Using a music microanalysis protocol to enhance instrumental practice.

The strategies that enable musicians to adapt their behaviors so that they can break through, feel energized, and perform well collectively distinguish what it is to be a self-regulated learner. These strategies range from one's ability to monitor thoughts and actions to being able to navigate and control one's emotions, especially when feeling frustrated or anxious. Given the challenges of the music profession, it becomes imperative for teachers to equip their students with the necessary skills to self-regulate their own actions, feelings, and thinking so that they are eventually able to cope with the demands required of a contemporary professional musical career. In this study, we focused on the self-regulatory engagement of four master's level cellists who were enrolled in a prominent European higher music education institution. Our data comprised self-regulated learning-based diary-reports that describes the students' practice of self-chosen, especially demanding passages as they prepared for a public recital. Results depict differences between the musicians according to the efficiency of their practice leading up to a formal public recital.

How accurate are self-evaluations of singing ability?

Research has shown that people inaccurately assess their own abilities on self-report measures, including academic, athletic, and music ability. Evidence suggests this is also true for singing, with individuals either overestimating or underestimating their level of singing competency. In this paper, we present the Melbourne Singing Tool Questionnaire (MST-Q), a brief 16-item measure exploring people's self-perceptions of singing ability and engagement with singing. Using a large sample of Australian twins (n = 996), we identified three latent factors underlying MST-Q items and examined whether these factors were related to an objective phenotypic measure of singing ability. The three factors were identified as Personal Engagement, Social Engagement, and Self-Evaluation. All factors were positively associated with objective singing performance, with the Self-Evaluation factor yielding the strongest correlation (r = 0.66). Both the Self-Evaluation factor and a single self-report item of singing ability shared the same predictive strength. Contrary to expectations, our findings suggest that self-evaluation strongly predicts singing ability, and this self-evaluation is of higher predictive value than self-reported engagement with music and singing.

Caring approaches to young, gifted music learners' education: a PRISMA scoping review.

This study reviews empirical research literature that deals with existing caring approaches to nurture and educate gifted children in music. The focus on the ethics of care stems from the need to expand notions of talent development in music from a purely behaviorist focus often associated with traumatic experiences, toward a perspective that addresses socio-emotional and cultural aspects of human development across the lifespan. We employed the Preferred Reporting Systems for Systematic Reviews and Meta-Analyses for Scoping Reviews method to review literature concerning caring approaches to the upbringing and education of children gifted for music. A total of 652 records dating from the 1930s and searched via both digital databases and manually in 41 relevant journals were retrieved from which 506 were examined using our inclusion criteria. A detailed analysis process allowed the authors to include 14 studies that were organized according to sampling location, methodologies, quality appraisal, and criteria-related topics. Eleven of the studies were qualitative with a majority of these employing semi-structured interviews for data collection, while the remaining meta strategy and quantitative studies typically employed questionnaires. Salient topics covered by the selected studies included: addressing inequalities in opportunity to access gifted programs; identifying socio-emotional needs of gifted (and twice-exceptional) students; offering a nurturing environment; focusing on intrinsic motivation; developing coping strategies for overall wellbeing; and cultivating healthy attitudes toward competitions through a spirit of peer collaboration and humility. These aspects were clustered into Francoy Gagné's Differentiated Model of Giftedness and Talent regarding natural abilities, environmental, intrapersonal, and developmental catalysts that are involved in nurturing talents in gifted children. Results suggest that the existing research on caring approaches to musically gifted children's learning and development are scarce and that current knowledge is based mostly on single one-off studies rather than systematic research, and on studies that examine a selection of aspects but not adopting a larger-scale theoretical framework. This review highlights the need for more systematic, multidisciplinary, and empirically robust studies on caring approaches to musically gifted children's learning and development, and for policy developments in educational settings where acceleration programs are offered for young, gifted music learners.

Feedback in Music Performance Teaching.

The purpose of this article is to provide one prominent perspective from the research literature on a conception of feedback in educational psychology as proposed by John Hattie and colleagues, and to then adapt these concepts to develop a framework that can be applied in music performance teaching at a variety of levels. The article confronts what we see as a lack of understanding about the importance of this topic in music education and provides suggestions that will help music teachers refocus how they use feedback within their teaching. Throughout the article, we draw heavily on the work of John Hattie and his colleagues whose explanations on all facets of feedback, but especially those forms of feedback that are focused on ensuring students understand "where to next"-have had a huge impact on school education through various publications.

Potential impacts of titanium dioxide nanoparticles on trace metal speciation in estuarine sediments.

Engineered titanium dioxide (TiO2) nanoparticles (NPs) are widely used and consequently released into the environment. The subsequent accumulation of TiO2 NPs in depositional environments may affect the geochemical behavior of trace metals, which needs to be assessed. Here, we performed experiments to investigate the speciation change for molybdenum and tungsten in the presence of TiO2 NPs. Laboratory results show that the rate constant for MoS42- hydrolysis associated with TiO2 NPs is ~1.75 × 10-9 L m-2 s-1, whereas it is 5.95 × 10-10 L m-2 s-1 for WS42- hydrolysis. In addition, we estimated the maximum rate for MoS42- hydrolysis to be ~1.24 × 10-1 µM hr-1, whereas the maximum rate for WS42- hydrolysis is ~4.91 × 10-2 µM hr-1. However, the modeling results suggest that the TiO2 NPs accumulated in estuarine sediments might play a relatively minor role in affecting the speciation of trace metals prior to the current time. This is because the relatively low accumulation (i.e., < 8 × 10-3 mol kg-1) of TiO2 NPs before 2021 results in the lower rate (>100 times) for speciation changes of both molybdenum and tungsten compared to the rate for natural geochemical processes. On the other hand, our results suggest that TiO2 NPs will likely impact the oxyanion cycling in the near future owing to the increasing accumulations of TiO2 NPs in estuarine sediments.

Genetic factors and shared environment contribute equally to objective singing ability.

Singing ability is a complex human skill influenced by genetic and environmental factors, the relative contributions of which remain unknown. Currently, genetically informative studies using objective measures of singing ability across a range of tasks are limited. We administered a validated online singing tool to measure performance across three everyday singing tasks in Australian twins (n = 1189) to explore the relative genetic and environmental influences on singing ability. We derived a reproducible phenotypic index for singing ability across five performance measures of pitch and interval accuracy. Using this index we found moderate heritability of singing ability (h 2 = 40.7%) with a striking, similar contribution from shared environmental factors (c 2 = 37.1%). Childhood singing in the family home and being surrounded by music early in life both significantly predicted the phenotypic index. Taken together, these findings show that singing ability is equally influenced by genetic and shared environmental factors.

Effects of Passion, Experience, and Cultural Politics on Classical Musicians' Practice During the COVID-19 Pandemic.

The widespread cancelation of cultural events during the early 2020 stages of the COVID-19 pandemic led professional performing musicians across the world to experience an increasing economic fragility that threatened their health and wellbeing. Within this "new normal," developing countries have been at a higher risk due to their vulnerable health systems and cultural policies. Even in such difficult times, the music profession requires musicians to keep up their practicing routines, even if they have no professional commitments. This is because high level technical and expressive skills are crucial to sustaining a music career at a high performance level. However, it could be expected that not all musicians might have had the same engagement with music practice during lockdowns. In this study, we studied the experiences of 309 professional classical musicians based in European and Latin American countries with different levels of performing experience to examine their passionate (or lack thereof) engagement with music practice. Through the mixed methods combination of multigroup invariance and narrative analyses, we identified distinct profiles of musicians who displayed more harmonious or more obsessive passion orientations before and at the peak of the pandemic. We observed that musicians with higher levels of harmonious passion in particular were more capable of sustaining their practice at the peak of the pandemic and that these musicians were mostly located in Latin America-a paradox, considering that cultural politics supporting the careers of professional performing musicians and entrepreneurial education in Latin America are lacking to a great extent, especially in comparison with the European context. We explain this in terms of the "forced" self-management embraced by musicians in Latin American countries who want to engage with music practice both before and during the COVID-19 pandemic even if the music profession does not generate enough revenue for them.

Effects of Threat and Motivation on Classical Musicians' Professional Performance Practice During the COVID-19 Pandemic.

In the past 2 years our world has experienced huge disruptions because of COVID-19. The performing arts has not been insulated from these tumultuous events with the entire music industry being thrown into a state of instability due to the paralyzing effects of the COVID-19 pandemic. In this study, we examined how classical professional musicians' ability to cope with uncertainty, economic struggles, and work-life interplay during COVID-19 was influenced by various factors that affect a crucial part of the development and sustainment of music careers: musicians' practice. We analyzed responses to an online survey of 309 classical performing musicians from 41 countries in Europe and Latin America across three pandemic stages: immediately before the pandemic, during the pandemic, and when vaccines were being made available and lockdowns were being reduced or lifted. Structural equation modeling indicates relationships between perceptions of threat at the peak of the pandemic and the musicians Self- or External-Based Motivation for the three periods in which respondents were asked to reflect. Findings suggest that musicians who are more internally self-motivated seemed to be more resilient to the pandemic threats and more capable of managing their practicing routines, whereas more externally motivated musicians experienced a reduction in their dedicated time to practice during lockdown. We suggest pedagogical and policy implications, as well as future lines of research that are oriented toward supporting professional musicians in assessing and understanding their motivational drives so that they can cope with situations that disrupt their professional lives.

Social Support as a Facilitator of Musical Self-Efficacy.

Previous research has shown that musical self-efficacy is one of the predictors of academic achievement, but few studies have analyzed the function of social support in the construction of musical self-efficacy. In this study we analyze the relationship between three sources of support perceived by music students - parents, teachers, and peers - and their influence on levels of self-efficacy for learning and for public performance. We analyze three groups of students under the hypothesis that relationships among those variables can vary with age and the level of education. A total of 444 students enrolled in six Spanish music schools, two music universities, and four advanced music schools, completed the Social Support Scale for Music Students, as well as the General Musical Self-Efficacy Scale. Results reveal significant relationships among the aforementioned variables, with considerable variation according to academic level. For the youngest students enrolled in advanced music schools (conservatorios profesionales), the role of parents and teachers was crucial, especially for predicting self-efficacy for learning, which, in turn, is the best predictor of self-efficacy for public performance. For the 16-18-year-olds enrolled in the same advanced music schools, their peers play a particularly relevant role in reinforcing their self-efficacy for learning. Social support had a negligible influence on the self-efficacy of university-level students, but they did experience a strong relationship between self-efficacy for learning, on the one hand, and public performance, on the other. We interpret these results in view of potential long-term careers in music, relating them with a series of different agents.

Regulation of Emotions to Optimize Classical Music Performance: A Quasi-Experimental Study of a Cellist-Researcher.

The situational context within which an activity takes place, as well as the personality characteristics of individuals shape the types of strategies people choose in order to regulate their emotions, especially when confronted with challenging or undesirable situations. Taking self-regulation as the framework to study emotions in relation to learning and performing chamber music canon repertoire, this quasi-experimental and intra-individual study focused on the self-rated emotional states of a professional classical cellist during long-term sustained practice across 100-weeks. This helped to develop greater awareness of different emotions and how they vary over artistic events (9 profiled concerts and 1 commercially recorded album). Data analysis included traditional psychometric measurements to test the internal consistency of the time series data as well as the relationship between variables (artistic events). The study mapped the cellist's flexible regulation of 17 different positive and negative emotions empirically linked to learning and achievement while practicing within the social context of performing music publicly at a high level. Findings arising from the study help with understandings of how to support musicians to maximize their artistic potential by reducing emotion dysregulation and strengthening the types of adaptive methods that enable them to manage their own emotions.

Music Self-Efficacy for Performance: An Explanatory Model Based on Social Support.

Personal perceptions of self-efficacy are particularly relevant in the field of music performance, which is oriented toward the outward expressions of one's own ability through public performances. Within this context, a number of personal variables, including social support and performance anxiety, have been shown to be associated with musical success and are therefore relevant for research that seeks to understand the four sources of self-efficacy (mastery experiences, vicarious observation, verbal persuasion, physiological states) that are integral components of Bandura's (2002) Social Learning Theory. Previous research, as well as observed differences among musicians associated with educational level (preuniversity) and gender (male/female), underpins the context of this study, which presents evidence regarding the factors that are capable of mediating perceptions of self-efficacy for musical performance. Specifically, the main objectives of this study were to more clearly understand relations between social support, public performance, musical performance anxiety, and self-efficacy using structural equation modeling and to compare these results according to gender. A battery of questionnaires was submitted to 359 preuniversity Spanish music students. Results highlight the relevance of family support for self-efficacy in public performance: directly and mediated through musical performance anxiety. The role of teachers and peers appeared to be relevant only for boys and was mediated through performance anxiety. Public performances lead to a greater degree of musical self-efficacy, but only in girls. Further research shall be required in order to improve pedagogical methods and help teachers increasingly individualize their teaching.

Student Vitality, Teacher Engagement, and Rapport in Studio Music Instruction.

Vitality is the feeling of being alive, vigorous, and energetic, and is an important indicator of overall motivation and wellbeing. Studio music instruction holds rich potential for creating feelings of vitality through close relationships, the potential for developing skills, and a shared endeavor of artistic expression. But they also have the potential to deplete vitality - through controlling teaching, a poor quality relationship, or harsh criticism from the teacher. The purpose of this study was to investigate relationships among student and teacher behavior, rapport, and students' experiences of subjective vitality in the context of university-level applied performance lessons. Participants were six undergraduate instrumental music majors and their teachers located at universities in the United States and Australia, who were selected because they provided the highest (three participants) and lowest (three participants) scores on a measure of subjective vitality completed immediately following a studio music lesson. A lesson was recorded for each student-teacher participant pair, coded for the frequencies of 35 lesson behaviors, described with a qualitative contextual commentary, and rated for evidence of rapport and physical proximity. Clear differences emerged between the high and low vitality lessons with regard to questioning, feedback, modeling, student performance, and student talk. Teachers of high vitality students spent most or all of the lesson within close proximity to their student, and showed stronger rapport than teachers of low vitality students. The findings suggest that students' vitality may depend on important differences in styles of teacher-student engagement and the quality of student-teacher relationships.

Applying Self-Regulated Learning and Self-Determination Theory to Optimize the Performance of a Concert Cellist.

The professional practice of classical music performers has been better understood and enhanced across the last two decades through research aimed at tailoring rehearsing strategies that support the development of a sense of self as an agentic and proactive learner. One approach focuses on helping students make use of various tools that can enhance their learning, particularly in terms of what they do, feel and think when practicing and performing music. This study expands literature on expertise development by embracing the idea that this line of research would benefit from additional studies where the researcher forms part of the research process as an active participant who generates data, especially when these researchers are "members" of the social world they study, and therefore have insider knowledge. Thus, this case study is focused on the first author, a professional cellist who is also a researcher in the educational psychology of music, as the only participant. It extends current research by providing a detailed longitudinal mapping of a professional cellist's preparation across nine profiled concerts in five countries of classical-romantic repertoire and a commercial recording that resulted from 100 weeks of dedicated practice. Anonymous feedback from the audiences and interviews with an expert musician who followed the concerts and the CD recording was also collected. For the data analysis, traditional psychometric measurements were applied to test the internal consistency of the time series data as well as the relationship between variables. In addition, the application of Leximancer analysis of the self-reflections allowed the researchers to probe self-regulated learning (SRL) and self-determination theory (SDT) processes in ways that uniquely mapped, over time, her differing motivations to perform at a high level. Specifically, we report that the cellist's psychological needs and her motivational resources changed across time within the social context of performing music publicly, and that the various self-regulatory processes she drew upon impacted (both positively and negatively) on her ongoing actions, thoughts and feelings. Implications of the study are relevant for all forms of expertise development research, and especially for understandings about the nature of skill development in the context of learning to perform demanding literature in music.

Conservatory Musicians' Temporal Organization and Self-Regulation Processes in Preparing for a Music Exam.

Performing at the very highest levels requires rigorous preparation before the important performance. Musicians and especially music students encounter many challenges when preparing themselves for an important musical performance. This study sought to identify and analyze the context-specific temporal organization and self-regulation efforts that music students employ during their preparation period. Conservatory musicians were recruited from an Australian University Conservatorium. Thirteen conservatory musicians aged between 19 and 21 years (M = 19.6; SD = 0.76) participated in the study. All musicians, through an elicitation interview, were asked to recall and reconstruct their preparation period, leading up to a performance exam. Elicitation interviews provided access to music students' experiences by describing their general preparation. The results showed that conservatory musicians go through different phases (Phase 1: Choosing a piece; Phase 2: Piece discovery; Phase 3: Piece interpretation; Phase 4: Performance preparation). Self-regulatory efforts to prepare for a music performance exam vary from one musician to another. Organizational and disorganizational competencies, specific self-regulatory skills, seem not to be exploited by conservatory musicians. Also, during their preparation, most music students prefer technical and musical work than challenges such as playing in front of the public. Emotionally, conservatory musicians go through pleasant and unpleasant emotions depending on the phase of their preparation. Our results show that music students could benefit from advice on how to organize their preparation period well before an important performance takes place. Implications for conservatory musicians and teachers are discussed.

Eye-movement efficiency and sight-reading expertise in woodwind players.

The ability to sight-read traditional staff notation is an important skill for all classically trained musicians. Up until now, however, most research has focused on pianists, by comparing experts and novices. Eye movement studies are a niche area of sight-reading research, focusing on eye-hand span and perceptual span of musicians, mostly pianists. Research into eye movement of non-piano sight-reading is limited. Studies into eye movement of woodwind sight-reading were conducted in the 1980s and early 2000s, highlighting the need for new research using modern equipment. This pilot study examined the eye movements of six woodwind (flute, clarinet) undergraduates of intermediate-to-advanced skill level during sight-reading of scores of increased difficulty. The data was analysed in relation to expertise level and task difficulty, focusing on numbers of fixations and fixation durations. The results show that as music examples became more difficult the numbers of fixations increased and fixation durations decreased; more experienced players with better sight-reading skills required less time to process musical notation; and participants with better sightreading skills utilised fewer fixations to acquire information visually. The findings confirm that the efficiency of eye movements is related to instrumental and sightreading expertise, and that task difficulty affects eye movement strategies.

Thermoresponsive Coatings on Hollow Particles with Mesoporous Shells Serve as Stimuli-Responsive Gates to Species Encapsulation and Release.

Nanoscale capsule-type particles with stimuli-respondent transport of chemical species into and out of the capsule are of significant technological interest. We describe the facile synthesis, properties, and applications of a temperature-responsive silica-poly( N-isopropylacrylamide) (PNIPAM) composite consisting of hollow silica particles with ordered mesoporous shells and a complete PNIPAM coating layer. These composites start with highly monodisperse, hollow mesoporous silica particles fabricated with precision using a template-driven approach. The particles possess a high specific surface area (1771 m2/g) and large interior voids that are accessible to the exterior environment through pore channels of the silica shell. An exterior PNIPAM coating provides thermoresponsiveness to the composite, acting as a gate to regulate the uptake and release of functional molecules. Uptake and release of a model compound (rhodamine B) occurs at temperatures below the lower critical solution temperature (LCST) of 32 °C, while the dehydrated hydrophobic polymer layer collapses over the particle at temperatures above the LCST, leading to a shutoff of uptake and release. These transitions are also manifest at an oil-water interface, where the polymer-coated hollow particles stabilize oil-in-water emulsions at temperatures below the LCST and destabilize the emulsions at temperatures above the LCST. Cryogenic scanning electron microscopy indicates patchlike particle structures at the oil-water interface of the stabilized emulsions. The silica-PNIPAM composite therefore couples advantages from both the hollow mesoporous silica structure and the thermoresponsive polymer.

Microstructural characteristics of surfactant assembly into a gel-like mesophase for application as an oil spill dispersant.

HYPOTHESIS: Polyoxyethylene (20) sorbitan monooleate (Tween 80) can be incorporated into the gel-like phase formed by L-α-phosphatidylcholine (PC) and dioctyl sulfosuccinate sodium salt (DOSS) for potential application as a gel-like dispersant for oil spill treatment. Such gel-like dispersants offer advantages over existing liquid dispersants for mitigating oil spill impacts. EXPERIMENTS: Crude oil-in-saline water emulsions stabilized by the surfactant system were characterized by optical microscopy and turbidity measurements while interfacial tensions were measured by the spinning drop and pendant drop techniques. The microstructure of the gel-like surfactant mesophase was elucidated using small angle neutron scattering (SANS), cryo scanning electron microscopy (cryo-SEM), and 31P nuclear magnetic resonance (NMR) spectroscopy. FINDINGS: The gel-like phase consisting of PC, DOSS and Tween 80 is positively buoyant on water and breaks down on contact with floating crude oil layers to release the surfactant components. The surfactant mixture effectively lowers the crude oil-saline water interfacial tension to the 10-2 mN/m range, producing stable crude oil-in-saline water emulsions with an average droplet size of about 7.81 µm. Analysis of SANS, cryo-SEM and NMR spectroscopy data reveals that the gel-like mesophase has a lamellar microstructure that transition from rolled lamellar sheets to onion-like, multilamellar structures with increasing Tween 80 content.

A Bottle-around-a-Ship Method To Generate Hollow Thin-Shelled Particles Containing Encapsulated Iron Species with Application to the Environmental Decontamination of Chlorinated Compounds.

Thin-shelled hollow silica particles are synthesized using an aerosol-based process where the concentration of a silica precursor tetraethyl orthosilicate (TEOS) determines the shell thickness. The synthesis involves a novel concept of the salt bridging of an iron salt, FeCl3, to a cationic surfactant, cetyltrimethylammonium bromide (CTAB), which modulates the templating effect of the surfactant on silica porosity. The salt bridging leads to a sequestration of the surfactant in the interior of the droplet with the formation of a dense silica shell around the organic material. Subsequent calcination consistently results in hollow particles with encapsulated iron oxides. Control of the TEOS levels leads to the generation of ultrathin-shelled (∼10 nm) particles which become susceptible to rupture upon exposure to ultrasound. The dense silica shell that is formed is impervious to entry of chemical species. Mesoporosity is restored to the shell through desilication and reassembly, again using CTAB as a template. The mesoporous-shelled hollow particles show good reactivity toward the reductive dichlorination of trichloroethylene (TCE), indicating access of TCE to the particle interior. The ordered mesoporous thin-shelled particles containing active iron species are viable systems for chemical reaction and catalysis.