Music Educators Journal 2012 Departments 15 6

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Samplings

Copyright © 2012 National A ssociation

for Music Education

DOI: 10.1177/0027432112465058

http://mej.sagepub.com

www.nafme.org 15

Recent Journal Articles

Connecting Music and Reading

Many schools and districts requireincreased reading instruction time andmandate that all teachers take a role in read-ing intervention, including music teachers.Many general music teachers feel inade-quately prepared to teach reading skills.

Suzanne N. Hall and Nicole R. Robin-

son point out the similarities and parallelsbetween music and reading in their article“Music and Reading: Finding Connectionsfrom Within” in the October 2012 issue ofGeneral Music Today . They aim to equipmusic teachers with reading terminology,discuss reading processes and instruc-tional practices that mirror music learn-ing processes and instructional practices,and present music activities that explicitlydemonstrate how music teachers currentlysupport language learning in the music

classroom. The authors focus on the par-allels between music and the five compo-nents of reading instruction outlined by theNational Reading Panel: phonemic aware-ness, phonics, fluency, vocabulary, andcomprehension.

In addition to drawing parallelsbetween the two disciplines for these

five components, Hall and Robinson pro- vide a sample activity for each component with extended activities. For example, todevelop fluency, the sample shows fourshort music phrases that use repetition tohelp solidify melodic patterns (e.g., sol –mi )and various rhythmic patterns. The fluentreader appropriately pauses and changesemphasis and tone. In music, fluencyrelates to rhythm perceptions and patternsof sound and silence.

Read “Music and Reading: FindingConnections from Within” in the October2012 General Music Today , now availableonline.

Perceived TeacherEffectiveness with Positive andNegative Feedback

Feedback helps students gauge howthey are doing. Rebecca B. MacLeod and

Jessica Napoles examined preservice teach-ers’ perceptions of teaching effectiveness.Their volunteers were upper-division musiceducation majors—forty instrumentalistsand twenty-five vocalists, of which thirty-six were women and thirty-nine, men.

Experienced teachers were video-taped in a simulated applied music lessonand were unknown to the participants.Half were women and half were men.The teachers were asked to instruct “stu-

dents” as if they were beginners and tomodel using an instrument or the voice.MacLeod and Napoles were the mockstudents but were never in view of thecamera. Before videotaping, all teachers watched a model lesson demonstratinghigh positive or high negative feedback.Half the teachers used high positivefeedback (four approvals and one dis-approval), and the other half used highnegative feedback (four disapprovals andone approval).

The articles summarized here are a sampleof some of the important topics covered inthe Journal of Research in Music Education (JRME ), Update: Applications of Research inMusic Education , the Journal of Music TeacherEducation (JMTE ), and General Music Today (GMT ).

Update , JMTE , and GMT are available onlineat no charge to NAfME members (www.nafme.org/resources/view/nafme-journals).Your e-mail and NAfME member ID numberare required for access to these publications.Interested readers can purchase a subscriptionto JRME by calling Member Services at 800-336-3768 or 703-860-4000 or by [email protected].

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Music Educators Journal December 201216

Volunteers viewed the teaching clipsand rated each teacher on demeanorand effectiveness. The ratings showedthe following top-down order of per-ceived effectiveness: positive femaleteachers, positive male teachers, nega-

tive female teachers, and negative maleteachers. There was a significant differ-ence between men and women teachers.The women were rated as more effectivethan the men within like feedback con-ditions; the negative male teachers wereperceived as more negative than werethe negative female teachers.

To learn more about the study, read“Preservice Teachers’ Perceptions ofTeaching Effectiveness during Teach-ing Episodes with Positive and NegativeFeedback,” by Rebecca B. MacLeod and Jessica Napoles, in the October 2012 issueof Journal of Music Teacher Education,now available online.

Motivating Music Learning

Peter D. MacIntyre, Gillian K. Potter, and Jillian N. Barnes wanted to know how RobertC. Gardner’s socio-educational model oflearning a second language would work ifapplied to study instrumental music learn-

ing. In their words, “at the heart of the pro-posed model is a multifaceted descriptionof the relationships among motivation,attitudes, anxiety, support from others,perceived competence, and achievement”(July 2012 JRME , p. 130).

Working with 107 high school bandstudents, the researchers found that “theadapted and expanded socio-educationalmodel fit very well” and “described keymotivational structures.”

The investigators concluded that

“The key support for motivation tolearn was supplied by integrativeness(an interest in taking on the character-istics of musicians, positive attitudestoward learning instruments, and aninterest in music learning) plus atti-tudes toward the learning situation(music teacher and course).”

MacIntyre, Potter, and Barnes’srecent research, “The Socio-EducationalModel of Music,” was published in the July 2012 Journal of Research in Music

Education ( JRME ), volume 60, number2, pages 129–44. (NAfME members can

purchase a JRME subscription by con-tacting Member Services at 800-828-0229 between 8:30 a.m. and 4:00 p.m.ET or by e-mailing [email protected].)

Name That Tune!

According to a 1984 Journal of Musicology article by J. Parakilas, orchestra programsin the late nineteenth century created a“classical repertory” that consisted of

“certain old works that should be keptever-popular, ever-present, [and] ever-new” (vol. 3, p. 3). A number of pieces ofthis standard repertoire are still heard inconcert halls today.

Kimberly VanWeelden, in the Novem-ber 2012 issue of Update: Applications

of Research in Music Education, notedthat classical music and themes from thisgenre are now found in many places out-side the traditional concert hall, including“movies, television, radio, video games,

and the Internet and as cellular phoneringtones,” where they are often relegatedto a background role.

VanWeelden suggests that “the ideathat some classical music could be con-sidered popular music as well, at least incultural terms, is evident in everyday life.”She wanted to find out which classicalmusic might be “familiar and predictableto adolescent students.”

For subject in her study, VanWeeldenused 668 middle and high school students

attending a summer music camp at alarge college of music in the southeasternUnited States. These students representedband, orchestra, and choral performance,as well as piano and guitar.

From a repertoire selected from anonline list, Classical Music’s Top 100

Greatest Hits , VanWeelden chose thirty

pieces and split them into two playlists.(She made sure the music on her lists hadalso been heard frequently in ordinarycultural contexts.) She shortened these tothirty- to forty-five-second excerpts. Afterobtaining parental consent for her par-

ticipants, she tested the students in smallgroups, asking them if they had heard thepiece and where, and to give the name ofthe piece if known.

Some 87 percent of the students hadheard the music before the study, but onlythree pieces—“Flight of the Bumblebee,”“Hallelujah Chorus,” and “Pomp and Cir-cumstance” were correctly identified bytitle by 50 percent of the students.

Read the entire article, “Classical Musicas Popular Music: Adolescents’ Recogni-tion of Western Art Music,” in the Novem-ber 2012 Update: Applications of Research

in Music Education, now available online.(NAfME members can read this and otherUpdate articles at no charge by logging into www.nafme.org and clicking “Resources”on the top banner, then “Periodicals” on theleft-hand banner.)

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Music Educators Journal 2012 Departments 15 6