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A Systematic Investigation of Listening Activities in the Elementary General Music Classroom
Abstract
This study systematically investigated how and to what extent music listening was initiated by elementary school general music teachers. The specific problems of the study were (a) identification of activities and materials related to music listening and (b) the determination of how and to what extent assigned and assumed music listening was initiated in the selected classrooms. An observation instrument, the Elementary Music Listening Schedule (EMLS), was developed by which 18 elementary general music teachers were observed during 10 lessons. A questionnaire was designed to determine the content validity of the EMLS. Both the EMLS and the questionnaire were found to be internally consistent and accounted for each other in regard to materials, activities, and types of listening that occured in the observed lessons. The researcher concluded the following. 1. Participating teachers tended to think of music listening as a separate activity and not as one that permeated all music instruction. 2. Assigned listening appeared to be utilized mostly in singing or the playing of instruments as well as in traditional music appreciation lessons where students were asked to listen to a recording.
... The justification for music education should never, in our 2011 ;Foster & Marcus Jenkins, 2017;Hille & Schupp, 2015;Winner et al., 2013). We note also that most of the research on music and extra-musical benefits has focused on instrumental training or listening experiences, with little work on general music instruction (sometimes called classroom music), classes in which children interact with music in a variety of ways − singing, playing simple unpitched percussion instruments, moving one's body to music, guided listening, describing music, and creating simple songs and soundscapes (Baldridge, 1984;Campbell & Scott-Kassner, 2013). General music, instrumental music, and listening experiences may well teach different kinds of skills. ...
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... The justification for music education should never, in our 2011 ;Foster & Marcus Jenkins, 2017;Hille & Schupp, 2015;Winner et al., 2013). We note also that most of the research on music and extra-musical benefits has focused on instrumental training or listening experiences, with little work on general music instruction (sometimes called classroom music), classes in which children interact with music in a variety of ways − singing, playing simple unpitched percussion instruments, moving one's body to music, guided listening, describing music, and creating simple songs and soundscapes (Baldridge, 1984;Campbell & Scott-Kassner, 2013). General music, instrumental music, and listening experiences may well teach different kinds of skills. ...
Prior research has suggested an association between increased musical training and extra-musical outcomes, but these studies are primarily correlational, focused on instrumental music, and provide limited information about the type of musical intervention. In the current study, we perform the first randomized controlled study investigating whether more time in general music in kindergarten results in better executive functioning, self-perception, and attitudes towards school. Control students received an average of 45 min of general music class per week while treatment students received 2-7 times more minutes per week. Both control and treatment students had applied to attend a school or program of intensive general music study serving primarily low-income students. Analyses from end-of-kindergarten data revealed no significant group differences on our outcome measures. Results fail to show an association between increased time spent in general music learning and stronger extra-musical outcomes.
... Therefore, the cognitive aspect of listening occupies an important part of this activity. Music teachers are usually preoccupied with auditory skills and musical memory and often overlook students' emotional reaction regarding what they perceive in music (Zerull, 2006;Hopkins, 2002;Baldridge, 1984;Gromko & Russell, 2002). In addition, a growing body of research is dedicated rather on developing strategies focused on cognitive music listening such as cooperative listening (Smialek & Boburka, 2006;Johnson, 2011) and its effect on musical analysis skills. ...
A growing body of research has shown the importance of music listening in psychological frameworks such as the construction of emotional and social identity. Nonetheless, the educational implications of this activity involve the way students use music listening for cultural development, cognitive processing and aesthetic reaction enhancement. The present study aims to review the relevant literature regarding how musical preference, a concept used mainly in music psychology, may be explored in educational contexts. Zajong’s (1968) theory of repeated exposure indicates that mere exposure to a stimulus is enough to create a favorable attitude towards it. This study investigates the experimental researches focused on the conditions where repeated exposure to academic music may generate the development of musical preference.
... The ability to sing was identified by teachers as one of the skills needed to teach music successfully (Kinder, 1987). Singing was also found to be the most commonly used music teaching activity in elementary classrooms (Picerno, 1970b;Pendleton, 1976;Stroud, 1981;Bryson, 1983;Baldridge, 1984;Kinder, 1987);Saunders & Baker, 1991;Bresler, 1993;McCarthy Malin, 1994). ...
... The National Standards of Music include "listening to, analyzing, and describing music" as one of the nine tasks that students in grades K-12 should be able to perform (Blakeslee, 1994, p. 28). Research conducted by Baldridge (1984) to evaluate "to what extent music listening was initiated by elementary general music teachers," revealed that "participating teachers tended to think of music listening as a separate activity and not as one that permeated all music instruction" (p. 79). ...
Thesis (D.M.A.)--University of Georgia, 2003. Includes bibliographical references (leaves 123-134).
It is thought that music education in general education, especially for individuals of all ages and levels, is important in the musical development of the individual. Besides, it is seen that the “listening-singing” learning area in general music education teaching programs has an important weight in the program. In this context, it is considered necessary that music listening activities carried out for this learning area should be among the main activities that support other musical activities in classroom music education, which form the basis for the students to benefit from music education. For this reason, it is thought that the active participation of the students in music listening activities will contribute to effective and efficient music education. With this study, it is aimed to determine the contribution of instructed music listening activities to music culture learning outcomes in secondary school music education. For this purpose, an instructed music listening activity was held for students in a secondary school. The effect of the activity performed on the level of success was measured with knowledge tests. According to the results it is found that most of the students achieved an above-moderate success from the recorder family knowledge test.
The purpose of this study was to examine relationships between pitch-matching and grade level, sex, ethnicity, and classroom teachers’ use of music among K-3 students (N = 289) taught by the same general music teacher. Portions of the data from a pitch-matching exercise that functioned as the music teacher’s roll-taking procedure during the 2005-06 school year were treated as pre- and posttests. There were no significant pretest differences between ethnic groups (Hispanic, White, Other). There were significant pretest differences among classes taught by different classroom teachers, as well as the female students scoring significantly higher than males. Covariance analysis (pretest as covariate) revealed significant improvement by girls over boys on the posttest. There were no significant pretest differences among grade levels, suggesting a lack of carryover of pitch-matching skills from previous years, despite significant improvement (pre-post) for every grade level during the year under study. The boys performed poorly relative to girls in higher grades, though the interaction was not significant. Finally, the study revealed relationships between classroom teachers’ reported use of music and student gain scores (pre-post) in pitch-matching.
VEZA IZMEĐU REPRODUKOVANJA ZADATOG TONSKOG NIZA I RAZREDA, POLA, ETNIČKE PRIPADNOSTI I METODA KORIŠĆENJA MUZIKE U NASTAVI NA PREDŠKOLSKOM UZRASTU I U PRVA TRI RAZREDA OSNOVNE ŠKOLE
Cilj rada je bio da se ispita veza između reprodukovanja zadatog tonskog niza i razreda koje dete pohađa, pola, etničke pripadnosti i načina na koji nastavnici razredne nastave koriste muziku u nastavi kod predškolske grupe i učenika od prvog do trećeg razreda (N = 289) kojima predaje isti nastavnik muzike opšteg smera. Podaci dobijeni na bazi vežbe za reprodukovanje zadatog tonskog niza koje je nastavnik muzike koristio u procesu prozivke učenika tokom školske 2005/06. godine su delom iskorišćeni kao predtestiranje i post-testiranje. U predtestiranju nije bilo značajnijih razlika među etničkim grupama (Hispanjolci, belci, ostali). Značajne razlike u predtestiranju evidentirane su između odeljenja kojima su predavali različiti nastavnici razredne nastave, a bilo je primetno i da su rezultati devojčica bili značajno viši u odnosu na dečake. Analizom kovarijanse (sa predtestiranjem kao kovarijantom) u post-testiranju je utvrđeno značajno poboljšanje kod devojčica u odnosu na dečake. U predtestiranju nije bilo značajnijih razlika između različitih razreda, što je sugerisalo da nije bilo prenošenja veštine reprodukovana zadatog tonskog niza iz prethodnih razreda, i pored značajnog poboljšanja (predtestiranje – post testiranje) u svakom razredu tokom referentne godine. Dečaci su imali slabije rezultate u odnosu na devojčice u višim razredima, iako interakcija nije bila važna. Konačno, studija je ukazala na vezu koja postoji između načina na koji su nastavnici razredne nastave koristili muziku u nastavi i napretka koji su učenici pokazali u pogledu reprodukovanja zadatog tonskog niza (predtestiranje – post-testiranje).
This study compared self-reported music class activity time use and actual time use of general music teachers. Responses from a questionnaire provided self-report data regarding general music instruction from 45 elementary general music teachers participating in a one-day Orff-Schulwerk workshop, whereas observed data were obtained by time analysis on videotaped lessons taught by 19 teachers from the same group. Variables observed included student activities and teacher behaviors. Student activities were measured as the amount of time spent in reading, listening, singing, describing, playing, creating, and moving to music; teachers were observed for the amount of talking or modeling as well as the provision of academic and social reinforcement. Comparison of self-reported activity estimates and time-analyzed data indicate that the teachers' own estimate of time use is greater than is the actual time recorded for each music activity. Additional findings related to general music teaching, teaching intensity, and effectiveness. Correlations among activities are also reported.
The purpose of this article is to help the music educator maximize the time allotted to singing with children in the classroom. It will address what teachers and children in the classroom may do to develop and improve singing accuracy, including some suggestions for implementing instruction techniques, planning singing activities, and arranging the singing environment. The article includes descriptions of “presinging activities” that a teacher may use to help children develop a foundation for singing accuracy, a discussion of appropriate vocal models, and an examination of the use of various kinesthetic activities and breath management techniques to increase singing accuracy. Some considerations regarding singing in the classroom, such as frequency of music instruction periods, selection of appropriate songs, use of text or neutral syllables, performance with or without accompaniment, and individual or group singing conditions, are also presented.
The purposes of this study were to determine if different strategies used to practice sightsinging would aid nonmusic students in accurately performing such a task; if improvement in sightsinging would transfer to improved pitch accuracy while singing a familiar children's song; and if teacher-selected starting pitches and tessituras would raise the tessitura of subsequent performances by subjects. Pretest and posttest data compared among the five groups of elementary education majors (N = 91) the accuracy of notes and intervals sung and subject-selected starting pitches on a familiar children's song and four composed sightsinging exercises. Results indicated that improvement in sightsinging occurred in all experimental groups, with posttest scores of subjects using solfege coupled with Curwen hand signs and those using solfege alone scoring significantly better (p < .05) than subjects using staff letter names and those using the neutral syllable “la. ” There was no significant difference among groups (p > 5) on the accuracy of singing a familiar song on the posttest, with an average gain of 6.4 %, indicating that improvement of vocal accuracy while sightsinging did not transfer into recreational singing. Classwork in a higher tessitura than that selected by all subjects on the pretest had no effect on shifting starting pitches upward during the singing of a familiar song on the posttest.
The purpose of this study was to investigate some observational variables that might contribute to the effective teaching of singing in the elementary general music classroom. The specific problems were (1) the development of an instrument that would satisfactorily describe activities and interaction patterns related to the teaching of singing in the elementary general music classroom, and (2) the investigation of those activities and interaction patterns that related significantly to selected criterion variables defined as a measure of specific teaching of singing. Results indicated the observational instrument included a usable number of variables which were established as consistent and stable. The variables observed on a stable basis were also established as concurrently valid. The effective teaching of singing was related to specific teaching patterns observed in some of the classrooms. These patterns were found to occur in classes in which a larger proportion of students had private musical instruction, the teacher had taught for a longer period of time, and the teacher participated in choral activities outside school.
This study quantified and compared the amount of time three groups of nine teachers spent during elementary music classes pursuing various music classroom activities. Experienced teachers, teaching interns, and undergraduate teaching methodology students were each observed twice during fifteen minute segments of two elementary music classes in nine elementary schools. The amount of time spent in each of fourteen classroom activities, and the number and kind of reinforcements given were quantified. Interobserver reliability averaged .91. An attitude assessment was administered to all children following each class. Results indicate that experienced teachers spend significantly less time giving directions than do either of the other teacher groups. No other significant differences were found. Although there were no significant differences in student attitudes among teacher groups, the attitude assessments indicate that students are happy to be in music class, happy to participate, and spend time out of school pursuing music-related activities.
Thesis (Ph. D.)--Indiana University. Photocopy.
Thesis--West Virginia University. Includes bibliographical references (leaves 133-138). Microfilm of typescript. Ann Arbor, Mich. : Xerox University Microfilms, 1970. -- 1 reel ; 35 mm.
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