ArticleFrontiers in psychology2020
Music Teachers' Perspectives and Experiences of Ensemble and Learning Skills.
Article in Frontiers in psychology, 2020. The graph could read no effect estimate from its abstract, so it casts no vote on the map. Cited by 6 papers.
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Who cites it
6 citing papers in PubMed.
- Orff Schulwerk in Chinese primary music classrooms: a qualitative study of teachers' teaching self-efficacy and work engagement.Frontiers in psychology · 2026Article
- Development of self-efficacy skills of prospective music teachers in singing activity: insights of educators.Frontiers in psychology · 2025Article
- Enhancing human-human musical interaction through kinesthetic haptic feedback using wearable exoskeletons: theoretical foundations, validation scenarios, and limitations.Frontiers in psychology · 2024Article
- E-learning during the COVID-19 lockdown: An interview study with primary school music teachers in Italy.International journal of music education · 2023Article
- The dynamics of musical participation.Musicae scientiae : the journal of the European Society for the Cognitive Sciences of Music · 2022Article
- Adaptation and destabilization of interpersonal relationships in sport and music during the Covid-19 lockdown.Heliyon · 2020Article
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Authors and funding
3 authors.
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Abstract
In this article, we report data from two survey studies administered to expert music teachers. Both questionnaires aimed to explore teachers' pedagogical and performative practice and included open questions elucidating musical skills emerging in groups. The first study focuses on collective teaching settings offered to amateurs, jazz musicians, and university students with various levels of musical expertise. The second reports data from teachers based at the Royal College of Music, London, where the main emphasis is on Western classical repertoire. We integrate both studies and discuss overlapping findings. Despite intrinsic differences concerning the general goals of their teaching and the educational systems in which they operate, our data indicate the ability to "listen and respond to others" as the most important ensemble skill, whereas "time management," "comparing yourself to the class," and the "development of responsible ways of learning" emerged as main learning skills. We discuss results and suggestions for future research in teaching and learning music in different contexts in the light of recent theoretical research in the cognitive sciences, considering implications for educators interested in diverse skill levels.
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