Tan, Leonard Yuh Chaur

In this paper, we systematically reviewed the research literature dealing with expectancy-value motivation theory within music contexts. Employing the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) approach, a total of 1,120 records were retrieved and examined, with 110 eventually included in the analyses. Frequencies/percentages were generated for research output in 5-year time periods, type of publication, sampling locations, and methodologies. Summaries of all 110 records were provided; content analyses on topics covered were also conducted. Findings indicated a clear increase in research interest over the past 15 years with quantitative methodologies being twice as prevalent as qualitative approaches. While the vast majority (97.7%) of quantitative research employed self-report questionnaires, the most common form of qualitative data collection was interviews (59.1%). Salient topics covered included students' expectancy-value beliefs across music and other school subjects, continued music participation, intentions to pursue a career in music, and parental influences.

Half a century ago, calls had already been made for instrumental ensemble directors to move beyond performance to include the teaching of musical concepts in the rehearsal hall. Relatively recent research, however, suggests that conceptual teaching remains relatively infrequent during rehearsals. Given the importance of teaching for long-term musical goals, revisiting this critical topic, backed by research and learning theories, is important and timely. Enriched by insights from my own teaching experience, the goal of this paper is to clarify the nature of conceptual teaching and encourage conceptual teaching in large instrumental ensembles by addressing the following questions: What is conceptual teaching? Why teach conceptually? How may musical concepts be taught through the rehearsal hall? I conclude this article with some thoughts toward the future.

The purpose of the study was to investigate how university band students’ (non-music majors) motivational goal orientations towards band and academics differ across participants from Singapore (n = 200) and the US (n = 227), and examine how they relate to a suite of adaptive dispositions (i.e., flow, grit, and commitment) relevant for twenty-first century learning. Data were gathered via a self-report questionnaire that measured achievement goal orientations towards academic major, individual and collective goal orientations towards band, flow during rehearsals, grit while practicing, and commitment to band. An unexpected lack of cross-cultural differences was found, with participants from both cultural groups reporting higher levels of motivation towards their major academic field compared to band, indicating that achievement domain rather than culture accounted for differences in motivational goal orientations. Results also suggest that the optimal motivational profile to cultivate in large ensemble is a combination of individual mastery-approach and collective performance-approach goals.

Spirituality encourages the individual to make sense of oneself within a wider framework of meaning and see oneself as part of some larger whole. This article discusses Confucian spirituality by focussing on the spiritual ideals of the dao (Way) and he (harmony). It is explained that the Way represents a shared vision of human excellence that is embodied in the guiding discourse inherited from one’s cultural predecessors. The Confucian Way covers all the manifestations of Zhou culture, including its knowledge base, values, beliefs, and practices that have been passed down through the generations. The Way is achieved through harmony where human beings find inner peace as well as co-exist with one another and their surroundings. Harmony encompasses an appreciation of beauty, joy and ethical values that are obtained through arts education. The essay further illustrates an application of Confucian spiritual ideals through music education in a school. A Confucian aim of learning, the article concludes, is one that fosters spiritual development and contests the performativity agenda and school culture.

This PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) review examines collective flow experiences in music contexts. Articles (N = 598) were searched using a publicly available scholarly literature search engine and critically evaluated for inclusion. The result of 20 articles matching the search criteria reveals a scarcity of theoretical and empirical studies that examine collective flow in music contexts. Our meta-analysis indicated that collective flow is an emergent phenomenon and the available studies reiterate the importance of (1) subsuming of individual goals to the collective level, such that “I” becomes “we”; (2) coalescing of individual skills to meet collective challenges; and (3) coordination of the contributions of individuals to a coherent collective performance. The work of R. Keith Sawyer, in particular, was the most salient and frequently cited among scholars studying collective flow in music contexts. We hope that this review provides the groundwork for further research, and for scholars to further examine the prerequisites, characteristics, and benefits of collective flow as experienced by musicians through collaborative musical activities.

This paper reports a qualitative study that investigates how five different video-based online prototypes impacted in-service music teachers’ professional knowledge and their learning experiences. Through an examination of participants’ posts and interviews, the findings showed that video-based professional development (PD) could impact teacher’s pedagogical content knowledge as they afforded reflections that could change participants’ thinking and provided a vicarious experience for music teaching. Situated in a forum, the video-based PD sessions allowed for co-construction of knowledge amongst participants. The findings also revealed challenges in participants’ active and sustained participation. The findings are discussed with extant research on effective PD and video-based PD, and take cognisance of heutagogy. We discuss considerations for online video-based PD in terms of PD content design in presenting and exploiting the video material, how we could include the diverse and flexible ways of participation, and the role of the facilitator in providing a safe environment and encouraging multiple perspectives.