Students' assessments of music learning experiences from kindergarten to university

Ruismäki, Heikki; Tereska, Tarja

doi:10.1017/s026505170700770x

Cited by 10 publications

(13 citation statements)

References 11 publications

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“…Studies have shown that girls generally hold more favourable attitudes about music class and musical experiences than boys do (Haladyna & Thomas, 1979; Vander Ark et al ., 1980; Crowther & Durkin, 1982; Eccles et al ., 1993; Phillips & Aitchison, 1998; Ruismäki & Tereska, 2008). Further, as primary students grow older, the gender gap in positive attitude towards music class has been found to widen, with boys developing increasingly negative attitudes (Nolin, 1973; Vander Ark et al ., 1980).…”

Section: Primary Schoolchildren's Preferences For Music Class Activitiesmentioning

confidence: 99%

‘Wanna race?’: Primary student preference for competitive or non-competitive singing games

Roberts¹

2016

Brit. J. Music. Ed.

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This study compared primary student preference for competitive and non-competitive singing games. Students in three intact classes of second graders (n = 65) and three classes of fourth graders (n = 67) at one school in the USA served as subjects. After playing a pair of games, one competitive and one non-competitive, over the course of five classes, students anonymously named their preferred game and reported reasons for their preference. Results indicated that the students significantly preferred the competitive game, regardless of grade level or gender. The most common reason students provided for their preference was the higher level of kinaesthetic activity.

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Section: Primary Schoolchildren's Preferences For Music Class Activitiesmentioning

confidence: 99%

‘Wanna race?’: Primary student preference for competitive or non-competitive singing games

Roberts¹

2016

Brit. J. Music. Ed.

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“…The intermediate level is considered a difficult time as the initial excitement of learning has often subsided (Ruismäki & Tereska 2008). Uszler et al (2000) state that the intermediate student has many other family and extra-curricular activities that can lead to a lack of time, energy and motivation for learning the piano, hence it represents 'a crucial point in the student's development' (Bastien, 1995, p. 170).…”

Section: A N O V E R V I E W O F K E Y I S S U E S R E L E V a N T T mentioning

confidence: 99%

“…The intermediate level is considered a difficult time as the initial excitement of learning has often subsided (Ruismäki & Tereska 2008). Uszler et al .…”

Section: An Overview Of Key Issues Relevant To the Intermediate Pianomentioning

confidence: 99%

“…relative isolation of practice, student–teacher relationship, curriculum, teaching quality and student engagement). While there are many factors involved, it is clear that motivating students to move through the intermediate stage is critical; indeed Ruismäki and Tereska (2008) argue that there is a renewed excitement for learning if a student does in fact reach the advanced level.…”

Section: An Overview Of Key Issues Relevant To the Intermediate Pianomentioning

confidence: 99%

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The intermediate piano stage: exploring teacher perspectives and insights

Daniel¹,

Bowden²

2013

Brit. J. Music. Ed.

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While many piano students successfully progress beyond beginner status to reach what is commonly referred to as the intermediate stage, there is minimal research specific to this area of practice. This is despite the fact that there is a high drop-out rate at this stage. This research study therefore set out to develop an in-depth understanding of the key issues of relevance from the perspective of the teachers who work with intermediate piano students. In order to develop a substantial body of data and therefore increase the validity of the findings, a comprehensive e-survey was developed and distributed to practitioners in the UK, USA and Australia, with 583 practitioners participating in the research. The findings highlight some of the key challenges teachers face when working with intermediate students, one of which is the priority students place on their piano studies, with teachers arguing that external commitments have a negative impact on commitment and progression in piano lessons. The data also reveal that repertoire is a major factor of relevance, with teachers citing popular music styles as of more interest to most students than traditional Western art repertoire, yet it is the least studied area in lessons. Given the impact that these two issues have on teachers' experiences of working with piano students and relevant drop-out rates at this stage, it is clear that there is a significant need for further research by engaging other key stakeholders, in order to develop a more comprehensive understanding of the complexities involved in this area of music education. A n o v e r v i e w o f k e y i s s u e s r e l e v a n t t o t h e i n t e r m e d i a t e p i a n o s t a g e

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“…Based on their study involving different age groups in Finland, Ruismäki and Tereska (2008) have reported that students associated the most enjoyable experience in music lessons with singing and the least enjoyable experience with leaming music theory. At the same time, the main reason for not wanting to sing in lessons was associated with not liking the teacher.…”

Section: Introductionmentioning

confidence: 99%

Tripartite Unity: What Students Expect From Their Teacher and Accompanist During Individual Singing Lessons

Kiik-Salupere¹,

Ross²

2011

Trames

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A successful singing lesson requires coordinated efforts from the three parties involved: student, teacher, and accompanist. Results are reported of a survey in which 32 statements were rated on a 5-point Likert scale by high-school students, university students, and professional singers from an opera chorus. The statements were related to students' expectations of their teacher and accompanist during individual singing lessons. Participants were also able to add their own comments to the questionnaire. Results demonstrate that students expect a partnership to develop between the three parties in a singing lesson. The teacher is expected to have a positive attitude, professional and up-todate skills, and the ability to motivate students to work more efficiently. Alongside progress in musical terms, students expect to receive assistance from their teacher in how better to cope with increasingly stressful situations during a public performance.

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Students' assessments of music learning experiences from kindergarten to university

Cited by 10 publications

References 11 publications

‘Wanna race?’: Primary student preference for competitive or non-competitive singing games

‘Wanna race?’: Primary student preference for competitive or non-competitive singing games

The intermediate piano stage: exploring teacher perspectives and insights

Tripartite Unity: What Students Expect From Their Teacher and Accompanist During Individual Singing Lessons

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