Children’s Representations of Music, Musical Identities, and Musical Engagement: Content and Socio-Demographic Influences

Using the Theory of Social Representations as a theoretical and methodological framework, the purpose of this study was to describe children’s representations of music, musical identities, and musical engagement across middle childhood. Participants were primary students aged 8 to 11 ( N = 132) from four schools in a large city in the Southeastern United States. Previous studies have documented that projective techniques (linguistic associations with textual stimuli) can access latent dimensions of thinking. Accordingly, linguistic associations with the textual stimuli “music,” “music and me,” music at school,” and “music outside school” were used to gain insight into children’s representations of music, musical identities, and musical engagement. Participants were also asked to provide socio-demographic data that might influence their responses. The Correspondences Analysis technique was used to reconstruct representational fields associated with the stimuli. For each stimulus, a three-factor extraction identified hidden dimensions in children’s linguistic responses and summarized the links between contextual variables and children’s representations. Major findings suggest that children at increasingly younger ages express preferences and construct their own representations of music and musical identities.

The Effect of Register, Direction, and Magnitude on Musicians’ Evaluations of Chamber Ensemble Intonation: A Within-Study Comparison for Analysis of Repeated Measures

This study had two primary purposes: (1) to investigate the effect of register, direction, and magnitude on musicians’ evaluation of chamber ensemble intonation, and (2) determine whether a novel nonparametric technique, ordinal pattern analysis (OPA), was a viable alternative to repeated-measures analysis of variance (rANOVA). I digitally mastered a recording of a string quartet performing a phrase from Capriol Suite by altering the intonation of the violin or cello voice ±20 and 30 cents sharp and flat. Participants ( N = 72) completed a discrimination task and an evaluation task with the recordings, with task order, and within-task item order presented in a random order. Analysis using rANOVA revealed significant differences due to register, direction, and magnitude: Excerpts with cello errors were rated as more in tune than excerpts with violin errors; excerpts with flat errors were rated as more in tune than excerpts with sharp errors, and excerpts with 20-cent magnitude errors were rated as more in tune than excerpts with 30-cent magnitude errors. OPA results were consistent with rANOVA results. Substantive implications for music teaching and learning are discussed alongside methodological considerations and implications for music education research using repeated-measures designs.

Emotional Competence Within the Stress Coping Strategies of Music Education Students

Researchers have identified high levels of stress among music education students, but we know very little about how students manage this stress and how emotional competence skills might be utilized within stress coping mechanisms for this population. Through this qualitative study, we sought to understand the stress coping strategies of eight music education majors through the lens of emotional competence as outlined by Saarni. We identified several sources of participants’ stress: general life stress, schedule, performance expectations, and coursework. Student coping strategies included awareness of stress, an attitude of pushing through, self-care, and seeking support. Through coding and utilization of the theoretical framework, we concluded that all eight of Saarni’s emotional competence skills were evident in the data as a whole, but not for each individual participant. Minimal evidence was found for half of the skills and for some students they were nonexistent, thus indicating a need for growth in emotional competency. Gaining an understanding of how music education majors cope with their stress could be a key step toward understanding how to better support students throughout their degree programs and as they transition into the field of music education.

Relationships Among Band Festival Ratings, Director Gender, and Other Selected Factors

The purpose of this study was to examine relationships among high school band festival ratings and director gender as well as school locale, school size, student socioeconomic status (SES), student race, repertoire difficulty, and ensemble name. Data included overall ratings of bands ( N = 257) that performed at District Concert Assessments held across the state of Virginia during 2019 as well as demographic information from the National Center for Education Statistics. Statistical analysis of a subset of these performances ( n = 151) revealed a statistically significant association between ratings and director gender, with male-directed ensembles more likely to receive a “I” rating than female-directed ensembles. However, hierarchical logistic regression revealed that repertoire difficulty and ensemble name were the best predictors of whether an ensemble would receive a “I” rating. Implications include the need to examine why female band directors may choose less difficult repertoire than male directors and to explore strategies for making the secondary band teaching profession more equitable and inclusive.