also found the usage of “VOCALOID” helped children to intuitively do their work by visualizing music scores and hearing the audio. Playing the accompaniment and part practice also helped teachers. In cultivating 21st-century skills in school education, the use of ICT is a must. The disparity of equipment, and location, and the weak responsiveness from teachers has delayed the introduction of ICT in the classroom. These problems were clearly laid bare by this research. So, in conclusion, the development of software, supporting the use of ICT, and the development of teacher training is an urgent issue.
About the Authors: Lisa Tokie, Department of Music Education, Tokyo Gakugei University, Tokyo, Japan. The first year of the Graduate School student. Current main research is about the application of ICT (Information & Communications Technology) on Creative Music Making in Elementary and Junior High Schools. Noriko Tokie, Professor, Dr. Department of Music Education, Joetsu University of Education, Niigata, Japan. Teaching music education for undergraduate, graduate, and doctoral students. Current main research is the International Comparative Study of the Music Education Program in the Teacher Training Process, from a Cross-Cutting Prospective.
] 88 [ Zoey Zheng (ID253) Self-Media Public Account - A New Path of Music Education
A large number of research results show that in today’s social life, the Internet has gradually penetrated into various fields of work and life. With the advantages of the Internet, the new teaching mode of MOOC, mobile client APP, WeChat, etc. has appeared in the form of music teaching. The related music teaching practice and theoretical research have also slowly developed. According to the “2018 WeChat User and Ecology Research Report”, as of September 2018, the WeChat platform currently has 1,082.5 million WeChat monthly users and 10 million public number platforms. In addition, 45 billion messages are sent out every day, and 410 million audio and video calls are successful. Among them, video call users are 570% more than three years ago, and they can meet each other “every day” anytime, anywhere. The self-media public number has gradually become a new way of social music education. It not only undertakes professional music education facing a small number of professional music talents, but also a broader national music education for the whole of China - to cultivate the virtues and beauty of the country. The important task of all-round development of outstanding talents also plays an important role in the cultural literacy of citizens, the cultivation of music aesthetics and creativity, the inheritance of national excellent music culture, and the promotion of aesthetic education. How the self-media public account truly reflects the function of music education to adapt to the trend of the self-media era, we need our music educators to carry out repeated experiments and long-term practice accumulation. Schools and college teachers should make rational use of the self-media public number, enrich the content of the classroom, improve the quality of teaching, and conduct a detailed analysis of the new teaching model, and then put forward new requirements, and open up a broad road for the future development of music teaching. This paper constructs a new mode of music education from the media public number in the background of mobile internet and collects relevant knowledge by collecting and reading various related literature on mobile internet, self-media public number, music education, traditional music teaching, etc. To understand the latest developments and research results at home and abroad. Through the reading of domestic and foreign literature, the literature research method is used to organize the research status of music teaching in the background of mobile internet. Firstly, through the definition of the concept of the self- media public number, the relationship between the two and music education is clarified. Then, by analyzing the related concepts and development status of the media public number, the new model of music teaching such as the domestic public media number is analyzed. The development status quo, and the WeChat public number “Tian Yimiao’s field” “Music teacher lecture hall” as a case, in-depth study of the paradigm shift from the media public music classroom in the context of mobile Internet, that is, the development and characteristics of traditional music classroom teaching and Disadvantages, the development and advantages of music teaching in the context of mobile internet, and the impact and influence of the music public music classroom on traditional music classrooms from the aspects of teaching mode, teaching objectives and teaching content, reflecting on and summarizing the existing research. It also forecasts the music education in the background of mobile internet and puts forward its own views and solutions.
About the Author: Zoey Zheng, member of ISME, APSMER. Graduated from Hunan Normal University Music College. In 2016, I was admitted to the China Conservatory of Music for a master’s degree in music education with honors, studied under the music educator Professor Xie Jiaxing. I also read published papers in major international journals and domestic academic seminars and has been awarded a first-class scholarship for postgraduate studies for three consecutive years.
] 89 [ Le Zhang (ID262) Cultivating International Mindedness through an Online Music Teacher Training: Benefits and Challenges
International Mindedness is an overarching construct related to multilingualism, intercultural understanding and global engagement (Hill, 2012). The concept is central to many international curricula especially International Baccalaureate (IB) and sits at the heart of its educational policies and programs. The present research examines the planning and delivering of a training course for teachers of China to teach music with international curricula and assessments. The course delivery highlights the processes through which online tools can allow for communication, exploration, exchange, and teacher development. The purpose of this study is to trace and discuss the possibilities and challenges of cultivating “international mindedness” in music education. In order to meet the research aims, this study will use a descriptive study design, examining how the instructor may be shaping practice through a series of course exercises which involved teaching planning and reflection, poster design, and entries. The practical goal of this course is to provide a chance for outside school music teachers to become familiar with international curricula and assessments then benefit their own music educational settings. Based on the implementation of the course in the previous year, 53 teachers enrolled in this class as volunteers and reported considerable positive More than half of these teachers have confirmed the effects of these approaches such as “student choice” and “cultural awareness”; some teachers took “IB Learner Profile” as their music teaching philosophy to be foundational in their design of teaching. However, some challenges and difficulties were presented at the same time. Some teachers worried about the conflicts from international music teaching methods compared to Chinese traditional music teaching and parents’ expectations. In addition, the differences between Chinese music teachers’ educational background and the requirement of international music teachers are not easy to be ignored.
About the Author: Le Zhang, Ph.D. Candidate of music education at The Pennsylvania State University. Research interests include international music curriculum and examinations, national identity in music education, music teacher training and professional development. Le Zhang is a holder of Licentiate of Royal Schools of Music (LRSM) in performing (voice).
] 90 [ Tzu Chun Kuo (ID201) Teaching and Learning of Music in Preschool from the Talent Development Program for Preschool Children: A Case Study of Happy Preschool
In order to discover and cultivate gifted and talented children in their early age, and provide them differentiated educational programs, the Taipei Gifted and Talented White Paper encourages preschools to apply for the programs that support and assist preschool teaching. The purpose of this research is to explore the music learning process and its achievements at the Happy Preschool (pseudonym), who participated in the music field of the “Talent Development Program for Preschool Children”. In this program, the researcher used methods of observing and interviewing participants to collect data. 13 children were selected from 2 classes (13 out of 60 children in total) at the Happy Preschool for observation and PMMA tests. As the designer, teacher and data analyst, the researcher is obliged to teach twice a month, ten lessons in total with 30 to 40 minutes for each lesson. The concept of curriculum design includes two directions: a suitable curriculum for children’s development, and a curriculum that can help prepare the preschool teacher to carry out related music teaching as well as curriculum design in the future. The content of this music curriculum mainly includes four dimensions: (1) basic training in music; (2) singing; (3) music appreciation; (4) movement. Before each lesson, preschool teachers are given the lesson plan. After the lesson, the researcher and teacher will have an in-depth discussion of the lesson plan and the actual experience of carrying out the lesson plan in a real-life situation. Studies found that teachers believed that it is beneficial to integrate music into general teaching, younger children will have higher acceptance, and their motivation for learning will also grow stronger. On the other hand, teachers are also worried about whether their musical abilities are sufficient for the teaching of music courses, and the limited teaching materials will also restrict the ways which teachers integrate music into general teaching and activities. To conclude, the following research suggestions are proposed: (1) to enhance the professional musical knowledge of preschool teachers by means of teacher training curriculum and related music study courses; (2) to provide related music teaching and studying materials to teachers; (3) through studying the follow-ups to understand the current situation of preschool music teaching implementation.
About the Author: Tzu Chun Kuo, PhD of Music at National Taiwan Normal University and PhD candidate of Early Childhood Education at Taipei City University, has engaged and focused specifically on early childhood music education and music-teacher training. In recent years, she has expanded her music-teacher training programs to mainland China. Email: [email protected]
] 91 [ I Ta Wang, Kwan Yie Wong (ID307) The application of body-movement as teaching tools in the children group singing lesson
There are studies revealed that voice teachers or music teachers regularly encourage their students to use various body-movements to facilitate understanding and learning of physiological functions, thought concepts or musical ideas. The purpose of this research was to investigate the use of body-movement as teaching tools in young children group singing in Malaysia. In order to increase students and music teachers’ knowledge and awareness about the use of body-movement as teaching and learning tools in group singing, students were given body-movement training including movement activities and exercises by moving in space to develop the sensation of pictures of sound in the training sessions. A qualitative methodology, semi-structured interviews were conducted with 8 music teachers. The data was analysed using theme-based analysis of narrative. The findings that were examined in this paper address the following research questions: 1) What are the perceptions of music teachers regarding the use of body-movement as teaching and learning tools in the teaching of children group singing lesson? 2) What body-movement approaches and activities are the most appropriate for teaching children group singing? The findings demonstrate that the music teachers believe that there was a link between children’s singing and their use of body-movement. Body-movement helped the children to improve their vocal techniques and to achieve a more successful sound in a group singing. Music teachers also reported that the activities and approaches used in class must involve the students actively, rather than passively receptive and also need to allow them to explore oneself and control his or her own body to create sounds, colour and form. Therefore, music teacher training programmes are necessary in order to increase music teachers’ knowledge and awareness about the use of body-movement as teaching tools in the young children choral music education context. In addition, this research adds to the corpus of body-based learning in the choral context literature which would benefit the novice voice teachers and music teachers in Malaysia to comprehend the status quo of the use of body-movement as teaching tools in the teaching of children group singing lesson.
About the Author: [email protected]; [email protected]
] 92 [ Margaret S. Barrett, Graham F. Welch (ID237) Music Early Learning Programs: Enduring outcomes for children and their families
Infancy and early childhood are periods of rapid development and growth shaped by the child’s experiences in family and community. There is an expanding literature on the effects of music on various aspects of learning and development including cognitive, social and emotional development, and health and well-being outcomes. The bulk of this literature has focused on school-aged children with less attention to investigating the role of music in children’s early life. Studies have indicated that young children (aged 18 months to 60 months) use music, primarily as the invented song, in their identity work, as a means of communication with self and others, as a means to explore and express their understandings of the world, and as a means to self-regulate and self-comfort. Studies of music-making in family indicate that shared music-making experiences between carer and child contribute to a positive life and learning outcomes for the child, function as a tool for behavior and mood modification, and play a role in establishing family traditions. Recognition of the importance of music in early learning and life has led to a proliferation of Music Early Learning Programs (MELPs) in a range of formats and settings. Increasing numbers of parents are investing in these programs. Despite these trends, there has been a little formal investigation of the life and learning benefits of participation in MELPs. Recognition of the importance of music in early learning and life has led to a proliferation of Music Early Learning Programs (MELPs) offered through a range of formats and settings. Increasing numbers of parents are investing in these programs. Despite these trends, there has been a little formal investigation of the life and learning benefits of participation in MELPs. This investigation aimed to investigate parents’ and former child participants’ perceptions of participation in MELPs. The investigation constituted one strand of a longitudinal study of Musical Parenting and young children’s music-making in Australian families: retrospective perceptions of the learning and life outcomes of participation in MELPs. Data were generated through individual and joint interviews with 12 families who had participated in a single MELP located in a city in regional Australia. The interviews probed retrospective perceptions of individual and family drivers for participation, use of MELP experiences in the home, and enduring outcomes. Findings indicate the drivers for participation in MELPS include: musical learning and development; bonding between parent and child; socialization for both parent and child; acquisition of parenting strategies; and, community engagement. Understanding of families’ uses of MELPs and their contributions to children’s development demonstrates that children arrive at schooling with a rich repertoire of music, a capacity to engage in embodied musical experience, and a set of expectations concerning their participation in music. Such knowledge holds implications for the ways in which music learning is structured within the EC classroom.
About the Author: Margaret S. Barrett is Professor and Founding Director of the Creative Collaboratorium at the University of Queensland following 10 years of service as Head of School. Her research investigating creativity, the pedagogies of creativity and expertise, music learning and development, and the career pathways of professional musicians has been supported by grants from the Australian Research Council, The Australia Council, Australian Youth Orchestra, Musica Viva, British Council and Australian Children’s Music Foundation. She has published in excess of 120 articles and chapters in the major journals and handbooks of the discipline. She has received Excellence Awards for Research Higher Degree supervision (UQ 2016), Research Engagement (UQ 2016) and Teaching (UTas, 2003). Other awards include a Fulbright Senior Research Fellowship (2018), a Beaufort Visiting Fellowship at St John’s College, University of Cambridge (2019), and a Fellowship from the Fondation Maison des Sciences de l’Homme (2019). She has served as President-Elect ] 93 [ (2010 - 2012), President (2012 - 2014) and Immediate Past President (2014 - 2016) of the International Society for Music Education (2012 - 2014), Chair of the World Alliance for Arts Education (2013 - 2015), Chair of the Asia-Pacific Symposium for Music Education Research (2009 - 2011), an elected member of the Board of the International Society for Music Education (2008 - 2010), and National President of the Australian Society for Music Education (1999 - 2001). Currently she is a Director of the Australian Music Centre, the Queensland Symphony Orchestra and the Queensland Music Festival. Professor Graham Welch PhD holds the UCL Institute of Education (formerly University of London) Established Chair of Music Education since 2001. He is a Past President of the International Society for Music Education (ISME) (2008-2014) and elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE). He holds Visiting Professorships at universities in the UK and overseas, and is a former member of the UK Arts and Humanities Research Council (AHRC) Review College for Music (2007-2015). Publications number approximately three hundred and fifty and embrace musical development and music education, teacher education, the psychology of music, singing and voice science, and music in special education and disability. Publications are primarily in English, but also appear in Spanish, Portuguese, Italian, Swedish, Greek, Japanese and Chinese. New publications in 2017-2018 will include an updated Oxford Handbook of Music Education (five volumes) and the Oxford Handbook of Singing. He has been Chair of the Paul Hamlyn Foundation National Working Group on music education in England (http://www.inspire-music. org) from 2015.
] 94 [ Tse Zhuoying Natalie Alexandra (ID241) Sonic Awareness, Exploration and Experimentation: Infant agency and relationship with performers and parents in a performance for early years – a Case Study
This qualitative case study critically reflects on the creation of a performance centred around sonic awareness, exploration and experimentation giving infants agency as “co-performers” through the multiple identities of the researcher. The creation of a performance for the early years 18 months and below was driven by the researcher’s multiple identities. Firstly, as an experimental musician; secondly, her experiences working with young children in environments such as the music classroom; and thirdly, her recent journey into motherhood. The performance’s creation was first informed by concepts such as “soundscapes” and “improvisation” in experimental music, and the communicative musicality between mothers and infants’ aesthetic agencies as sonic beings. Aesthetically, the performance was inspired by the Chinese philosophies of “The harmony of Heaven, Earth, and Human (天地人；天人 合一)” as well as “Eight Sounds (八音)”. This case study was conducted over a period of 8 months from March to November 2018, utilizing methods such as observation, reflection, autoethnography and semi-structured interviews. Video and audio recording documented initial meetings with the artistic and creative team; a creative workshopping process exploring sonically embodied movements; rehearsals; test shows and the final public showing of the performance. The documentation also captured the development, response and agency of the researcher’s son throughout the research process. Additionally, it explores the father-mother parental dyad in a performance (the artist-researcher’s husband is one of the performers). Through critical reflections by the researcher, this study reveals the challenges the researcher and team faced in creating a performance based on sound; the complexities of the researcher’s emotions in creating, performing and also mothering her child; and the importance of early and consistent exposure of the arts for infants amongst others. These findings potentially shed light on early childhood arts education experiences for the early years in terms of appropriate artist/educator facilitation; content creation for an aesthetic arts experience; and changing parents’ mindset through parental education in the arts.
About the Author: [email protected]
] 95 [ Emily Good-Perkins (ID136) Is There Room for Cultural Relevance and Student Agency Within the ABRSM Examination System? Hong Kong Music Teachers’ Perceptions of the ABRSM Examination System
Within postcolonial societies, although the formal subjugation of colonization has ended, remnants of the colonial past remain in overt and concealed ways. Particularly within the arts, historically, cultural imperialism manifested in the transference and imposition of pedagogical and aesthetic values. More specifically, music imperialism within the British Empire consisted of the imposition of Western classical musical aesthetics and systems of examination in which the colonized could be assessed, judged, and surveilled based upon British musical criteria (Johnson-Williams, 2015). “ABRSM had a duty imposed by the Charter of the Royal College to promote ‘the cultivation and dissemination of the art of Music in the United Kingdom and throughout the Dominions’” (ABRSM). Although the use of music examinations was initiated during British expansion and colonialism, the ABRSM musical examinations and value system with which it is rooted remain strongly intact today. “Over 650,000 candidates now sit ABRSM exams each year in more than 90 countries” (ABRSM). Within East and Southeast Asia, record-breaking participation is taking place in Hong Kong, Macau, Taiwan, Malaysia, Singapore and Indonesia. However, despite the popularity of the British examination system, scholars have emphasized the ways in which this system robs students of creative agency and the opportunity to explore culturally sustaining musical forms as well as the negative impact on traditional musical cultures (Kok, 2011). Therefore, the purpose of this qualitative case study was to ascertain the ways in which Hong Kong music teachers perceive the ABRSM examination system. Of particular interest was the impact of this system on music teachers, students, and society. The primary data collection method was an open-ended interview questionnaire administered to 30 Hong Kong music teachers in both English and Mandarin. Using culturally sustaining pedagogy (Paris, 2012) as a theoretical framework, all interview data were analyzed, organized and coded based upon Creswell’s systematic process of analysis (Creswell, 2018). Results from this study are organized under three overarching categories: 1) the ABRSM examination system and the highly-competitive culture in Hong Kong; 2) the negative impact of the ABRSM system on students’ opportunities for culturally relevant musical engagement and creative exploration leading to musical burnout once the examinations are completed; 3) the impact of the ABRSM system on music teachers’ own teaching and agency. This paper presentation will discuss the findings of this study and the ways in which these findings shed light on music education practices in Hong Kong, Southeast Asia and beyond.
About the Author: Emily Good-Perkins received her Ed.D. and Ed.M. in Music Education from Columbia University and her M.M. and B.M. in Voice Performance. She taught at American University of Sharjah and Boston University and has presented and performed in the U.S.A, Cuba, Austria, Italy, Sweden, England, China, U.A.E., Oman, Jordan, Saudi Arabia, and Indonesia.
] 96 [ Chang Liu, Aiqing Yin (ID138) Action Research on Freshman Seminar in NENU ——With “Music: From Experience to Expression” As a Case
In 2017, in order to improve the quality of undergraduate teaching, Northeast Normal University will enable freshmen to realize the transformation of university learning adaptability and academics and open a new class seminar for freshmen. “Music: From Experience to Expression” is one of the 20 freshmen seminars offered by Northeast Normal University in the first round. This study takes the “Music: From Experience to Expression” as a case, and based on the general education theory, reforms the concept, content, teaching methods and teaching evaluation of the course. The research has gone through two years of three rounds of action design, teaching practice, survey interviews and action-reflection stage of teaching reflection. In order to promote the development of students, we will provide opportunities for non-art major freshmen to share music with students who have excellent musical skills and students with the same interests. Through a series of music experiences and the inquiry learning process of music expression, students’ interest in music learning, knowledge and skills of music aesthetic perception, music expression and cultural understanding, as well as students’ independent inquiry and ability to communicate with others are cultivated. Through the experience of music and the inquiry learning process of expression, students’ unique ways of thinking, learning methods and expressions are cultivated to stimulate students’ awareness of problem discovery and ability to solve problems. This lesson focuses on learning through music, which is not only the learning of music knowledge and elements but also the experience of music, self-expression, communication and cooperation. Through the questionnaires and interviews of the pre-class, in-class and after-school semester for all students participating in the course, the students’ changes in music learning style, ability and interest, as well as social participation ability, professional learning ability and self-learning ability are obtained. Aspects of performance, based on student feedback test the effectiveness of the implementation of the curriculum, and proposed curriculum implementation.
About the Authors: Chang Liu Ph.D, Graduate from Northeast Normal University. Research focus on School Music Education and Parental Involvement. Aiqing Yin Ph.D , Professor at Northeast Normal University, Fulbright Scholar of NEC of Music, USA. The Chairman of the Chinese Society for Music Education. Research focus on School Music Education.
] 97 [ Kam-Yuen Au, Koji Matsunobu (ID161) An investigation on the perceived values of primary school music ensemble competitions: a qualitative inquiry on the major stakeholders of two Hong Kong primary schools
While learning a musical instrument is not the main focus of the music curriculum in Hong Kong primary schools, many schools organize a great variety of music ensembles and these participate in local and international competitions. Participating in music competitions is seemed to carry so much value among the students in Hong Kong. With no concrete guidelines issued by the Hong Kong government, it is essential to investigate how these music ensembles operate, why they are supported so well, and why music ensemble competitions are in such high demand. The aim of the study is to investigate the perceived values surrounding Hong Kong primary school music ensembles competitions from the perspectives of major stakeholders, such as school principals, music teachers, freelance ensemble directors, students, and parents. The following structured research questions have been developed: (13) What are the similarities and differences among the beliefs of major stakeholders regarding the music ensemble competitions? (14) How do these beliefs interact and shape the way that competitions are formed? (15) How do these interactions form meaningful learning contexts for students?
This study employs Schwartz’s theory of basic values to conceptualize thinking. Semi-structured individual and group interviews were conducted with major stakeholders from two primary schools in Hong Kong. Findings indicate that most of the stakeholders valued the importance of cultivating students’ intrinsic values for their enjoyment in music. Music ensemble competitions are found to be supported among stakeholders and winning a prize at a music ensemble competition tends to have a positive impact on a school’s brand, which marks as symbolism on the successfulness regarding the music education of a school. However, none of the stakeholders interviewed emphasize the importance of cultivating students’ aesthetic values of music through ensemble learning. Participating in ensemble competitions were found to be extrinsic on enhancing the students and schools’ profiles. This study reveals why primary school music ensemble competitions are so well supported and in such high demand, unlike in many other countries. By emphasizing this, it will fill a research gap concerning primary school music ensembles. It provides significant insight for local music educators to rethink on the aesthetic values of music, how these values should be compromised between major stakeholders and to implement into the curriculum for the future sustainability of the primary school music education in Hong Kong.
About the Authors: Kam-Yuen Au, currently a doctoral candidate of the Education University of Hong Kong, Kam-Yuen is an experienced music educator who directed various school music ensembles. He is the president of the Clarion Clarinet Ensemble in Hong Kong. His research interest includes the motivation and values of music learning for the school music ensembles. Koji Matsunobu, PhDs in music education (TGU) and secondary and continuing education (UIUC), has written widely on spirituality, creativity, mindfulness, arts integration, world music pedagogy, place- based education, and qualitative research. Prior to joining the Education University of Hong Kong, he held academic positions at the University of Queensland and the University of Kumamoto. He is a former board member of the International Society for Music Education. He serves on the editorial or advisory boards of the International Journal of Music Education, the Bulletin of the Council for Research in Music Education, and the ] 98 [ Journal of Qualitative Inquiry. Hung Pai Chen, Ya Hui Huang (ID163) The moment of transformation: a music education project for junior-high dropouts
This study introduces a music education project for junior high dropouts, experimenting on the prospect of their returning to campus to learn and hopefully restart their life ventures. In this case, the school establishes programs for the dropouts, focuses on the learning of vocational craft and skills, including music, arts, culinary skill, sports, Applied English, and even the basic concept of law and order, as well as helping them to return to school. This study consists of three junior high dropouts who were all suffered from family issues of different nature and had lost interests in school study. The school established a curriculum, named Instant Band, targeted at enhancing the dropouts’ motivation for vocational and craft learning and self-esteem restoration. The course is fifteen sessions per week (45 minutes per session) and students learn to play electric guitar, acoustic guitar, bass guitar, drum kit and keyboard. The core of the curriculum included: music theory, instrument playing, and concert performance. So far the Band has held several successful performances including campus concerts and presentations in off-campus facilities. With the help of the program teachers, students even composed a music piece and filmed it as an MV while recording the journey of, precisely, their own personal transformation. The researchers found that the students’ school attendance rate dropped after encountering the program, their attitude towards learning became more enthusiastic and personality more positive; performances for the Band became the motivation of their learning and their sense of belonging, while their self-esteem enhanced. Such influence of music learning even permeates into their families. The parents, other than appreciating the effort of teachers and school, voluntarily offer assistance in the Band’s administration work, cores and its performance. The case here demonstrates how music learning would bring dropouts back to school and regain momentum to study and discover the value of life and being, and even further, help to bring healthy influence onto their families and keep youngsters away from misbehavior or crime. The researchers also suggest that, the success of the design and exercise of similar programs, depends on establishing a friendly and open interaction between participants and teacher, and the teacher must act on a base founded with affection, care, acceptance and comradeship, so that the participants would open themselves up and get involved in the program full-heartedly.
About the Authors: Hung-Pai Chen is a researcher and Assistant Professor of Music at the National University of Tainan, Taiwan. She is now a commissioner of the ISME Commission on Policy: Culture, Education and Media. Her research interests include music education policy, music teacher education, technology integrated education as well as arts education. Ya-Hui Huang is a graduate student of Music Education at the National University of Tainan, Taiwan. She is currently teaching music at a junior high school. Students’ motivation has always been the main focus of her when it comes to lesson planning. Such issues can also be seen in her researches.
] 99 [ Yanhan Zhang (ID75) A Comparative Study on Documents in Music Curriculums of General High School in Chinese Mainland and Taiwan
This paper explores the instructional documents for music curriculums of general high school in the Chinese Mainland and Taiwan to conduct a comparison in terms of fundamental beliefs, curriculum goals and framework. Chinese Mainland and Taiwan has similar culture, but differ in education policies because of disparities in politics, social and economy development. The researcher used to study in Taiwan as an exchange student, so this research is carried out as driven by that experience. The research analyzes the General High School Music Curriculum Standards issued by Chinese Mainland in 2018 and the Curriculum Guidelines of 12-Year Basic Education—Arts Domain released by Taiwan in the same year. The instructive documents of the Chinese Mainland and Taiwan are named respectively as “Curriculum Standards” and “Curriculum Guidelines”, but both have specified their framework, fundamental beliefs, curriculum goals, and core competencies. Besides, the Chinese Mainland separately sets “Music Curriculum”; while Taiwan mainly integrates Arts and Life, Music, and Fine Arts into the Arts Domain, and this research considers only the “Music” part in the curriculum guidelines. The researcher adopts content analysis and Bereday’s methods in comparative education research. Thus, the study has two phases of area studies and comparative studies and four steps of description, explanation, juxtaposition and comparison. The initial findings are given as follows: (1) Both curriculums emphasize on improving students’ aesthetic and creative ability, as well as learning musical knowledge and cultures; (2) Taiwan values music-based concepts while the Chinese Mainland highlights the function of music education; (3) Taiwan pays attention to cultural diversity while the Chinese Mainland attaches importance to promoting national culture; (4) Taiwan focuses on the relationship between music and life, but the Chinese Mainland tends to more care the music understanding, expressing and creating beauty.
Based on the above results, the researcher believes that “Let music be students’ lifelong companion”, paying attention to the culture diversity, promoting students-centered learning are essential for developing the music curriculum.
About the Author: Zhang Yanhan, male, born in 1994, master of music education, graduated from capital normal university of China.
] 100 [ Hung Pai Chen, Ting Yin Lin (ID76) Learning Arts from Daily Surroundings of Living and Nature: An Interdisciplinary Curriculum
This paper describes the design and practice of an elementary school interdisciplinary arts curriculum using natural elements of daily life and surroundings. The course aims at enhancing pupils’ aesthetic experience through exploring and perceiving the environment they live in. The concept of design, based on the newly issued Curriculum Guidelines of 12-Year Basic Education in Taiwan, which emphasizes the idea of ‘appreciation of arts - originated from and applied to daily life,’ is a program of arts learning series to be conducted in elementary school summer camps. The course content, with integrating music, visual arts, performing art and language in mind, would use materials from all aspects of pupils’ daily life so as to create a fulfilling learning process for a satisfactory outcome. The curriculum is planned for grade one to grade three pupils in rural area schools, in the form of multiage classroom of fifteen sessions (40 minutes each), three sessions per day. The three main themes are: 1)Discovering the beauty of life and living Teacher encourages pupils to play freely, explore and record the beauty and interesting spots of campus in photographs and later present in exhibitions. 2) Exploring the music of nature Pupils would learn music with natural surroundings as the motive through body movement, while using recycled materials to create home-made instrument, and play in ensemble. 3) Singing and composing Counting Songs Pupils would learn Counting Songs and produce their own version in mother tongue, enriched with graphic notations, accompanied by ostinato, and implemented by pupils’ body movement of their own ‘choreography.’ Indeed, the pupils have even been invited to present their work in concert halls. The researchers find that applying elements of daily life and natural surroundings in the program would enhance pupils’ interest and motivation of learning and, further, enlighten children’s aesthetic experience, nourish their ability to actively explore and relish the essence of beauty. The integration of arts and languages learning, particularly applying the local dialects on composing Counting Songs in their familiar tongue, also stimulates the creativity of the participants. The researchers suggest that we should develop more interdisciplinary arts programs starting with students’ life experience and surroundings and thus lead them to discover, explore, adapt and create music and arts, which eventually would heighten students’ aesthetic perspective, adding abundant colors to their own paintings of life.
About the Authors: Hung-Pai Chen is a researcher and Assistant Professor of Music at National University of Tainan, Taiwan. She is now a commissioner of the ISME Commission on Policy: Culture, Education and Media. Her research interests include music education policy, music teacher education, technology integrated education as well as arts education. [email protected] Ting-Yin Lin is a master’s student of Music Department at National University of Tainan, Taiwan. She is now a music and arts teacher in elementary school. Her research interests include music teaching, curriculum design as well as arts education. [email protected]
] 101 [ Iok Meng Li (ID92) Music Curriculum For Secondary Schools – A New Era of School Music Education in Macao
Macao has started an ongoing process of educational reforms since 2006 after “The Fundamental Law of Non-tertiary Education” was in force. The implementation of “Curriculum Framework for Formal Education of Local Education System” in 2014 and “The Requirements of Basic Academic Attainments (BAA)” in 2015 has provided rules and guidelines for schools to plan their curricula. The publication of the Curriculum Guides gives further explanation and concrete concepts of the BAA. In this study, the Music Curriculum Guides of junior secondary and senior secondary education are analyzed. The aim is to investigate the current trend of music education in Macao through this document. As music teachers have a major role in the writing of the Curriculum Guides, it gives practical guide for teachers to run the lessons. Hands-on teaching examples which were tried out in various schools are attached in the Curriculum Guides so as to give inspirations to teachers. Global trends in music education are also introduced. Interpretation of the BAA is included so as to make teachers understand the BAA more thoroughly. Suggestions on how to develop school-based curriculum is given. Other sections include implementation of the curriculum and curriculum assessment. The Music Curriculum Guides promote school-based music curricula. Music teachers are encouraged to design their own school-based curriculum according to the ability and interest of the students. They may also include repertoire which suits their school culture. Teachers have high autonomy to design their own curriculum with the aim of enhancing students’ ability and interest in music. The Curriculum Guides highlight the relationship between composition, listening and performance in music education. Teachers plan the lesson in a way that these three components are integrated to the topic. After the integration, students will have an idea that music lesson is not solely about singing but a more all- rounded music learning process.
About the Author: Iok Meng Li is a school music teacher. She obtained a Master degree of Arts in English Studies at the University of Macau and a high diploma in Music Education at the Macau Polytechnic Institute. Li is a member of the writing team of the Music Basic Academic Attainment and Curriculum Guide.
] 102 [ Violet Tsang (ID279) Music Education in Muslim Schools: A Comparative Study between Hong Kong and London
Both listening to and playing music have been controversial in Islamic contexts. Generally speaking, from the teaching of the Qur’an, the ahadith and the sunnah, music is not promoted, if not forbidden. This paper sheds light on Hong Kong and London, scrutinizing how Muslim schools respond to music education in secularized societies. The first section introduces the contexts of analysis, the demographic and social background of Muslims in both jurisdictions, followed by an outline of the state music curricula. The second section presents music curriculum in Muslim primary and secondary schools available on their school webpages. Identifying the substantial differences of attitudes and practices towards music education between Hong Kong and London Muslims schools, I will propose several causes attributed to the observed differences. Meanwhile, I will argue that music education discloses the intricate struggles over identity and ideologies at different levels.
About the Author: TSANG Yau Yung graduated from the Chinese University of Hong Kong with a Bachelor of Arts degree in Music. Later, she studied MA Comparative Education at the Institute of Education (UCL). Her research interests include ethnic minority education and religious education. She is currently a secondary school teacher, with students from multiple ethnicity backgrounds.
] 103 [ Junge Du (ID166) Sustainability of traditional music in Southwest China
Ensuring sustainability is essential for achieving sustainable development benefits generation by generation, which plays a fundamental role in maintaining cultural diversity, inheriting history and providing cultural resources as cultural capital from an economic perspective. The Miao’s music in Southwestern China is the target of this research, which is currently deliberately adapted and selectively borrowed from the historical contexts to create a stage performance. Since cultural tourism has been introduced as an influential strategy to fuel economic development in Southwestern China, tourists have since 2008 flocked to Xijiang, to hear amateur urban musicians of the Miao minority play traditional music. They are delighted in the authenticity of the Miao musicians’ conservative heterophonic style. With the commercialization of the performance, there are growing concerns about how to protect and promote Miao music, and how to balance the use of Miao music as tourism attraction with the ethnic pride to achieve a sustainable tourism development. This presentation proposes an operational framework for understanding how to achieve the equilibrium relationship between the preservation of traditional music of ethnic minorities and the development of cultural tourism, more specifically, to balance the sake of authenticity of the music products and the pursuit of economic benefits. Considered from the perspectives of convenience and feasibility, mixed-methods research, combining both qualitative and quantitative methods of enquiry will be adopted to answer the research questions and achieve the research objectives.
About the Author: Junge Du is a Ph.D. graduate from the Education University of Hong Kong. She was being awarded a Master of Arts degree in Music Management from the University of Sheffield in 2014, and she graduated with a Bachelor degree from the Central Conservatory of Music in 2012.
] 104 [ Lexuan Zhang (ID169) Understanding the Operational Curriculum from Behaviorist and Constructivist Perspectives for Guangdong Province Outstanding Music Classes
“Outstanding Class Demonstration” is a regular Mainland China educational event which is hosted usually from the individual school level to the national level. In 2018, Guangdong province not only held its “Outstanding Class Demonstration” event or music subject but also hosted the follow up national event “The Eighth National Demonstration of Elementary and Secondary School Outstanding Music Class.” As one of the leading provinces in China, Guangdong province has always been fast reacted to the educational reform and opening-up policy. These demonstration classes not only acted as outstanding modeling classes for other school teachers but also represented the best interpretation and implementation of the government curriculum guiding document - National Music Curriculum Standard (NMCS). In the latest published version, even though the word “constructivism” did not show on the curriculum document, the constructivist philosophy clearly presented by using its concepts and ideas. “Student-centered,” “inquiry-based learning,” “project-based learning,” “contextual learning experience,” and “encouraging interaction and participation” largely dominated the contemporary Mainland educational philosophy and became the modern trend for school music education. However, it was also reported that the traditional way of teaching music in Mainland China influenced by the behaviorist learning theory. Until now, preparing lessons mostly relying on the curriculum textbook, teachers spending most of the time lecturing the teaching materials and students passively listening the content with low motivations are still significantly exist in many schools. “Teacher- centered,” “knowledge-centered” and “lecture-based” classes were also easy to be observed and experienced in some Mainland educational field researches. The purpose of this study is to explore the actual implementation of the outstanding music classes and to understand to what extent their application of the NMCS in terms of the behaviorist and constructivist points of views. Referencing from the existing western literature reviews, a framework based on behaviorism and constructivism will be extracted from the NMCS and guided as the measurement to evaluate the 36 Guangdong-area online public videos of the outstanding class demonstrations. The documentary analysis will be conducted to discover and interpret the findings from NMCS and the online classes. Under China educational context, because these selected modeling teaching videos have a strong impact on the school regular music classes, the results of this study will further explain the relationship between China Music National Curriculum Standard and best representative teaching process and their implication for the regular school class.
About the Author: Lexuan Zhang currently is a full-time doctoral student studying at The Education University of Hong Kong. She got her bachelor degree from Wuhan Conservatory, China and master degree from Boston Conservatory, USA. She also obtained her Kodaly and Conversational Solfege Teaching Certifications from the Hartford University, USA. Her past teaching experience included teaching in Massachusetts public school, Shenzhen international school (IB) as well as Shenzhen public school. Lexuan is passionate about doing research on music teaching and learning for the public school system and how to conduct music lessons adapting both western teaching pedagogies and Chinese localized culture.
] 105 [ Ying Bao, Yan Li (ID292) Study on the relationship between the development of community education and the inheritance of local music culture in China
Local music culture is not only the accumulation of people’s long-term labor, but also the product of China’s historical development. The local music culture formed in different regions reflects the regional characteristics and has unique value. When discussing the relationship between the inheritance of local music culture and education, people mostly focus on school education. Since the reform and opening up, the domestic attention to community education and its development has been increasing year by year. From the regional characteristics of local music culture and the regional attributes of community education, the two have a close internal relationship. On the basis of clarifying the general situation, historical evolution and inheritance of local music culture in our country, and contrasting to the historical development of domestic community education, this paper explores the relationship between the two in order to provide a new perspective for the local music culture from the perspective of community education.
About the Author: Bao Ying is a lecturer at the Music College of Zhejiang Normal University. Her research interests include music education and intangible cultural heritage protection. Li Yan is a graduate student at the Department of Music Education, Shanghai Conservatory of Music. Her research direction is music teacher continuing education and community education.
] 106 [ Yaolin Guo (ID86) The Policy Shift of Traditional Music Education in Mainland China
In the second half of the 20th century, Mainland China experienced two policy transformations of traditional music education. The first policy transformation was in the 1950s, when traditional music emerged strongly based on Class Struggle. During this period, it experienced three discussions of the nationalization of music and the revolutionary model opera movement of the “Cultural Revolution”, and put forward the slogan of “revolutionization, nationalization, popularization” (that is, “three changes”), which objectively created an awakening of the consciousness calling for the ego. The completion of the China Conservatory reflected the importance attached to traditional music education. The second policy transformation was in the 1980s, when the Reform and Opening-up reversed the slogan of “class conflict as the guiding principle” that originally supported the traditional music. With the mass influx of western culture, the Art Music education model dominates the field of professional music education, and the universities and colleges have transformed one after another. In the aspect of social music education, Pop Music were unshakable and depended on the huge capital of the market, commercial operation and the broad audience. Traditional Music education can only tend to policy protection. After the 21st century, the third Plenary Session of the 18th CPC Central Committee put forward the idea of “perfecting Chinese excellent traditional culture education”. It indicated that we have gradually realized the deviation of the traditional music education track for a long time and sought for a rejuvenation. The policy protection was increasing and had a very considerable prospect in the future. This also illustrated that the basis of multicultural communication in the new period was not based on “pluralism” but “tradition”, and there was no possibility of multicultural communication without tradition. Lacking of either tradition or communication were not suitable for the needs of national conditions. It can be seen that the policy inclination of Mainland China in the future is an excellent time for the reappearance of traditional music education. Therefore, it is necessary to interpret many guiding opinions issued under this opportunity and their objective historical causes, which will be helpful to the direction and practical implementation of traditional music education in the future.
About the Author: Yaolin Guo, Doctoral Candidate of China Conservatory of Music. Supervisor: Jiaxing Xie Email: [email protected]
] 107 [ Yuki Morijiri, Paul Smith (ID27) The perceived impact of learning approaches from Creative Music Making abroad for Japanese students in teacher education
Although Creative Music Making (CMM) has been taught widely in European countries, in the context of music education in Japan, the concept of CMM is thought to be relatively new within the area of music education in the National Curriculum. In educating future teachers, the students mainly learn the National Curriculum and the contents in authorised textbooks, however it could be argued that there is little chance to learn a creative approach for music teaching, which has not yet been introduced or implemented in music education in Japanese school settings. The purpose of this research was to explore how the Japanese university students in teacher training courses perceived and learnt from the approach of CMM abroad. In the first phase of data collection, non-music education major undergraduate students (n = 50) submitted self-reported comments after taking part in a CMM session by a British instructor for ninety minutes. The thematic analysis was applied for this data using Nvivo 11. In the second phase of data collection, music education major undergraduate and postgraduate students (n = 25) completed a questionnaire survey, which was developed from the first phase of data collection after participation in a CMM session by the instructor. The data was analysed using SPSS 20 and Nvivo 11. The CMM session included warm-up activities with creative music ideas, improvisatory singing within harmonies and creative singing based on a written score. The results revealed that, while non-music education major students found the activities without a written score enjoyable and satisfactory, they also found it challenging to improvise a melody creatively within a harmony, which they have not experienced in their lives of music education in school education settings. For music education major students, there were significant differences between undergraduate and postgraduate students for three items: the perceived possibilities to implement the activities in the session in the educational context in Japan; differences between the approaches in the session and what they have experienced; and their interest in music education abroad. The participants reported that there were plenty of creative approaches to music teaching and music making which they had not learnt before and would find useful to utilise in both music education settings and classroom management. The university students in teacher training courses showed a strong interest towards educational approaches of CMM outside of Japan as it was absorbing and thought provoking both musically and pedagogically.
About the Author: Yuki Morijiri is a full-time lecturer in Music Education at Tokyo Gakugei University. She took her PhD at UCL Institute of Education, University of London in 2015 and since then has been running research projects related to music education in the UK. Paul Smith is co-founder of acclaimed vocal ensemble,VOCES8, author of the VOCES8 Method and CEO of the VCM Foundation. Since 2005 he has worked with more than 350,000 students around the world. In 2019, Paul is continuing his work with the University of Cambridge. @VOCES8 @hatchmyideas
] 108 [ Houw Ping Lau (ID297) Assessing student composers’ metacognitive awareness of their compositional processes
This study assesses student composers’ metacognitive awareness of their compositional concepts, approaches, self-perceived challenges and problem-solving strategies during the process of music composition through a comparison of their compositions with the articulation of their thought processes in their reflection notes. The main purpose of the study is to develop an instrument that would allow students to assess the degree to which he or she is aware of the goals and intentions, as well as the various processes involved in composing music. The proposed instrument was developed based on the collection of a pool of candidate items for this instrument, based on content analysis of students’ compositions and reflection notes. Descriptions and statements on metacognition, including behavioural, cognitive, content and self-regulatory skills, were identified and selected as candidate items. Validation of the instrument will not be discussed in this presentation. This cross-sectional study investigates thirty student compositions and their reflection notes from three secondary schools in Singapore. Upper secondary students (15- and 16-year olds) complete a composition of not more than three minutes in performance time within a five-hour timeframe (across several sittings). They can base their compositions on one of the six prescribed stimuli – pitch, rhythm, poem, lyrics and two contextual scenarios – or freely conceptualise their works. Students are also required to reflect on the following questions: (1) How did the stimulus lead you to choose and shape your musical ideas? OR How did you conceptualise your work? (2) What were some of the challenges in developing your musical ideas? (3) How did you approach these challenges?
The reflection notes are qualitatively analysed, coded and categorised into the domains outlined above, which can unveil judgments about student composers’ thinking processes that serve as conventional descriptions of metacognition. Students’ compositions are also analysed by the researcher, and when triangulated with the data of the reflection notes, will allow the researcher to assess the strength of students’ self-reporting abilities. The tool is designed to help students increase metacognitive awareness while composing, and the data collected from the instrument can provide teachers with a means of assessing, monitoring and documenting students’ thought processes and compositional strategies.
About the Author: [email protected]
] 109 [ I Ta Wang (ID165) Application of Meditation, Self-Regulation and Emotional-Regulation in Music Practice and Performance
In the last decades, there has been a growing awareness of shaping mental disciplines in the field of performing arts and sports. The efficacy of meditation, self-regulation and emotional-regulation have been examined and discussed in studies of neuroscience and psychology. The current literature survey aims to investigate the correlation between the research findings encompassing the above research domains and music performance and practice literature, to provide a holistic review of potential applications in music performance and practice. Three research questions were answered: (4) What are the benefits of meditation, self-regulation and emotional-regulation based on the research findings in neuroscience and psychology? (5) What are music performers and pedagogues’ perspectives on the application of the three techniques? (6) How do meditation, self-regulation and emotional-regulation to be applied in music performance and practice?
Based on neuroscientific and psychological research findings, meditation practice promotes well- being and cultivates “altered traits” that would affect the human mind and behavior. Like physical workouts, with regular practice, meditation can also strengthen one’s mental muscle in sustaining focus. In general, professional music performers and pedagogues either advocate mental practice that is in line with the spirit of meditation practice or the pure practice of it in the long run. Both self-regulation and emotional regulation skills have been much discussed in sports and performance psychology for attaining cognitive and emotional control. Self-regulation skill contributes to the efficiency and quality of one’s practice routine, where forethought, volitional control and self-reflection take place with mindfulness from moment to moment. With consistent application, one learns to tailor and direct their attention to the task-relevant situation and maintain focus during the task. Research in music education has shown that the ability to self-regulate promote the quality of practice and high level of focus is attainable in music performance and practice situation. Emotion-regulation is a skill to acquire mental quality when facing a performance challenge. In sports, it is commonly achieved by positive self-talk; the approach has also been highly regarded by pedagogues and performers in music. The survey concludes that the application of meditation practice, self-regulation and emotional- regulation are highly relatable to music performance and practice, and resonate what elite music performers and pedagogues have been advocated in recent years.
About the Author: Email: [email protected]
] 110 [ John Perkins (ID173) Choral Dialoguing in the Face of Privileged Fragility
North American choral pedagogy largely values conductors who use economical language (i.e. the “eight magic words,” longer/shorter, faster/slower, higher/lower, louder/softer) and conductors expect limited speaking from singers during rehearsal. Such pedagogy emphasizes performance as a primary goal. This structure relieves educators and students from many conflicts and establishes uncritical, emotional solidarity. However, dialogic silence may be dangerous in choral spaces since students’ subjective interpretations of singing leave oppressive thoughts and actions unchallenged (Bradley, 2009). I suggest justice-oriented dialogue through choral singing, or as I term it, “choral dialoguing.” For choral educators, choral dialoguing strays far afield from traditional goals. If such pedagogies are not normative for choral educators, how much more disorienting might it be for students? This qualitative case study is focused on adult choral students in higher education settings. I instruct a predominantly white and economically privileged choir of music majors and non-music majors at a private university in the USA. Some students value choral dialoguing, while the majority, in varying degrees, distance themselves from the uncomfortable practice. Therefore, I question how choral-dialoguing might be best implemented for students of privilege. The purpose of this qualitative study was to determine the reasons in which students resist or accept critical dialogue within traditional choral spaces. Data collection methods consisted of student interviews, focus group discussions, and weekly written feedback from students who took part in choral dialoguing within an assumed, traditional choral course. Due to the complexity of both anti-racist pedagogy and student responses, I employed two theories. Critical race theory helped students reflect on the “hierarchical, unidirectional, and reductive” (Calderón, 2009, p. 162) frameworks of privilege. Transformative learning theory investigated students’ previously held assumptions and supported students’ identities through their transformative journeys (Mezirow, 2012). Student reception of choral dialoguing emerged as themes relating to 1) challenging privilege, 2) students’ desire to have uncritical (or critical) emotional group experiences, and 3) mixtures of themes one and two. In my data analysis, I discuss 1) reasons why singers from traditional backgrounds are challenged by critical theories, and 2) the ways in which students of privilege may be motivated to employ critical dialogue in traditional music spaces. This study investigates how choral educators and music educators at large may leverage dialogue and the arts to overcome “white fragility” (DiAngelo, 2011), or privileged fragility, and redirect privileged students toward anti-oppressive mindsets and actions.
About the Author: John Perkins’s teaching and research activities focus on decolonizing choral spaces and justice dialogue at Butler University, where he is an Associate Professor of Music. Arab, Malaysian and American gospel musicians helped him de-center his performative training and sustain students’ agency through dialogical, relational and social domains of music education.
] 111 [ Bo-Wah Leung (ID249) Learning Cantonese operatic singing in a university setting: Community music education in university
Cantonese opera is one of the most representative local art forms in Hong Kong and southern China. Since the new century, the Hong Kong government has been promoting Cantonese opera as an attractiveness and a symbol of Chinese and Hong Kong culture in order to fulfill a number of purposes, including attract more tourists and make Hong Kong to become an international cosmopolitan. The establishment of the West Kowloon Cultural District is targeted as a cultural and artistic landmark of Hong Kong, in which the Xiqu (Chinese opera) Centre has been officially opened in January 2019. Cantonese operatic singing is a community music practice welcome by most of the local middle- and old-ages. Interestingly, a few local universities organize Cantonese operatic singing classes for their staff and students. However, there is no previous studies on any issues about teaching and learning Cantonese opera singing in the community settings. How the art form is taught to the learners, and how effective is the learning in a class setting are the major concerns. This presentation reports a case study on a weekly class of Cantonese operatic singing held at a university in Hong Kong from February to April, 2019. The teacher will teach with an instrumental accompanist and a total of nine learners are involved, including four staff members and five retired people from the community. A total of ten weekly classes in 90 minutes would be used as the data source for observation and analysis. As one of the learners, I will employ the participant-observation method. In addition, the teacher and the learners would be interviewed in a semi-structured format. Findings may reveal the teaching concept of a Cantonese opera teacher which may reflect the philosophy of traditional practices of teaching in the traditional art form. Implications may shed light on the improvement of pedagogy in traditional art forms.
About the Author: Bo-Wah Leung is at present Professor and Head of Cultural and Creative Arts Department, and Director of Research Centre for Transmission of Cantonese Opera at the Education University of Hong Kong. He is Chair of the Asia-Pacific Symposium for Music Education Research, and Chief Editor of Asia-Pacific Journal for Arts Education. Email: [email protected]
] 112 [ Siyu Zhang (ID258) A correlational study of Parenting Style and Musical Academic Achievements
As the public’s attention to family education and music education rises, the relationship between parenting style and academic achievement has become a research hotspot, but rarely involves academic achievement in specific disciplines, so the research on the correlation between parenting style and music academic achievement is particularly urgent. The purpose of the study was to investigate the relationship between parenting style and music academic achievement. This study used a questionnaire survey method to investigate the relationship between parenting style and music academic achievement with 134 junior high school students as the survey subjects. Parenting style is significantly related to music academic achievement, and the influence of mother’s parenting style on children’s music academic achievement is greater than that of father’s parenting style on children’s music academic achievement. As parents, they should adopt different methods of parenting according to their physical and mental characteristics in different periods; in addition, parents need to correctly and comprehensively treat their children’s musical academic achievements, and cannot fully use music academic achievement as a measure of children’s music learning.
About the Author: Siyu Zhang, Graduate student, School of Music, Central China Normal University. My Research interest is on the psychology of music education. I had published an academic paper about the treatment of music performance anxiety as well as had a presentation on the 7th cross-strait Forum in Music Education in 2019.
] 113 [ Hui Zhou (ID266) Research on the Strategy of Cultivating Prospective Preschool Teachers’ Sense of Rhythm - Based on Eurhythmics Teaching Method
Music is an important area of art education for preschool children. As preschool teachers, they must have basic professional skills in music, but most of them missed the best period of developing musical ability due to the lack of systematic music learning in the fundamental education stage. As a result, when they enter college, their perceptions of music severely degraded. In addition, the current music education in the fundamental education stage generally emphasizes theory over practice, skills over literacy, and forms over contents. As a result, poor ability base of students in music leads to great learning obstacles to obtaining basic professional music skills when they are in college. Rhythm is the first element of music, the cultivation of the sense of rhythm is an important approach to arouse students’ music instinct. In terms of teaching strategies, Dalcroz’s eurhythmics teaching method can be applied. It breaks the traditional teaching mode that theoretical learning and ability cultivation are separated from each other, provides students with enough training space to stretch and move, rich auditory materials and exploration materials (teaching AIDS), people oriented, open and wake up students’ senses, and establish synesthesia between body movement and music rhythm. Based on Dalcroz’s eurhythmics teaching method, one strategy of cultivating prospective preschool teachers’ rhythm sensation is establishing a link between muscle tone and breathing to acquire a clear and sharp rhythm perception. The Second strategy is experiencing and establishing a stable sense of rhythm from body instinct. The third strategy is perceiving and recognizing the internal connection between rhythm and emotional expression through exploring the relationship between energy, space and time in physical movement. Lastly, gradually establishing the association between body rhythm ability and the cognition of spectral signs is also an effective teaching strategy. Through these strategies, prospective preschool teachers can effectively improve their sense of rhythm and their music application and expression abilities.
About the Author: Hui Zhou, female, associate professor, graduated from Music Education Department of Wuhan Conservatory of Music. She is dean of Department of Music and director of Children’s Music Education Research Center at Hubei Normal College of Preschool Education. She has been national Examiner of Social and Artistic Level (Piano Professional).
] 114 [ Jiaxing Xie (ID213) O2O---An Effective Way to Music MOOCs
Since 2014, Chinese music MOOCs have sprung up. By the end of January 2019, 85 music MOOCs have been launched on 9 online platforms in mainland China and Taiwan, including “China University MOOC”, “Zhihuishu”, and “Chinese MOOCs”. According to a relevant data report, the number of people signing up for MOOCs is quite considerable, with an average of tens of thousands, and some courses even nearly one hundred thousand. However, actual participation is undesirable. To find the source of the problem, this paper focuses on the practicality of MOOCs, and applies diverse methods such as content analysis to analyze the 85 music MOOCs of 9 MOOC platforms in China, as well as the coding path of the MOOCs’ fragmentation. The conclusion is that the effectiveness of the usage of MOOCs must be achieved through the effective interaction of O2O (online to offline) courses. To help the research, construction, usage and management of music MOOCs, this paper further discusses the feasibility of the O2O model of the MOOCs.
About the Author: Xie Jiaxing is a professor and doctoral supervisor in Chinese Conservatory of Music, who has supervised more than 80 postgraduates in Music Education, Music Aesthetics and Music Analysis. He is now working as the director of Huaxia Yuefu Music MOOCs Alliance. Xie Jiaxing was nominated as Beijing’s Top-Notch Talent in 2006. And he is the 2010 ISME-Gibson International Award Laureate (Lifetime Achievement Award) in Music Education.
] 115 [ King Cheung Calvin Lee (ID35) Factors affecting the motivation of Studio-based instrumental learners in Hong Kong: Case studies
This article reports on the factors affecting the motivation of studio-based instrumental learners in Hong Kong. It aims at helping instrumental music teachers to motivate their students more efficiently in order to increase their musical standard. Four research questions are formulated namely: (7) What are the special features of instrumental learning in studio-based teaching environment in Hong Kong; (8) To what extend do the teaching environment in Hong Kong affects the motivation of students; (9) What are the motivations of violin and piano learners; and (10) Are there any specific effective motivations in relation to the distinctiveness of violin and piano learners in their learning.
A total of twelve participants selected under purposive sampling method, which reflects a phenomenon of interest, participated in semi-structured interviews with the researcher. The criteria of sample selection included that the participants have to be either learning violin, piano or both instruments. Special attentions were given to young participants who were under age of eight. Content analysis of the interview data was performed to elucidate seven topics: special features of studio-based learning environment, initial motivation, peer influence, parental influence, teaching style influence, music learning in school, and motivation in relation to the distinctiveness of violin and piano. A detailed analysis was conducted to understand the views of participants on teaching style, personal interest, situational interest, extrinsic motivation and intrinsic motivation. Based on the results, a theoretical framework is derived that includes six circulating stages of stimulating student motivation on instrumental learning, namely, motivation symptoms, diagnosis, prescription, implementation, monitoring and feedback. This study contributes to the understanding of the characteristics of studio-based learning environment, as well as specific motivation factors attributes to the distinctiveness of violin and piano learning environment in Hong Kong. The researcher proposes that parents, instrumental teachers and school music teachers should provide more music learning experiences and inspirations to the children for the purpose of matching their genuine intrinsic motivated music activities. He further discusses the earnestly hope for additional music education research which considers instrumental learners with different genders, ages and socio-economic statuses in respect of the learning environment in Hong Kong.
About the Author: Mr. Calvin Lee is an all rounded artist-teacher and researcher. He received his Master of Arts in Music Education (with distinction) from The Education University of Hong Kong. He is now pursing his Doctor of Philosophy in Music Education under the supervision of Prof. Leung Bo Wah. Before embarking on his doctorate, Calvin had been a music director who focus on strings tutorship and music administration for more than 20 years. His research interests include motivation, strings pedagogy and music teacher evaluation.
] 116 [ Christina Chan (ID37) Exploring the instrumental pedagogies for partially sighted children and young people with Albinism
Albinism is a rare group of genetic disorders that reduces the amount of melanin pigment formed in the skin, hair, and eyes. According to the National Organization for Albinism and Hypopigmentation, about 1 in 18,000 to 20,000 people suffering from albinism in the US and the figure is even as high as to 1 in 3,000 in some countries. Vision impairment is one of the common health problems associated with Albinism. While literatures view that music learning provides important opportunities for children with visual impairment to promote self-confidence, nurture aspirations, and satisfaction in solo and group work, very little talks about how to develop an appropriate pedagogy for Albino instrumental learners, especially for those teachers without any special-need training. The author has an opportunity to teach three brothers with Albinism. The purpose of this study is to report the teaching experiences of Albino students in instrumental class in Hong Kong context. Two research questions are formulated namely: (6) How are the motivations of an albino as compared to what is known from research about sighted student in participation in an instrumental class? (7) To what extent, if any, does an Albino student affect the choice of teaching approaches for non-specially trained instrumental teacher?
Three Albino brothers of primary 4, secondary 3 and 5 are purposively selected as research subjects in this study. After semi-structured interviews triangulated with observations, a detailed analysis was conducted to understand different aspects of the participants’ instrumental learning experiences. The researcher concludes that the most acute obstacle for Albinos in learning musical instruments is not the Albinism itself, but the misunderstanding of different stakeholders in the learning process towards Albinism. Most instrumental teachers are not willing to teach Albino students as they have no idea how to start. On the other hand, the motive in learning music instruments of Albino students and their parents is also low as they have little expectation on the success of learning. The researcher suggests more researches and educations can be carried out in promoting students, parents and related parties for instrumental learning. The researcher also urges the government to invest more resources like funding music education training programs for special music teachers to help these unassisted minority.
About the Author: [email protected]
] 117 [ Chang Liu, Aiqing Yin (ID139) The Effects of Parental involvement in Instrumental Music Learning——Based on 7-12-year-old Instrumental Music Learners in China
Background Aesthetic education cannot be well implemented without the synergy among schools, society and families. In 2015, the General Office of the State Council issued the Opinions on Comprehensively Strengthening and Improving School Aesthetic Education, stating that a synergistic mechanism for school aesthetic education and social family aesthetic education should be constructed. Musical instrument learning is not only an important role in music education but also the main way for the implementation of aesthetic education. Similarly, children’s musical instrument learning is inseparable from the help and participation of parents. (1) Investigating instrumental music learning motivation and achievement for 7-12-year-old instrumental music learners in China. (2) Understanding the parental involvement behavior and parenting style for 7-12-year-old instrumental music learners’ parents in China. (3) Analyzing the relationship between parental participation behavior, parenting style and children’s instrumental music learning motivation and achievement. (1) Research Method: Questionnaire Survey (2) Sample: Subjects were 7-12-year-old instrumental music learners (N=487) from the medium-size city in China. (3) Data Analysis: Descriptive analysis; Independent-sample t-test; One-way ANOVA; Structural equation model The result of the difference analysis shows that there are significant differences in many aspects of children’s musical learning motivation and achievement. However, the onefold parental behavior and method of solidified participation strategies cannot meet the diverse needs of individual child development. Through the establishment of structural equation model and analyzing the influence of parental participation behavior and parenting style on children’s learning motivation and achievement, it is concluded that children’s musical instrument learning motivation is a mediator between parents’ participation behavior and methods and children’s musical instrument learning achievement. Parental participation behavior can promote Stimulating intrinsic motivation and suppressing extrinsic motivation have a positive impact on children’s musical learning achievements. However, emotional warmth, anxious rearing and rejection parenting style can’t promote external motivation into internal motivation, lead to a negative influence on instrumental music learning achievements.
About the Authors: Chang Liu Ph.D, Graduate from Northeast Normal University. Research focus on School Music Education and Parental Involvement. Aiqing Yin Ph.D, Professor at Northeast Normal University, Fulbright Scholar of NEC of Music, USA. The Chairman of the Chinese Society for Music Education. Research focus on School Music Education.
] 118 [ Krit Niramittham, Leonard Tan (ID214) Philosophical Insights from Thailand: A Content Analysis of Royal Addresses on Thai Music Education from His Majesty King Bhumibol Adulyadej
National Institute of Education, Nanyang Technological University, Singapore Philosophers who have roles in transforming perspectives of societies on politics, religion, and education give music priceless value as the essential instrument to shape the perspectives of the world (Trakarnrung, 2017). In Thailand, one such philosopher was His Majesty King Bhumibol Adulyadej, King Rama IX of Thailand (1927-2016), who played a critical role in shaping and influencing religion, politics, education, and music education in Thailand. Being internationally recognized, H.M. King Bhumibol Adulyadej was both an excellent musician and composer. The purpose of this study was to analyze the content of royal addresses on Thai music education made by H.M. King Bhumibol Adulyadej. The specific research questions were: (1) What were the philosophical insights from the royal addresses on Thai music education made by H.M. King Bhumibol Adulyadej? (2) How have philosophical insights from H.M. King Bhumibol Adulyadej influenced contemporary Thai music education? (3) What are the similarities and differences between the philosophical insights of H.M. King King Bhumibol Adulyadej and other philosophical traditions in music education? To address these questions, the author collected the royal addresses made by H.M. King King Bhumibol Adulyadej from authorized official sources. The author has also been permitted by the Bureau of The Royal Household, The Kingdom of Thailand, to translate the royal addresses that have not been officially translated into English. Three themes emerged from the content analysis: (1) musical value is eternal and effective to everyone; (2) the education of feeling is for every music player; and (3) music itself is moral and beautiful. This study encourages Thai music educators to use philosophical insights from H.M. King Bhumibol Adulyadej to understand and embrace multicultural, transcultural, intercultural, and cross-cultural music education. It also contributes an Asian philosophical voice to contemporary scholarship in the philosophy of music education.
About the Author: Krit Niramittham, from Thailand, is currently a Full-Time student in Doctor in Education program with music specialization at the National Institute of Education, Nanyang Technological University, Singapore. His research interests include philosophy in music education, cross-cultural, multi-cultural, and world music education. Dr. Leonard Tan is Assistant Professor of music at the National Institute of Education, Nanyang Technological University, Singapore. His research interests include philosophy and psychology of music education, frequently incorporating cross-cultural perspectives.
] 119 [ Jong Mo Yang (ID228) Analysis of nationalism in music textbook used by Korean elementary school in China and Japan
The people who migrated from Korean peninsula live about 2.5 million in China and 700 thousand in Japan. From the 19th and 20th centuries, Koreans escaped their land because of the Japanese invasion and the Korean War. Koreans who left from their country established ethnic schools and educated their nationals in the newly settled areas in order to protect and develop Korean nationalism.There are 96 Korean elementary schools in China (1999 statistics) and 40 Korean elementary schools in Japan (2018 statistics). Now, most of the Chinese and Japanese Korean who attend in Korean schools are the 2nd or 3rd generation, but they want to keep the identity of the Korean ethnicity through establishing and maintaining the schools. The purpose of this study is to analyze the music textbooks they used and to understand the actual situation of Korean ethnical education in China and Japan. The textbooks analysis consists of 12 music textbooks of the elementary school published by the Yanbian Autonomous Prefecture in China, and 12 music textbooks of the elementary school published by the Korean Japanese Academy in Japan. The contents of the analysis are analyzing the language they used, musical elements of folk songs, regional characteristics of musical instruments, and characteristics of Korean court music. The results are as follows. First, the music textbooks used by Chinese and Japanese Korean are all written by Korean (called as Hangul). Second, even if the Korean folk songs are the same subject as we use, but differences in scales and rhythms are found. Third, they use ethnic musical instruments such as gayageum, janggu, etc. the same as we use. Fourth, court music is not important to their music education. The conclusion is as follows. First, the Korean people who live in China and Japan emphasize music education in order to keep their national identity. Second, they focus on singing Hangul songs and playing Korean instruments. Third, they do not focus on localization and globalization ability for future generations who live as foreigners in China and Japan in their music education compare to their strong ethnic education.
About the Author: YANG Jong Mo, Professor in Busan National University of Education(2007-now). Dean, Office of Academic Affairs in Busan National University of Education (2017.10. - 2019. 2). President for Korean Music Education Society (2012-2014); A Researcher in KICE (1998-2007); A Writer the Music Textbook (1998~2017). Email: [email protected]
] 120 [ Alfredo Bautista, Conway Colleen, Clarence Puay-Yon Tan, Joanne Wong (ID242) The role of classroom video in music teacher research: A review of the literature
While there are extensive literature reviews on how classroom video may support teacher learning, none is specific to music educators. Videos of classroom practice (or video cases) are commonly integrated in music teacher education programs and professional development initiatives. However, the corpus of research focusing on how classroom video can help music teachers learn, reflect, or discuss about music teaching and learning is relatively small as compared to other areas. The literature published in the past 31 years was reviewed. Our focus was empirical articles in which videos of actual classroom practices (i.e., showcasing music teachers in action with groups of students in the classroom) had been used with school music teachers. We only considered studies conducted with teachers from non-tertiary levels, teaching music to general student populations. We were interested in studies where videos had been employed somehow to foster music teachers’ learning and professional development, and/or to elicit their ideas, reflections, or discussions pertaining to music teaching and learning. This could be within the context of pre-service teacher education programs, in-service professional development initiatives, and/or as part of stand-alone research projects or experiments. Twenty four articles were shortlisted and analyzed according to several analytic dimensions. This review shows that music education research in this area has been sporadic, unsustained, and scattershot from a thematic point of view. The field does not seem to have leading scholars, as there were only two recurring authors in our database, each with two contributions only. This suggests that research agendas of music education scholars are not primarily centered on this topic. Overall, our findings indicate that most research in this field has been qualitative, focused on relatively small samples of general and/or instrumental primary and secondary music teachers, and conducted within formal teacher education programs. Moreover, classroom videos have been primarily utilized to foster teachers’ reflection upon their own instructional practices, to understand student thinking or learning, or teachers’ confidence, beliefs, or identity. Given the high potential of classroom video to improve teaching effectiveness and student learning, a clearly established course of action is necessary to move the field forward in music education, where tapping on video technology seems particularly strategic due to the constraints music teachers typically have. During this presentation, we will elaborate on the findings further and suggest potential future lines of research, justifying why the proposed studies would be important to fill existing gaps.
About the Author: Alfredo Bautista is an Associate Professor in the Department of Early Childhood Education at The Education University of Hong Kong. His area of specialization is teacher professional development (PD), with a special focus on how to support kindergarten teachers in the area of Arts and Creativity, particularly in Music. Clarence Puay-Yon TAN & Joanne WONG, National Institute of Education, Nanyang Technological University (Singapore). Colleen CONWAY, School of Music, Theatre & Dance, University of Michigan (United States of America)
] 121 [ Emma Saxton (ID264) Classroom Music: A worthy investment or just a waste of time
The value placed on music and music education, and specifically classroom music is determined by what we believe to be educationally valuable. In our current climate of high stakes testing the value could be determined by how it improved or increased NAPLAN If the current claims that music can improve NAPLAN results were possible would it see an increase in classroom music and the delivery of quality music education programs? The theoretical background of the paper is based around Elliott’s (1995) interpretation of flow meaning the ability of music to lose time when involved in musicing; being the behavior of either making or listening to music. This sense of flow then develops a feeling of joy and engagement. The focus of the paper will be to demonstrate from the literature, the value of music and music education. For this paper, a literature review was conducted to consider the value of music and music education in Australia, including the early introduction of music to education after European settlement and the broader international context. After completing the literature review the evidence is that much music in school programs are a waste of money, some are not, which has led me to conduct a research project to determine the value of music, and what sort of music is a worthy investment.
About the Author: Emma Saxton is a sessional Arts Lecturer and PhD student at Charles Sturt University, Australia. Emma has extensive experience as a music educator. She is the Director of her own music school which offers instruction in a range of musical instruments. Emma has been awarded a Fellowship Diploma for the Ukulele.
] 122 [ Angela Hao-Chun Lee (ID144) The Effects of the Ukulele on the Experiences and Leisure Activities of Positive Aging in Taiwan
The proportion of elderly people in Taiwan (Republic of China) has increased steadily since 1993 when 7.83% of the Taiwanese population (1.49 million people) were 65 years old or over. It is predicted that by the end of 2018, this figure will rise to 14.00% (Ministry of the Education, Senior Education Website, 2016). This is the highest rate of aging worldwide (Tai, et al., 2015), and as a result, elderly care-related practices are increasingly gaining attention. The purpose of this study is to explore a small music club called “Can’t Read the Words” at Shuilin Township, Yunlin County. These Taiwanese elders have a well-established, active community where they play the ukulele. There is particular attention to their experiences and song preferences (songs they have chosen to play or sing). This study also includes individuals or groups from other communities that provide more evidence for this single case study. However, this study does not intend to present a comprehensive account of music learning nor serve as a form of therapy for the elderly. Data collection involved undertaking fourteen in-depth semi-structured interviews with individual healthy adults. All participants came from regional communities, musical organizations to interpret and identify how music effects on their lives. The analysis methodology used is Interpretative Phenomenological Analysis (IPA). This study will first examine participants’ general music-related experiences followed by an exploration of their personal experiences for musical engagement. Then their song preferences will be discussed. It is important to share any information that could lead to an increase in the vitality and/or proficiency of the society’s elderly. The findings will attract the interest of the general public and to scholarly researchers. The content is appropriate for use or discussion online and in multi-media platforms. To conclude, participants believed that they can share their musical experiences and positive attitude with their local communities and other institutions. It is very important that the rural population of healthy senior adults (such as the ones who participated in this study) serve as resources; their broad perspective about the function of music (playing the ukulele) on positive aging should be of interest to scholarly researchers considered. The “Can’t Read the Words” musical club provides an example of music as an effective agent in positive aging.
About the Author: Angela Hao-Chun Lee trained as a music teacher and performer at Melbourne University, Australia. Dr. Lee also completed her MA and PhD in Music Education at Monash University, Australia. She is an Associate Professor in the Department of Early Childhood Educare, TransWorld University, Taiwan. Dr. Lee teaches music education, early childhood education and special education at the undergraduate level and also holds a research position.
] 123 [ Kiyoshi Asakawa, Yuki Hikichi, Lin-Yu Liou (ID294) Evaluating learning motivation and experiences of junior high school students in music composing activities: Using the scale of Japanese nursery rhyme
The goal of this research is to evaluate the extent to which the method developed by the presenter results in an enjoyable and interesting experience for students when they partially compose (or create) music. This piece of research is the initial step towards building a body of work exploring this theme. The method allows students to develop music composition skills, employing the pentatonic scale which is used here to deepen the students’ feelings of connection to their native Japanese culture. In detail, the presenter used nursery rhymes “Nara no Daibutsu-san” (The Great Buddha at Nara) as a teaching material for composing music. The reason to use the son is because it is well known in Japan and familiar to kindergarteners as well as elementary and junior high school students in the area. Moreover, composition is one of the activities which are specified to be taught in the Japanese Music Guide Line enacted by Ministry of Education, Culture, Sports, Science and Technology of Japan. Participants of this research were a total of 231 students of Nara Junior High School affiliated to National University of Education in Japan. In the sample, 113 students were male and 118 students were female, of whom 108 were in the 2nd grade and 123 were the 3rd grade. We taught 7 classes for the purpose. In each class, at beginning, the presenter sang “Nara no Daibutsu-san” with the students, trying to make them remember the song, and showed them its structural notes, rhythms and 4 phrases to recognize the song’s structures. Then, the presenter divided the students into 2 big groups. Each group was further divided into 4 small groups and was instructed to use the structural notes to make one phrase melody which should be matched to the rhythms of “Nara no Daibutsu-san.” After each class, the students completed “Classroom Experience Forms (CEFs)” to evaluate their experiences while attending the class. According to the analyses of CEFs, the students appeared to enjoy the class (average enjoyment score on CEF was 7.0 on a 10-point rating scale ranging from 0 to 9). Moreover, their perception of music skills was positively associated with their levels of feeling of fulfillment, concentration, satisfaction, and sense of control. These results will be discussed in terms of how music instructors should create enjoyable and interesting classroom activities for students to develop their music skills and knowledge.
About Author: ASAKAWA, Kiyoshi (co-author) Professor of psychology at Department of Intercultural Communication, Hosei University, Japan. Received Ph.D. in psychology (human development) from The University of Chicago in 1997. Major research interests include flow theory, culture and psychological function, optimal human development, and flow and psychological well-being. HIKICHI, Yuki (co-author) Music teacher of Junior High School affiliated to Nara University of Education. Graduated from Department of Music, Doshisha Women’s College of Liberal Arts. She has long career to teach music as full-time lecturer from elementary school to senior high school in Osaka and Nara. LIOU, Lin-Yu (presenter) Professor in the Department of Music Education, Nara University of Education, Japan. Born in Taiwan. The author of The Establishment and Development of School Song Education in Colonial Taiwan (in Japanese, 2005). In recent years she has developed teaching materials, focusing on the relation between nursery rhyme and ESD. ] 124 [ PANEL DISCUSSIONS
Lily Chen-Hafteck, Wencui Huang, Xiaoning Qin (ID186) Reforming Music Teacher Education: Efforts to implement Culturally Responsive Pedagogy in California, USA and Guangxi, China
During the last decades, the world has changed tremendously that exerted significant impact on education. The increasing cultural diversity of the population in the U. S. has made it all the more important for educators in preparing the new generation to live successfully in a multicultural environment. The rapid economic development in China arising from the need to compete in the global market, results in a domination of Western education over traditional and cultural education in school, which is now being re- examined by educators. Music is an important form of cultural expression (Clauss-Ehlers, 2010). Bradley (2010) argued that music education has the potential to develop deep understandings about people and cultures in students, and that teaching music while avoiding contexts contribute to a devaluation of the arts in education. Culturally responsive pedagogy (Gay, 2010) acknowledges the legitimacy of the cultural heritages of different ethnic groups that affect students’ dispositions, attitudes and approaches to learning. It teaches students to know and praise their own as well as others’ cultural heritages. The student population in most Los Angeles school districts is very multicultural. The need to celebrate such diversity in the classroom is therefore inevitable. In order to be culturally responsive to their students, teachers need to first understand their own culture and to commit themselves in becoming social justice educators. They have to be open to learning students’ perspectives and flexible enough to make teaching modifications to accommodate different learners. Similar to California, Guangxi province is inhabited by a culturally diverse population. But instead of cultures brought to the U. S. by immigrants from different countries, there are numerous minorities who have been passing on their distinct music and cultures for many generations within various locations in the region. As the younger generations move to the cities for work and study, the influences of the major culture, Han, and the official national language, Mandarin, have overshadowed the minorities’ cultures and languages. A survey on the Guangxi university, students indicated that most of them expressed their liking on traditional folk music. Yet they do not know very much about it. Although there is promotion of Chinese traditional culture in higher education, Western music still dominates the study of music in many Chinese universities. There is a need to explore new approaches of teaching that integrates traditional music, and are culturally responsive. It was found that active music-making approaches, such as Orff method can help students learn Guangxi folk music effectively. An innovative course of Gu-Zheng, a traditional Chinese instrument, that focuses on developing students’ comprehensive musicianship through integrating playing, singing and dancing activities has proved to be very successful too.
About Author: Lily Chen-Hafteck (Panel Moderator) , is currently Professor of Music Education at University of California, Los Angeles (UCLA), USA. She is also Chair of the Faculty of the UCLA Herb Alpert School of Music. Originally from Hong Kong, she is a Fulbright Scholar who holds Ph.D. in music education from the University of Reading, U.K. and received postdoctoral research fellowship at the University of Pretoria, South Africa and University of Surrey Roehampton, U.K. She held leadership positions of International Society for Music Education (ISME) as member of its Board of Directors, chair of its Young Professionals Focus Group and Early Childhood ] 125 [ Commission., and is currently a MISTEC Commissioner. She is also the World Music Representative of California Music Educators Association (CMEA) State Council. She is the founder and director of the Educating the Creative Mind project, funded by National Endowment for the Arts; and a co-investigator and team leader of Advancing Interdisciplinary Research in Singing (AIRS) project, funded by the Social Sciences and Humanities Research Council (SSHRC) of Canada. Huang Wencui, Master Supervisor, Associate Professor, Dean of Teacher Education Theory Department, Music Education College of Guangxi Arts University, China. Qin Xiaoning, Yao Minority, who graduated from Guangxi Art College, is a professor at Faculty of Music and Dance, Guangxi Science and Technology Normal University. Qin’s teaching major is Musical Education and has been studying Guzheng Performance, Learning and Teaching, as well as Music of Minority Nationalities in Guangxi. Qin Xiaoning studied as a visiting scholar at the University of California,Los Angeles and as a visiting scholar in China Conservatory of Music. Qin also works as a Guzheng Grade examiner for Chinese Musicians’ Association and China Nationalities Orchestra Society.
] 126 [ Jessie Hsiao-Shien Chen, Hong-Ky Cho, Xuerong Cui, Masafumi Ogawa (ID58) Issues of Movable-Do and Fixed-Do Systems at Grade Schools in Asia
Solmization is one of the fundamental processes in teaching songs. It is an essential method in understanding melodies, pitch intervals in order to sing correctly. The syllables “Do, Re, Mi, Fa, Sol, La, Ti (Si)” are commonly used throughout the world. There are two systems in using these syllables; movable-Do and fixed-Do. There have been significant debates about the two systems’ usability, practicality, and feasibility since the 19th century. Although movable-Do has historically been the authentic method of music-learning since the age of Guido d’Alezzo, the fixed-Do approach became predominant in the 19th century when the piano became the major musical instrument among beginning musicians. Before the systemization of school education, Western music and the Western notation system were not included in the traditional culture in most Asian countries. After mid-nineteenth century, these were suddenly introduced along with modernization, and Westernization processes associated with colonization, Christian missionaries, and implementation of modern education systems from Europe and the United States. Therefore, it has been challenging for Asian countries to accommodate and assimilate Western music and culture with their own music and culture. Today, although the school-based music education of Japan, Korea, China, and Taiwan flourishes and reaches high performance standards, there seem to be common problems in terms of solmization issue in the music classrooms. It is the fact that fixed-Do system is predominantly used in music classes of grade schools in these places. Although the movable-Do system is considered legitimate in the music classes in these places but in reality, the majority of music teachers teach music according to the fixed-Do system. In Japan’s case, great majority of music teachers have begun studying music with piano. Particularly in elementary schools, most of the music teachers are female who majored in piano at college. They are taught in nothing but fixed-Do system by their college professors. Japanese piano professors both in professional music colleges and education institutions teach only fixed-Do and encourage students to bear “absolute pitch.” As a result, fixed-Do system became the default in music classes without any knowledge of movable- Do system. Recently, the music psychologist Ken’ichi Miyazaki presented data that showed that 83% of music college students in Japan bear absolute pitch, whereas 50% in China, and 17% in Poland (Miyazaki, 2018). Furthermore, Japanese music major students scored worst in relative pitch calculation tests among these places. (Ibid.) This situation seems to be the cause of problems and difficulties in teaching singing in Japanese music classes. Many music teachers do not have pitch-matching skills as well as harmonizing in pure tonal system. They sometimes force students to gain absolute pitch regardless of their musical pitch cognition skills. Therefore, the aims of this panel discussion is three-fold. (1) Acknowledging the realities of the solmization issues and difficulties in teaching singing in Japan, Korea, China, and Taiwan. (2) Discussing the structure of causes in each country and finding the common underlying problems. (3) Discussing the way to the solutions in order for changing from the fixed-Do domination to the movable- Do as main stream.
In this session, Prof. Masafumi Ogawa will introduce the situation and problems in Japan regarding teaching singing in elementary and junior high schools as well as music teachers’ education. Dr. Hong-Ky Cho will talk about the situations in Korea and about his opinions from observation from Korean music education policy and choir training. Professor Cui Xuerong will explain the history and the current situation concerning the movable-Do issue in China. Dr. Jessie Hsiao-Shien Chen will discuss about the situation of solmization in ] 127 [ Taiwan. After each panels’ presentation, we will discuss together the similarities and differences regarding movable-do and fixed-do issues of music education in Asian countries. At the end, we also will include participants’ discussion from these aspects.
About the Authors: Dr. Jessie Hsiao-Shien Chen, full professor of Music Department of National Taichung University of Education in Taiwan, also the 7th and 8th president of Taiwan Kodaly Society. Dr. Hong-Ky Cho, gained his doctoral training in Hungary, currently teaching in Soul Art University, also in charge of Korean Kodaly Society and respected as a famous choir director in Korea. Dr. Xuerong Cui, full professor of Music Education at Zhejiang Conservatory of Music, China. Dr. Masafumi Ogawa, full professor of music education at Yokohama National University, Japan. He holds D.M.E. degree from Indiana University. He specialized in comparative music education, philosophy of music education, and choral conducting. (Chair)
] 128 [ C. Victor Fung, Hiromichi Mito, Chihiro Obata, Hiromi Takasu, Nozomi Azechi, Yoko Ogawa, Hiroshi Suga, Yuki Kuwaharada (ID90) Music Participation and Quality of Life of Senior Citizens in Japan
The moderator of the panel will present an overview, and the common features of a series of case studies conducted across different parts of Japan, including major metropolitan areas, mid-size cities, and rural areas. The series of case studies were guided by the same study purpose, research questions, and The research purpose was to investigate senior citizens’ music participation and quality of life in Japan. The research questions were: (7) What is the relationship between senior citizens’ music participation and perceived quality of life in Japan? (8) How does music participation contribute to senior citizens’ perceived quality of life in the Japanese cultural context? (9) To what extent does senior citizens’ past musical participation contribute to their current quality of life? (10) Why did senior citizens participate in musical activities, then continued or discontinued? (11) What role does music play in the senior citizens’ lives in Japan? (12) What are senior citizens’ perceived benefits of music participation? (13) When and how did senior citizens acquire musical skills? (14) How do different types of musical activities and different musical genres differ in senior citizens’ music participation?
A mixed-method approach was used, including a survey, observations, and interviews. The survey included the 16-item Quality of Life Scale (Burckhardt & Andersen, 2003) and questions regarding the participants’ personal musical history and current music participation. It was distributed in each of the participating group activities targeted for senior citizens. Observations of the group activities were conducted by Japanese researchers as well as a non-Japanese researcher, which was an attempt to get at both emic and etic perspectives. Notes were taken in an open format during the observations. Open interviews were conducted with selected individual seniors within the organizations being studied.
Results. (1) Northern and Central Area of Japan: Two researchers will present a summary of findings from the Northern and Central Area of Japan. A case study of a choir in Sendai in the Miyagi Prefecture will be presented, as well as a summary of case studies of singing, Japanese traditional instrument, and other musical groups in the larger Tokyo metropolitan area. A case of a choral group in Uonuma, a rural area, in the Niigata Prefecture will be included also. (2) Middle Area of Japan: Two researchers will present a summary of findings from the Middle Area of Japan. Case studies of traditional and Western singing groups, and a non-musical group in the Nagoya area, and its outlying area within the Aichi Prefecture will be presented. (3) Western and Southern Area of Japan: Three researchers will present a summary of findings from the Western and Southern Area of Japan. Case studies of multiple singing and choral groups and a non- musical group in the Miyazaki area and a case of a singing group in Kojima, a small city near Okayama, will be presented.
The audience may raise questions, discuss findings, or work collaboratively with the presenters to synthesize all findings in various cases across Japan.
] 129 [ About Author: C. Victor Fung is Professor of Music Education and Director of Center for Music Education Research at the University of South Florida, Tampa, USA. He was a Fulbright Researcher in Japan (2018). Hiromichi Mito is Professor of Music in the Department of Education and Child Development, Faculty of Psychology, Meiji Gakuin University, Tokyo, Japan. Chihiro Obata is Associate Professor at the Miyagi University of Education in Sendai, Japan. She received her Ph.D. from Tokyo Gakugei University in 2005. Her present research concerns poor pitch singing, with special attention to the inferiority complex that often accompanies it, and internal feedback mechanisms used for singing. Hiromi Takasu is Associate Professor in the Child Care Department, Nagoya College, Nagoya, Japan. Nozomi Azechi is Lecturer in Music in the Department of Child Science, Doho University, Nagoya, Japan. Yoko Ogawa is Professor of Music Education in the Faculty of Education, Okayama University, Okayama, Japan. Hiroshi Suga is Professor of Music Education in the Faculty of Education, University of Miyazaki, Miyazaki, Japan. Yuki Kuwaharada is a graduate of the University of Miyazaki, currently teaching music at Sumiyoshi Elementary School of Miyazaki, Japan.
] 130 [ Hung Pai CHEN, Tadahiko IMADA, Joo Hyun KANG, Shahanum MOHAMAD SHAH, Pan- hang TANG (ID189) ISME Policy Commission 2019 APSMER Panel Discussion — Technology in Music curriculum and its Practice
This session could be seen as the regional discussion of ISME Policy Commission in Asia, with five panelists from Hong Kong, Japan, Korea, Malaysia, and Taiwan. In the era of information explosion, the educational reform occurs all around the world, including the above mentioned five regions, while the rapid development of media technology and its use provide unprecedented possibilities for education, including music learning and teaching. This panel discussion refers to the main theme of the symposium: Music Education in the Dawn of a New Era; which would review the involvement and implementation of technology in official documents on curriculum guidance and school music education. The five speakers each has 13-15 minutes to illustrate their current reform of school music education and the role of the applied technology in these changes and, further, provide recommendations for future development and practice for the new era. A brief content of each panelist’s presentation is as follows: In Hong Kong, STEM education has been widely promoted in local schools. An One-off information Technology Grant for e-Learning in Schools, or simply as WiFi 900, has been given for schools to install the necessary equipment. Despite the curriculum is designed for the subjects of mathematics and science, the idea of STEM education can provide insight for music teachers to establish the better teaching and learning. Yet incorporating STEM education into the school music curriculum may require teachers to have additional training, and so is not easy for them. On the other hand, social media platform, such as Facebook and Twitter, and learning management system (LMS), such as Moodle and WordPress Sensei, are much easier to learn. It was during the last decade that mobile media such as the smartphone and tablet made its appearance in Japan: while it did not derive from European epistemological and ontological models specific to the nineteenth century, it was made possible only by post-modernism, which subsumes late capitalism. Sherry Turkle (2012) researched on technologies of mobile communication among all generations in the US and explained in TEDTalk: “Being alone feels like a problem that needs to be solved…The best way to describe it is, I share therefore I am…How do you get from connection to isolation?” The specific question of this paper, therefore, is: how can children cultivate the capacity for solitude, the ability to be separate, to gather themselves through music education? In Korea, recent innovations in the development of technology have changed mankind’s way of life, and the knowledge and skills required for future society are also changing. In 2011, the Ministry of Education proposed ‘Smart Education’ in response to this trend and outlined the recommended changes. Although the 2015 music curriculum not specified in the documents, the use of technology in music education would be interpreted as essential. Moreover, the use of digital media, computer-based devices, and internet were recommended. However, the definition of technology, how it is utilized in the music education curriculum, and what standards students should achieve through the use of technology in music education have not been clearly and specifically described. In the current standards based music curriculum in Malaysian schools, there are six pillars which form the backbone of the curriculum of which the Science and Technology pillar emphasizes among others knowledge and skill based on technology. Within this pillar, one of the disciplines is Information and Communication Technology. The inclusion of the Information and Communication Technology (ICT) discipline is to ensure students have basic knowledge and skill of ICT and are able to apply the knowledge and skills learned to increase students’ creativity besides increasing the quality of learning. ICT is integrated according to the suitability of topics taught and used to increase students’ understanding of the topic. Students are expected to learn about ICT, learn with ICT and learn through ICT. ] 131 [ In Taiwan, Computer Technology has been adopted into national curriculum standards since 1995. The present Grade 1-9 Curriculum Guidelines emphasizes the application of technology as a critical issue in all areas of teaching, which also encourages information technology (IT) as a learning tool in Arts and Humanities Learning Area (music, visual arts, and performing arts). Starting from 2019 school year, a newly implemented Curriculum Guidelines of 12-Year Basic Education would indicate IT and media literacy as part of ‘the Nine Students’ Core Competencies,’ and recommend the use of technology, such as digital media, and Internet for arts teaching, including music education. With guidance of the curriculum and government support, school music education in Taiwan is heading into a new phase with the help of technology application and media.
About the Authors: Hung-Pai Chen is a researcher and Assistant Professor of Music at National University of Tainan, Taiwan. She is now a commissioner of the ISME Commission on Policy: Culture, Education and Media. Her research interests include music education policy, music teacher education, technology integrated education as well as arts education. Tadahiko IMADA is Professor at Hirosaki University. His PhD is from the University of British Columbia. Dr Imada is author of The Music of Philosophy: Music Education and Soundscape (Koseisha-Koseikaku), and co- author of A Little Sound Education (with Schafer, Shunjusha); The Oxford Handbook of Philosophy in Music Education (Oxford University Press) and Creativity in Music Education (Springer). Joo Hyun Kang is from South Korea. Currently she is teaching at the Seoul National University of Education and KangWon University. Her research interests are music education policy, music teacher education, curriculum as well as community music. Shahanum MOHAMAD SHAH@email address: [email protected] Dr. Pan-hang Tang aspires to promote the music culture in Hong Kong through education and research. A talented professional composer with over years of experience in school teaching and management, Dr. Tang excels in both vocal and orchestral conducting, supervising and motivating musicians and students.
] 132 [ Nantida Chandransu, Ngarmta Nandakwang, Khanithep Pitupumnak, Somchai Trakarnrung (ID192) Riding the waves of change: Rethinking and reframing the future of music education in Thailand
In relating to the main theme of the APSMER 2019 conference: Music Education in the Dawn of a new era, this paper will address the contextual framework of music education in Thailand including formal and nonformal music education, the struggles of music in higher education with quality assurance control, the challenges and opportunities of music education in relation to the dynamic changes of educational policies, the emergent knowledge of systematic music education (SME) and community music education (CME), rethinking of opportunities for improvement in early childhood music education, and a project-based research curriculum by integrating multicultural music education in public school system. This symposium aims to discuss the challenges and opportunities for future music education in Thailand while the waves of change and disruption have made significant impacts on the Thai education since the turn of 21st century. Benchmarking with a number of world-class universities and world bank education database, ministry of education has tried to reform Thai education in all dimensions by implementing public policies without clear directions and understanding of the contexts. To reframe future music education in Thailand, stakeholders need to rethink the understanding of complex relations of music, education, culture, localization, and globalization. In this paper, Trakarnrung will begin to address the contextual framework of music education in Thailand including formal and informal music education, the struggles of music in higher education with quality-assured control, the challenges and opportunities of music education in relation to the dynamic changes of educational policies, the emergent knowledge of systematic music education (SME) and community music education (CME) (Pitupimnak), rethink the opportunities for improvement in early childhood music education (Nandakwang), and conclude with a project-based research curriculum by integrating multicultural music education in public school system (Chandransu). Music education in Thailand has appeared and existed in a community, as music master’s house, temples, and self-learning, from the past to this day. After Siam (Thai) education revolution in 1871, the King Rama V (1853-1910) period, the transmission of music in culture was managed in the form of a music subject and curriculum in the educational institutions. However, the teaching and learning music in communal context has remained along with the modern education. In addition, there is a Thai government policy on education that support the integration between systematic education and community, but the policy cannot be implemented efficiently, especially in the music curriculum. Pitupumnak will present an approach to connect systematic music education (SME) and community music education (CME) in Thai context by the main issues; the situation of CME in Thai context, the government and sociological perspective on CME, the integration of the knowledge, teaching/learning process, and management between SME and CME. The Ministry of Education has recognized the importance of childhood. According to the Early Childhood Education Development Plan, the policy states that all children must continuously attain all-round development, efficiently corresponding to their age and ability. However, it has been discovered that the Early Childhood Curriculum does not include substantial Music Education. Moreover, primary school teachers were the ones who teach children in all subject. There were no teachers who specialize in music and none have graduated with a degree in music. This encouraged groups of parents who see the importance of music to seek music classes for their children from informal education. Yet, with lack of knowledge in early childhood education and music development in children, parents tend to demand high results from music classes. Nandakwang will discuss on the opportunity to cooperate with government agencies, which have the ability to develop and educate early childhood music educators by offering training courses, lectures and conferences for parents and teachers. ] 133 [ Chandransu will reflect the project on various challenges encountered during a pilot action- based research “Integrating Multicultural Music Education into the Elementary School Level Curricula of Public Schools in Thailand”: This project was set up to develop lesson plans, activities, teaching tools and evaluation methods for music teachers. As a pilot-curriculum model, it pays particular attention to cross-cultural understanding for helping Thai children gain a sense of cultural conceptualization and the skills necessary for growing up in a racially, religiously, and culturally diverse society. This research attempts to explore possibilities for various music cultures to be introduced to formal education system in Thailand, which had previously restricted music education to nationalist-based Thai music and certain samples of Western classical music. Once children discovered multiple music cultures, their perspectives are broadened. The outcomes of this research will also be beneficial for future instruction designs. The attempt to update music education in the Basic Education level to accommodate changing social and cultural contexts affected by globalization and urbanization will raise awareness of cultural diversity and the direction of music education curriculum development. Music education through the Thai formal education system is one method for preparing children to grow up in a culturally diverse world.
About the Authors: Asst. Prof. Dr. Somchai Trakarnrung (Corresponding Author), Faculty of Graduate Studies, Mahidol University, Email: [email protected] Asst. Prof. Dr. Khanithep Pitupumnak, Faculty of Fine Arts, Chiangmai University, Email: [email protected] Miss Ngarmta Nandakwang, Denla British School, Email: [email protected] Dr. Nantida Chandransu, Research Institute for Languages and Cultures of Asia (RILCA), Mahidol University, Email: [email protected]
] 134 [ James Lee Huan Siak, Chua Siew Ling, Adeline Tan (ID204) Re-situating Technology-based Music Lessons in the 21st century
The proposed symposium discusses how digital technology is harnessed for the music classroom and the implications on pedagogy. It contributes to the main theme of ‘Music Education in the Dawn of a New Era’ and particularly in the context of ‘reform of school music education’. Given that our students today are digital natives, some assumptions are often made, for example, that the use of technology will lead to increased student engagement, that technology-based lessons involve digital processes in making music. The symposium discusses observed practices and re-examine assumptions involving the use of technology in our classroom. It calls for a need to review our priorities and objectives in designing and conducting technology- based music lessons.
About the Author: James Lee Huan Siak (Panel Moderator), Singapore Teachers’ Academy for the aRts, Ministry of Education. Email: [email protected] Chua Siew Ling, Singapore Teachers’ Academy for the aRts, Ministry of Education. Email: Chua_Siew_Ling@ moe.gov.sg Adeline Tan, Singapore Teachers’ Academy for the aRts, Ministry of Education. Email: [email protected]. sg
] 135 [ WORKSHOP
Chi Hin Leung (ID112) The Future Orchestra at Present: e-Orch Workshop
e-Orch, an innovative electronic music creation and performance project, promotes creative orchestral music-making by using tablet devices even without years of formal classical music training. This workshop aims to explain the educational concept of e-Orch which focuses on tablet music creation, performance apps learning and digital music ensemble. Participants will be offered a chance to experience a live e-Orch performance under the direction of the conductor. The workshop also provides a pedagogical example for participants who are interested in setting electronic ensemble in their schools which includes performance apps learning on tablet, music creation, digital orchestra.
About the Author: Chi-hin Leung is a contemporary composer and music educator who was awarded the Gold Medal from International Invention Innovation Competition in Canada, the Special Prize from the Romanian Inventors Forum, President’s Award for Outstanding Performance in Teaching and many. Leung is the Assistant Professor at the Education University of Hong Kong, President of the Hong Kong Association for Music educators, Apple Distinguished Educator, Vice Chairman of the Hong Kong Composers’ Guild, and Commissioner of the Music in School and Teacher Education Commission under ISME.
] 136 [ Koji Matsunobu (ID130) 3D designing and printing the shakuhachi that actually allows you to play a tune: A new approach to world music pedagogy.
The shakuhachi is often considered as one of the representative instruments from Japan. While it has attracted a growing number of practitioners outside Japan, its popularity in Japan is decreasing in the traditional realm of practice (Matsunobu, 2011). Education plays an important role in sustaining traditional music (Leung, 2018), and this applies to Japanese music (Matsunobu, 2018). However, when the shakuhachi is taught in schools, it faces many challenges, as witnessed by many teachers in Japan: Most notably, the shakuhachi is a very difficult flute to play due to its vertical and open-top structure. This means that only a handful of students can produce a sound in the classroom setting. Disappointed, most students are discouraged from further learning. The purpose of this workshop is to share the outcomes of a research project that aims at designing a new shakuhachi using 3D printing technology. The material of the instrument, whether it is bamboo, wood, glass, or plastic, is known to have indiscernible impact on the sound quality. The newly designed shakuhachi enables anyone to produce notes and even play a tune with a distinctive shakuhachi expression. Participants of the workshop are given an opportunity to try out the 3D-printed shakuhachi, learn basic techniques of shakuhachi playing, and play some folk tunes. Additionally, empirical data are also introduced through the author’s interviews with professional makers as well as an experimental study in the school setting. Issues to be discussed include the designing process of educational instruments, which requires negotiation between the views of professional instruments and educational instruments. Continuity between educational and real-word practices of music is also part of the design thinking process. Implications for music education are further explored in relation to the possibility of educational instruments for ubiquitous music learning.
About the Author: [email protected]
Earl Clarence Lomuntad Jimenez, Amil Kim Quan Capitan, Celeste Manrique Romulo,
] 137 [ Lilymae Franco-Montano (ID193) Introducing Interlock with the Philippine Kalutang (musical sticks).
The Philippines has a wide variety of traditional music instruments. Many of these, such as bamboo ensembles from the northern region of the country and gongs from the south, have been incorporated in the classroom either as entry points to the discovery of musical cultures outside the Western canon or as innovative tools to teaching musical concepts such as rhythm and timbre. In many of these traditional ensembles, interlock is one of the key means by which melody is produced. As a rhythmic technique in music, the playing of interlocking patterns poses a challenge for beginner musicians. Once learned, it aids in rhythmic skills building, melody recognition and inner hearing, and musical independence through ensemble playing. Furthermore, for young learners, playing the kalutang promotes the development of gross and fine motor skills. This workshop introduces participants to the concept of interlock using a traditional music ensemble of wooden musical sticks locally called kalutang in Marinduque, an island province in central Philippines. In the ensemble, each player holds a pair of tuned musical sticks which are struck against each other in order to produce a tone. Through the use of interlocking rhythmic patterns, melodies are produced by the ensemble. The workshop takes the form of a lecture wherein the music instrument is introduced. This is then followed by a demonstration of the its playing technique. Participants will then get a hands-on experience of playing the music instrument in an ensemble. Notated scores will be used to facilitate learning. In an increasingly multi-cultural world and classroom, the use of traditional music instruments in classes leads to an awareness of other musical cultures. In addition, the use of local instruments and an understanding of their playing techniques and musical characteristics provide students of schools with little or no access to Western-type music and music instruments an equal learning opportunity.
About the Author: Prof. Earl Clarence Jimenez is an Associate Professor and has a PhD in Ethnomusicology, Prof. Amiel Kim Capitan has an MA in Ethnomusicology and is a Kodaly teacher, and Prof. Celeste Romulo has an MA in Music Education. All three are with the faculty of the Philippine Women’s University School of Music and continue to do research in Philippine music and applying these to music education programs.
] 138 [ POSTER PRESENTATION
Marina Wai-yee Wong (ID21) Analyzing the Development Process of Macau Secondary Schools Music Curriculum
Curriculum development involves choice – the choice of cognition and skills. Its focus does not only encompass knowledge, but also the approaches of teaching and learning. According to Lawton’s (1975) model for curriculum planning, objectives, content and procedures should be selected with reference to (1) The nature of knowledge; (2) The nature of the child; and (3) The nature of society. Lawton (1980) proposed the partnership rationale for curriculum development that emphasizes teacher-autonomy. The purpose of this research is to analyze the process of secondary school music curriculum in Macau and investigate music teachers’ expectations and perceptions on school music curriculum development. The Research Questions are: (1) How do music teachers’ expectations align with Macau’s development of secondary school music curriculum? (2) How do music teachers perceive their impact on Macau’s secondary school music curriculum?
Qualitative study was employed. Purposeful sampling was employed. There were two stages of development – Stage 1: Development of Junior Secondary School Music Curriculum (March to August 2015), and Stage 2: Development of Senior Secondary School Music Curriculum (mid-June to mid-December 2017). There were five music teachers participated in Stage 1 and five music teachers participated in Stage 2. Data were collected through meetings, observations and interviews. All data were transcribed and checked by the participants, coded, categorized and analyzed. Music teachers who participated in the curriculum development process expressed that (1) They expected the music curriculum to be peer-led and supportive to address Macau’s school contexts; (2) They would like to bring about positive and sustainable change in the approach of curriculum design and instruction – from teacher-centered curriculum with emphasis on music competitions to student- centered school-based curriculum which could better align objectives and assessment, as well as to provide opportunities for students to experience music performing, listening and creating activities.
The process of curriculum development casts participated music teachers into the roles that follow Lawton’s emphasis on teachers’ role. Music teachers had the opportunities to voice out their concerns and set the directions for music curriculum development. As evidenced in the experience of curriculum reform in other places, there is a need to provide professional development support for music teachers so as to ensure the quality and sustainability of curriculum implementation.
About the Author: Marina Wong is an associate professor and Director of Doctor of Education Program at the Department of Education Studies of the Hong Kong Baptist University. She obtained PhD at the University of British Columbia in Canada, specializing in Curriculum Studies (Music Education). Her research interests include integrated arts curriculum, assessment in arts education, curriculum studies, inclusive music education and music education for students with intellectual disabilities.
] 139 [ Guan Tao (ID22) A study of Ethnic Identity and Teaching Strategies for Anti-racism Music Courses: A Case Study of Han and Minority Students in Yan yuan County of Tibetan-Yi Corridor
China is a multi-ethnic country with 56 ethnic groups. Due to the differences in music, culture, history, social customs and other factors, the ethnic identity of each ethnic group is also different. With reference to the Ethnic Identity Theory, Variation Theory and the Musical Identity in Anti-Racist Music education. This case study aims to measure the ethnic identity among the minority students (including Yi, Tibetan, Mongolian) and the Han students in light of established questionnaires (namely, Multigroup Ethnic Identity Measure, Multigroup Ethnic Identity Measure-Revised and Ethnic Identity Scale) in Yanyuan county of Tibetan-Yi corridor, Sichuan Province. Afterward, a quasi-experiment (music curriculum and after-school activities) will be conducted to the Han and Minority’s subjects from two minority schools. The participation observation and semi-structured interview will be performed to the subjects during and after the quasi-experiment, in order to further understand how ethnic identity and music identity relates to each other, how ethnic identity has been taught in music formed in anti-racist curriculum, and how musical identity is formed in anti-racist curriculum in the context of ethnic minority area in southwest China. The goal of this study is utilized the musical identity in anti-racist music curriculum as a bridge or a bond, to enhance the ethnic identity, understanding, respect and trust among the Han and Minority (Yi, Mongolian, Tibetan), the four ethnic groups with the largest population in Tibetan-Yi corridor in southwest China. To be more precise, the ethnic identity indicates that every group, even every individual’s identity is “different”. But that is the reason we need to know “others” with the aid of musical identity and dialogism in anti-racism music curriculum.
About the Author: Guan Tao. Doctor Student from Department of Cultural and Creative Arts, Education University of Hong Kong. E-mail: [email protected]
] 140 [ Mika Ajifu, Noriko Ishigami, Kumiko Koma, Miyako Onozawa, Yukiko Tsubonou (ID23) Music Education as a Bridge Between Schools and Society
In recent years, many professional musicians and musical groups have participated in outreach programs, travelling to schools to give free concert performances. These movements have spread into various social organizations. However, most of these programs are neither interactive nor related to the musical objectives of each school’s educational curriculum. Moreover, the people who know the children the best in the classroom, their music teachers, rarely play a role in these visiting performances. The research project named “Music Education as a Bridge Between Schools and Society” has been organized by the board members of the Japan Society for Music Education (JSME) and has been taken charge of by Yukiko Tsubonou for the purpose of exploring new educational programs for music, specifically, to exploit new relationships between schools and society by compiling class lessons from the schools which have included the participation of musicians, music researchers, and music organizations. The symposiums and lectures of the research project will be held from 2017 to 2019 in every annual conference of JSME. From February to December 2018, we conducted new approaches in the educational program for music across 15 classes for children of all ages, from preschool toddlers to high school students. The positions and the roles of these class activities were as follows: • Teacher: those who organize the class lesson as a whole; • Adviser: music researchers or composers who give advice about music; • Supporter: people, specifically, the performers, who support teachers and children with their live sound and music.
We developed a framework for bringing together a team of T(Teachers), A(Advisers), and S (Supporters), and called this framework “TAS model”. Finally, we built a network of professionals at different stages in their careers and examined the potential for developing music lessons based on the TAS model. We, the team of music education researchers, attended every classes, collected the data by video recording as well as note-taking, and analyzed them qualitatively. Tsubonou propose and explain the TAS model as the basis of the new Educational Program of Music. Miako Onozawa refer to the role of the teachers there, Kumiko Koma to the advisers, especially the composers, Mika Ajifu to the supporters, and Noriko Ishigami to the relationships of the three positions and the points of improvement for future progress.
About the Author: This project research began with the members of the “Institute of Creativity in Music Education.” The authors, Mika Ajifu, Noriko Ishigami, Kumiko Koma, Miyako Onozawa, Yukiko Tsubonou, are members of this institute and continue to research “Creativity in Music Education” as well as publish journal research. See http:// yukikotsubonou.com/en/ for more information.
] 141 [ Guo Xiaolin (ID26) A Study on the Influence of the Pop Music applied in the Music Appreciation Class for Students in Grade 8 on Students’ Music Learning Interest and Achievements
The purpose of this study is to explore the influence of the pop music applied in the introduction part of the classical music appreciation lessons on students’ learning interest and achievements. Literature analysis method is adopted to know the related viewpoints and methods of paper on music appreciation, music learning and music interest. Also, the experimental research method is used. In the study, the selected research objects are the students in four teaching classes of Grade 8 at school in Macao where the researcher serves. Among these four teaching classes, two classes were randomly selected as the experimental classes, while the other two were the controlled classes. For the experimental classes,12 experimental classes edited by the researcher had been carried out while the controlled class was arranged the regular classes. To have the related data collected and evaluated, the music achievement test and interest questionnaire edited by the researcher was used. Next, the quantitative analysis tool SPSS, was used for data statistical analysis. After all these steps, the researcher finds out that the application of pop music in the introduction part of the music appreciation lesson helps to stimulate students’ learning interest and improve their learning achievements. Finally, the researcher is able to reflect on and improve the existing teaching strategies of the researcher herself based on the experimental curriculum implementation and research findings. What’s more, more suggestions and reference can be provided for other teachers and follow-up researchers.
About the Author: [email protected]
] 142 [ Cancan Cui (ID41) Do Parental Values Towards Children’s Music Learning Vary in Guilin, China, and Tampa, USA?
Teachers play an important role in children’s music learning, and so does parents as they are the first life-teacher in the child’s life. In the past two decades, the number of middle economic status families has increased in both China and U.S. Due to many cultural reasons and norms, there is a difference in the extent to which Chinese families and American families are involved and are willing to spend on their children’s extracurricular activities. For instance, Chinese parents are willing to spend 1500$ on average per month on their children’s extracurricular activities including music, exercise, chess, etc. This comparative study aimed at examining the parents’ values and perceptions of their children’s music learning, and the guiding research question is: “what are the parent’s values towards music learning of their children in Tampa and Guilin?” To recruit participants, a snowball sampling method was used. The participants were two Chinese and two US families and their children. The children’s ages ranged between 5 and 9 years old, were living with their biological parents, and were taking an after-school music lesson. Two families were single child family and the other two families had 2 children. The semi-interviews were conducted face to face. As a result, five themes emerged: (1) parents’ consideration for their children’s after-school music courses selection, (2) parents’ expectation of music learning, (3) parents’ background, (4) parents’ strategies to support their children’s learning success, and (5) parents’ self-reflection. Nonetheless, major findings indicate that parents value music education as it motivates their children, relieves stress, brings their children joy, enhances their aesthetics and academic studies. All parents support their children’s desire to pursue music as a career; however, they differ on whether the children should pursue it individually or with the help of the parents. One key of success all parents agreed on was the careful selection of the music instructor. Two implications were drawn from this study: (1) music education is valued for its benefit in acquiring musical skills as well as for what it serves for other disciplines, (2) music education success lies in the co-operation among the children, the parents, and the instructors.
About the Author: Cancan Cui, currently a doctoral student in music education program in University of South Florida. I am from China and my research interest is in educational psychology in music education and music education in China.
] 143 [ Amanda Watson (ID43) House Concerts: a community partnership between performer and audience
This presentation delves into the House Concert movement in Australia. House Concerts are common in Europe and the United States of America, and more recently have become popular in Australia. A Melbourne (Australia) concert organiser, Parlour Gigs (The Age, 2017) reported a 680 per cent growth in six months over the summer of 2016/2017. They are associated with independent solo artists primarily a singer accompanying themselves on guitar or keyboard and programmed digital rhythm effects, with a focus on the musical genres of country, blues, folk/traditional, ballad and world music. However, classical musicians are becoming more involved. Concerts in private homes are not unusual, primarily for the purpose of philanthropy and often coincide with season launches. Some Australian examples are the Melbourne Chamber Orchestra, Musica Viva Australia, Friends of the Melbourne Symphony Orchestra; artistic companies who organise a solo musician or a small group (from that ensemble) to perform in private homes. The growth of House Concerts in Australia has followed two paths. The private approach is where individuals self-host performances of a musical group, in which they play, in their own home or a community/ church hall. The publicly advertised approach where concert facilitators who have developed business models as start-up companies, using their own websites and extensive use of social media, work with a host, musicians and an audience to create performances. Musicians may be acknowledged international performers in Australia and overseas, be starting out in a professional protean career, or amateur/semi-professional musicians visiting from overseas in an arranged House Concert tour. House Concerts enable musicians to secure performances and maintain their career momentum. House Concerts encourage the development of a musical community in a way that is different from the concert hall venue. For an audience there are benefits and discovery opportunities. They are exposed to new music in the House Concert environment and there is flexibility and trust with an audience in a niche setting. House Concerts build social capital within a local community and audiences enjoy listening to music without the sticky carpet and impersonal nature of the club and pub scene. Musicians and audiences have increasingly embraced House Concerts and they provide education opportunities for performers and listeners. Their success relies on an equal positive interaction between these groups of people with the culminating performance being the central activity.
About the Author: Dr Amanda Watson (PhD) has over four decades of school teaching experience and is an Instrumental Music Teacher with the Department of Education and Training Victoria, Australia. Her research interests include music and arts curriculum development in schools, values education, and professional standards for music teachers in schools.
] 144 [ Amanda Watson (ID44) Music teacher performance reviews in schools: One Australian example
The Australian Professional Standards for Teachers (2011) were mandated for use in Australian schools from January 2013. The Standards outline what teachers should know and be able to do and describe the elements of effective teaching organized around the three domains of Professional Knowledge, Professional Practice and Professional Engagement. Against each of seven standards, a varying number of focus areas and descriptors benchmark professional capacity through growth and complexity. Before graduating from a teaching qualification, each pre-service teacher in Australia must demonstrate capacity through a teaching performance assessment. Associated with the Standards is the development of a performance and development culture in schools, demonstrated by each teacher through an annual performance review. The Standards represent a continuous journey and are the framework that is used as teachers prepare their performance review with student outcomes as the central focus. As musicians move into schools and assume a teaching role, they will be expected to understand the performance and development culture of the school and to participate in a performance review using the Standards. This process may take place in every school where a musician is employed and these people may not be qualified as teachers. The aim of this presentation is to present an accessible model, that a musician- teacher can use to complete their annual performance review. The approach involves combining a document analysis of the Australian Professional Standards for Teachers and embedding it in a performance review template that is in use in Victorian (Australia) Government schools. Supporting questions for gathering and analysis of evidence are included. Combining potential sources of evidence used by teachers in schools, examples of instrumental music teaching practice that a teacher (and musician) could be expected to provide in an annual performance review will be presented. Some student outcome examples and trends will be highlighted. The implications for music education that can be drawn are the need for musicians to understand a school performance and development culture. In the school environment, all employees, irrespective of teacher training, need to demonstrate that they are meeting professional standards as part of their annual performance review.
About Author: Dr Amanda Watson (PhD) has over four decades of school teaching experience and is an Instrumental Music Teacher with the Department of Education and Training Victoria, Australia. Her research interests include music and arts curriculum development in schools, values education, and professional standards for music teachers in schools.
] 145 [ Chang Liu, Aiqing Yin (ID51) The Effects of Parental involvement in Instrumental Music Learnin —— Based on 7-12-year-old Instrumental Music Learners in China
The researcher examined relationships among selected aspects of parental involvement and parenting style as they relate to motivation and achievement of instrumental music students. Subjects were instrumental music students (N=487) from medium size city in China. Volunteers from 7 to 12 years old participated. Data were examined using descriptive statistics, analysis of variance, and structural equation analysis. Major findings included: (1) Parents participation behavior to inspire children within learning motivation has a positive impact, the improvement of children’s instrumental learning achievement has a positive role;(2) Emotional warmth type of parenting can inspire children’s internal learning motivation, but increase the negative influence on children instrumental learning achievement;(3) Anxiety in parenting on children’s internal learning motivation stimulated the negative influence of present positive impact excitation of external motivation.
About Author: Chang Liu, PhD, Graduate from Northeast Normal University, Research focus on School Music Education and Parental Involvement. E-mail: [email protected] or [email protected] Institutional affiliation: Northeast Normal University Aiqing Yin, PhD, Professor at Northeast Normal University, Fulbright Scholar of NEC of Music, USA. The Chairman of the Chinese Society for Music Education. Research focus on School Music Education.
] 146 [ Dan Yang (ID60) A Hundred Years of Music Teaching Method Textbook Development in China
This is a study of a hundred years of music teaching method textbooks in China. Analysis of historical sources suggested five stages: Predevelopment and Budding (1901-1919): Chinese student studying in Japan in the late Qing Dynasty is the torchbearer of Chinese school music education. The music books they compiled had a great impact of Chinese school music education. The books also breed and gave rise to the textbook of Music Teaching. Learning and Exploring (1920-1949): Since the 1920s, textbooks of Music Teaching Methodology have gradually appeared. In the 1930s, the textbooks mainly modeled after Japanese textbooks. From the 1940s, educators and researchers began to explore independently. Imitating and Originating (1950-1965): After the founding of new China and under the influence of the Soviet Union, the most convenient way to solve problem is to translate the textbooks from the Soviet Union. Later, to compile the textbooks which is more suitable for China, the government organized special departments and people to compile the textbooks after those of the Soviet Union. Disappearing and Mutating (1966-1976): Because the music teacher education system was almost destroyed during the cultural revolution, courses in Music Teaching Methodology and its textbooks have ceased to exist. However, there were still a lot of revolutionary music books and teaching reference books serving as a function of textbooks that guided the music teachers. In this sense, these books were the basis of textbook during this period. Recovering and Developing (1977-2001): After the cultural revolution, the whole country gradually recovered, especially after the reform and open in the 1980s. The atmosphere of music education research became active. An increasing number of people paid attention to the research and development of the textbooks. Both quantity and quality of the textbooks have been greatly improved. In examining the textbooks over the one hundred years, various characteristics emerged under different historical background. However, this historical research can fill a gap in the historical data compilation in the field and offer new insights for teaching today, thereby helping to solve the problem of music teacher education.
About Author: Dan Yang, Associate Professor of School of Music & Dance in Hunan First Normal University, Changsha, China
] 147 [ Cong Jiang, Zhuoqun Liu (ID72) The melodic features of children’s folk songs for early music and language learning
Chinese children’s folk songs, spread widely in the past, are seldom sung today which are substituted by newly composed children’s songs with western heptatonic scale. Chinese children’s folk songs are characterized by pentatonic modes in musical aspect and Mandarin’s rhyme in linguistic aspect, and also by their cultural connotation. Therefore, Chinese children’s folk songs are good heuristic materials for music and language learning in early ages. Children could learn and assimilate Chinese traditional pentatonic music style and intonation of local dialects through music, and learn the tales, historic stories and custom as well. However, few studies focus on children’s folk songs’ rhythmic and melodic features which are internalized as implicit knowledge in the mind. Some scholars suggested that tone-matched songs facilitate children’s song- learning (Chen-Hafteck, 1999, 1996). This study investigates the relationship between melody line/contour and tone of lyric in children’s folk songs, and whether the congruence of melodic profile and tone of lyric can be perceived. It is hypothesized that children’s folk songs with more congruence in music and lyric are well perceived by children and adults from Shandong province according to their accent. We take children’s folk songs from Shandong province as examples. The melody-intonation relationship is analyzed, considering melodic contour, tones of Shandong dialects, intonation, syntactic structure and other relative linguistic characteristics. Then a questionnaire is designed, in which some typical phrases/lyrics are shown with Shandong dialect, and participants are asked to choose the most congruent version from three melodies with no lyrics (including original version and two revised versions). In Shandong dialects, the first tone sounds as the third tone in standard Chinese(SC), the second tone as the fourth tone in SC, the third tone as the first tone in SC, and the fourth tone as deformed third tone in SC. Text-melody relationship is generally consistent, but also with some artistic/musical modification. Most original versions are preferred by the participants from Shandong, which also depends on the frequency of dialects using; while the revised versions based on standard Chinese are preferred by other participants. According to this study, text-melody relationship of children’s folk songs is internalized as part of local people’s implicit knowledge. Children’s folk songs with higher congruence of text-melody relationship may facilitate traditional folk music and dialect learning. Thus, it is necessary to teach children’s folk songs from very early stage, which is helpful for children to perceive the contour of dialects and folk melodies.
About the Authors: Jiang, Cong, PhD., assistant professor at College of Music, Capital Normal University; Deputy secretary of Chinese Society for Music Psychology. Research projects include Tritone paradox in Beijing people; Beijing calling/peddling and Beijing time-honored brands; Beijing folk songs and folklore. Research Interests are music psychology, music education, folk music, folklore. Liu, Zhuoqun, undergraduate student at College of Music, Capital Normal University, major in music psychology, research interests are in melody and music in advertisement.
] 148 [ Chalinee Suriyonplengsaeng (ID79) The Study of Curriculum, Teaching and Assessment about Keyboard Skills for Pre- college Students
The purpose of the study was to understand the elements of curriculum, teaching and assessment of keyboard skills for non - keyboard major pre-college students. Moreover, was to understand the problems of curriculum, teaching and assessment of keyboard skills for pre-college students, College of music, Mahidol University and looked for the way to develop teaching and learning. Data collection relied on interview There were 1 keyboard skills coordinator, 2 instructors and 20 students. The element of curriculum used Alfred’s Group Piano book (E.L. Lancaster and Kenon D. Renfrow) which designed for collegemate non – keyboard music majors with little or no keyboard experience, included Theory Technique, scales and arpeggios, chord progressions: aid students in developed a feel for the keyboard and sense of the key. Sight – reading: reading notes were eclectic, combined the best elements of intervallic and multi-key reading. Sight – reading was improved and try new things in keyboard skills for student because the reading examples were a mixture of standard repertoire and newly composed pieces. Repertoire, Harmonization, Ensemble Activities and Improvisation were also included in curriculum. Students could improve sense of multiple keys by transpose key signature fluency. Non – keyboard music major not be expected to perform extensively in recitals for assessment in final examination. They could be able to perform for peers in non - pressured situations. These students may lack technical skills at the keyboard, they can be expected to rely on their experience as musicians in their major musical instruments. There were only vocal music major students, most of them were get used to warm up their voice, using keyboard. They fluently and repeatedly played keyboard or piano in chord progression, scales and arpeggios. They called vocal warm up exercises. Vocal music major students could be get advantage from keyboard skills to improve their music majors. There were few students could be success in both their music major and piano skills. One student was saxophone music major, received distinction scores for grade 8 ABRSM piano performance exam. Another student, vocal music major received distinction scores for grade 8 Trinity Guildhall school of music piano performance exam.
About the Authors: Chalinee Suriyonplengsaeng, Bansomdejchaopraya Rajabhat University, Thailand
] 149 [ Jiashuo Zhang (ID89) Return of Music Education: based on Rogers’ Functional Perfection Education
Carl Rogers was the founder of the Humanism Psychology in the 20th century. His theory of Functional Perfection Education has become a hotspot in the study of educational psychology. The continuous changing process of “humanism” has gone through the development of diverse thoughts in nearly a thousand years. Originated from Protegola’s viewpoint that “man is the scale of all things”, emphasized by Marx that human beings themselves should be concerned, the thinking of “humanism” was reconstructed based on the regression of human social practice, thus it also provides a basis for the people-oriented thinking concept of Rogers’ clinical psychology. At last, Rogers put forward the point that a person should be cared as an entirety, also known as the Functional Perfection Education theory. When discussing the concept of “humanistic” in music education, the ultimate question is how does personality develop and what kind of people do we aim to cultivate through education. Under the background of the contemporary society development and the transformation of social form, where exactly does music education go? Perhaps from Rogers’ theory of “free learning” we can get some enlightenment. The ultimate goal of music aesthetics is the ultimate liberation of human nature through the expression of people’s perceptual quality and ability. Through music education, we can consider the feelings people willing to express or understand the state of mind people aim to reach through expression of feelings, thus we can reach the ultimate care for people’s “core literacy”. From the perspective of music ontology, we can fully see the impact of music on people, the “beauty” of music in the discussion of pedagogy, and explain where music comes from and what it serves. From the perspective of educational psychology or philosophy, music education is to return to the discussion of people themselves, to investigate how music affects people, and to discuss the whole person or rather lifelong development of people. Faced with the question that whether to emphasize the ontology of music, or to give the ultimate concern to human destiny, only through constant questioning of this kind of thinking, can we possibly find a way out for the transformation and development of music education.
About the Author: Jiashuo Zhang (1993-) Male, Han nationality, master of subject teaching (music), Hebei north university, studied under professor Chunxia Qiao. Graduated from Hebei north university in 2016 with a bachelor’s degree. In 2018, was admitted to Hebei north university to study for a master’s degree. Engaged in music teaching theory, basic music education and music teaching method research.
] 150 [ Shuai Li (ID91) A Case Study of Music Micro-teaching
Micro-teaching has been widely applied to Musical Education in normal universities in order to enhance the teaching skills of pre-service teacher, and prepare them to face the complexity in actual teaching after their graduation. In this study, 45 undergraduate students of grade 2015 majoring in musicology and 1 lecturer are selected as subjects. They all participate in the fall semester of 2016-2017 in Micro-teaching of Music of D University. This study aims to explore the existing problems and influencing factors in music micro-teaching using questionnaire, interview and physical analysis. The results show that with the combining efforts from teachers and students, the practice of music micro-teaching in the School of Music of D University has many advantages. But there is still room for improvement. For example, in the preparation stage, music pre-service teachers lack the relevant theoretical knowledge of Micro-teaching and do not have sufficient preparation for lessons; in the practice stage, music pre-service teachers are low in learning enthusiasm and bad in cooperation; in the evaluation and feedback stage, recorded videos have not been fully utilized and evaluation content lacks pertinence. Finally, based on the analysis of the causes of such problems, the author puts forward some suggestions in order to improve the teaching effect of music micro-teaching.
About Author: Shuai Li, current doctoral student of music education at Northeast Normal University, study under professor Aiqing Yin. She had participated in 5 academic research projects issued by the Ministry of Education and National Research Center for Basic Education since 2015, and won the third prize of “the Fifth National Music Education Research Paper” (student group).
] 151 [ Iok Meng Li (ID93) Designing classroom music assessment activities in Macao secondary schools
According to the “Curriculum Framework for Formal Education of Local Education System” (2014), schools in Macao can implement their own ways of assessment based on “The Requirements of Basic Academic Attainments (BAA)”. A balanced approach of assessment is needed in a 21st century classroom as mentioned by McMillan (2018) and more emphasis should be put on formative assessment. The junior and senior secondary music curriculum guides were released in 2017 and 2018 respectively. The curriculum guides emphasize on using various ways to assess students’ composition, listening and performance learning activities during music lessons. The curriculum guides were prepared by Macao music teachers with the assistance of professionals in the field of music education. School teachers in Macao teamed up to design and try out some lessons which could meet the requirements of both documents. Various instructional and assessment methods were integrated into the classroom music learning. This study aims to analyze the chapter of assessment with reference to the lesson plans in the curriculum guides of music education for junior secondary and senior secondary education in Macao. Moreover, the teachers who planned the lessons documented their experiences and reflections after they have tried out the lessons. Teachers agreed that with the integration of assessment as learning, assessment for learning and assessment of learning activities, both teachers and students benefited in the learning process. Students were able to know their own strengths and weaknesses. Teachers could have a better understanding about the progress of their students. They could also evaluate if the design of the curriculum could fulfill the requirement of BAA. The usage of multiple assessment methods also reflected a fairer assessment result which could cater the diversity of the students. Teachers also commented that the examples in the curriculum guides useful to them. It gave ideas on how composing, listening and performance could be learned in the same subject matter and how all these learning activities could be inter-related.
About Author: Iok Meng Li is a school music teacher. She obtained a Master degree of Arts in English Studies at the University of Macau and a high diploma in Music Education at the Macau Polytechnic Institute. Li is a member of the writing team of the Music Basic Academic Attainment and Curriculum Guide.
] 152 [ Sumie Tonosaki (ID100) Practicing the sound education for children with hearing impairment
Music education at schools for the deaf in Japan has a tendency to teach children based on visual information. For example, music teachers often use the Japanese onomatopoeia in order to make a connection between words and sounds. Some photos and illustrations are also used for singing classes in order to visualize the image of the songs. According to a questionnaire survey on music education for hearing impaired children targeting deaf schools throughout the country by Yukio ISAKA and Lie SHICHI (2015), singing and instrumental performances are accounted for most of classroom practices, and creative music making is hardly taught at deaf schools. The Japanese drums are often used in instrumental classes since hearing impaired children have a difficulty for listening. However, many children at school for the deaf can actually listen to sounds by using the cochlear implants and the hearing aids. A problem is that even though many children can hear sounds by the cochlear implants and the hearing aids, music teachers do not instruct them how to listen. This paper, therefore, attempts to propose a curriculum based on A Sound Education by the Canadian composer R. Murray Schafer for hearing impairment children. Based on the sound education, the author had taught music at a school for the deaf in Aomori for two years from 2015 to 2017. In this paper, some data in those music classes was analyzed. A participation observation was taken at as a research method. Six children in elementary school and two students in the high school were picked up. Those students practiced some exercises based on the sound education such as soundwalk, creative music making using the seats of paper and students’ own voices, and sound diary. Four students wear cochlear implants and other four wear hearing aid. Each student has a different degree of hearing respectively. Through these exercises, children with hearing impairment can hear the sounds by wearing hearing aids and cochlear implants. So, it is necessary to deepen discussion about music education that children can associate with the sounds or music by children with hearing impairment.
About the Author: Sumie Tonosaki holds her Master of Education (music education) from Hirosaki University, and has resumed her doctoral studies in the Regional Social Research Course at Hirosaki University. Sumie has taught music at school for the deaf and special needs school in Aomori, Japan. Her research topics include the sound education for deaf children and social inclusion.
] 153 [ Ai Kosugi (ID101) Can dance possibility live in music education? A consideration on the possibility of physical-expression
Regarding the question of “what is dance?” there are various opinions among professionals. I, myself, have produced several dance performances as a choreographer, sometimes a dancer. Through those activities, I have reached a conclusion: Dancing can be considered as performing such as playing the instruments; choreography can also be considered as composition. The sense of rhythm and phrase appearing in the body of the dancer is a newly born music. It has never existed before. Dance is presently taught as a part of physical education. We should take a close look at the contents of dance activity in physical education. Dance itself naturally includes some musical elements. However, does the dance in physical education have such elements? To clarify this question, semi-structured interviews with 10 people (age: 19~22, Male: 2, Female: 8) was undertaken. The followings are the questions: (1) Did you do the dance in physical education classes during for junior and senior high schools? (2) If the answer is yes, what was it like? What music you used? Did you dance with groups or individual? How to choreograph? etc.
As a result, the following three problems were found about the dance activities in physical education in Japan. (1) Choreographies by professionals are more important than students’ choreography. (2) Using pre-existed choreographies, students’ creativity and originality are forgotten. (3) Fictitious audience is always expected.
In order to solve these problems above, the concept of new dance education for music education should urgently be proposed. Dance has both physical and musical aspects. That is to say, music always plays an important role in any dance performance. People always use their bodies when playing instruments or singing songs. Needless to say, the same thing applies to dance. This paper will examine the use of dance activity in music education based on students’ creativity as well as originality.
About the Author: Ai Kosugi holds his Bachelor of Education (music) from Hirosaki University, and has resumed her master studies at Hirosaki University. She has presented her research paper for the 49th JMES National Conference at Okayama University in Japan. Her research topics include dance education, body movements and choreography.
] 154 [ Yuki Ishikawa (ID102) On the separation of form and content in music education
The purpose of this paper is to analyze the use of language in music education in Japan. European metaphysics based on Greek philosophy attempted to pursue the universal and the principle of every single phenomenon around the world by language. The Greek philosophers considered art as one of those phenomena, mimetic and imitation of reality. Sontag (1996, p.3) states: “It is at this point that the peculiar question of the value of art arose. For the mimetic theory, by its very terms, challenges art to justify itself.” The Greek philosophy eventually created the separation of form and content in art. European logos naturally tended to emphasize content as signified. As a result, form itself as signifier was forgotten. In short, content was believed that it reflected the essence of art, on the contrary form was merely attached to it. Sontag (1996, p.14) argues that “our task is to cut back content so that we can see the things at all.” According to the Ministry of Education, Culture, Sports, Science and Technology (2008), language, however, forms the foundation of intellectual activities, communication sensitivity and emotion. From this point of view, language activities are expected to be handled throughout the whole of school education including music. However, music activities differ fundamentally from language activities. Since Sontag (1996, p.12) states: “what is needed, first, is more attention to form in art,” we music educators should pay more attention to music itself as the resounding air. If excessive stress on language activities in music education provokes the arrogance of musical interpretation, more extended description of musical form would silence. The research question of this paper, therefore, is: what kind of vocabulary we need to describe music, rather than prescribe it? In order to answer this question, a participant observation was undertaken at junior high school.
About the Author: Yuki Ishikawa holds his Bachelor of Education (music) from Hirosaki University, and has resumed his master studies at Hirosaki University. He has presented his research paper for the 49th JMES National Conference at Okayama University in Japan. His research topics include post-structuralism and the concept of soundscape.
] 155 [ Daini Chen (ID103) The Cultivation of Music Teachers in the Multicultural Background
Since the rapid development and integration of human civilization in the early 20th century, globalization has been increasingly deepened and educational exchanges between countries have become increasingly frequent. The concept of “multicultural” has been awakened accordingly, and a broader definition has been generated by combining the characteristics of different countries and regions. At the same time, in the upsurge of education reform worldwide, people put forward more diversified requirements for the cultivation of music teachers, and gradually realized the key role of cultivating comprehensive music teachers for educator under the new situation. Multicultural education is started from the immigrant countries such as USA and Canada. The concern of the multicultural education is growing due to its increasing importance among the people. From the perspective of multiculturalism, this paper analyzes the development process of multicultural music education and interprets the meaning of multicultural music education with the methods of literature, comparison and description. In addition, with the help of multicultural thinking, music educators who will enrich their knowledge reserves and update educational concepts were cultivated versatile and comprehensive, keep close contact with the reality, and actively explore a development path suitable for China’s national conditions. This study is divided into three parts. Chapter one: Multicultural Music Education This chapter mainly discussed about the definition and necessary of Multicultural Music Education. And describes the situation of Multicultural Music Education through analyzing the Chinese music curriculum standard and other relevant policies. Chapter two: This chapter analyzes the Chinese music teacher education curriculum from the four dimensions of training objectives, curriculum content, curriculum implementation and curriculum evaluation, and finds out the factors that contain multi-culture. Chapter three: This chapter will discuss the problems we confront with and strategies in China’s multi- culture music education. Proposing an educational reform plan that includes multicultural factors, so that every music educator can have multicultural thinking and influence the next generation.
About the Author: Daini Chen is a graduate student at Shanghai Conservatory of Music. She majors in music education and focus on Music Education History and Comparison.
] 156 [ Joo Young Kim (ID106) Rhythmic improvisation for creativity of Early childhood based on Orff Schulwerk
Music is a part of the art and it is vital to be a part of student’s education. At present, many parents would like their children to study music. It is because parents want their children not only for music itself but also have good self-esteem, self-expression, individual creativity. Improvisation is a vital part of early childhood music education to help children develop those skills. Also, a lot of evidences showed that improvisation at the beginning age of children is important for children’s development of creativity. While some music teachers successfully include improvisation in music instruction, others have fears and meet with challenges when attempting improvisational activities, such as inadequate instructional time, experience in improvising, as well as training to teach improvisation in the classroom. So, the researcher believe that Orff Schulwerk is suitable approach for attaining children’s rhythmic improvisational skills and creativity in music. The objective of this study is to collect rhythmic improvisational activities for young children based on Orff Schulwerk and aims to identify Orff Schulwerk Approach in early childhood for Children’s rhythmic improvisational skills. Moreover, it will be helpful to teacher to teach improvisation in music class. This research offers insight to Orff Schulwerk background, a scaffolded lesson plan for improvisation based on Orff Schulwerk approach to student-centered music education. This qualitative research explores the rhythmic improvisational activities based on the process of Orff Schulwerk through in-depth interviews with 5 Orff Schulwerk teachers by using narrative analysis. According to interviews with Orff Schulwerk teachers, results indicate that the Orff Approach can foster creativity. It is because promote active participation in musical activities that make children foster musical creativity naturally. Additionally, it is a beneficial teaching approach that successfully implement rhythmic improvisational skill for young children.
About the Author: Joo Young Kim graduated at Assumption University for Bachelor Degree of Music performance Concentration in Jazz Piano. For my biggest interest, which is to share and give knowledge about music for the students and develop their musical skills. So, I have been studying Master Degree of Arts of Music Education at Mahidol University.
] 157 [ Biyu Tong (ID111) A Study on the Diverse Growth Paths of Music Teachers of Elementary and Secondary Schools ---A Revelation from the Unofficial Music Education Organization “Musical Futures”
The music education major in Chinese universities has long been aiming at cultivating music teachers for elementary and secondary schools and focusing on the training of music skills in the process of cultivation, while failing to pay close attention to the future growth of their students after they have become music teachers in elementary and secondary schools. The growth of music teachers, however, is the only sure way for novice teachers to turn into excellent teachers. This paper aims to introduce the more possibilities of the growth modes for music teachers brought by the training of the unofficial music education organization “Musical Futures” through discussing the ways and methods of music teacher’s growth in primary and secondary schools. This paper will illustrate the growth paths of music teachers of elementary and secondary schools, such as the growth paths in their professional career and the developing approaches in their extracurricular life, which include the growth paths by means of Internet +; introduce the informal music learning represented by Musical Futures and elaborate on its features and practices about how to promote the growth of music teachers in order to achieve the goal and meet the requirements of formal music education. Music teachers are the directors of music classes who have complex statuses. Students need the correct guidance of teachers to acquire knowledge, nevertheless, knowledge acquisition is endless so it is necessary for an excellent teacher to have the awareness of lifelong learning. Music teachers not only serve as the transmitters of music knowledge, but shoulder the accountability of cultivating students’ personalities. Therefore, the frowth of music teachers through diverse paths can not just enhance the development of students, but have a decisive influence on the level of music education in the whole society.
About the Author: Biyu Tong, female, a member of the Communist Party of China, is a graduate student of art education theory in Shanghai Conservatory of Music in 2018. Her research direction is comparative study of music education.
] 158 [ Yameng Wu (ID113) A Comparative Study of American National Core Music Standards (2014 Edition) and Chinese High School Music Curriculum Standards (2017 Edition)
This paper compares the national core music standards released in the United States in 2014 and the new curriculum standards for high school music in 2017 in China. The curriculum objectives, the basic concepts of the curriculum, the curriculum design methods, the content and framework of the standards, and the evaluation methods are compared. It shows the international trend of global education and the educational differences between China and the United States. This article provides an international reference for the development of music education in China, and also reflects on the core music standards of the United States.
About the Author: Yameng Wu, comes from Changde City, Hunan Province, China. In 2013, she was admitted to the Music College of Yangzhou University and studied under Professor Wang Xiaoping. In 2017 she became the Central China Normal University graduate student under the tutelage of Professor Zhang YeMao.
] 159 [ Ikue Medo (ID119) Collaborative Musical Activities of Children Aged 0-3 Years Old: Analysis of free instrumental playing
One of the most important musical developments for children is that collaborative musical activities increases as children get older. Young (2007) reported that children aged 3-4 years collaborate when they play instruments freely. Young also found that when children collaborate each other, various types of non- verbal communication such as gestures and eye contact were used. Furthermore, as a result of this non- verbal communication, children created music by imitating and synchronizing with others. Although Young clarified important aspects of non-verbal communication in collaborative musical activities, the collaborative musical activities of children aged 0-3 years old has not been investigated. The purpose of this paper is to investigate the collaborative musical activities of children aged 0-3 years old when they play percussion instruments. The study focused on how young children use non-verbal communication in collaborative musical activities. Fifteen young children aged 0-3 years participated in the study, which took place in a nursery room. The musical activities of the children, such as freely playing percussion instruments, were recorded using a video camera. The author participated in these activities as a child-minder and made field-notes after the 19 sessions; each session lasted for 30minutes, and they were subjected to an analysis for this study. The collaborative musical activities using the percussion instruments began with the children gathering together. The children naturally sat side by side or face to face and so the children were in sight of each other, and it was easier to collaborate. In the course of collaboration, non-verbal communication such as eye-contact, facial expressions and physical movement was observed. As a result of this non-verbal communication, the young children’s physical movement and their musical sounds gradually synchronized. The development of collaborative musical activities among young children was observed. From these findings, it can be said that musical development is attained through the children’s peer relationships, including enjoying playing music together and communicating within their community. In conclusion, musical development should be considered through the development of the children’s community.
About the Author: ikue.marimba@gmail.com
] 160 [ Celeste Manrique Romulo (ID135) The Inclusion of Traditional Music Practices in the Philippine Music Curriculum: Bringing Marinduque Province’s Innovated “Putong” Experience in the Classroom
Marinduque, a heart-shaped island province in the Philippines located in Southwestern Tagalog Region has been a home to unique festivals and cultural practices including the “Putong Tradition” which has been a regular household name to every Marinduqueno family during almost all festive occasions. The research aims to maximize the participation of the youth in practicing the Putong Tradition which was long been dominated by older people. Specifically, the study is focused for the sustainability of the Putong tradition through the use of popular music styles in the classroom. The inclusion of this study in the local curriculum of the Marinduque province will measure the teacher’s effectiveness in teaching with new strategies adapting the concepts of the music educators by creating and altering music to different music styles particularly popular music. Intensive training was conducted to a core group of selected teachers who were trained in creating new harmonies with ostinato patterns both in vocals and instrumental accompaniments and applying them inside the classroom. Dalcroze’s eurhythmics was applied while students explore various movements using their hand, body and feet as they listen to different rhythms and then later on formed their own dance steps. They were given a chance to make their own movements and interpretation in a given scenario. These strategies were applied to the students by exploring and creating rhythms suited to the grooves of popular music styles using the melodies of each part of the Putong tradition. These were then combined with the students’ own modern ideas. The final output was evaluated for validation and examination of the study in one event wherein natives composed of Political Leaders, Putong practitioners, Head officials of the Department of Education, teachers and students were present. The researcher formulated a matrix of activities and a syllabus on how to teach the transformed putong in the classroom from grades 7 to 10. The syllabus made was examined during the teacher’s workshop and given a pilot test among selected students for the syllabus implementation. The researcher concluded that the form of learning will be enhanced by the young generation and can be a part of the practice of the Putong Tradition, and become agents in flourishing and continuing the beauty and cultural importance of the tradition in the community.
About the Author: Celeste Manrique Romulo, Associate Professor of the Philippine Women’s University and an active member of International Society for Music Education. She received numerous awards from the university and Her expertise made her as a resource person/ lecturer in teachers’ seminars and workshops for elementary and high school teachers including State Universities.
] 161 [ Natsumi Fujii (ID137) A Study on the Formation of the Physical Intuition of Contemporary Dancers: Focusing the Music Influence in the Physical Movement on the Contemporary Dance Workshop
Currently, the education field in Japan, the language activities are regarded to important and physical intuition is likely to be disregarded, which is fundamental to knowledge (Lawrence, 2016). The contemporary dance that we are targeting in this study, unlike traditional dances such as classical ballet, has no specific virtues or norms. Contemporary dancers move based on their own physical intuition. The dancer’s physical intuition is influenced by the surrounding environment including music. Contemporary dancers embody physical intuition of the music not in words but in physical motion. It can be said that this is the essence of the activity related to music. In this study, we observed the workshop of contemporary dance and interviewed the organizers. We focused on the activity of the “Coloring”, which is an activity often performed in contemporary dance workshops for improvisation. The dancer uses each part of their own body as a brush and moves the body in a manner of painting the floor and the space. We focused on the “Coloring” because it was observed the dancer’s changed their movement when the rhythm, tune or tempo of music changed in the activity. Children who study at school are said to have difficulty in moving freely when music changes, because they are likely to be trained to think in words (Maeda, 2007). The result of interview clears a case of how dancer can move freely in music. To improvise, it is important to create “a body that can dance” according to the dancer. In the workshop, the dancers were not only stretching but also doing activities in which they feel the part of physical consciously. For example, the dancer walked while feeling the sense of the soles of their foot. Then, in the activity of “Coloring”, they gradually expanded the consciousness of the body just from the soles of the foot, to the whole of the foot, and then whole of the legs. Moreover, they intended to relax the body part which was not used as a blush. Chain of these activities, dancer can move freely to the music. It should be noted when we listen to music, we may be able to become more conscious about our bodily sensations by actually moving like a contemporary dancer. The physical intuition is important in learning music regardless of whether it is inside or outside the school.
About the Author: Natsumi Fujii, Part-time teacher of music at Ozuka junior high school and Higashihara junior high school.
] 162 [ Kazuhiko Kinoshita, Yumi Nakayama, Soichi Kanazaki (ID142) How can we use sampling for music making in music education?
Purpose of research. (1) Exploring music making activities using sampling in music education, (2) Revealing how junior high school students used functions of GarageBand (composition software).
Our ability to make use of technology has become an important issue in recent discussions of music education. In Japan, a course of study (revised edition, 2017) specified that using ICT was desirable in such activities. Therefore, this research focuses on sampling and sampling sound, based on the ideas of composition derived from Musique Concrete, which has been used in music making and music education in Japan. In sampling, the composer records the sound surrounded own and diverse selections from accomplished recordings of musical works. Sampling has its origin in Musique Concrete. Musique Concrete is an idea within contemporary music composition advocated by Pierre Schaeffer & Pierre Henry. Its construction is made through recorded sources, which are sometimes arranged, for instance, via cut, repeat, or reverse play techniques. In Japan, research on the subject has studied the significance of making music in the Musique Concrete style since the 1960s. Thereafter, sampling was no longer used so much in contemporary music making as it was in the context of popular music (e.g., techno, hip hop, and club music). Kinoshita & Kanazaki (2018) revealed that the activity of music making that uses sampling has attained pedagogical significance through music making classes that utilize Audacity (audio compiling software) for university students. Based on this research, in this study, we performed an activity using sampling in a junior high school setting and focused on how students used the functionalities of GarageBand. The methods of this study were as follows: (1) Analyzing compositions made by students, (2) Pre-Post questionnaire survey answered by students.
This study found that the students used many functions of GarageBand, for example, cut, repeat, reverse play and that this activity attuned student’s listening skills for sounds in their surroundings. Sampling-based music making does not need to depend on functional harmony or an experience of formal musical learning. Furthermore, it can attune hearing abilities to the sounds of the surrounding environment. These educational values and skills are imparted through the use of ICT.
About the Author: Kazuhiko Kinoshita (Shukutoku University) Yumi Nakayama (Ochanomizu University Junior High School) Soichi Kanazaki (Hirosaki University)
] 163 [ Vivienne H. Sang (ID143) Music board games create learning engagement
For the encouragement of a specific behaviour in educational milieu, engagement and motivation are usually considered prerequisites. In helping people attain better outcomes, behavioural scientists have design interventions that get people engaged in activities such that their likelihood of completion is increased. This paper aims to explore how school teachers find the balance between achieving their objectives and catering to evolving student needs by employing app gadgets. The researcher constructs the process of gamifying a music learning program and explore successful implementations of gamification for secondary school students. Participants are 129 Year 11 students from a high school located in a metropolitan city in Taiwan. They take part in an 8-week music learning program which employs the computer game designed by the researcher to foster their basic music knowledge. The student is hooked by the idea of the game, pulled forward by attempting to win, and ends up enjoying the learning experience, becoming engaged in the classroom activity and opening themselves up to the possibility of music learning. The topics discussed in this paper are attitudes toward games, playing time and integration with curricular objectives, enhancing cognitive processes, effects on game players, transfer from board games to external tasks, and, finally, the use of games for evaluation. Findings and recommendations for the design of games used in instruction are summarized. The paper concludes with a call for development of tools and technology for integrating the motivating aspects of games with good instructional design.
About the Author: Vivienne H. Sang, Adjunct Associate Professor of National Taiwan Normal University.
] 164 [ Junhong Dou (ID147) Structure, Deconstruction and Reconstruction: Concept Generation of Musical Creativity
Musical creativity is the core issue in music education, but it is also a less concerned issue. The main reason is that people are vague about the essence, concept and structure of musical creativity. This study attempts to define a universal concept of musical creativity through the process of structure, deconstruction and reconstruction of music creativity, so as to provide a basis for the education of music creativity. The research points out that the basic structure of musical creativity is the organic combination of general creativity and music field, the core of endogenesis is the integration of music creative thinking, the explicit trait is the novelty and appropriateness of music product, the psychological quality is the ability to create music by integrating personality and other factors. The concept of music creativity is broad and has different definition results from different perspectives. The traditional deconstruction concepts that focus on the Person, Process, Product and Places of musical creativity cannot fully define the basic concept of musical creativity. Based on Rhodes’ 4P model of creativity, Amabile’s structural component model of creativity and Csikszentmihalyi’s theory of cultural system of creativity, and in combination with the uniqueness of music art, this study reconstructs the concept of musical creativity into a new quality of thinking in which people construct novel and appropriate music practice.
About the Author: Junhong Dou, School of Music, Shaanxi Normal University
] 165 [ Soichi Kanazaki (ID159) Creative Music Activity for Children: Forming the Bridge between “Graphic Score” and “Sound Education”
Since the introduction of “creative music making” in the 1980s, the Japanese Ministry of Education, Culture, Sports, Science and Technology has revised and extended its contents though the Courses of Study (COS: governmental curriculum guideline). Some practices in actual school sites, are, however, not able to follow the changes in the COS. In short, practices of creative music making activities have still remained a small number, and in many classrooms, musical activities have been monopolized by singing, playing the instruments and apprising based on Euro-American tonal music. Those activities unfortunately try to meet high technical demands. As a result, many students become discouraged. The COS was revised in 2017, and such new terms as “subjective, interactive, deep learning” and “co-operation with others” were, for the first time, introduced in order to emphasize the active participation of children in learning. In this paper, an activity based on the use of graphic score and the sound education by R. Murray Schafer that enable “subjective, interactive, deep learning” and “co-operation with others”, without relying on children’s musical experiences including private piano lessons and so on, are proposed. The paper attempted to form the bridge between graphic score, particularly proposed by Robert Walker and the sound education. The analysis of after activity shows that the activity from appreciation to creation can be carried out by children while at the same time, music teacher plays a role as facilitator.
About the Author: Soichi Kanazaki holds his Master of Education (music education) from Hirosaki University, and has resumed his doctoral studies in the Regional Studies at Hirosaki University. His research papers have appeared in major journals including the International Journal of Creativity in Music Education and Japanese Journal of Music Education Research.
] 166 [ Thanraphat Ditdumrongsakul (ID171) State and problems of music education in Thailand’s higher education of 21st Century
Music education in Thailand has been developing continuously in 21st Century. As a change in society, economy, and technology, the education system went on to be consistent with these changes. Thus 21st Century skills for music education are playing an important role in order to expand an academic education to be more efficient and also in the music education field. The aims of the study are 1) To study the affecting problems and solutions of Thailand’s music higher education through specialists’ perspectives and 2) To study a guideline of music education in Thailand’s higher education of the 21st Century through specialists’ perspectives. This is a qualitative approach design study which instrument was semi-structured interview. The participants are 5 specialists from Thailand’s music higher education who were selected through purposive sampling. The selection’s criteria for the specialists are 1) Experience in teaching, research and music work in higher education and 2) Specializing in music education and learning skills in the 21st Century. The interview data was analyzed with Analytic Induction and presented with Descriptive Analysis. The results of the study showed the six major aspects which related to teaching management; Administration, Curriculum, Teachers, Teaching and Learning system, Learners, and Assessment. (1) Administration in music education is including with 4M; Man, Money, Material, and Method. Administrators need to understand education frame and create music education plan in the same direction. (2) Curriculum in Thailand needs to change in order to improve the plan every 5 years so the teacher needs to adapt to a new curriculum. Some field music education is apart of department, the main core subject might deduct the credit itself so the teacher needs to be awareness in teaching. (3) Teachers were affected by the number of works and have no time to improve themselves. (4) Teaching and Learning system, teacher haven’t understood the true meaning of the 21st Century skills, all related sectors need to well-organized and change the way of teaching. (5) Learners should have self-improvement and communicate with teachers. (6) Assessment is depended on the way of the teaching process, teachers need to adapt in appropriate aspects. In conclusion, all related sectors have to coordinate and develop music education in education reform and globalization era. The study will be an advantage to education circle for adjusting music education in the future.
About the Author: Thanraphat Ditdumrongsakul, master degree student in Music Education from Mahidol University, Thailand.
] 167 [ Xin Hu, John Perkins (ID172) A newcomer in my home country’: ‘Resonant readings’ of narratives to mediate anti- colonial discourses
Multi-year expatriate experiences tend to expand one’s world view. Upon “reentry” to one’s home country, a second, more profound, “culture shock” is commonly experienced. One’s reluctance to discuss one’s cultural liminality stems from others negative reactions. Such vulnerability may lead to, after all, appearing confused, “foreign” or as an outsider – a newcomer to one’s own country. “Researcher A,” a Chinese citizen, reflected on her graduate studies in the USA, and, “Researcher B,” a white American citizen, reflected on his role as a university educator in the United Arab Emirates. Through our sustained expatriate experiences, we reflected on how widely Western music was accepted despite geographical distance (Kok, 2011). Discussing these challenges with our colleagues and students, however, caused both self-inflicted and imposed epistemic distance from them. Such distance occurred through formal, informal, and professionally threatening situations. By writing exchanging, and discussing personal narratives, our “discomforting dialogues” (Kelchtermans, 2009, p. 270) sustained our personal identities and expanded knowledge and empathy toward each other “the way one narratively understands oneself includes the presence and role of the others” (p. 265). With broad, anti-colonial goals and recognition that new goals may emerge (Lincoln, 2003), this narrative inquiry unwinds into a three-dimensional narrative inquiry spaces (Clandinin & Connelly, 2000) that comprises temporal (historical and future), personal and social, and contextual analysis (Dewey, 1938). Having experienced “borderland travel” (Nelson, 2003) in our own epistemic and expatriate histories, we seek deeper connections with colleagues and students as they express epistemic borderland travel throughout their musical lives. As an initial step toward mediating challenging discourses, we framed participants’ narratives in “story constellations” (Craig, 2003) which “take[s] into account multiple clusters of stories, and many versions of stories narrated by multiple tellers” (p. 11). Through “resonant readings” (Davis, 2003) of these stories, we encouraged ourselves and participants to relate and contrast all narratives. Instead of enacting authoritarian power through our stories – a type of colonization – story constellations mediated hierarchically-motivated cultural discourses, giving agency to everyone’s identities. As a vulnerable act, participants found more nuanced and empathetic ways to engage each other. We view this practice as an important first step toward decolonizing music education. More broadly, this practice may mediate multiple facets of our musical lives, since educational growth often occurs by engaging with unfamiliar concepts and individuals.
About the Authors: Xin Hu is a pianist and a music teacher who has studied music in China and in the U.S. She recently received her master’s degree in music education from Teachers College, Columbia University. She currently lives and teaches in her hometown Fujian, focusing on piano and early childhood music education. John Perkins’s teaching and research activities focus on decolonizing choral spaces and justice dialogue at Butler University, where he is an Associate Professor of Music. Arab, Malaysian and American gospel musicians helped him de-center his performative training and sustain students’ agency through dialogical, relational and social domains of music education.
] 168 [ Bethoven Pahugot (ID180) Creating Piano Pieces for Piano: Inspired by the Songs of the Kalawisan Cantoras
The researcher created localized piano materials using the religious songs sung by the native Kalawisan Cantoras in Lapu-Lapu Cebu Phillipines. Since the native songs have been widely used for many decades, the local youths of today particularly in barangay Kalawisan have grown up very much oriented to the native tunes. The localized piano pieces are inspired by the songs from the native Cantoras and categorized by Grade Level from Easy, Average and Difficult. Crafting localized piano pieces, the learners were encouraged to study better and become more motivated to play them as they are already familiar with the pieces they are tasked to play. Because the pieces were already familiar to the ears of the learners, the teacher and the learner had more time to focus on the learning of the skill rather than familiarizing the tunes first, which speed up the learning processes in piano playing. The study did not only focus on the localized tunes, but also in considering the concept of familiarity among the learners. The researcher considered several aspects on how to create piano pieces that will both encourage the students to appreciate and learn to play the piano in a much easier way: this is by including folk songs which were familiar to the respondents. The familiar tune stimulates interest and helps learning music more fun and easier since the melody of the songs have already been imprinted in the minds of the musical player. The researcher found out that this can be accomplished through composing new piano pieces in popular style by utilizing native local tunes which are familiar to them that embrace the students’ musical “mother tongue”. The researcher then explores the effectiveness of the new piano pieces composed through teaching action plan and true-to-life application.
About the Author: Bethoven Pahugot was born in Kalawisan, Lapu-Lapu City, Cebu Philippines. Graduated AB Music at University of Southern Philippines Foundation and ABRSM Diploma in Piano Performance. Bethoven did his graduate studies at the Philippine Women`s Unuversity and graduated Master of Arts in Music Education. He now runs a music studio in Cebu City where he practices teaching.
] 169 [ Chihiro Obata (ID129) Questionnaire Survey on Singing by Fifth- through Ninth-Graders Students in Japan: Focusing on Inferiority Complex toward “Onchi” Consciousness
The purpose of this study is to clarify differences between the school year of “onchi” consciousness in fifth- through ninth-graders students in elementary school upper grades and junior high school students in Japan. “Onchi” is just a slang word though most of Japanese people tend to describe someone singing out of tune with the comprehensive term “onchi.” Junior high schools in Japan actively hold singing activities such as school chorus contests. However, a questionnaire survey about singing of 318 students of a Japanese public junior high school A conducted by the author in 2016 revealed that 47.8% of the students answered that they were “very onchi” or “a little onchi” (Obata 2017). It is necessary to investigate whether these are a common tendency in Japanese other junior high school students except junior high school A, and how many students have “onchi” consciousness before becoming junior high students. Therefore, in November, 2017, the author performed a questionnaire survey for the students from the fifth- through ninth-graders students at 9 Japanese national and public elementary schools and junior high schools (10-15 years old). The total number of the participant students is 1098. The results of the questionnaires performed for 680 students of junior high schools showed that 10.9% answered “I think that I am very onchi” and 39.3% answered “I think that I am a little onchi”. The result indicates that 50.2% students have “onchi” consciousness. In addition, the results of that performed for 418 students of elementary schools showed that 8.1% answered “I think that I am very onchi” and 25.8% answered “I think that I am a little onchi”. The result indicates that 33.9% students have “onchi” consciousness. The chi-square test results showed significant difference between the questionnaires performed in junior high school students and elementary school students (χ²=33.07, df=3, p<.001). Particularly, the chi-square test results showed significant difference between the questionnaires performed in fifth and sixth grades of elementary school students (χ²=15.89, df=3, p<.01). The results suggest that it is necessary for the students to perform singing while own voice is caught positively by the teacher of these schools.
About the Author: Chihiro Obata is an associate professor at the Miyagi University of Education in Japan. She acquired her PhD from Tokyo Gakugei University in 2005. Her present research concerns poor pitch singing, with special attention to the inferiority complex that often accompanies it, and internal feedback mechanisms used for singing.
] 170 [ Yukari Kon (ID183) The Current Status Related to Music Appreciation Classes in Elementary Schools in Japan
The act of appreciating music fosters a pleasant feeling if one surrenders to the flowing sounds and just listens. This may be the original way to enjoy appreciating music. However, when one comes to understand the content of music and closely examines it, it becomes possible to enjoy music from a different perspective. The place that creates the opportunity for such listening is the music class in school education. In music appreciation classes in Japan, the learning pattern includes teacher’s explanations about the piece of music, followed by listening to the music CD, with the children then describing their impression of the musical piece they have listened to. This learning pattern has been followed frequently so far. However, this kind of learning tends to make children passive and there we have found a problem: it is difficult to develop it into an energetic learning activity. Further, in such classes it is difficult for children to reach the stage where they can be conscious of the beauty and fascination of music. In recent years, Information and Communication Technology (ICT) has been introduced in schools and teaching methods have also become diversified. In A Preliminary Study of Music Appreciation (2013), I have explored the trends in music appreciation classes in Japan and identified four special characteristics. An examination of these clarifies that appreciation classes in Japan are gradually shifting away from the till now passive appreciation of music towards active appreciation classes in which time is set aside for children to be involved voluntarily. The purpose of this presentation is to examine appreciation classes in which children can involve themselves actively. The research methodology included conducting a questionnaire survey targeting university students regarding music appreciation classes received when they were in elementary school. The actual conditions regarding the appreciation classes were organized and guidance was provided regarding the ideal way of conducting active music appreciation classes. From the results of this questionnaire survey, many negative opinions were seen. Further, it was also revealed that the actual condition was that many students had received appreciation classes in the patterned way of learning mentioned above. In this presentation, the following views were derived regarding the ideal way of conducting music appreciation classes that promote active involvement of children, namely, 1) to relate expression and appreciation, 2) to allow listening before appreciation, and 3) to conduct learning that promotes thinking (analyzing) in a group.
About the Author: [email protected]
] 171 [ Jun Niu (ID188) Research on the Development of Music Textbooks in Primary and Middle schools in China during the 40 Years of reform and Opening-up
In school education, the textbook, as important resource, basis and main media, is the essential part of curriculum and the carrier to put curriculum into practice. It’s also the embodiment of the nation will, national spirit, cultural traditions and the level of the subjects development, as well as the basic means of achieving cultivation targets. With the development of music education, the development of music textbooks in Chinese primary and middle schools is affected by many social and political factors. By analyzing the development and content changes of music textbooks in primary and middle schools in the past 40 years of reform and opening-up in China, the development of music textbooks has gone through three stages: the first stage emphasizes basic knowledge and competence, and the second stage focuses on music knowledge structure. The third stage is aimed at student participation. It discusses the core changes and development of music textbooks. There are factors such as Aesthetic education, educational modernization, essential-qualities-oriented schooling, and curriculum reform. All these factors have an impact on the improvement of music textbooks. The music textbook must comply with education regulations and policies of the Chinese government. The construction of primary and middle school music textbooks over the past four decades, has adjusted their contents and structures, which even more embody the characteristics and requirements of the times; which has realized the evolution from “one syllabus with one version” to “one syllabus with various versions”, then “one standard with various versions”, increasingly putting emphasis on their readability, practicality, comprehensiveness and creativity. Accordingly, it has adapted to and promoted the overall reform and development of primary and middle education. Based on the development of music textbooks for forty years, it proposed that the development of future music textbooks will continue to maintain the diversity of content and highlight the educational concept of core competencies. With continuous improvement, digital music textbooks will gradually be available to Chinese students. This study has important theoretical and practical significance for a deep understanding of the nature of the basic education music curriculum in China, the implementation of the new concept of music education, and the optimization of the music curriculum practice.
About the Author: [email protected]
] 172 [ Jiahang Liu (ID190) Calm Thinking About Online Instrument Tutoring
With the advent of the era of “Internet +”, people in all walks of life pursued to take advantage of the development of technology. In the field of music education, online music learning - in the forms of MOOC, websites, and mobile applications - appeared to meet the high demand. Particularly, for people who want to learn the instruments, online tutoring is the most popular choice since it allows them to have classes at all times and places. In this essay, on one hand, the author takes the online instrument tutoring as an example to analyze the freshly-minted occupation, online tutoring, from the perspectives of definition, purposes, and current social impacts by using data studies. On the other hand, it records the interviews of teachers, students, and parents which talk about their opinions about online tutoring by using survey method. To be more specific, the author further digs into the real reasons why online tutoring catches on as a buzz word nowadays - such as transcending the barriers of traditional learning methods, boosting the efficiency of learning instruments, and getting rid of parents’ troubles. Meanwhile, by taking a thorough comprehension of the issue, the author also indicates the potential problems, like existing narrow educational utilitarianism, ignoring the importance of teenagers’ self-study abilities and aesthetic education, and offers possible solutions (changing social stereotype, raising teachers’ professionalism, complementing the education system, and sharing the study resources). With the purpose of achieving sustainable development, online instrument tutoring can be conducive to all learners by showing great job prospects in the near future.
About the Author: Jiahang Liu is studying for a master’s degree in music education at Northeast Normal University under Professor Aiqing Yin, a famous Professor in the area of Music Education in China. She mainly does research about online music education and other related fields.
] 173 [ Shinko Kondo (ID194) Quality of excellence of teaching music: a comparative study of elementary general music classrooms in the United States and Japan
A comparative study of music education will become a necessity in the twenty-first century, since researchers and music educators in many countries are struggling with similar problems. Improving the exchange between various qualities of teaching music in terms of developing more effective approaches to learning/teaching music and practical teaching skills supported by current educational perspectives must be emphasized on an international scale. Van Manen (1990) reminds us that pedagogical thoughtfulness as a multifaceted and complex mindfulness toward children is an essential element of pedagogic competence, which includes a sense of vocation, love of and caring for children, a deep sense of responsibility, moral intuitiveness, and so on. This study compares two popular music classrooms in the USA and Japan by examining differences and similarities from a variety of aspects, including how the teacher views the students, how the students view the teacher, and how the teacher scaffolds their music learning process. Data were collected through nonparticipant observation, artifact collection, individual interviews, and reflective journals. The findings suggest, though the contexts are different, there are commonalities in the quality of relationships between teacher and students. In both classrooms the power structure of the activity was not one way from teacher to student, but shared between teacher and students. The result also reveals the characteristics of scaffolding during musical activities. Van Manen’s tactful thoughtfulness proved useful in illuminating the quality of excellence of teaching music.
About the Author: Shinko Kondo, Ph.D. Music Education, Oakland University, Rochester, MI, USA/Bunkyo University, Japan. Her research focuses are on musical communication and scaffolding in the process of music learning, learner’s agency and musical identity, social constructivist approach in elementary music classroom and instrumental studio instruction, and comparative study of music classroom between USA-Japan.
] 174 [ Akihiko Nakamura (ID198) Evaluation of Emotional Aspects of Students by Association Method: Focus on Music Lessons Based on the TAS Model
The evaluation of emotional aspects of students by the association method is one of the class evaluation methods proposed by Kagehiro Itoyama (former professor at Nagasaki University) and Kohtaro Kamizono (professor at the Nagasaki Institute of Applied Science). This evaluation would clarify what students find difficult, what they find interesting, and what affects them emotionally. The association method involves associating a stimulus word (e.g. “red”) with the response words (“apple,” “cherry,” etc.). The evaluation of emotional aspects includes finding out if a class was “Interesting” or “Uninteresting,” and which part of the class was “Difficult” or “Easy.” I prepared vector charts called as emotional vectors based on the outcomes of these evaluations for analyzing the results. The purpose of this study is to use a TAS model on a class practice to reveal how students are emotionally affected by the class. This method has been exploited by Yukiko Tsubonou in a research project conducted by the Japan Society for Music Education (JSME) from 2017 to 2019. TAS here refers to the collaboration of the T = teacher, A = Adviser, and S=Supporter in the music lesson. In this study, I examine the effect of the collaboration of musicians on student learning. Students from an elementary school and a senior high school were subject to a questionnaire survey employing the association method after attending the class. The characteristics of a class based on the TAS model involves setting two pairs of opposite phrases as stimulus words: “Interesting” vs. “Uninteresting” and “Difficult” vs. “Easy.” The students were asked to freely write down the words with which they associated the said stimulus words, and then, these words were classified into the following four groups as response words concerning (1) learning activities (improvisation, appreciation, etc.), (2) learning concepts (blues, whole-tone scale, etc.), (3) study guidance methods, and (4) music instruments. I categorize the obtained response words and prepare emotional vectors to analyze the results.
About the Author: Akihiko Nakamura is a doctoral student of the United Graduate School of Education at Tokyo Gakugei University. His research interest is evaluation in creative music learning. He is also a composer, mainly composing and arranging music for brass bands and orchestra works.
] 175 [ Kaoru MORI (ID202) Parody Songs: Children’s Spontaneous Music Making and Resistance in the Classroom
Parody songs are the songs whose lyrics are partly or fully altered. Standard children’s songs and nursery rhymes have numerous versions of parody songs. In Japan, children in elementary and junior-high school make and sing parody songs for different pieces. They make parody songs spontaneously and share one another in music class. Some of them are spread broadly, and sung throughout the ages regardless of teachers’ intent (e.g. Bach’s “Fugue in G minor, BWV 578”). Parody songs’ lyrics often include dirty words, but precisely because of it, children seem to tend to sing them. The purpose of this study is to reveal how parody songs are occurred and shared in the classroom. It contains finding out what kind of melodies and words are used, what conditions cause children to make music spontaneously. I observed music class for a year, about 60 hours in total, videotaping and writing field notes. After the observation, I extracted the scenes parody songs occurred. All the scenes were analyzed focusing on the contexts, the melodies, and the lyrics. I found the common characteristics in children’s parody song making as follows: (3) When Children made parody songs, they used the melodies that had something strange and new to themselves or the melodies that they were very accustomed to singing. (4) Children who made parody songs seemed to be trying to change the situations in class. (5) The lyrics of children’s parody songs reflected their musical interpretations, their feelings, just a wordplay (including inappropriate words by classroom manner standards).
From these results, it was implicated that teachers should prepare the settings that are needed to be fixed in some way to children, the materials which have something strange and new to them for causing children’s spontaneous music making.
About the Author: [email protected]
] 176 [ Mariko Kai, Kanoko Fujio, Mutsumi Igarashi, Junko Takahashi, Ryo Hasegawa (ID203) How Does the “First-Person Learning” Effect the Ability of Nursery Teachers to Encourage Musical Expression in Children?
The purpose of this study was to reveal the effect of “First-Person Learning” on the ability of nursery teachers to enrich children’s musical expression. Suwa (2016) has promoted the importance of “First-Person Learning”, which involves learning something by coming into direct contact with it. However, preceding researches has not clarified its effect on the ability that teachers must possess to enrich the musical expression of children. To investigate the effect of “First-Person Learning” on the discipline of music, as a preliminary investigation, we conducted a survey of third-year college students (n=89) majoring in early childhood education according to the following procedure: 1) let students experience music-making activities inspired by picture books as “First-Person Learning” and 2) have students write down some of what they learned from the activity. Analyzing the answers from students according to the KJ method, these answers were classified into the following 5 categories. Students who experience “First-Person Learning” concerning musical expression should be able to: (3) Understand how to enrich musical expression through the experience of problem-solving. (4) Discover ways to non-verbally express their unconscious thoughts by themselves. (5) Respect each other’s individuality through exposure to diverse sounds as an actual example of diversity. (6) Recognize more musical elements than before. (7) Conceive tangible ideas to support others in expressing themselves through music.
The results imply that “First Person Learning” gives students not only a new perspective for allowing musical expression to emerge but also some insight into related supporting skills and practical listening skills. To elaborate on the results, we conducted an additional survey according to the following procedure: 1) divide students majoring in early childhood education into two groups, an experimental group which lets students experience the music-making activity, and a control group which does not experience “First-Person Learning”; 2) let students from each group observe a video recording of children engaging in the music- making activity and write down how they can support these children to enrich their musical expression; and 3) analyze the answers given by the students according to the KJ method. Finally, through this research, we expect that “First-Person Learning” will be proved useful for enriching the musical expression of children.
About the Author: Kanoko Fujio, Ph.D in Education. Assistant professor of early childhood education at the Elisabeth University of Music. Ryo Hasegawa, Ph.D in Education. Lecturer of music education at the Graduate School of Human Development and Environment of Kobe University. Mutsumi Igarashi, Master of Education. Assistant professor of early childhood education and care at Ohka Gakuen University. Mariko Kai, Completed the doctoral program at the Graduate School of Music, Tokyo University of the Arts (Ph.D in Musicology); Assistant professor of Child Development and Education at Wayo Women’s University. Fields of expertise: music education, musical expertise, piano lesson, originality in music. Junko Takahashi, Doctoral program student. The Joint Graduate School in Science of School Education, Hyogo University of Teacher Education
] 177 [ Xiaoju Li (ID205) Calm Thinking About Music Education of Chinese Excellent Traditional Culture: Connotation Characteristics, Policy Changes, and Education Inheritance
In recent years, “Chinese Excellent Traditional Culture” Gradually became a buzz word in China. Nowadays, pursuing “Cultural Self-Consciousness” and “Cultural Confidence” has already become the new trend; it happened not only from the central government to rural areas, but also from the professional scholars to frontline teachers. In this essay, by combining the two methods (Literature Analysis and Mapping Knowledge Domain Analysis), the author analyzes the following three issues widely concerned relating to the theme of music education on Chinese excellent traditional culture: (6) The author explains all the important definitions in the field of music education of Chinese excellent traditional culture and indicates their connotation characteristics by analyzing the phrases’ structures. (7) The article also analyzes the Chinese government’s policy since Reform and Opening Up and deliberates the value guidance and the social impacts of learning traditional cultures in the different phases. (8) Finally, by analyzing of related literature (Mapping Knowledge Domain Analysis), the writer constructs the ideal status of the educational inheritance of music education of Chinese excellent traditional culture - from the three perspectives of clearing the relationship, finding possible paths, and considering the emphasis.
There are three points in the research and reflection of this paper. Firstly, it is proposed that we should grasp the excellent music culture and construct the intersubjective relationship of all elements of education inheritance. Additionally, this article states the importance of improving music education of Chinese excellent traditional culture by orderly following the government’s guideline. Finally, it is necessary to thoroughly raise the qualities of music education and push the further development of music education and inheritance of Chinese excellent traditional culture. Through this study, I hope it may lay the foundation for the further inheritance and development of Chinese excellent traditional culture music education.
About the Author: Xiaoju Li, male. He is studying at the Conservatory of Music of Northeast Normal University as a PhD student of Aiqing Yin, a famous Professor in the area of Music Education in China. His personal interests in the academic study are Music General Education, National Music Education, Music Teacher Education, etc.
] 178 [ Pimonmas Promsukkul (ID206) Cooperative Learning Theory and Group Piano Teaching in Higher Education A Case Study of the College of Music, Bansomdejchaopraya Rajabhat University
Currently, there are many educational theories that are popular in the education community in both Thailand and western countries and one of which that has received attention and is consistent with the 21st-century education management is the cooperative learning theory. Cooperative learning structured instructional methodology that employs a small group of students who work together to maximize their individual and cooperative learning. By the very nature of its structure, the teaching of group piano lends itself well to the application of cooperative learning theory and techniques. This research aimed to 1) propose guidelines for organizing music instruction by using cooperative learning theory as a base in the design of teaching and learning management for group piano students. This presentation includes details of the course, content and activities used for teaching and learning management, assignment of musical projects, and assessment of this subject. This model of teaching and learning management was examined by experts in group piano teaching. In addition, this research aimed to 2) present the opinions of piano students of the College of Music, Bansomdejchaopraya Rajabhat University, towards teaching and learning the management of group piano class under the cooperative learning theory. An in-depth interview and observation was conducted with all students who registered in the group piano class which used cooperative learning theory as a base in the design of teaching and learning management during the academic year 2017-2018 in order to gain in-depth information that could be used as a guideline for improving the music teaching and learning management based on cooperative learning theory as well as for making group piano practice more effective.
About the Author: Pimonmas Promsukkul, College of Music of Bansomdejchaopraya Rajabhat University, Thailand
] 179 [ Sahomi Honda, Hiromi Takasu (ID207) Examining the Significance of Musical Activities for Seniors in a “Super-Aging” Society A Case Study with a Shigin Poetry Group
By 2010, the proportion of Japan’s population aged 65 and over grew beyond 21%, making the country a so-called “super-aging” society; this demographic trend has persisted over the past several years. Senior citizens in this kind of super-aging society live well beyond their years of formal academic education, so it is vital for them to enrich their day-to-day life through active involvement in musical activities. This is not the first time that researchers have focused their attention on musical activities for senior citizens: Mito (2017) conducted semi-structured interviews with 20 senior citizens who were at least 80 years old, asking how their understanding of music had changed over the course of their lifetimes, and Motoyoshi (2016) discussed the characteristics, significance, and realities of piano instruction for senior citizens. The objective of this research is to observe and clearly show the significance of musical activities for senior citizens in Japan. The art of Shigin involves reciting Chinese poetry (or Japanese poetry written in Chinese) called Kanshi; though this genre of traditional Japanese vocal music originally began in the 19th century, Shigin continues to have many devotees across Japan to this day. This research will focus on the viewpoints of senior citizens who are active members of Shigin poetry groups to determine what meaning people find in Shigin recitals. We attended a meeting of a Shigin poetry group in the Nagoya region of Central Japan; after the meeting, we conducted semi-structured interviews with three of the group’s members to determine what the musical activities mean to those senior citizens. We found that Shigin is important to the senior citizens who practice it in three ways: they enjoy expressing themselves through Shigin performances, they enjoy the academic exercise of learning poems, and they enjoy maintaining a healthy lifestyle through vocalization. We also considered how Shigin’s particular appeal is related to other musical activities.
About the Author: Sahomi Honda is a professor of Chiba University, faculty of education. She received her MA in music education from Tokyo University of the Arts. Her research focuses on the teaching methods and materials of Japanese traditional music, and on the history of primary music education, in the early Showa period. Hiromi Takasu is an Associate Professor of Early Childhood Education at Nagoya College. She holds a Master degree in Voice in the Cleveland Institute of Music. In 2010 and 2011, she was also a visiting scholar at the University of Washington in the music education department.
] 180 [ Nozomi Azechi, Masami Yoshimura (ID209) What are the difficulties for beginners in matching their timing and changing tempo with other musicians?
Pedagogical background In Japan, music is a required subject for students wishing to obtain a nursery or kindergarten teacher’s license. Students are required to play the piano as well as sing. One big aim of the subject is for students to be able to play piano accompaniment to young children’s singing. However, the experience of piano performance among university students has been recently getting less and less. Therefore, their performance at the end of the course is often not quite of sufficient level to enjoy the piano performance and musical expression. Some nursery teachers have pointed out that some students cannot hear the children’s singing voices because they are concentrating too much on their performance. They cannot adjust their performance, the volume of the sound, or timing and tempo. Therefore, we set a piano duo task for undergraduate students, with the goal of enabling them to better listen to others, and so match their own performance timing with others. The focus of the research reported What are the difficulties for piano beginners in matching their timing and changing tempo with other musicians. Two methods were undertaken in this research. (1) Analysis of questionnaires from 82 undergraduate students who are taking the music subject on a Nursery and Kindergarten Teacher Course. (2) Analysis of two case studies of piano duo lessons provided by a piano tutor in the music subject. The beginners seem to become aware of the existence of meter/musical time, via the piano duo task. This suggests that the student who have never taken formal music lessons before, and did not have much idea about meter/musical time/metric accents. When the student played piano accompaniment to children’s songs, only the lyric was the ruler or guide for proceeding/processing the successive musical notes, not meter. Beginners often have difficulty in reading/decoding rhythm from a musical score. Allowing students to listen to other performers and match their own tempo/timing with them, could make beginners more aware of musical timing/meter and permit them to better adjust their own performance tempo. Understanding the different ways of music perception helps music teachers to find out how to better teach, and set the best tasks for raising the awareness of students when playing with others, and so improving their group performance.
About the Author: Nozomi Azechi is a senior assistant professor at Doho University. Her study interest is music education in general, music education in the teachers training course, and young children’s musical development. Masami Yoshimura is a pianist who has a long career as a ballet accompanist, currently working for Chubu University as a piano tutor.
] 181 [ Xiaoning Feng (ID221) Traditional Materials in the Music Textbook Published by People’s Music Publishing House of Compulsory Education in China
With the awakening of the consciousness of the traditional culture protection and development, traditional music has received different degrees of attention in the music education of various countries, which occupies a considerable portion. In January 2019, Music Education and Teaching Research Base of Shanghai held a seminar on the “Chinese Excellent Traditional Culture Inheritance Project: A Comprehensive Study Project concerning Music Curriculum in Integrated Primary-Junior-Senior School”, which was established as one of the Sub-project of the 2018 National Social Science Fund Education Major Project “Innovative Development of Chinese Excellent Traditional Culture Research in Teaching Material Construction” by the Ministry of Education’s Basic Education Curriculum and Textbook Development Center. Compulsory, public welfare, and unified compulsory education is the foundation and support of China’s national education, and music education is an indispensable part of it. Music education in the compulsory education stage is an important part of music education in our country. According to the “Compulsory Education Teaching Book Catalogue” published by the Ministry of Education’s official website, the compulsory education textbook (Music) approved by the Ministry of Education has a total of 11 versions published by different publishing houses in different areas; according to incomplete statistics, the version published by the People’s Music Publishing House is the most widely used one. Therefore, the research applies this version for research. The research focuses on traditional music works, conducts research on the version published by the People’s Music Publishing House of compulsory education textbooks (Music), and analyzes the proportion of traditional music materials in various books, grades. The research method is mainly quantitative research. The purpose of the study is to understand the views and conception of the textbook-compilation committee on traditional music and to provide a feasible reference for the revision and improvement of the textbook.
About the Author: Xiaoning (Lexie) Feng is a passionate researcher focus on public school music education, relationship between teaching and learning, and music education philosophy. Studying and researching as a graduate student in Shanghai Conservatory of Music, she views issues from multiple perspectives and positively puts possible solutions into practice.
] 182 [ MO Shu Zhen, Suzanne (ID227) A case study of the Efficiency of Google Classroom in performance assessment, an example of Grade 6 students in a primary school in Macau
The Policy Implementation of Macau music basic academic attainment (BAA) has been in 3 years, while google classroom has been opened. In 2016, Macao newly issued the basic academic requirements for music, and it is expected that the music literacy of Macao students will be improved. The group’s cooperative learning has been implemented in Macao for many years and has been recognized and respected by many teachers and schools. The 4G era of online learning tools is increasingly advanced, google classroom can allow classroom learning to extend from the school to the outside. The basic literacy requirements for Macao Music (Macau Education and Youth Affairs Bureau, 2016) mentioned that students in the high and small stage (fourth to sixth grade) must be able to complete comprehensive music activities and participate in public display. For ordinary school students, in addition to participating in the general music classroom, there is almost no contact with music-related activities in their spare time, except for students who participate in music learning outside the school for a long time. The purpose of this study is to explore the combination of the music education assessment of the sixth graders and the online learning model google classroom, and to create an online group collaborative learning platform to participate in the practice evaluation method, whether to enhance the effectiveness of the music classroom, and to expect students to be effective. Absorb the music knowledge in the music class and deepen the understanding and experience of different music.
About the Author: Suzanne, MO SHU ZHEN, Instruction and Curriculum, Pedagogy Master degree of University of Macau, School music teacher of the non-profit private school, ten years of music instruction of primary school in Macao, and the first prize winner of the countrywide competition of music classroom video in 2012 & 2016.
] 183 [ Christine Augustine, Wong Huey Yi @ Colleen Wong, Zaharul Lailiddin bin Saidon, Zamrus bin Hashim (ID232) Undergraduate music students’ Holistic development in capstone project
Capstone is a term used for students usually in the final year of their study which accomplishes the student’s experience and skills in the form of a thesis, internship, project, presentation or performance. The capstone project gives students the ability to take knowledge, theory and practical skills they have learned and apply in a real-world setting. It can also be called assessment without examination where the weightage of the course depends on the knowledge and skills of the students without written examination. In the recent years, the Ministry of Higher Education (MoHE) and Malaysian public universities have given emphasis to high-impact practices that include community-based learning, global learning, collaborative assignment and projects, capstone project to name a few. This research focuses on the capstone project in the on-site setting, there is no empirical study has been done on the area of performing arts, especially in music. The Bachelor of Education (Music) program offers a course entitled Final Performance Project (FPP) where students undertake this course in their final year. This course is designed to provide the music education students with the knowledge and skills of planning, organizing, managing, producing and performing in a musical concert. As the program practices the open market concept, students are required to master the educational context as well as apply knowledge in skills in their respective music major instrument. This mix method research used questionnaires and interview methods to collect information from the present students as well as the alumni of the university from all over Malaysia. The interviews will focus on practitioners who are engaged in music activities in schools and institutions, such as marching band, wind or pop orchestra and traditional ensembles. The questions are based on the research questions on how the capstone project is formed to develop holistic individuals and the impact of this capstone project in a life-long learning capacity. This ongoing research with the concept of education via entertainment (edu-tainment) hopes to benefit and inculcate the Higher learning institutions, faculties, music educators as well as future performing arts students especially in Malaysia, by creating a benchmark of the capstone project in their program structure.
About the Authors: Christine Augustine is a senior lecturer at the Faculty of Music and Performing Arts, Sultan Idris Education University, Tanjong Malim, Perak, Malaysia. She gained her Doctor of Education (EdD.) from Nova Southeastern University, Florida majoring in Instructional Leadership. Her research interests include music education areas, music and movements. Zamrus Hashim is a senior lecturer at the Faculty of Music and Performing Arts, Sultan Idris Education University, Tanjong Malim, Perak, Malaysia. He gained his Masters in Music Performance from the University of Newcastle Upon Tyne, United Kingdom. He is currently the Deputy Dean of Students Affairs and Alumni. Associate Professor Zaharul Lailiddin Saidon, senior lecturer at the Faculty of Music and Performing Arts, Sultan Idris Education University, Tanjong Malim, Perak, Malaysia. He gained his Masters of Education (Curriculum & Instruction) from the University of Houston, Texas, USA and currently the Director of the International & Mobility Centre, UPSI. Colleen Wong graduated from National Arts Academy also known as ASWARA with Diploma in Music. She obtained her Bachelor of Performing Arts (Music) and Master of Art (Performing Arts) from University of Malaya and a graduate holder from Nova Southeastern University, Florida with Doctor of Education (EdD.) in ] 184 [ Instructional Leadership. Vivienne H. Sang (ID234) Music board games as effective pedagogies for music literacy
Much research has shown that game playing has a role in learning in particular for problem-solving, applying ingenuity, anticipating the purpose-driven challenges, and building up peer to peer support. In this respect, the author is going to share with music teachers, educators, and researchers by demonstrating how board games can build up an effective learning experience for students with different abilities. The board games are invented by the author who is a gifted music education researcher and seasoned practitioner. The board games have been used in secondary schools during the past three academic years. The results have shown that the well-developed board games and well-instructed pedagogies contribute to students’ excellent performance. Several board games are introduced to workshop attendants: The board game Parallel Scale Solitaire is designed to teach the sequence of notes in music scales. Each stack contains 7 notes in a specific music scale with a particular color in order to be distinguished from other stacks. In addition, the mechanic of games is also employed to enhance learners/players’ engagement. Thus, two special cards are invented to create opportunities for experiencing more fun and challenges. The other board game Triad Chords aims to teach three types of chords: major chord, minor chord and diminished chord. Each chord is designed with different points. By recognizing the chord and discarding a hand card to form a chord, the player wins points. As a consequence, the player learns different types of chords efficiently through the game and become a master of chord-builder at the end of the game. The first board game assists students to understand the structure of a scale; the second game helps them to build up a concept of triad chord. The author will practice the board game at the beginning and then guide all the attendants to play the games for building up their first-hand experience. This part helps attendants to fully understand the process of board games and the gamification of music theories. It also provides a foundation for the following discussion among participants. Comparing to computer games, the board game is more economic in two ways: the cost and the time. The workshop demonstrates how gamification of music knowledge can be an effective tool in music learning. For demonstrations, the author will be responsible for providing the board cards. The other equipment and facilities needed include a wireless microphone, computer, projector and screen which any conference room would be kindly equipped with. No further assistance is required.
About the Authors: Vivienne H. Sang, Adjunct Associate Professor, National Taiwan Normal University
] 185 [ Leonard Y. Lee, Eunkyoung Kwon (ID243) Educational approach to the social role of music using TV commercial music
Music performs various functions in society as well as the essential aesthetic experience. One of the functional roles of music, ‘background music’ has been used as a way to stimulate purchase motivation. As music marketing, it is used as a means of advertising expression to effectively communicate product images by appealing to human emotion. The purpose of this study is to understand the emotional and image transmission through music by analyzing the musical characteristics used in TV commercial music and to discuss the possibility of educational use. In order to collect TV commercial music, it is divided into 7 groups such as clothing, beauty, food, household appliance, sports, and bank. And the products with the highest number of broadcasts among advertisements broadcasted from 2018 October to December in the 8-10 pm period were designated as sample goods. The music genre is divided into pop, jazz, classical, new age, film music, and etc. In addition, the speed of music was classified into three types: slow, moderato, and fast. The TV commercial music was classified into the types and images of the products, and the music used according to the age of the main customers. In this research, commercial music was characterized by its music genre, tempo, and tone color. Apparel products use R&B to give a sophisticated and active image, in a moderate to fast tempo. To appeal to women’s emotions, most of the beauty products use pop-songs in the moderate or fast tempo, with female vocal music. The general food uses familiar pop-songs in a fast tempo. Consumer appliances such as TVs, refrigerators, and computers use electronics to express modern images. Children’s goods are using pop songs or children songs in a slow or moderate tempo. Most sports products are using dance music and rocks with a bass emphasis in a very fast compared to other product groups. In order to focus on trust and stable image expression, the insurance product employs music focusing on a comfortable and moderate tempo. As traditional arts music, educational value should be respected as it is. Simultaneously, it is necessary to educate students how to utilize various musical genres and works with educational value in school so that music can perform various functions in our society.
About the Author: Eunkyoung Kwon is currently an adjunct professor at the Sahmyook University and the Catholic University of Daegu in the department of music. She is also a doctoral candidate of Myoungji Univ. majoring early childhood arts education.
] 186 [ Queeny Rose Ann P. Peñaflorida (ID246) Tubong of marinduque
Putong” or “Tubong” as it was originally called is essentially a thanksgiving ritual that is unique and indigenous to the island of Marinduque, Philippines. The ceremony involves two parties, the magtutubong which is a group of people who sings and accompanies Tubong and the honoree who is the person to whom the Tubong is dedicated for. It portrays some kind of solicitude for more power, good health and long life for the honoree. It came about during the olden days as thanksgiving offering of birthday celebrants particularly those who suffered from being under throes of death or other forms of distress but were eventually saved. Later on, others who came under similar ordeal took it upon themselves as a vow to hold Tubong offerings as a token of gratitude to the Almighty for giving them longer lives. This paper aims to look into the unique ritual, custom and tradition of Marinduqueños. It describes how the cultural practices got attuned to the times after some innovations on it. For a better understanding of the ritual, I conducted a field research about “Tubong”.
About the Author: [email protected]
] 187 [ Yijie Hu (ID255) The Nationality, Multiplicity and Interest of Preliminary Piano Lessons for Children ---- The Integration and revision of Local Piano Enlightenment Textbooks Resources
Preliminary Piano Lessons for Children, compiled by Sheng Jianyi, Yang Suning, Zhang Yongqing and Zhou Wenying, was published in 1984 (Volume 1) and 1988 (Volume 2 and Volume 3) respectively in Shanghai Music Publishing House. In the 80s, the publication of Elementary Piano Lesson for Children coincided with the initial stage of the decade after the reform and opening up. With the great development of economic strength, the number of Chinese children who play the piano has gradually increased, and piano education has changed from elite education to popular education. Elementary Piano Lesson for Children as a local piano enlightenment textbook, there are two advantages. Firstly, in the past, the piano textbooks were necessary to be external introduced such as John Thompson’s Easiest Piano Course due to lack of local piano enlightenment textbooks. Secondly, in the current booms time of enlightenment textbook, the textbook has a nationality, multiplicity and interest and the concept of the course have forward thinking, which meet the interest and demand of China children who play the piano. The content of the textbook is very diverse. It not only has excellent western works, but also adopts a large number of classical Chinese folk songs, forming a set of piano enlightenment textbooks with a clear system and distinct characteristics of the times. However, due to lack of academic research and training on this course, although the textbook has been printed so many times, the quality is worse than the western piano enlightenment textbooks which are introduced by domestic publishing press. This paper analyzes the nationality, multiplicity and interest of the textbook and its advantages and disadvantages with teaching practices, such as the difficulty of setting up some works, the lack of synchronous learning of music theory knowledge, the lack of updating of compilation and the lack of clarity of teaching system. And discusses how to integrate and revise the local piano enlightenment textbook resources.
About the Author: Yijie Hu, Grade 2017 Postgraduate in College of Music of FJNU (FUJIAN NORMAL UNIVERSITY). Major in Music Education.
] 188 [ Teng Teng (ID257) Research on Academic Social Function for Music Education in the Digital Age
The so-called academic socialization of music education in the digital age, the author believes that it refers to the behavior of expressing and interacting with ideas and viewpoints on the Internet around the events of music education. The advantage of academic socialization is to attract researchers, teachers and students, as well as music lovers, to discover new trends in cutting-edge academic fields through academic questions and answers. Academic networking covers collaboration, Weibo, reviews, sharing, chat rooms, and other interactive features. Academic socialization is actually the embodiment of personalized service. Through academic socialization, including personalized content organization, multi-dimensional network communication, and cross-regional network collaboration, users can achieve efficient and continuous acquisition and generation of effective information. That is the information services carried out by certain technical means to satisfy the personalized information requirements of users. This is also an important form and development direction for digital information services such as databases. Socialized search through academic social networks, putting social factors into the search mechanism, will bring users a new search experience, and thus better serving academic social functions. In the academic field of music education, how to use social networks to break through the traditional academic communication mode and realize the integration of social network openness and academic research is becoming the focus of scholars at home and abroad. In the future, we should focus on the local music education academic social network as the research object, further explore the deep rules of music education research, and conduct mechanism analysis to reveal the advantages and disadvantages of various programs. The research on academic social networks should closely follow the changes of the academic environment and user requirements, applying new methods and technologies, and reveal their operating rules and development trends, and achieve the goal of theoretical innovation and practice development. At the same time, academic social networks should effectively use emerging technologies such as big data, cloud computing, and mobile Internet to provide scholars with cross-platform, ubiquitous, and real-time academic services to promote their professional, intelligent, and diversified development.
About the Author: Teng Teng; PhD, China Conservatory; Postdoctoral, Fujian Normal University; Associate Professor, Master Instructor, Quan Zhou Normal University. Mainly engaged in research related to aspects of music education, minority ethnic music and music database. Courses offered: music education and teaching methods, music education research, music micro-clips and fragment teaching, music appreciation and teaching, thesis design and writing, music theory and ear training and sight singing, etc.
] 189 [ Yiwen Xing (ID267) Exploration of Children’s Singing Voice
An infant’s first cry opens door to the world, the tone and emotion of which also initiates the origin of children’s singing. Children will continuously obtain the experience of singing and enjoy the delight from it. For children, singing expresses the inner feeling, is not driven by any utility only with the purpose to show themselves. Singing and other material jointly build children’s world. But in real life, with the growth of children, parents and teachers always hope that the children’s singing techniques can be developed as much as possible or more education activities will be arranged for them, while they overlook the natural and naive singing origin, which lead to incorrect voice usage and the choice of song that does not suit for growing rules and other phenomena. The behavior of singing is on one hand in control of mental activity, on the other hand respond to outer stimulation. This research is meant to point that the original singing activity should be on the precondition of children physiology, mentality and nature, and acquire the significance of children arts life on the basis of dialogue between life and world. The first chapter, describe the origin of this research: make theoretical exposition to children’s nature, innocence and intelligence from children’s natural feature, culture and children philosophy these three aspects. Second, from the perspective of singing, the author explores the singing theory from children’s singing behavior, aesthetic experience to singing, music attitude and singing mentality under the background of music atmosphere. The second chapter, in order to learn the usage of children singing voice, the author probes into the origin of children singing in the perspective of voice measurement, measures and analyzes the basic elements of children singing by voice software. The author makes research on the mental development of children singing and the static and dynamic manifestation of children singing voice, further inquiries into the inner appearance of singing breath, vocal cords and resonance to try to make what children cannot express seen by voice. The third chapter, make research on how to use voice in reality combing that from the previous chapter to explore the origin of sound in the perspective of techniques training. Guide children to experience vocal organs and vocal action by activities and play games etc. training to investigate how children acquire singing experience through body experience.
About the Author: Yiwen Xing, Doctor of Art, Teacher of Conservatory of Music, Changchun Normal University, has participated in three national scientific research projects, published seven papers and compiled two books. She is mainly engaged in vocal music teaching in normal colleges and universities. Her research fields include vocal music teaching principles, physiology, psychology and performance of children’s singing.
] 190 [ Zhu Jianjian (ID269) Study on the Learning and Health Improvement Function in Piano Teaching for Middle- aged and Senior People
The past forty years since China’s reform and opening up has witnessed the rapid development of music education in China. Piano learning has also become popular among people of all ages in China with the advancement of all aspects of society. It is estimated that by 2020 the number of people above the age of 60 in China will reach 248 million. Piano lessons offered by universities for the elderly and community training institutions throughout the country have become an important means for senior Chinese citizens to fight against aging. It can thus be seen that the chances for senior citizens to participate in piano learning will increase with the rise of the senior population. At the same time, this will also bring about a series of psychological and physiological problems for the learners. This paper, focusing on the learning patterns of senior piano learners, mainly discusses the psychological needs, physiological function, skeletal structure and motion property of senior citizens. Based on the characteristics of piano music teaching and learning, it analyzes and studies what methods senior citizens can adopt in their piano learning process so as to achieve the goals of improving their mental state and health, fighting against aging, enjoying music, and maintaining a happy mood.
About the Author: Zhu Jianjian, College of Music, Hunan Normal University of China
] 191 [ Shu Ting Chen (ID270) A Study of Implementing Digital Music Composition in University General Education in Taiwan: An Example of “Music Appreciation” Course
General education is one of the core structures of the university in Taiwan. All students have to study the required courses in university general education. The music course is the core elective course in the researcher’s school, and the categories include Introduction to Music, Music Appreciation, and Music Aesthetic. The diversity of music course students is contributed to their majors, musical experience and musical abilities. Thus, it is a challenge to plan lessons for them, especially the music composition lesson. Digital technology could be considered in music teaching as an alternative strategy to learn how music works, to foster creativity, and bridge the knowledge gaps existing among students with different musical experience. The purposes of this case study are to: 1) foster students’ abilities and experience for music composition; 2) complete the required music work and apply it in daily life; 3) build the students’ music work database for teaching. The cases are two classes with totally 114 students for 8 weeks of composition lessons. The researcher uses digital software ‘PixiTracker’ as a teaching instrument for composition. There are expected progress including rhythm, melody, harmony, period, form, timbre, record, and final music work. As well as, the data collection and analysis are from the journal, questionnaire, and rubric. The results are as follows: (9) Most of the students have no digital music composition experience, except a few students study in ‘Department of Multimedia Design’. (10) Because of the frustration in music learning, many students are under the impression that music composition is difficult and tedious. (11) In general, the students indicate that it is easier to compose the rhythm than harmony. Furthermore, the ideas for composing melodies are mostly from music in students’ daily life. (12) Students could complete final music works and apply their music in daily life. Many students compose music for cellphone ringtone, and some compose for dancing and singing. In addition, several students apply the music to their reports in the major courses. As a whole, the final music works cover ring tone, rap, song, video/game background music, and street dance music. (13) Overall, the students keep positive attitudes for learning digital music composition and suggest the researcher planning the same lesson at the following course.
This research advance students’ musical experience and make a connection with their daily life. Moreover, it provides the course experience to music teachers and the future researches in university general education.
About the Authors: Shu Ting Chen is a lecturer in music at General Education Center in National Defense University and National Formosa University, Taiwan. She is also a doctoral student majoring in Music Education at National Taiwan Normal University. Her research interests focus on musical talented education and general art education.
] 192 [ Jia Wang (ID276) Kindergarten Teachers’ Methods to Promote Children’s Musical Experiences
At present, teachers in kindergartens of many countries have shown their clear understandings about the benefits of musical education to children and they have been striving to promote children’s meaning- making behaviors with well-designed music curriculum. This situation raises questions about how teachers are involved in children’s acquiring and using musical information. An analysis of it reveals early childhood educators’ reliance on two methods of adult-led musical activities and play-based music programs, while, the adult-directed teaching method mainly guides children to receive instructions and the play-based approach is good at promoting children’s active investigation into musical elements. Only a combination of these two schemes for providing musical education that can ensure children in kindergartens get successful experiences in perceiving both aesthetic values of music and thing.
About the Author: Jia Wang, a Ph.D. student of the Educational University of Hong Kong and the research direction is music enlightenment education for children. Ever taught at Changzhou Normal School for Early Childhood with many years of experience in front-line music courses and musical instrument teaching.
] 193 [ Chie Yamamoto (ID278) Feature of self-cultural education in social studies in Cambodia: Focusing on the music materials of the fifth-grade elementary school student
Currently, education in Cambodia aims to foster identity as Cambodian by self-cultural education. This is because the government had a task for the people to regain their ethnic identity after the Pol Pot administration. Social studies in Cambodia play its central role. Music as a subject doesn’t exist in Cambodia, it is treated as part of social studies. From the current social studies curriculum analysis, I revealed that all music materials handled in social studies curriculum are Cambodian music. In social studies, music is just a tool for identity development and is set to make children understand the framework of the Cambodian state. It is commonplace for Characteristics of social studies with the task of self-cultural education. So, in this study, I translated and analyzed the music material which is treated in the social studies textbook of elementary school fifth grade. Based on the current elementary social studies curriculum review, I focused on Cambodian music education as self-cultural education and aimed to clarify what kind of features the music material has. Incidentally, this time I targeted the fifth-grade elementary school textbook. As a result, I found that Cambodian textbooks set up questions as to what we can do to protect traditional music, from the viewpoint of “protection” of traditional culture. However, only illustrations and methods of traditional musical instruments are described carefully, the students have few opportunities to play instruments and sing. As a result, they can only learn and understand traditional music not as expressions but as knowledge on the textbooks. Simply understanding traditional music as knowledge is insufficient for “identity fostering as a Cambodian through self-cultural education” in social studies. I think that the ideal of self-cultural education through traditional music is to nurture “the ability to participate in music actively”. It is important to nurture that ability as successors and workers in the development of traditional culture in Cambodia. And Learning opportunities what Cambodian can have attachment and pride to traditional music are necessary. However, its realization is difficult in the current social studies in Cambodia.
About the Author: Chie Yamamoto, Teacher of music at school The Mihara Primar School Attached to Hiroshima University.
] 194 [ Soma Takeo (ID281) Of talking about musical images
The French philosopher Gaston Bachelard studied human imagination and image in the field of Épistémologie and Poetics. Bachelard states that the image of a certain work of music has nothing to do with the composer’s thought. Thus, the relationship between musical works and its image can be considered arbitrary. He also thinks that the meaning of the image cannot be defined by language. Therefore, the purpose of this ethnographic study is to survey how people talk about the image of music; how people feel image and translate it into language. Many music teachers in Japan have a tendency to use the term “image” when they teach music as if a composition possesses the exact or particular images. This survey targets a student K, who majors in pedagogy. Process1: K listened to five pieces of music and wrote his images. Process2: K got a semi-structured interview. Question1: Please tell me whether you feel easy or difficult to describe the image of music. Question2: Please tell me how you grab the image of music.
K answered the two questions above: It is not difficult for me to write the image down since I had been instructed exactly the same thing at my school periods. But it is not easy for me to explain what image is about in the words. This is because the image I actually felt was fuzzy and ambiguous. When I tried to describe the image, I couldn’t help thinking that there was no correct description of the image.Through this research, it was found that piece title would strongly influence the listener’s image. K has known piece4, it seemed difficult for him to create a new image. Concerning piece2, his first image turned to another image, and this change is seemed irreversible. K judged piece1 and 2 as plain, and piece3 and 5 as an incomprehensible matter. It may be caused by the musical structure because K seemed to produce an image with help of musical features such as brasses’ timbre (“giant animals’ cry”) or monotonous repeated rhythm (“labor facility”). In this paper session, the author attempts to give more detailed findings and the purpose of the idea of how music teachers should deal with the term image in their classrooms.
About the Author: Soma Takeo holds his Master of Education (music education) from Hirosaki University, and has resumed his doctoral studies in the Regional Social Research Course at Hirosaki University. He has presented his research paper for the 11th APSMER in Melaka. His research topics include ethnomethodology and the concept of poetics by Gaston Bachelard.
] 195 [ Yang Sunnie He (ID282) Drawing to learn music – a case study in Hong Kong
In order to nurture “community-based artists”, the Education University of Hong Kong (EdUHK) has run a Bachelor of Arts in Cultural and Creative Arts (BA(CAC)) programme since 2012. Whilst the students major in music or visual arts. Unlike the traditional music and visual arts programmes, the curriculum includes a foundation course for music students called: exploring visual arts, so do the visual arts students have to take a music course: gateway to music as one of their core courses, widening the scope of knowledge and increasing their knowledge on different art background. For better understanding, drawing as a tool of thought was applied in teaching visual arts student learning music. Drawing as perception is that which assist the ordering of impressions, ideas and thoughts. It might enable students to explore and to develop observation and interpretative skills to investigate and understand the world, so as music. Yet, few music teachers recognize drawing as a teachable process skill in higher education. The study applied the visual framework for the generative theory of drawing construction, categorize the reason of using drawing in the music classroom, and outlines a number of interventions that can help teachers create an environment conducive to student drawing in general, with specific examples cited for each. Further, suggestions to help teachers address possible barriers to implementing and assessing drawing-to-learn in the classroom will be provided. Overall, the purpose of the study is to increase the visibility of drawing as a skill in music learning and to promote the research and implementation of better practices.
About the Author: Sunnie He is Lecturer of the Department of Cultural and Creative Arts, Education University of Hong Kong. She has led a multifarious and interdisciplinary study spanning arts administration and arts education. Her recent research project focus on arts entrepreneurship/management education, and creativity in arts education.
] 196 [ Miki YAMABE (ID290) The Tendency of American Music Education Seen in the Meeting of Music Supervisors’ National Conference Around the Establishment of the Music Department Focused on Music Supervisors’ Bulletin and Music Supervisors’ Journal
In the United States at the turn of the 20th century, due to the maturation of the music culture, the department of singing has shifted to the music department. Many practices and research on music education were carried and various claims were also made in the musical education journals out in the transition period from the singing department to the music department. From this, analyzing the musical education-related journals at the time is extremely significant in clarifying a part of the idea of the establishment of the music department. However, there has been no research focusing on Music Supervisors’ Bulletin and Music Supervisors’ Journal, which was specialized in the music department establishment period. Music Supervisors’ Bulletin was renamed to Music Supervisors’ Journal and is still published under the name Music Educators Journal. Therefore, in this research, for the purpose of clarifying the trend of music education at the time, I examined the contents of the journals. It seems that the role of the journal in the American music education world was extremely important as the journal is still being published and has a long history. Recognizing the importance of the role of the journals in the American music education circle and clarifying the fact by considering the contents of the publication are extremely effective in defining the trend of the American music education at the time. Music Supervisors’ National Conference, which published the journal, held a big meeting once a year. In this issue, I dealt with the contents report of the meeting of Music Supervisors’ National Conference around the establishment of the music department. It is an annual event related to music education, and various activities such as lectures by experts, concerts, by glee clubs and orchestras by children of various school classes, observation of music activities of public schools, discussions, demonstrations, etc. they were made. As a result, the following tendencies were observed in the meetings of the time. At the meeting before the music department was established, there was a tendency to seek out teachers’ ideal image and learning content. However, with the passage of time, more specific content has come to be dealt with.
About the Author: MIKI YAMABE is a second-year master’s student of Hiroshima University, studying music education. She is doing research on the era when the music department was established in America.
] 197 [ Kumi MATSUYAMA (ID296) Administrating Research for Arts Fields
The circumstances of universities are changing, nowadays. Researchers are required to correspond with various social needs, to provide high-quality education, to cope with international issues and so on (Altbach and Salmi, 2011). Research topics are becoming interdisciplinary and the projects are getting much more complicated to manage. Thus, the Ministry of Education, Culture, Sports, Science and Technology of Japan allocated professional research supporters, called University Research Administrators, initially, to several universities. The intention is that University Research Administrators help and support faculties to carry out the research efficiently. The purpose of this study is to practice the management of research in arts fields. University Research Administrators have been allocated to several universities in Japan. However, the focus has been on the fields of engineering technology and medical and life science. The administration of arts fields is still uncommon. Therefore, it is necessary to attempt to efficiently manage research in those fields. Four projects were proposed to implement this study: 1. International public relations by strategic use of the website. 2. Changing the studio from a conventional to a high-performance one. 3. Consideration and creation of “altmetrics”, which is suitable for arts fields. 4. Providing useful information for research by using digital signage.
This article focuses particularly on project 3 because it is subject to some controversy and there is difficulty in applying mainstream metrics, such as impact factors, to arts fields as well as humanities. The procedure of project 3 is as follows: 1. Carry out a reputation survey. 2. Submit possible metrics. 3. Evaluate research based on the submitted metrics. 4. Examine whether the metrics can be used as altmetrics.
Results/Summary of the Main Ideas: Through the projects, the administration of arts fields research is summarized as follows: Help and support outreach. Plan, coordinate projects and improve the research environment. Analyze research and provide a proper evaluation system. Offer information regarding current research movements
Administrating research helps faculties to carry out research efficiently as well as strategically, as this pilot study for art fields revealed. This study will serve as a useful point of reference for music education because of the art aspect.
About the Author: Kumi MATSUYAMA is currently a research administrator at the University of Tsukuba, Japan. She holds a Ph.D. in medical science and an M.A. in music education. She is a qualified music therapist in the U.K. She has been researching the interaction between music and children in psychodynamic, behavioral and humanistic ways
] 198 [ Martin Emo (ID299) Ableton Live… meet the secondary music teacher! Professional development for secondary music teachers.
Ableton Live is the most widely used Digital Audio Workstation (DAW) software worldwide (Butler, 2014). It provides the user with the ability to blur composition and performance boundaries with its integrated hardware controller, the Push. Users typically work in EDM styles of Music (Electronic Dance Music including Hip Hop). However, Ableton Live is absent from the majority of Music classrooms in New Zealand. The emergence of the digital musician, for whom a laptop computer is a primary instrument for composing and performing, generates considerable challenges teachers who may not have the skills and knowledge to meet these students’ needs. In some cases, current music education programs in schools do not value these students or seem them as authentic or real musicians (Crawford, 2016). And it is here, in the disconnect between electronic-focused popular music and the traditional music classrooms where we are right now in Music education worldwide according to Hein (2017) and Humberston (2017). This paper presents the findings from a 20-week Professional Learning Development (PLD) Masters project carried out in partnership with Ableton. The research question was to investigate: “What are the factors that enable and/or inhibit the teachers in learning new music technology in a blended learning environment?” It sought to support the professional learning of experienced secondary music teachers who did not have a background in music technology but who wished to use Ableton Live and its integrated hardware controller, the Push in their classroom. A review of professional learning literature informed the blended learning design (BLD) approach of the study. The analysis used a six-phase inductive approach for interpretive analysis of the themes. Results of the study revealed that time, blended learning design, facilitation and videos impacted on the learning of the participants. Additionally, the participants underwent a paradigm shift in their conception of what music- making was. Findings suggest that future PLD could increase learner readiness for using videos and blended learning design in addition to preparing them for a paradigm shift. This paper will conclude the implications for secondary school music teachers and those involved in pre/post training of Music teachers.
About the Author: Martin Emo – Victoria University of Wellington, New Zealand.
] 199 [ Eva Kwan (ID300) Pre-Professional Service Learning in Music Education
This poster presentation describes a study of music education students at a Midwestern university in the United States, who participated in single-semester service-learning assignments prior to their clinical internship or student teaching experience. Undergraduate music teacher-candidates taught general music to homeschool students from pre-K through Grade 6. Service-learning is an international pedagogy in which students work together with people in the community on real issues as a way of achieving academic and civic learning (Bringle, Hatcher, & Jones, 2011). Service-learning complements student teaching and internship through its emphasis on civic learning that aims to strengthen students’ sense of social responsibility and introduces them to social justice issues (Howard, 2001). Arts-based service-learning (ABSL) means that visual and performing arts are placed in a community context as a creative practice, a way of meeting a community need, and a teaching method to fulfill arts-based educational objectives including creative self-expression, competency with discipline-specific standards, making connections and building community, developing empathy, and invoking social change (Bartleet, Bennett, Marsh, Power, & Sunderland, 2014; Krensky & Steffen, 2008). In music education, service-learning can reaffirm teacher-candidates’ choice to become music teachers (Barnes, 2002), facilitate the development of reflective practice, and subsequently contribute to a teacher identity (Haston & Russell, 2012). Service-learning has been incorporated into music teacher education through outreach programs such as String Project (sponsored by the American String Teachers Association) and the companion Band Project program. The focus of our study was on whether or how service-learning contributed to students’ education as music teachers at the pre-professional level. There are two overarching questions of this study: What are students’ experiences with service-learning? Did (and if so) how did service-learning enhance preparation for students’ culminating clinical experiences (student teaching or internship)? A group of homeschooled children from the community came to this Midwestern University once a week for 11 weeks for music instruction taught by pre-service music teachers. Data collection included a beginning of the semester survey, a post-semester survey, and the teaching reflections throughout the semester. Results and summary of the main ideas include the following: (1) Expectations; (2) Professional Transformation; (3) Preparation; (4) Learning about Others; (5) Professional Skill Development; (6) Personal Transformation. The results of the study indicated this collaboration should be continued because of the positive impact on the pre-service music teachers.
About the Author: Dr. Eva Kwan, Assistant Professor of Music Education at Taylor University. Dr. Kwan serves as the director of the music education program and conductor of Taylor Ringers and the Adoration Chorus. Dr. Kwan’s research interest focuses on music teacher preparation and multicultural music in the music curriculum.
] 200 [ Tian Yao Nong (ID303) The teleology of music education in general schools
The teleology of music education in general schools is the explanation of why music education is explained by the purpose of music education or the reason for implementing music education. The aim theory of music education guides the design of music teaching contents and the choice of music teaching methods, and tests and evaluates the results of music teaching. The problem with the teleology of music education is not that we do not know why music education is caused, but that there are too many reasons for music education. It seems that all the reasons are so important that it is difficult to give up. The result of the generalization of the purpose of music education leads to the gap between the actual effect and expectation of music education. To sum up, there are three main aims of music education: first, music education is to learn music itself. But why do people learn music? This must be traced back to the question of why music, but so far there is no more satisfactory answer to this question. Second, music education is to learn the perceptual experience of music that is aesthetic. But why should people have the aesthetic of music? It also goes back to the question of why music is. Third, music education is to improve people’s moral cultivation. There are many ways to improve people’s moral and emotional cultivation, and music is one of many ways at best and not unique to music education, so it is not the essential purpose of music education. Is there a more essential purpose of music education? Psychologists divide human history into three times: learning to survive, learning knowledge, and managing emotions. It is not only a good wish of psychologists to keep people’s study, work and life in an ideal emotional state forever. It is becoming a reality. The era of controlling emotion is divided into three stages: learning to control negative bad emotions, learning to maintain positive and good emotions, and the whole people to launch the emotional movement. Emotional movement is also called psychological movement, which is caused by subjective imagination or motion resonance. Emotional exercise is of great significance to mental health. Modern, scientific and systematic sports should be a trinity of physiological movement, thinking movement and emotional movement, aiming at strengthening physique, active thinking and enriching emotion. The essential purpose of music education is to enable students to train, develop and improve their emotional response ability, learn to adjust and maintain a good state of mind. The health of human life is mainly embodied in three aspects: the physical health of the existence of animal life, and the health of thinking and emotion as the existence of human life. The essential difference between human life and animal life lies in the fact that man is an animal with thoughts and emotions. The significance and value of human thinking health and emotional health far exceed physical health. In particular, people’s mental and emotional health directly determines the quality of life and life value. People’s emotional impulse is always caused by specific practical reasons, continuous, surreal, purposeful emotional movement can only be obtained from music. Therefore, the ordinary school music education is the emotion movement and emotion movement education.
About the Author: Tian Yao Nong, male, born in October 1956. Ph.D. in Music, Distinguished Professor of Hangzhou Normal University.
] 201 [ Barry Kwok Yeung Lee, Margaret Wing Chi Lau (ID304) Enhancing Young Children’s Social-Emotional Development through Visual-mediated Music Movement -- A Preliminary Study
Research findings indicated that music has been shown to be an effective media to enhance young children’s cognitive and social development (McDonel, 2015; Gillespie; Glider, 2010). However, little research has been conducted to examine its impact on promoting children’s social and emotional well-being.Music movement games enable children to move to music with their bodily movement in response to changes in music such as mood, rhythm, tempo, pitch, dynamics or melody direction. Through moving to music with various creative body movement, children can build their self-confidence, learn to accept and respect others, and cultivate gregarious habits. Therefore, from the perspective of children’s social and emotional development, music movement games are of contributive to children’s well-being and will bring about a positive impact. In fact, creative expression in the form of music movement has been employed by music therapists to help children with special needs to express themselves or to understand their emotions, and research shows that young children can display various social and emotional expressions through creative movement games (Gardner & Hatch, 1989). This study aims to promote emotional understanding and expression of young children through visual-mediated music rhythmic games and to explore the impacts on their social and emotional understanding and expression. The study was conducted at an ordinary kindergarten in Hong Kong in which both normal children and children with special educational needs were admitted. Research subjects consisted of 32 children (aged from 5-6) randomly selected from 2 classes of Upper- Level children (K3), and they were equally divided (16 children each) into experimental group (implementing visual-mediated music rhythmic games) and control group (implementing school-based music movement activities) respectively. Through direct observation, anecdotal record and video recording, children’s social and emotional understanding and expression during activities were recorded, examined and analyzed. Results revealed that visual-mediated music rhythmic games can bring about a significant impact on promoting young children’s social and emotional expression, and able to foster their social competence and emotional development. Young children could use their creative body movement to express their emotions and enjoy playing with their peers in the visual-mediated music rhythmic games. The result also indicated that even children with special educational needs were able to respect and accept other’s ideas, to respond and interact with peers in a cooperative manner, and able to establish a good social relationship with their peers.
About the Author: Barry Kwok Yeung Lee & Margaret Wing Chi Lau, Department of Early Childhood Education, The Education University of Hong Kong
] 202 [ Jinghe Luo (ID308) The New Idea of Music Education Based on Cultural Psychology
The idea of cultural psychology in music education is a new idea of music education emerging in the current international music education field. It is the idea product of the integration and development of music education and cultural psychology. At present, international music education research has realized a methodological shift. It explores and deepens the investigation tools and theoretical framework of music education research from relevant disciplines other than musicology and pedagogy (such as Psychology, Sociology, Anthropology), and provides a wide range of theoretical and practical support for investigating the deep matters of music education. Among them, the introduction of cultural psychology has injected new vitality into music education research. When we apply the theories and research methods of cultural psychology to music education, we can find that it not only helps music educators to further think and re-orientate the value orientation of music education but also provides music educators with more opportunities to understand the practice of music education. The new idea has a solid theoretical foundation (including “social culture-history” and ecosystem theory). It advocates that under the background of changing the value orientation of “assimilation” music education and the cultural turn of post-modern philosophy, people and events in music education are investigated from the perspective of culture and psychology to explore the subject orientation and development characteristics of students’ music learning psychology under the influence of different social cultures. The enlightenment of this new idea on music education in Chinese primary and secondary schools are mainly reflected in the following aspects： (a) introduce “cultural psychology” into music education research in primary and secondary schools. (b) understand music cultural diversity from the perspective of cultural psychology. (c) create a situational effective music classroom.
Overall, the idea of cultural psychology in music education is committed to guiding students to understand the direct impact and social significance of the specific cultural environment on the psychological and behavioral patterns of people in different countries, nationalities and regions, exploring the deepest social, historical and cultural roots contained in music information, and helping students construct and generate their own understanding of music in situational cognition. Perhaps this understanding is the most appropriate way to reach the “essence of music”.
About the Author: Dr. Jinghe Luo, a postdoctoral fellow in Central Conservatory of Music, Beijing, China. Research areas include music education and music psychology. During the postdoctoral study in the Central Conservatory of Music, under the guidance of Professor Haihong Zhou, a famous music psychologist, she engages in music psychology research. The research mainly focuses on exploring different students’ music aesthetics and music learning psychology and applying them to music education practice. The purpose of the research is to make teaching more in line with the principles and laws of music education.
] 203 [ GRADUATE STUDENTS FORUM
Siqi Zhang (ID67) A Preliminary Study of the Development of Elderly Music Education in Small and Medium-sized Cities in China —— A Case Study of K-City
Based on the background of China’s aging society, this article intends to explore the value and necessity of developing music education for the elderly and explore new ways for the development of music education for the elderly in today’s era through theoretical interpretation of music activities for the elderly in a small and medium-sized city. The main research object of this topic is music activity groups at different levels, such as K municipal government organizations, university organizations and non-governmental organizations. It involves related issues of educational anthropology and music education. Therefore, it is planned to use field work, interview, documentation, comparative research, interdisciplinary research and other multidisciplinary theoretical methods to conduct a comprehensive study, analyze the research object from the perspective of sociology and anthropology, and discuss its future development mode from the perspective of communication and pedagogy. The theory is based on lifelong education proposed by Paul Lengrand, Dewey’s “education is life” and the realm of life in philosophy of life. The activities of the elderly can be studied from the functional education in educational anthropology, and the “life world” in postmodern music education pedagogy can be used to explain the purpose and significance of their music education activities. This paper explores the influence of the emerging geriatric pedagogy on the development model of geriatric education, reiterates the importance of geriatric education and education for the aged, and looks for the theoretical support of geriatric music education from the perspective of educational anthropology. Based on the actual situation and the actual experience of other regions, this paper puts forward countermeasures and suggestions for the future of music education for the elderly in China. Paying attention to music education for the elderly in small and medium-sized cities and building a lifelong education system are important measures to cope with the aging population in China, and are also the inevitable trend of the combination of music education and society. The social significance and practical value of music education can be highlighted only when the elderly is satisfied and happy.
About the Author: Zhang Siqi, Nanjing University of the Arts School of Music, 2017 Master’s degree, Major: musicology; Research direction: music education theory. Instructor: Professor Yang Xifan.
] 204 [ Yimeng Zheng (ID68) We Media public account -- a new approach to music education
With the development of information technology and the change of learning environment, people’s appeal for new teaching mode is more and more intense. In the background of mobile internet, music education meets a new development opportunity, which makes music spread more widely through We Media. In the face of many changes in the new situation, the dissemination of music information from the media has the advantages of fast transmission, large quantity and wide scope, convenient access and convenient application. Under the background of mobile internet, the teaching mode and teaching methods of music education have also undergone tremendous changes. However, the current domestic research on the theoretical stage of the new model of We Media public number music teaching is insufficient. Based on this, this paper concludes the present paper. According to the relevant information at home and abroad, this paper tries to find out the unique advantages and problems of the new music teaching model under the background of mobile Internet, and compares it with the traditional teaching mode. The aim is to make the teaching of music education no longer subjected to geographical, chronological or spatial constraints. Through the deep research on the new mode of music teaching, this paper tries to provide valuable reference for the reform and innovation of traditional music teaching, especially the teaching in colleges and universities, so as to train more music talents for the country. First of all, this paper defines the concept of self-media public number and its teaching mode, and through reading a large number of related documents about mobile Internet, We Media public number, music education, traditional music teaching and so on. Accumulating relevant knowledge, understand the latest developments and research results at home and abroad. Through reading the literature at home and abroad, using the method of literature to sort out the domestic and foreign research status of music teaching in the context of mobile Internet, and to make a definition of its related concepts, summed up the concept and characteristics of music teaching in the context of mobile Internet. And combing the development of teaching mode. Traditional Media, New Media and Self-media. It highlights the basic characteristics of self- media, such as individuation, populace, rapid communication and strong interaction. The teaching mode of media public number includes article push, live video teaching, input key words of public number platform and so on. Then, the author investigates and analyzes the development of domestic music education from the media. The music education in China is divided into music appreciation teaching, music comprehensive teaching and university official platform from the media public name, and a brief investigation and analysis on the content and development of each kind of music education from the media public number. The online music teaching is carried out by questionnaire survey. Consumer behavior survey on educational platform. A better understanding of the real needs and ideas of users and potential users in the online music education platform is of great significance to changing the marketing strategy of the online music education platform. Then, the article carries on the case analysis and the comparison from the media public number teaching case. This paper summarizes the present situation, operation and teaching mode of Tian Yimao’s Field and Music Master’s Great Lecture Hall. Therefore, it is gradually clear that the new mode of music education under the background of mobile internet, and the development, characteristics and disadvantages of traditional music and network music (MOOC SPOC) teaching are compared and analyzed. Finally, this paper summarizes the three major changes in self-media music teaching, analyzes the three aspects of teaching mode, teaching content and teaching objectives, and points out the development, characteristics and disadvantages of traditional music classroom teaching, and the development of music-teaching under the background of mobile Internet. The exhibition and advantage and the impact and influence of mobile internet music classroom on the traditional music classroom teaching mode. Finally, this paper analyzes the problems of music education under the background of mobile internet, and puts forward its own solutions.
] 205 [ Finally, this paper puts forward that We Media, platform-oriented and individualized music education is the inevitable development trend of music education in the future, which lays a foundation for the next research direction. WeChat should make up for the deficiency and limitation in the aspects of specialization, scale and standardization. In the future, the development of music We Media should be based on the improvement of these problems, and the development of music We Media should be more comprehensive and optimized.
About the Author: Zheng Yimeng, Master of Arts, China Conservatory of Music. Yimeng is an APSMER member, ISME member. Yimeng studied under the doctoral tutor Professor Xie Jiaxing. Yimeng’s research interest focuses on Music Teaching Practice, Music Education Philosophy and Internet New Media Technology on Music Education.
] 206 [ Ziyu Wu (ID121) Music Early Learning Programs: Case studies of philosophy, structures and activities
Despite the growing popularity of Music Early Learning Programs (MELP), there are no established guidelines and/or standards that oversee the provision of these programs. To fill this gap, the current research examined three Music Early Learning Programs offered in Brisbane area to understand the philosophy and the structure of programs, the approaches and activities that are offered, as well as how parents/carers subscribing the program perceive its value for their children and families. Qualitative data were collected through observation, semi-structured interviews, and self-reporting diaries. Narrative inquiry was applied for data analysis. The results show that the different philosophical stances of providers shape MELPs and it also affects parents’ decision in choosing a particular program. The notion of “co-participant” was emphasised in MELPs, which aims to empower parents/carers to be involved in their children’s musical activities. When it comes to curriculum structure and activities, there are two different views of stimulation being used for different purposes. two of MELPs reflect similar activities in different sequences. Given the needs of the MELP populations (young children) and the potential to engage carers in learning and development beyond the MELP, consideration needs to be given to formally establishing a professional Music Early Learning Teacher education program. Issues to be addressed in such a program might include: children’s early learning and development, including children with special needs; music leadership through the voice and live music; multi-model and multi-sensory ways of engaging with children; mentoring parents and carers in using music early learning strategies and techniques in their parenting.
About the Author: Ziyu Wu is a Registered Music Teacher (2014) and Early Year Music Course Designer (2019). She coordinated many performing projects in Hongkong (2016), Hainan island (2016), Brisbane (2017), and Shanghai (2019). Research experience: Music Early Learning Programs (the University of Queensland, 2017-2018)
] 207 [ Xiaolu Wang, Cheong Ku Wing, Lee Feng-Hsu (ID239) The Creativity Li XiangJing’s Nanyin Poetry and Painting
Nanyin, as a genre of traditional southern Chinese music, has fused with various Western musical elements to a new form in the modern age. The chamber music Nanyin Poetry and Painting composed by Li Xiangjing (1966-2016) in 2013 is a representation of this cross-cultural phenomenon. This paper aims to explore the creativity of Li Xinagjing, a Chinese composer through in-depth interview with Li Xiangjing’s colleague Lin Zhongdong and his student Wu Yili. Li Xinagjing was acknowledged for his contributions in promoting Nanyin development and integrating Western musical elements into Chinese style music. This study aimed to understand Li Xiangjing’s creative process and product. The interview data was organised according to Cziksentmihalyi’s (1996) creativity theory, which relates creative efforts to the person individually; the domain culturally; and the creative contributions in the field. The findings indicated that, from the perspective of ‘person’, Li Xiangjing’s musical creativity was grounded on his childhood experience, introverted personality, illness, and personal music identity on Chinese traditional music. For the ‘field’ perspective, the creativity was influenced by the composer’s working environment, achievements in composing the hybridity music works, Nanyin academic atmosphere, and his commission for the 6th Symposium on Modern Music of Beijing, Shanghai and Fujian Operas. Form the ‘domain’ discussion, the music that the Li Xiangjing immersed and encultured were basically fused with Chinese traditional music elements and the Western music elements in Cultural Revolution and post-Cultural Revolution. The symbolic rules of music since the composer was born show the hybridity feature, which influenced his identity and creativity on music composition. The findings of this study concurred with previous studies on the musical creativity. Musical creativity is related to the variables from the person aspect like the individual achievement or the music aptitudes. Musical creativity can be fostered through formal and informal music education. The findings also provide further insights in musical creativity to Rhodes’s (1961) creativity theory on four ‘P’ strands of ‘person’, ‘process’, ‘product’ and ‘press’.
About the Authors: Xiaolu Wang, postgraduate student, University of Malaya Ku Wing Cheong, senior lecturer and deputy director, University of Malaya Feng Hsu Lee, senior lecturer, University of Malaya
] 208 [ Cai Lihong, Chen Jingjing (ID268) The Transboundary and Amalgamation of Basic Music Education from the Perspective of Aesthetic Education: A Case Study of Aesthetic Education Reform and Innovation in Primary and Middle Schools in Fujian Province
Held in Fuzhou in October 2018, “Excellent Case Report on Aesthetic Education Reform and Innovation in Primary and Middle Schools” is one of the projects of the sixth Primary and Middle School Students’ Art Festival in Fujian Province. Through soliciting 62 outstanding cases from all over the province, it can be concluded from these excellent cases that basic music education plays a leading role in aesthetic education in schools. From the perspective of aesthetic education, the basic music education has also broken through the traditional educational model and demonstrated the reform and innovation mode of crossing the border and merging, mainly including: (1) the transboundary and integration in and out of the classroom; (2) the transboundary and integration of different curriculum; (3) the transboundary and integration within and outside the school; (4) the transboundary and integration of inheritance and innovation.
About the Author: Chen Jingjing. A student from Fujian Normal University Music College. My major is music education. And my tutor is Professor Cai Lihong.
] 209 [ Jiang Lyu (ID275) A model construction and application research of the art course portfolio evaluation in Shanghai high school
The portfolio evaluation is one of the new educational evaluations from the 1980s, which was mentioned frequently in the curriculum reforms and the standards of art curriculum evaluation in China currently. The purpose of this study is to construct and apply the portfolio evaluation of Shanghai high school art courses, ultimately discussing the feasibility, effectiveness and reflection of the portfolio evaluation in Shanghai high school art course. On one hand, this study is an action research, the author designed two research tools: “art course learning portfolio manual,” and “questionnaire about the student’s attitude of art course evaluation,” and put it into a six-week teaching practice. On the other hand, the data is analyzed by Spss17.0 statistical analysis software, including t-test, means, standard deviation analysis, frequency percentage and Pearson correlation coefficient, which were used for post comparison, meanwhile the observation and records in the classroom, and teachers interviews were added into the qualitative analysis. The results of the study shows that: (5) It is feasible and effective to implement “portfolio evaluation” in high school art courses. (6) “Portfolio evaluation” has changed the student’s concept of traditional evaluation model, so that they can pay more attention to the process of learning, and improve the levels of enthusiasm and participation in art courses. (7) “Portfolio evaluation” diversified the evaluation subjects and methods, and forms the “trinity” mode of teacher evaluation, self-evaluation and mutual evaluation. (8) “Portfolio evaluation” is conducive to students’ cooperative consciousness and artistic practice.
All in all, the enlightenment of the above conclusions for music education is that: (1) For the textbook writing group, some models or excellent cases of the portfolio evaluation can be added to reference of art textbook in the future. (2) For the teaching and research groups, on one hand, they are supposed to promote and build professional art portfolio evaluation research team. On the other hand, teachers as the main conductors of portfolio evaluation, the teacher’s training about the application of portfolio evaluation should be strengthened. (3) For the teachers, they should integrate the teaching and evaluation preferably, collecting relevant materials and tracking students’ learning progress on time, so that they can adjust their teaching strategies to realize the cycle of teaching evaluation. What’s more, teachers need to pay attention to the openness and planning of the evaluation process, and hold regular portfolio exchange and sharing (including teachers, students and parents, etc.).
About the Author: Jiang Lyu, graduate student in East China Normal University (Shanghai)