Exploring the relationships among music performance anxiety, teaching anxiety, and self-efficacy of Chinese preservice music teachers.

This quantitative study aimed to explore the relationships among music performance anxiety (MPA), teacher anxiety (TA), and self-efficacy (SE) through a survey study of Chinese preservice music teachers (N = 237). We also examined gender, grade, primary instrument, secondary instrument, music learning time length, and time spent in four activities: peer teaching, practicum, internship, and private teaching as potential predictors of MPA, TA, and SE. Results indicated that the higher the self-efficacy, the lower music performance anxiety and teaching anxiety; Simultaneously, the increased music performance anxiety was associated with an increased teaching anxiety. Partial correlation results indicated a significant but negative correlation between TA and SE with MPA controlled. Teaching anxiety, followed by primary piano, was the strongest predictor of MPA. MPA, followed by SE and peer teaching, was the strongest predictor of TA. TA, followed by grade level, was the strongest predictor of SE. The results from the multivariate analysis of variance revealed that the SE of male preservice music teachers were significantly higher than their female counterparts. As a study implication, music teacher educators may consider interventions and support mechanisms that address both types of anxiety simultaneously to improve overall teacher preparedness.

ICT and music technology during COVID-19: Australian music educator perspectives.

The COVID-19 pandemic forced music teachers to modify their practice as delivery moved online in education settings around the globe. This article forms part of our wider study, Re-imaging the future: Music teaching and learning, and ICT in blended environments in Australia, that commenced in March 2021. In this article, the authors analyze and discuss Australian music teachers' perceptions of confidence, preference, and usage of music technologies, combined with Information and Communication Technologies (ICT) while teaching during COVID-19. Employing a quantitative methodology from data collected using an anonymous survey (N = 105), they report on teachers' attitudinal responses about ICT devices, confidence, and technology usage. The findings outline descriptive and correlational analyses between ICT use and teachers' integration of various devices, software, and related music technologies. The data show that teachers adapted their practice during this time of uncertainty, reporting increased confidence, application, and ICT usage. Data revealed an increase in the use of multiple technologies, resources, and software, which became an essential component of online teaching. The article concludes with recommendations for a longitudinal study of ICT usage in music education across Australia, accompanied by suggestions for increased professional learning, initial teacher training, changes in practice, and contingencies to sustain online learning into the future.

Preference of Chinese pre-service music teachers and schoolteachers for three culturally diverse musical pieces.

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons.

The relationship between flow experience and teaching well-being of university music teachers: The sequential mediating effect of work passion and work engagement.

Objective: The purpose of this study was to investigate the relationship between work passion and work engagement among university music teachers in flow experience and teaching well-being. Methods: Three hundred forty-three university music teachers were tested by using the Flow State Scale, Teacher Well-Being Scale, Work Passion Scale, and Work Engagement Scale. Results: University music teachers' flow experience can predict teaching well-being (ß = 0.248, p < 0.001). University music teachers' flow experience has an indirect impact on teaching well-being through work passion (ß = 0.257, p = 0.005), and university music teachers' flow experience has an indirect impact on teaching well-being through work engagement (ß = 0.144, p = 0.018). In addition, work passion and work engagement play a chain-mediating role between university music teachers' flow experience and teaching well-being (ß = 0.134, p = 0.001). Conclusion: Work passion and work engagement play a sequential mediating role between university music teachers' flow experience and teaching well-being.

Understanding the Association between Musical Sophistication and Well-Being in Music Students.

Quality of life and mental health are topics under discussion in the university environment that pose new educational challenges. Public policy in Chile establishes the need to track students who are starting university and who could find themselves at possible academic risk (Law 20. 903). These transition processes experienced by students therefore need to be guided to improve the students' quality of life. Using a mixed design, the present study analyzes the association between musical sophistication (Ollen, 2006), students' well-being, and the performance of first-year students training to be music teachers (n = 25). The Ollen Musical Sophistication questionnaire and the Spanish version of the PERMA-profiler, a questionnaire for assessing well-being, were applied. In order to obtain detailed information about learning processes and educational needs, seven interviews were conducted. Results indicate a negative correlation between musical sophistication on the one hand and negative emotions (anxiety and anger) and loneliness on the other. This is reflected in less consistent academic performance, difficulties in identity development, and reduced motivation to face new challenges besides musical learning. We concluded that knowledge and observation of students' previous musical experience is crucial for understanding and supporting the educational transition process and well-being of student music teachers.

Facilitating collaborative professional development among instrumental and vocal teachers: A qualitative study with an Austrian Music School.

This case study provides an in-depth investigation in a professional development project about facilitating collaborative reflection. This was led by a research team from the university with 13 instrumental music teachers from one music school in Styria (Austria) during 2019-2021 (including the initial COVID-19 pandemic). Research questions considered (1) the participants' descriptions of the collaborative professional development, (2) participants' uses of reflection tools and indications of their identification with workshop interventions, as well as factors responsible for the outcomes from the reflection tools; and (3) ways participants' thinking and attitudes may have developed through the workshops, how they defined themselves as a group (if they did), and how they might have gained trust in one another. Inspired by the design-based research approach, practitioners and researchers worked closely together to enhance teaching and learning implementing interventions with collaborative reflections tools. While the first phase (11 workshops) was primarily led by the project-team, the second phase (7 workshops) was participant-led. Data included focus groups and discussion transcriptions from 18 workshops. The impetus of the study included the role of the director and the participants dealing with the interventions, and finally the participants' descriptions of their experiences in the professionalization process. Literature included collaborative professional development, community of practice, learning communities, self-determined learning, reflective practice, and ethical considerations. Data were analyzed based on thematic analysis and gave rise to five following themes: forming group cohesion, inspiring and appreciating collaboration, bridging theory and practice, identifying deeper thinking and teachers as learners, addressing challenges and potentials during the COVID-19 pandemic, and finally finding the music school's own identity and sense of importance. Findings highlight the importance of establishing meaningful collaborative reflection through appreciative communication and an atmosphere of trust and respect. To be able to make change in and with an institution, leadership members must be engaged as collaborative stakeholders on an eye-level; collaborative professional development can be used as a resource toward rethinking and reworking the identity of one's music school and of teaching and learning. Institutions should provide space and continuity for such development. Finally, the study highlights that a collaborative reflective approach can contribute to professional and social growth.

Hearing and Tinnitus Evaluation in Music Teachers.

PURPOSE: Music is an aesthetic whole consisting of sounds combined according to a certain purpose, method and understanding. Therefore, it also interacts with emotions in listeners. Music sounds are in the range of approximately 20-8000 Hz. This frequency range is within the frequency spectrum of the human cochlea. The aim of this research is to evaluate the hearing thresholds of music teachers and to determine whether they cause tinnitus. MATERIAL AND METHODS: This research was conducted in Turgut Özal University Medical Faculty Hospital Audiology and Speech Disorders clinic. A total of 35 people (17 music teachers, 18 control groups) participated in the research. In this research, 17 music teachers (11 females, 6 males) aged 24-39, and 18 volunteers (12 females, 6 males) participated in the control group. After the otoscopic examination of all participants, pure tone audiometry (in the range of 125-16,000 Hz), immitansmetric examination and Distortion Product Otoacoustic Emission (DPOAE) tests were performed. Tinnitus Handicap Inventory (THI) was used in the evaluation of tinnitus. RESULTS: There was no statistically significant difference between the music teachers and the control group in all pure tone hearing threshold averages of 125-16,000 Hz (p>0.05). The Uncomfortable Level (UCL) average of music teachers was 104.12 ± 3.83 dB for the right ear, 108.33 ± 3.83 dB for the control group, 107.78 ± 4.28 dB for the left ear, and 103.53 ± 4.28 for the control group. DPOAE results were found statistically significant at 3000 Hz only for the right and left ears (p=0.036; p=0.015, respectively). Also, for DPOAE test, the control group's OAE values were higher than the music teachers. According to the Tinnitus Handicap Inventory in music teachers, 1st degree tinnitus has emerged. CONCLUSION: According to the findings obtained, the low UCL value in music teachers compared to the control group suggests the tolerance problem. Continuous exposure to the sound was thought to create a noise effect on the cochlea, and as a result, tinnitus susceptibility appeared in music teaching.

The Well-being and Instructional Experiences of K-12 Music Educators: Starting a New School Year During a Pandemic.

In adapting to remote emergency teaching modes during pandemic-imposed conditions, teachers' instruction has changed dramatically. Early research indicates that the well-being of music teachers has suffered during the COVID-19 pandemic and that high levels of depression are widespread. The purpose of this survey study was to assess the continued psychological well-being of music teachers working amid a global pandemic based upon previous research we conducted during the Spring 2020 semester when most teachers in the United States were forced into emergency remote teaching. A secondary purpose was to explore the ways that pandemic conditions have affected music teachers' sense of safety at work and their current teaching situations. Our questionnaire consisted of sections pertaining to (1) demographic and institutional information, (2) well-being and depression, (3) instructional format and preparedness, (4) teaching efficacy compared to the start of the pandemic, and (5) potential positive outcomes of the pandemic-imposed adjustments. In total, 1,325 music teachers responded to our survey. Overall, the participants reported poorer well-being than both published norms and the sample of participants in our previous study. In addition, 17% reported mild depression, 25% reported moderate depression, and 24% reported severe extremely severe levels of depression. Summaries of the participants instructional experiences and their implications for music education are discussed within.

Private music teachers' knowledge of and attitudes toward students with autism spectrum disorder.

Although extracurricular music activities are common in Hong Kong, private music teachers' perceptions of children with autism spectrum disorder (ASD) are underexplored in research in this context. This study examined private music teachers' knowledge of ASD and their attitudes toward students with ASD in Hong Kong, and the relationship between these two factors. The study collected data from a questionnaire survey (n = 200) and eleven individual interviews. Unexpectedly, the findings showed that the teachers had a good understanding and a marginally positive perception of ASD, despite some anxiety about teaching students with ASD. Furthermore, knowledge of and attitude toward ASD were positively correlated. Teachers with previous training in special education needs had a better understanding of ASD and a more positive attitude toward ASD than those without related training. These results imply that further formal and public education could promote acceptance of and equal learning opportunities for students with ASD.

Estilo motivacional de professores de música: propriedades psicométricas de uma escala / Music teachers’ motivational style: psychometric properties of a scale

O ensino de instrumento musical é uma prática educativa que mantém vínculos com a tradição de transmissão de conhecimento entre mestre e aprendiz. Contudo, as mudanças ocorridas na sociedade nas últimas décadas trouxeram novas demandas ao ensino de música, implicando na necessidade de um contexto mais flexível de ensino. Neste cenário, o estilo motivacional do professor é um conceito teórico que possibilita uma discussão atualizada sobre o tema. O objetivo deste estudo foi levantar as propriedades psicométricas de uma escala adaptada para a aula individual de música. A escala foi inserida em um website de pesquisa survey e respondida por 358 professores de instrumento musical, após foram realizadas análises fatoriais confirmatória e exploratória. Os resultados indicam que, no contexto da aula individual de música, a escala possui dois fatores ortogonais, denominados Controle e Promoção de Autonomia. Apesar da análise fatorial apontar para uma interpretação conceitualmente diferente da proposta teórica, conclui-se que o conceito de estilo motivacional é válido para a pesquisa com o ensino de música. Este conceito, porém, deve ser amadurecido por meio de novos estudos que contemplem diferentes aspectos sobre um grupo diversificado e disperso, como são os professores de música. (AU)

Instrumental music teaching is an educational approach that refers to the master and apprentice tradition of knowledge transfer. However, the changes occurred in the societyover the last decades have brought new demands to the music instruction, involving thenecessity for a more flexible teaching context. In this scenery, the teacher’s motivational style is a theoretical concept that enables an updated discussion about the topic. The aim of this study was to report the psychometric properties from an adapted scale for individual music lessons. The scale was inserted into a research website and answered by 358 instrumental music teachers, after were performed exploratory and confirmatory factor analyzes. The results highlights that, in one-to-one music lesson context, the scale has two orthogonal factors, named Controlling and Autonomy Supportive. Although factor analysis points to a conceptually different interpretation of the theory, it is concluded that motivational style concept is valid to research music teaching. This concept, however, must be improved through new studies that contemplate different aspects about a diverse and dispersed group, such as music teachers. (AU)

Estilo motivacional de professores de música: propriedades psicométricas de uma escala / Music teachers' motivational style: psychometric properties of a scale

O ensino de instrumento musical é uma prática educativa que mantém vínculos com a tradição de transmissão de conhecimento entre mestre e aprendiz. Contudo, as mudanças ocorridas na sociedade nas últimas décadas trouxeram novas demandas ao ensino de música, implicando na necessidade de um contexto mais flexível de ensino. Neste cenário, o estilo motivacional do professor é um conceito teórico que possibilita uma discussão atualizada sobre o tema. O objetivo deste estudo foi levantar as propriedades psicométricas de uma escala adaptada para a aula individual de música. A escala foi inserida em um website de pesquisa survey e respondida por 358 professores de instrumento musical, após foram realizadas análises fatoriais confirmatória e exploratória. Os resultados indicam que, no contexto da aula individual de música, a escala possui dois fatores ortogonais, denominados Controle e Promoção de Autonomia. Apesar da análise fatorial apontar para uma interpretação conceitualmente diferente da proposta teórica, conclui-se que o conceito de estilo motivacional é válido para a pesquisa com o ensino de música. Este conceito, porém, deve ser amadurecido por meio de novos estudos que contemplem diferentes aspectos sobre um grupo diversificado e disperso, como são os professores de música

Instrumental music teaching is an educational approach that refers to the master and apprentice tradition of knowledge transfer. However, the changes occurred in the societyover the last decades have brought new demands to the music instruction, involving thenecessity for a more flexible teaching context. In this scenery, the teacher's motivational style is a theoretical concept that enables an updated discussion about the topic. The aim of this study was to report the psychometric properties from an adapted scale for individual music lessons. The scale was inserted into a research website and answered by 358 instrumental music teachers, after were performed exploratory and confirmatory factor analyzes. The results highlights that, in one-to-one music lesson context, the scale has two orthogonal factors, named Controlling and Autonomy Supportive. Although factor analysis points to a conceptually different interpretation of the theory, it is concluded that motivational style concept is valid to research music teaching. This concept, however, must be improved through new studies that contemplate different aspects about a diverse and dispersed group, such as music teachers

Neuromyths in Music Education: Prevalence and Predictors of Misconceptions among Teachers and Students.

In the last decade, educational neuroscience has become increasingly important in the context of instruction, and its applications have been transformed into new teaching methods. Although teachers are interested in educational neuroscience, communication between scientists and teachers is not always straightforward. Thus, misunderstandings of neuroscientific research results can evolve into so-called neuromyths. The aim of the present study was to investigate the prevalence of such music-related neuromyths among music teachers and music students. Based on an extensive literature research, 26 theses were compiled and subsequently evaluated by four experts. Fourteen theses were selected, of which seven were designated as scientifically substantiated and seven as scientifically unsubstantiated (hereafter labeled as "neuromyths"). One group of adult music teachers (n = 91) and one group of music education students (n = 125) evaluated the theses (forced-choice discrimination task) in two separate online surveys. Additionally, in both surveys person-characteristic variables were gathered to determine possible predictors for the discrimination performance. As a result, identification rates of the seven scientifically substantiated theses were similar for teachers (76%) and students (78%). Teachers and students correctly rejected 60 and 59%, respectively, of the seven neuromyths as scientifically unsubstantiated statements. Sensitivity analysis by signal detection theory revealed a discrimination performance of d' = 1.25 (SD = 1.12) for the group of teachers and d' = 1.48 (SD = 1.22) for the students. Both groups showed a general tendency to evaluate the theses as scientifically substantiated (teachers: c = -0.35, students: c = -0.41). Specifically, buzz words such as "brain hemisphere" or "cognitive enhancement" were often classified as correct. For the group of teachers, the best predictor of discrimination performance was having read a large number of media about educational neuroscience and related topics (R2 = 0.06). For the group of students, the best predictors for discrimination performance were a high number of read media and the hitherto completed number of semesters (R2 = 0.14). Our findings make clear that both teachers and students are far from being experts on topics related to educational neuroscience in music and would therefore benefit from current education-related research in psychology and neuroscience.