Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives

Ng, Hoon Hong

doi:10.1017/s0265051717000274

Cited by 9 publications

(12 citation statements)

References 9 publications

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“…Moreover, adoption of informal methods still places the teacher as a middleman, when there are, in fact, independent ways of online learning that would better assist the learner, merely by adopting a teacher's point of view and the skills of useful and knowledgeable sorting. Formal pedagogies face another challenge in adopting a more diverse library of music, including more popular materials and fostering more autonomous music students and teachers alike (Ng, 2018). Meanwhile, popular music remains chiefly self-directed or peer-learning based (Lebler, 2008), and a formal adoption of it requires designing unique and proper teaching methods.…”

Section: Discussionmentioning

confidence: 99%

Music self-efficacy, self-esteem, and help-seeking orientation among amateur musicians who use online music tutorials.

Harpaz¹,

Vaizman²

2023

Psychology of Aesthetics, Creativity, and the Arts

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The present study explores the relationship between music self-efficacy, help-seeking orientation, selfesteem, and the preferences of online music tutorials use among amateur musicians. We hypothesized that autonomy help-seeking orientation, high self-esteem, and the use of autonomy online music tutorials (which foster independent learners, incorporate context, and background) would be positively correlated with music self-efficacy, whereas dependent help-seeking orientation and preferring dependent online music tutorials would be negatively correlated with music self-efficacy. Participants were 316 amateur musicians from 26 countries, who use online music tutorials while learning to play new pieces. They answered questionnaires measuring different learning and playing habits (coplaying experience, studying music with a teacher, years of playing, hours spent playing per week). Ordinary least squares regression indicated that the independent variables accounted for 48% of the variance in the dependent variable, and that the model was significant. Furthermore, the theoretical independent variables accounted for 34% of the variance in the dependent variable, above and beyond the variance explained by the background independent variables. The results indicated that self-esteem, autonomy help-seeking orientation, preferences of autonomy online music tutorials, and weekly hours of playing were positive predictors of music self-efficacy. Conversely, dependent help-seeking orientation was a negative predictor of music self-efficacy. The uniqueness of the study lies in using personal characteristics and learning habits as MSE predictors among amateur musicians. The findings highlight the need to examine any possible causality in the relationship between learning and playing habits of amateur musicians and their music self-efficacy.

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Section: Discussionmentioning

confidence: 99%

Music self-efficacy, self-esteem, and help-seeking orientation among amateur musicians who use online music tutorials.

Harpaz¹,

Vaizman²

2023

Psychology of Aesthetics, Creativity, and the Arts

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“…Some argue for a lack of teaching models for popular music (Dunbar-Hall, 1993) or insufficient resources for teaching popular music (Davis & Blair, 2011). On the other hand, studies have emphasized the students’ motivation and engagement during integrated music activities, as well as its relevance to culture as a benefit of teaching popular music, creating more positive attitudes to its inclusion in the curriculum (Green, 2002, 2006) However, teachers may not be competent to use popular music due to a lack of pedagogical knowledge and skill (Ng, 2018) or having had few opportunities to become familiar with popular music in their training programs (Hebert & Campbell, 2000; Kondracka-Szala & Michalak, 2018; Springer, 2016; Springer & Gooding, 2013; Wang & Humphreys, 2009).…”

Section: Literature Reviewmentioning

confidence: 99%

Exploring teachers’ approaches to popular music: Attitudes, learning practice, and issues in South Korea

Kim

Song

2020

International Journal of Music Education

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In recent years, a strong focus on popular music has increased in South Korean music education. Although this shift in the curricular content has led to studies on the formation of popular music repertories in the curriculum, few studies have attended to teachers’ attitudes and learning practices to popular music as related factors. To understand popular music education in South Korea, we investigated music teachers’ attitudes, learning practices, and critical issues that have arisen in their teaching. We conducted an online survey with secondary music teachers ( N = 138) followed by a focus group interview ( n = 6). The findings suggest that teachers’ attitudes toward popular music (positive, neutral, or negative) were associated with their learning practices, including the time they spent on popular music, their selections of popular music genres, and musical activities. This provides a starting point for further investigation of the teachers’ attitudes related to their learning practices in shaping popular music curriculum. Regardless of the teachers’ attitudes to popular music, they agreed popular music a good place to start for their students. In addition, they had similar or divergent perceptions and concerns of teaching popular music depending on their attitudes, as they have found their own individual ways of incorporating popular music.

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“…Formal pedagogies are gradually shifting toward owning a “richer,” more popular musical library and toward fostering more self-directed music students and teachers (H. H. Ng, 2018).…”

Section: Introductionmentioning

confidence: 99%

Retuning music teaching: Online music tutorials preferences as predictors of amateur musicians’ music self-efficacy in informal music learning

Vaizman

Harpaz

2022

Research Studies in Music Education

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Music self-efficacy has been acknowledged as a strong predictor of successful performance among musicians and music students, but is less researched among amateur musicians. The purpose of this study is to examine the connection between music self-efficacy and learning and playing habits of amateur musicians who had preferences for online music tutorials as an informal learning technique. Two hundred and twenty-two amateur musicians completed four research questionnaires: (a) a general background questionnaire including learning and playing habits, (b) music self-efficacy, (c) self-esteem, and (d) online music tutorials users’ preferences, which distinguish between autonomy online music tutorials (fostering independent learners, incorporating context, and background) and dependent online music tutorials (offering mainly imitation options and providing little further knowledge). The results of the study supported the hypotheses, which predicted high music self-efficacy to be associated with the use of autonomy online music tutorials, co-playing, studying with a teacher, and self-esteem, and low music self-efficacy to be associated with the use of dependent online music tutorials. As music self-efficacy is crucial for students’ learning processes, we argue that music educators could refer students to optimal use of online music tutorials, thus fostering autonomous learners. Further research is required for clarifying the impact of personal characteristics and playing habits among amateur musicians on their music self-efficacy.

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Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives

Cited by 9 publications

References 9 publications

Music self-efficacy, self-esteem, and help-seeking orientation among amateur musicians who use online music tutorials.

Music self-efficacy, self-esteem, and help-seeking orientation among amateur musicians who use online music tutorials.

Exploring teachers’ approaches to popular music: Attitudes, learning practice, and issues in South Korea

Retuning music teaching: Online music tutorials preferences as predictors of amateur musicians’ music self-efficacy in informal music learning

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