The aim of this study, whose theoretical framework is based on Bandura's social cognitive theory, was to investigate the effectiveness of including a metacognitive approach in teaching expressivity at the piano. Questions addressed the perceived effect of metacognition by investigating the processes allowing young pianists to elicit an expressive…

This research explored the impact of informal learning (IL) in primary music initial teacher training. A small group of undergraduate student teachers had an opportunity to learn about and facilitate an IL approach. Data were collected from interviews, participant reflective logs and researcher reflections. The findings show that perceived…

Musical expression is often not explicitly addressed in secondary instrumental rehearsals due to the perception of expression as an obscure concept and the instructional time constraints on music educators. Secondary music educators, however, are encouraged to discuss expressive performance goals with instrumental students from the beginning of…

The ability to identify errors by sight and sound--commonly referred to as "error detection"--is a musical ability needed in a variety of music professions. Instructors of undergraduate aural-skills courses often agree that strong error-detection skills are an essential outcome of these courses; however, error-detection activities are…

One way to build a comprehensive, inclusive, and equitable music education is through the inclusion of popular music in curricula. However, it can be challenging for teachers to bring popular music into the classroom for many reasons. We suggest that since many teachers are educated in the Orff Schulwerk approach, this can be one way to teach…

Rote versus note beginning instrumental pedagogy has been an active topic for music educators. Traditional method books have often comprised a significant portion of beginning instrumental curricula, though content has varied and may have been based on convention. Advocates of a rote-before-note approach have recommended that singing, movement,…

This study was carried out to investigate the relation between active music education methods and learning style (LS) preferences of Erciyes University, Faculty of Fine Arts, music department students. The aim of the research is to discover primarily the LSs of participants. A test used with the participants that consisting of three categories and…

Children often spontaneously yet purposefully sing songs or create rhythms outside the formal classroom setting to reflect the ways in which they naturally engage with music. Researchers have studied these informal music learning practices to incorporate these experiences into the classroom to offer lessons that are engaging and better reflective…

To examine the quality of rhythmic improvisations after learning Ugandan folksongs via notated or aural/oral means, we asked university music majors (N = 32) to practice two Ugandan folksongs via Western notation or while viewing a prerecorded video of an expert Ugandan performer singing the same song to mimic aural/oral tradition conditions.…

Aural preparation is operationally defined as hearing, performing, decoding, and creating rhythms or pitches aurally prior to the introduction of music notation. The purpose of this study was to explore the effect of aural preparation on second grade students' music literacy rhythm skills (i.e. reading, performing, and dictation). The research…

This study sought to answer the following question: how is listening being taught in senior secondary music courses in schools across New South Wales (NSW), Australia? In New South Wales, the senior secondary music syllabuses set the expected outcomes for senior secondary students, and list the topics for study from which teachers must select.…

This article explores the perceived disconnect between informal and formal musical knowledge, through a focused case study which aligned students' informal knowledge with aspects of the formal curriculum. The upper high school or senior secondary student participants had a background in the creation and performance of popular and contemporary…

This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students' aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes…

This article provides a historical context for Placido de Montoliu's Eurhythmics instruction at Bryn Mawr College, Pennsylvania, between 1913-1922 and 1930-1931, and it highlights pedagogical and philosophical principles that shaped his approach. The research is based on noncirculating, historical documents at the Bryn Mawr College Library…

The aim of the study was to measure the performance reached by students (N = 138) when aurally identifying musical harmonic intervals (from m2 to P8) after having experienced a teaching innovation proposal for the Music Conservatories of Catalonia (Spain) based on observational methodology. Its design took into account several issues, which had…