Neoliberal education policiesviewing students' life as human capital, economic investment for the labour market and consumer powermay increase students' workload in higher education. In this mixed methods study, we examined music students' experiences of workload in Finland and the United Kingdom in connection with stress and livelihoods. We used Bayesian mixed effects ordinal probit regression modelling to estimate effects of countries and livelihoods as predictors for music students' experienced workload in relation to their main subject of study (or principal study) and stress. We analysed music students' lived experiences of workload to find further predictors for the developmental work in universities and educational policies. Results indicate that where neoliberal university culture impacts on music students' livelihoods alongside their studies, this is likely to increase stress but not necessarily impact on the workload associated with their main subject of study. However, stress has a notable effect on students' experiences of workload. We suggest paying attention to certain aspects in universities in relation to workload, such as the gap between well-off students compared to low-income students who need to work, and stress, particularly with female and non-binary gender students. Furthermore, we propose alternative ways to navigate neoliberal university culture.
Proactive coping styles may help students deal with their study workload and stress in healthier ways. In this explanatory mixed methods study, data were gathered among professional students in higher music education in Finland and the United Kingdom about their experiences of workload, stress, and proactive coping. Bivariate analyses were used to explore prevalence of study workload, stress, and seven proactive coping styles among genders, levels of degree, genre groups, and study programs, and investigate whether stress is predicted by study workload and proactive coping styles. Music students’ lived experiences were analyzed to find the determinants of their workload, stress, and coping. Results indicate significant differences between genders and study programs and specific concerns for music students, such as working alongside studying and physical and psychological problems. Higher music education institutions can utilize this evidence to better support music students in their studies and professional careers.
While there is extensive research on student workload in higher education, research-based findings relating to music students’ workloads are, to a great extent, lacking. In this study, we aim to review the literature systematically (a) to identify the factors that have an impact on students’ experiences of workload ( experienced workload) and (b) to better understand music students’ experiences of their workloads in relation to their studies. The overall aim is to offer recommendations for students, teachers, administrators, and student health and well-being services as to how to deal with music students’ workload. We conducted a systematic search of literature in 23 electronic databases and 19 music research journals following the Preferred Reporting Items for Systematic Reviews guidelines. Eligibility criteria consisted of design, sample, phenomenon of interest, evaluation, and type of research. Twenty-nine qualitative, quantitative, and multistrategy studies fulfilled the inclusion criteria. Data were extracted and the quality of the studies was appraised. Extended meta-ethnography was used to create a synthesis revealing specific themes offering recommendations for good practice to (a) increase music students’ ability to cope with their workload, (b) provide tools for teachers to support music students to manage and cope with workload, and (c) develop learner-centered environments in higher music education. In addition to presenting recommendations for good practice, we conclude that more research using high-quality designs is needed to investigate music students’ discipline-specific experienced workload.
Enhancing our knowledge about students’ experiences during their studies in higher music education is essential to understand and support them as they cope with their specific workloads in studying music. This study provides a research-based understanding of what engaging in music means to music students when they reflected on their experiences of their studies and workloads. The data were collected from interviews with 29 students in higher music education institutions in Finland and the United Kingdom, and the analysis was conducted by following the framework of transcendental phenomenology. Music students’ experiences of their workload are connected in multifaceted ways to the meanings they ascribe to their engagement in music, such as intense and complex experiences that are also a source of vitality, their development as musicians, their creative self-expression, their interaction with others and in building a community, their personal growth and coping approaches during their studies, and the transcendental experiences they encounter during their engagement with music. Thus, the findings indicate that engaging in music is a holistic experience for music students. This study shows the importance of understanding and investing in music students’ unique workload experiences through research on the teaching and learning practices of higher music education institutions, which can in turn support music students’ well-being, learning, and future careers.
One-to-one tuition is an essential part of studying music and is appreciated by the music students. Problems can occur when there are diverse perceptions between teacher practice and student expectations. This study provides research-based evidence on 155 music students’ experiences of workload, stress, and coping in their interaction with teachers in higher education in Finland and the United Kingdom. The theoretical framework was informed by several theories in educational psychology research, such as the influence of teaching and learning environment on students’ perceived workload, and constructivist approach in teaching and learning music. The data included 155 music students’ open-ended answers in the questionnaire and interviews with 29 music students. The qualitative analysis was conducted through the methodological framework of transcendental phenomenology. The findings illustrate music students’ interaction with teachers concerning (1) the structure of students’ workload, (2) a music student’s individual workload, (3) workload relating to teaching and learning environments, and (4) psychological and physiological issues. A total of 43 constructive tools for teachers were created based on these music students’ experiences. These tools are based on the constructivist principles focusing on the music students’ knowledge and capabilities and they can be utilized to better support students in managing and coping with their workload and stress in higher music education institutions.
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