The Effects of a Positive Mindset Trigger Word Pre-Performance Routine on the Expressive Performance of Junior High Age Singers

Broomhead, Paul; Skidmore, Jon B.; Eggett, Dennis L.; Mills, Melissa

doi:10.1177/0022429411435363

Cited by 18 publications

(22 citation statements)

References 56 publications

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“…A few experimental studies compared methods for improving teenagers' expressiveness. Broomhead et al (2012Broomhead et al ( , 2018 reported that boosting confidence during pre-performance routines facilitated teenagers' expressiveness in singing. Chester (2008) compared aural modeling, concrete verbal instruction, metaphors, and no instruction, but found no significant differences between these methods.…”

Section: Background: Teaching Young Musicians Performance Expressionmentioning

confidence: 99%

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Meissner

Timmers

2020

Front. Educ.

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Until recently little was known through systematic research about effective teaching methods to enhance children's expressiveness in music performance. A previous experimental study indicated that a dialogic teaching approach, consisting of questions and dialogue, improves pupils' expressive performance. Developing from this, a participatory action research study was conducted with the following objectives: (1) To explore how dialogic teaching and learning of expressiveness can be used in weekly individual instrumental lessons; (2) to investigate whether instrumental tutors find a dialogic teaching approach useful for facilitating pupils' learning of expressiveness; and (3) to explore what other complementing instructional modes tutors would like to employ. (4) To investigate pupils' views on their learning of expressiveness; and (5) pupils' views on the instructional strategies used for teaching expressiveness. Five instrumental music tutors participated in this research with two or three of their pupils (11 girls in total, aged 8-15, playing various instruments) for 4 months. Pupils played in informal performance sessions at the start, middle, and end of the project. Lessons and performances were video-recorded. Music diaries, questionnaires and video-stimulated recall interviews were used to collect information about participants' views. Participating tutors used mainly dialogic teaching, modeling, and playing along with pupils. Tutors thought that teaching and learning expressiveness is a complex process wherein "everything is intertwined"; several methods can be used within a dialogic teaching approach for working on various teaching aims. Aural modeling combined with dialogic teaching was seen as especially useful. Pupils' accounts indicate that they had learned to think about the musical character and how to convey this in performance. Tutors' questions had stimulated pupils' reflection and raised their awareness of the musical meaning, while teachers' modeling had helped to build up an aural picture of the music which had facilitated pupils' learning. The dialogic teaching approach supported by modeling had generated improved expressiveness in lessons and contributed to a growing sense of achievement, confidence, self-efficacy, and musical agency. These findings demonstrate the importance of dialogic teaching supported by modeling for meaningful instrumental music education as this can stimulate pupils' thinking, thus facilitating their learning and enhancing their expressiveness.

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Section: Background: Teaching Young Musicians Performance Expressionmentioning

confidence: 99%

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Meissner

Timmers

2020

Front. Educ.

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“…For example, Fritz and Avsec ( 2007 ) reported that when undergraduate music students experienced flow during their music practice, this was linked to increases in positive emotions and life satisfaction. Broomhead et al ( 2012 ) tested the effect of a PP teaching technique on the expressive performance of 155 junior high singers. The PP intervention involved a pre-performance routine of breathing and silent repetition of the words “bold”, “confident”, and “free”.…”

Section: The Capacity For Music Education To Boost Student Well-beingmentioning

confidence: 99%

Positive Instruction in Music Studios: Introducing a New Model for Teaching Studio Music in Schools Based upon Positive Psychology

Patston

Waters

2015

Psych Well-Being

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This practice paper explores the intersection of school studio-music pedagogy and positive psychology in order to enhance students’ learning and engagement. The paper has a practitioner focus and puts forward a new model of studio teaching, the Positive Instruction in Music Studios (PIMS) model that guides teachers through four key positive psychology processes that can be used in a music lesson: positive priming, strengths spotting, positive pause, and process praise. The model provides a new, positively oriented approach to studio-music pedagogy that can be integrated into specific methods-based programs to enhance student learning and engagement.

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“…This statistically reliable measurement tool has been used by judges to score one of seven levels of expressiveness within six sub-categories: timing, dynamics, articulation, performance factors, articulation, and style (Broomhead, 2009;Broomhead, Skidmore, Eggett, & Mills, 2012). This can be the closest standardized tool for measuring specific acoustical music factors of expressivity within a performance.…”

Section: Music Performance Expression Rating Measurement Toolsmentioning

confidence: 99%

“…Broomhead, Skidmore, Eggett, and Mills (2012) took the trigger word concept and applied it as an approach toward an expressive performance. In this study, junior high singers (N = 155) were divided into two separate groups.…”

Section: Metaphors and Guided Imagerymentioning

confidence: 99%

The effects of projected films on singers’ expressivity in choral performance.

Keown¹

2015

Psychomusicology: Music, Mind, and Brain

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The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

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The Effects of a Positive Mindset Trigger Word Pre-Performance Routine on the Expressive Performance of Junior High Age Singers

Cited by 18 publications

References 56 publications

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Positive Instruction in Music Studios: Introducing a New Model for Teaching Studio Music in Schools Based upon Positive Psychology

The effects of projected films on singers’ expressivity in choral performance.

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