Abstract: Brooks, Wendy Lullabies have existed since ancient times, and are sung across all most all cultures to soothe babies and lull them to sleep. As screen media use pervades contemporary familial lives, it is perhaps inevitable that lullabies have been adopted and adapted as repertoire. This recording of lullabies in audiovisual modes has transformed the ways in which these songs are learned, transmitted, experienced and used within young children's lives. As part of a larger study investigating music and screen media in the lives of young children, this paper reports on evolving lullaby practices in the lives of Australian children. Using an ethnographic methodology, content and production of, and responses to, lullabies presented via YouTube, Apps and television have been analysed. Findings indicated that lullabies presented via YouTube clips and Apps tend to be economically produced, and demonstrate a lack of understanding of young children's social and/or developmental needs. Televised lullabies tend to function as signals for settling, rather than for lulling babies and young children to sleep, and their use plays an increasingly significant role in families' everyday routines.
Abstract: Joseph, Dawn Australia is forged by ongoing migration, welcoming a range of cultures, languages and ethnicities, celebrating a diverse range of the Arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in teaching units may foster understandings of culture in education settings. In this paper I discuss tertiary students' experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview data with six sessionals, questionnaire data, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into two broad themes. By offering a discussion on teaching and learning African music, I invite international dialogue regarding best practice for preparing, assessing and evaluating our students to raise/enhance the quality of Musical Arts Education.
Abstract: Cheng, Zijia; Southcott, Jane Many students learn to play the piano but some lack the motivation to continue learning. Many students learn for extrinsic reasons. This research will explore understandings about student motivation held by expert piano teachers who have developed strategies to improve their students' intrinsic motivation to begin and continue learning. This small scale phenomenological case study examined three expert and experienced piano teachers' understandings of student engagement and motivation. The analysis generated a number of themes in relation to students' motivation in piano learning. The findings of this current study could offer a range of ideas and reflections to assist instrumental teachers build their students' intrinsic motivation in learning and foster lifelong music making.
Abstract: Mok, Annie O The qualitative study referred to here investigated what a class of undergraduate pre-service music teachers could learn from conducting a piece of action research for primary 5 pupils in Hong Kong. Data were collected from lesson observations, post-lesson conferences with the pre-service teachers, their presentations and individual reflection reports. This action research helped the pre-service teachers to design their research lessons according to the good practices of "teaching students to understand music" and "engaging pupils to learn music through musical activities". Informed by the research data, a teaching gap was found and the pre-service teachers started to reevaluate how the pupils learn, and to conduct deeper reflections on their own teaching effectiveness. The study concluded with a rethinking of the practice of teaching the musical concepts that are prevalent in music classrooms.
Abstract: Arthur, Patricia; Khuu, Sieu; Blom, Diana The metronome is a frequently used time-keeping tool in music instrument practice. However, if its speed is set beyond a comfortable level for the performer, their eye movement (EM) patterns can betray pressure that might have been placed on the visual processing system. The patterns of the eyes moving forward or back, (saccades); when the eye stops between saccades to take in visual information, (fixations) and/or the time taken to programme a saccade (saccadic latency), are indicative of processing ability and differ with expertise. What is not known is how various levels of speed demand might affect the EM patterns of musicians with differing sight-reading abilities. This study measured the EM patterns of expert and non-expert music sight-readers. Musical excerpts were played on a keyboard - initially at the individual's fastest speed ensuring accuracy and then at a metronome setting of 120MM.
The study showed that imposing excessive relative speed demands on less skilled sight-readers resulted in an inability to sustain performance. While this result might be expected, examination of the EM patterns of the experts indicated that smaller speed increments relative to their fastest accurate speed, resulted in less processing stress.
Abstract: Power, Anne M; Powell, Sarah The provision of musical experiences for youth, especially in low socio-economic areas (SES), requires funded support and imaginative resourcing. This paper presents data from the Penrith (NSW Australia) Youth String Program offered in partnership by the Australian Chamber Orchestra (ACO), Penrith Symphony Orchestra (PSO) and The Joan Sutherland Performing Arts Centre (The Joan) over a period commencing in 2015-2016. The current context for young musicians in the locality is one of inequitable distribution of educational resources and access to knowledge. Consequently, this research is framed by Opportunity to Learn theory. The program has been designed to encourage young string players in the Penrith area through a program of guided rehearsals and tutorials.
The evaluation plan incorporates the following data: student practice logs; and student, parent and tutor focus groups as well as site visit observations to capture information about the quality of program implementation. This paper reports on the research question:
What did the participants gain from their involvement in the program'
Findings demonstrate that the participants developed both skills in performance and expressive ensemble playing. Implications are that the program has encouraged the students to be aware of their own progress and to develop personal goals, whether they are to play a challenging piece of music well or to imagine a future in professional music making. The impact of the carefully spaced rehearsals in the program, the combination of local and visiting tutors and the development of personal goals suggest avenues for future research.
Abstract: Voss, Brett Education in a contemporary context increasingly requires students to engage with learning technologies. This can present a challenge to both students and teachers who at times struggle to engage with the technical processes involved in navigating these technologies. Outside of formal education settings, on-demand information facilitated through improved access to mobile technologies is widespread. This paper presents a pilot study, which investigates the use of on-demand technologies in the context of popular music education based around the recording studio. The pilot study demonstrates how the complexities of operating a wide range of equipment and software presented a significant challenge to these users. Supporting the delivery of education involving technology through the provision of on-demand information could assist these users with learning specific technical skills. This paper develops an argument for incorporating on-demand information into curriculum involving technology, while developing some initial design principles for sharing these resources.
Abstract: Lowe, Geoffrey; Coy, Neil The purpose of this study was to gather information on measures of motivation among year 7, 8 and 9 students enrolled in class music in a major Australian secondary school. The rationale for the study was to gain insights into why retention in the class music program had dramatically increased since the introduction of a new teaching program. A survey instrument was utilized to gather rating responses to questions on motivational preference, using Expectancy-value Theory as a theoretical framework. Results indicated high means for items associated with personal importance (identity) and the transferability of skills to other musical activities. Exploratory Factor Analysis confirmed correlations between the importance of tasks to students and the perceived usefulness of tasks. Implications for music teachers and the development of class music programs are discussed.
Abstract: Fung, Annabella I am a Chinese-Australian musician-educator of over three decades. In this autoethnography, I act as an agent of change by presenting my life as a social project. This assists understanding of a larger relational, communal and political world that moves us to critical engagement, social action and change. Evolutionary psychology asserts that language has evolved from the use of music. Empirical research maintains that children who start learning music early become better learners of languages. Music psychologists argue that music education is crucial in identity construction. Being a multi-lingual, multi-instrumental, and multi-occupational individual, I consider myself primarily a musician. My various identities in music as pianist-accompanist, singer, choral conductor, composer, and dance instructor informed and shaped my other identities as psychotherapist, interpreter-translator, author, teacher and academic researcher. The findings of this study suggest that formal/informal musical engagement fosters executive brain functions that determine my learning outcomes. My research contributes to the national debate about the benefits of music in education. It addresses a research gap identified about the effect of musical engagement on identity formation, and learning in other curriculum areas. The findings can assist music advocacy and provide insight to the preparation of future educators for multicultural Australia.
Abstract: Blom, Diana This study investigates the compositional and contextual thinking of composer, Stuart Greenbaum, and the preparatory thinking, and teaching experience of pianist, Yvonne Lau, in the preparation of the solo piano work, First Light. Adopting a practice-informed interview approach with questions drawn from the researcher's own preparation of the work, the study discusses information the composer would like the performer to know and issues the pianist encountered while preparing the work. It also places the findings in relation to seven stages of learning a new piano work identified in the literature (Chaffin and Imreh, 2002; Viney and Blom, 2014). The paper ends with reflections on how both composer and performer intuitively discuss music elements as a whole, emphasizing their connections; how teaching (and being interviewed) offer opportunities for reflection; what can be revealed by different methodologies; the role of score instructions and program notes; and what engaging with new repertoire brings to learning about preparation of a piano work.
Abstract: Forbes, Melissa This article reviews relevant literature to provide a rationale for the use of collaborative learning for first year music practice courses at an Australian regional university. Higher music education is still grappling with the challenges posed by the Dawkins Review and ongoing reforms in the sector. These challenges include increased public accountability, budget cuts, larger and more diverse student cohorts, and a need to prepare the majority of students for portfolio careers. The rise of participatory culture poses additional challenges to the nature and purpose of today's higher music education. Recently, increased interest in the use of collaborative learning has emerged as a way to respond to these challenges. In this article, the decision to implement collaborative learning at an Australian regional university is supported by an examination of the ways in which these systemic, institutional and cultural forces manifested as pedagogical challenges in this context. Theoretically, the introduction of collaborative learning is framed by Wenger's social theory of learning and the literature on collaborative learning. Recent research also demonstrates the benefits of collaborative learning for higher music education. More than a budget-saving measure, this article posits that collaborative learning can be an effective alternative or supplement to existing pedagogical models in certain higher music education contexts.
Abstract: Southcott, Jane As a primary school student in the 1960s I learnt the recorder. This paper explores how the recorder became a staple of Australian primary school music programs. At that time recorders were comparatively recently revived Renaissance musical instruments that were adopted by music educators as a way for children and their teachers to engage in instrumental music making in classes. The inclusion of recorders in school music lessons was not always as successful as hoped but a lucky few had recorder teachers who were expert musicians like my teacher. This personal history explores the arrival and presence of the recorder in school music in South Australia. Data were gathered from primary and secondary documentary sources, personal recall and an interview with my recorder teacher, Cecily Wood. This research considers a commonplace occurrence in the lives of many Australian children and by focusing on a taken-for-granted practice in school music, adds to the historical record and to our understanding of what we do and why we do it.
Abstract: Watson, Amanda The Australian Society for Music Education's (ASME) involvement in the development of professional standards for music educators was a significant and active research time in the history of the Society. As ASME celebrates its golden jubilee, it is appropriate to revisit that history and consider the future prospects of subject-specific standards. ASME became a strong player in the professional teacher standards movement in Australia, as it was one of in excess of 20 professional teaching associations that developed subject-specific teaching standards. The focus of this paper is to highlight and explore the process adopted to write the ASME National Framework for Music Teaching Standards (2005), the intense activity that took place around Australian between 2005 and 2009 and the impact of the written subject-specific standards with a change in the brief of a new statutory body.
Abstract: Maury, Susan; Rickard, Nikki Group singing is a common feature of classroom-based music education, and has often been proposed to have benefits that extend beyond acquisition of music skills, primarily in academic achievement. However, potential social and emotional well-being benefits have been under-represented in these discussions. This article proposes that an evolutionary lens provides a helpful framework for understanding how music education can contribute to student well-being. Specifically, group singing may a) create a shared emotional experience which is generally positive; and b) increase group cohesion and pro-social behaviours. It is proposed that, while these changes are generally immediate and short-term, regular participation in group singing may lead to stable, persistent changes in affective style and sociability. The implications for music education are discussed, particularly for improving the social and emotional wellbeing of students.
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