research about music education

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• British Journal of Music Education

British Journal of Music Education

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• British Journal of Music Education - 2023 Most Downloaded Articles
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• Contains open access

• ISSN: 0265-0517 (Print) , 1469-2104 (Online)
• Editors: Ally Daubney University of Sussex, UK , and Martin Fautley Birmingham City University, UK
• Editorial board

Featured Articles

Formal and informal learning situations or practices vs formal and informal ways of learning.

• Göran Folkestad
• British Journal of Music Education , Volume 23 , Issue 2

Playing the white man’s tune: inclusion in elite classical music education

• Austin Griffiths
• British Journal of Music Education , Volume 37 , Issue 1

Music education as aesthetic education: a rethink

• John Finney
• British Journal of Music Education , Volume 19 , Issue 2

The impact of instrumental music learning on attainment at age 16: a pilot study

• Susan Hallam , Kevin Rogers
• British Journal of Music Education , Volume 33 , Issue 3

Improvisation in general music education – a literature review

• Christina Larsson , Eva Georgii-Hemming
• British Journal of Music Education , Volume 36 , Issue 1

An investigation of singing, health and well-being as a group process

• British Journal of Music Education , Volume 30 , Issue 2

The place of composing in curriculum design

• Martin Fautley , Alison Daubney
• British Journal of Music Education , Volume 36 , Issue 2

The ‘good-enough’ music teacher

• Keith Swanwick
• British Journal of Music Education , Volume 25 , Issue 1

Latest content

• Alison Daubney
• British Journal of Music Education , Volume 41 , Issue 1

Learning music theorising through inspiration and curiosity. Insights from emergent lesson design in an upper secondary school in Finland

• Cecilia Björk , Mats Granfors , S. Alex Ruthmann

Different forms of students’ motivation and musical creativity in secondary school

• Roberto Cremades-Andreu , Carlos Lage-Gómez

Students’ attitudes to school music and perceived barriers to GCSE music uptake: a phenomenographic approach

• Dimitra Kokotsaki , Helen Whitford

Impact of musical training in specialised centres on learning strategies, auditory discrimination and working memory in adolescents

• Carmen María Sepúlveda-Durán , Pilar Martín-Lobo , Sandra Santiago-Ramajo

Ethnomusicology, entrepreneurialism and the Western classical music student

• Rupert Avis

Why did you (not) choose your main musical instrument? Exploring the motivation behind the choice

• Daniel Mateos-Moreno , Anders Hoglert

Why did you (not) choose your main musical instrument? Exploring the motivation behind the choice – CORRIGENDUM

Whole class ensemble tuition (wcet) – special edition, models of teaching and learning identified in whole class ensemble tuition.

• Martin Fautley , Victoria Kinsella , Adam Whittaker
• British Journal of Music Education , Volume 36 , Issue 3

The whole class ensemble tuition programme in English schools – a brief introduction

What contributes to successful whole-class ensemble tuition.

• Susan Hallam

Musical culture and the primary school: an investigation into parental attitudes to Whole Class Ensemble Teaching in the English primary school and potential impacts on children’s musical progress

• Anthony Anderson , Sarah Barton-Wales

BME volume 36 issue 3 Cover and Back matter

Musical creativity revisited: educational foundations, practices and research by oscar odena, 2018. abingdon: routledge. 173 pp, hbk, £96, isbn: 9781472489753; pbk, isbn: 9780367232078; ebk, isbn: 9781315464619.

• Mark Doffman

The role of the parent during a whole-class beginner instrumental programme: an investigation into the attitudes of pupils and their parents towards parental support in relation to different models of practising

Bme volume 36 issue 3 cover and front matter, music & drama « cambridge core blog.

Still Exhausted

• 01 March 2024, Catie Cuan, Douglas Eacho and Sydney Skybetter
• As 2024 begins, AI feels simultaneously inescapable and invisible. Newspaper editorials, Davos panels, and countless advertisements tout the epochal event that...

What Does Performance Theory Take from Sociology?

• 12 January 2024, Panill Camp
• We usually narrate the origin of performance studies by foregrounding idiosyncratic mid-20th-century thinkers—Erving Goffman, Kenneth Burke, and J.L. Austin,...

The importance of open access publishing for the arts and humanities

• 20 December 2023, Claire Brock
• Between 2012 and 2014, I held a two-year Wellcome Trust Research Leave Award (WT096499AIA) for a project on women surgeons in Britain, 1860-1918.…

Music, Theatre & Art - Fifteen Eighty Four | Cambridge University Press

Listening to the unexpected: monteverdi and the marvellous.

• 11 December 2023, Roseen Giles
• How do we learn to listen? Like most worthwhile things, listening well takes time, practice, and perseverance. While it might seem like good music ought to The post Listening to the Unexpected: Monteverdi and the Marvellous first appeared on Fifteen Eighty Four | Cambridge University Press....

Giotto’s Scrovegni Chapel in the Arena of History

• 04 December 2023, Henrike Christiane Lange
• Giotto’s Arena Chapel and the Triumph of Humility takes its lead from three features of the famous monument that each engage the question of time, material, The post Giotto’s Scrovegni Chapel in the Arena of History first appeared on Fifteen Eighty Four | Cambridge University Press....

2022 Journal Citation Reports © Clarivate Analytics

Does learning to play an instrument have an impact on change in attainment from age 11 to 16?

• David Baker , Susan Hallam , Kevin Rogers
• British Journal of Music Education , Volume 40 , Issue 3

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Performing Music Research: Methods in Music Education, Psychology, and Performance Science

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Performing Music Research is a comprehensive guide to research in music performance. It reviews the knowledge and skills needed to critique existing studies in music education, psychology, and performance science, and to design and carry out new investigations. Methodological approaches are highlighted across the book in ways that help aspiring researchers bring precision to their research questions, select methods that are appropriate for addressing their questions, and apply those methods systematically and rigorously. Each chapter contains a study guide, comprising a chapter summary, a list of keywords, and suggestions for further discussion. The book concludes with a resources section, including a glossary and supplementary material to support advanced statistical analysis. The book’s companion website provides information designed to facilitate access to original research and to test knowledge and understanding.

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Journal of Research in Music Education

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• Description
• Aims and Scope
• Editorial Board
• Abstracting / Indexing
• Submission Guidelines

Journal of Research in Music Education comprises reports of peer-reviewed original research related to music teaching and learning. The wide range of topics includes various aspects of music pedagogy, history, and philosophy, and addresses vocal, instrumental, and general music at all levels, from early childhood through adult. Authors may submit research reports that incorporate quantitative, qualitative, action, historical, or philosophical research methods such as those represented by the titles of these previously published articles:

• A National Analysis of Music Coursetaking, Social-Emotional Learning, and Academic Achievement Using Propensity Scores
• School Music and the Transition to College
• “I’ve Sat in Your Seat Before”: A Study of the Experiences of Three Black Women Music Educators
• A Grounded Theory of Culturally Responsible Music Teaching
• Effects of Score Study and Conducting Gesture on Collegiate Musicians’ Ability to Detect Errors in a Choral Score
• Children’s Representations of Music, Musical Identities, and Musical Engagement: Content and Socio-Demographic Influences
• Joseph E. Maddy’s Instrumental Music Lessons via Radio
• Dewey’s Musical Allergy and the Philosophy of Music Education
• Naming Moral-Political Discourses in Music Education: A Philosophical Investigation

Journal of Research in Music Education is a publication of The National Association for Music Education ( www.nafme.org )

Other NAfME journals can be found at

Journal of General Music Education ( https://journals.sagepub.com/home/gmt ) Journal of Music Teacher Education ( https://journals.sagepub.com/home/jmt ) Music Educators Journal ( https://journals.sagepub.com/home/mej ) Update: Applications of Research in Music Education( https://journals.sagepub.com/home/upd )

Journal of Research in Music Education comprises reports of peer-reviewed original research related to music teaching and learning. The wide range of topics includes various aspects of music pedagogy, history, and philosophy, and addresses vocal, instrumental, and general music at all levels, from early childhood through adult. Authors may submit research reports that incorporate quantitative, qualitative, action, historical, or philosophical research methods.

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The mission of the Journal of Research in Music Education ( JRME ) is to encourage, publish, and disseminate research of the highest caliber for the advancement of music teaching and learning. This peer-reviewed journal considers quantitative, qualitative, action, historical, and philosophical research relevant to national and international settings. An essential objective of the JRME is to communicate research findings that support the National Association for Music Education’s strategic plan of encouraging the study and making of music by all.

Unless specifically noted, articles in JRME are not intended to represent the official policy of the National Association for Music Education.

All manuscripts must be submitted online at http://mc.manuscriptcentral.com/jrme .

Abstract and Keywords

• An abstract of 150-200 words should be included.
• Provide up to five keywords/phrases that describe the contents of the manuscript to help readers find your article via online searches. Suggestions for selecting keywords can be found at http://www.uk.sagepub.com/journalgateway/findArticle.htm . Keywords will be entered as part of the submission process, and also should be included at the bottom of the abstract.
• The manuscript should represent the highest standards of research design and scholarly writing.
• Implications for music teaching and learning should be provided in all manuscripts.
• Publication Manual of the American Psychological Association (7th edition, 2019),
• The Chicago Manual of Style (15th edition, 2003), or
• A Manual for Writers of Term Papers, Theses, and Dissertations ( K. L. Turabian, 7th edition, revised by Wayne C. Booth, Gregory Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff, 2007).
• Authors may not mix styles within a single manuscript.
• Authors should write in clear, readable English, limit the use of passive voice, and avoid excess words.
• To ensure anonymity in the reviewing process, the manuscript and the abstract should contain no clues to the author’s identity or institutional affiliation. Manuscripts not adhering to these guidelines will be returned.
• Note that the JRME does not publish literature reviews, essays, or book reviews.

Manuscript Length

• Manuscripts are typically 20-25 pages in length.
• Articles longer than 25 pages for which extensive narrative is essential will be considered at the discretion of the editor/editorial committee.
• Authors may submit short-form articles (4-10 pages) for research involving new reports related to an ongoing line of research and for replications. Short-form articles must be identified as such in the cover letter.

Tables and Figures

• Authors may include a combined total of three tables and/or figures. These must be publishable in black and white.
• Tables and/or figures beyond three may be submitted for use as online-only supplemental material and should be clearly labeled accordingly.
• Online supplemental material may include any digital files including documents images, media, recordings, video, and/or illustrations (see Permissions information in the section that follows). These materials will be posted as provided, and will not be typeset or otherwise reformatted.
• Music examples, figures, photographs, and other illustrations must be checked for accuracy before submission.
• Tables and figures should be included at the end of the manuscript; they should not be embedded in the body of the text. 
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• If any copyrighted materials are used (music notation, illustrations, figures, and so forth), documentation verifying that the author has permission to use the material must be included. Please complete a Request for Permission to Reprint Material form.
• Authors are responsible for obtaining written permission to publish any author-submitted photographs, videos, or audio examples. For minors, written permission of a parent or guardian is required before such images are published. Please complete an Audio/Visual Likeness Release form.
• All references must include DOI or persistent URL information if available.
• References must be formatted according to the style guide used in the preparation of the manuscript.  

Ethical Considerations

• The Editor encourages authors to submit their manuscripts directly to the journal instead of engaging the services of unauthorized third parties. Authors should submit their own manuscripts directly to us (at  https://mc.manuscriptcentral.com/jrme ). Think. Check. Submit.  provides guidance on submitting your research to journals and avoiding the pitfalls of engaging third parties in this process. Any suspected or confirmed involvement of an unauthorized party in the submission or peer review of your manscript will result in immediate rejection of your submission.
• Authors are expected to comply with APA ethical standards ( http://www.apa.org/ethics/code/index.aspx ) and institutional and federal regulations on the treatment of human subjects. Compliance with the institutional review process should be stated clearly in the manuscript, typically in the Methods section, by mention of study approval and/or the use of the informed consent process.
• Authors are expected to comply with the NAfME Society for Research in Music Education “Research Publication and Presentation Code of Ethics” ( http://www.sagepub.com/upm-data/62972_Code_of_Ethics_SRME.pdf ) and the APA guidelines for Ethical and Legal Standards in Publishing ( Publication Manual of the American Psychological Association (7th edition, 2019).
• Submitting a manuscript indicates that it has not been published previously and is not currently submitted for publication elsewhere, either in its entirety or in part. Distribution on the Internet may be considered prior publication and may compromise the originality of the paper as a submission to the JRME. Authors must describe in what form and how a manuscript has been previously disseminated. Submission of an article based on a doctoral dissertation is permissible, and there will be a question during the submission process for the author to provide dissertation information. Posting of research papers on not-for-profit preprint servers such as SocArXiv and psyRxiv is allowable in cases where required or encouraged by granting agencies. Please contact the editor with questions regarding prior dissemination
• Piecemeal publication, or publishing data from one study in multiple articles, is generally not acceptable. A study conceived as one study should be published as one study (e.g., it would not be appropriate to divide a mixed methods study into qualitative and quantitative articles; a study designed to investigate multiple research questions should not be divided into separate articles addressing different research questions, and so forth). A possible exception may be an historical study divided by topic or time period. Public datasets may be used in differing ways for multiple manuscripts, and articles comprising a multi-article type of doctoral dissertation may be published separately.
• When in doubt about any aspect of the ethics of manuscript submission, the author should contact the Editor, who will make the final decision in consultation with editorial committee members. In all cases, authors should disclose any circumstances about which there may be questions.

Please address e-mail correspondence concerning editorial matters to Dr. Peter Miksza, Editor, Indiana University, [email protected] .

As part of our commitment to ensuring an ethical, transparent and fair peer review process Sage is a supporting member of ORCID, the Open Researcher and Contributor ID . ORCID provides a unique and persistent digital identifier that distinguishes researchers from every other researcher, even those who share the same name, and, through integration in key research workflows such as manuscript and grant submission, supports automated linkages between researchers and their professional activities, ensuring that their work is recognized.

The collection of ORCID iDs from corresponding authors is now part of the submission process of this journal. If you already have an ORCID iD you will be asked to associate that to your submission during the online submission process. If you or any co-authors do not have an ORCID iD associated with your account in the submission system, but wish to do so, please ensure this is validated in the peer review system before acceptance. It takes seconds to do: log in at  https://mc.manuscriptcentral.com/jrme , click your name at the top of the screen and then "email/name" to edit your account. Click the relevant ORCID link, sign into your ORCID account, and our systems will be automatically updated. Your ORCID iD will become part of your accepted publication’s metadata, making your work attributable to you and only you. Any future papers associated with this account in the submission system will automatically link your ORCID iD. And, your ORCID iD will be published with your article so that fellow researchers reading your work can link to your ORCID profile and from there link to your other publications.

If you do not already have an ORCID iD please follow this link to create one or visit our ORCID homepage to learn more.

For more information, please refer to the Sage Manuscript Submission Guidelines .

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May 30, 2024

New Partnership Promotes Arts-Rich Schools for All

For Immediate Release Contact: Catherina Hurlburt [email protected] or (571) 323-3395 Associations Partner to Advocate for Arts Education Educational Theatre Association, National Art Education Association, National Association for Media Arts Education,…

In Memoriam: Donald Gerheart

March 2024 Marks the 39th Music In Our Schools Month®

NAfME Elects Cecil Adderley 2024–2026 National President-Elect

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EVENTS & PROFESSIONAL LEARNING

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NAfME is a collaborative community that supports music educators and advocates for equitable access to music education. With more than 57,000 members teaching millions of students, NAfME advances the music education profession and promotes lifelong experiences in music.

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Grammy-winning teacher Annie Ray on the importance of music education for all

Ali Rogin Ali Rogin

Lorna Baldwin Lorna Baldwin

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• Copy URL https://www.pbs.org/newshour/show/grammy-winning-teacher-annie-ray-on-the-importance-of-music-education-for-all

The end of the school year often means year-end concerts for student orchestras and choirs. For high school music educator Annie Ray, it’s time to look back on a busy year that included a Grammy award and look ahead at her vision of what education should be. Ali Rogin sits down with Ray for the latest installment of our “Weekend Spotlight” series.

Read the Full Transcript

Notice: Transcripts are machine and human generated and lightly edited for accuracy. They may contain errors.

The end of the school year often means year on concerts for student orchestras and choirs for high school music educator Annie Ray, it's a time to look back on a year that included a Grammy Award and ahead at her vision of what education should be. Ali Rogin's back with the latest installment of our series Weekend Spotlight.

The orchestra program at Annandale High School in Virginia is expansive.

Put your bow on the purple string.

And inclusive. It's been around for more than 50 years, and has grown to more than 130 participants, many of whom speak a different language at home.

I'll give you three and then we're in.

It's all conducted under the encouraging baton of director Annie Ray.

Have literally been brought into their communities are like fed by these families tradition, traditional Korean meals when I'm pregnant, whether like you need to be eating, or like taking care of me. And it's been the most humbling thing to be educated by these communities of diversity not just in countries but backgrounds. And perspectives.

I have found that language and music tend to go hand in hand. And so I just wonder if that's something that you've experienced because I know many of your students don't speak English at home.

Yes, it's so interesting because there are a bunch of students who I will see try to play by ear. And a lot of maybe music in their country is like played by ear or like that's just something that they have more of an ear to when picking up languages. It's interesting I've actually seen a correlation with with some of my ESL learners or English language learners who are try to learn like through that oral tradition the by ear a lot of ways.

Yeah, cello.

We sat in on the symphony orchestras final practice before their end of your concert designed to embrace the multicultural backgrounds of its participants.

They have a student named Sosan, who had so much joy with teaching our class like about music from like her country and Arabic music. And I heard Sosan over and over again, encouraging other students. I was like, well, I need more student speakers tonight. They're like, No, no. And she was like, why aren't you proud of your culture? Like, aren't you proud and you want to show everybody and then they're like, We can I'm proud of it. She was then tell everyone about it.

And so much of like her and a bunch of other students who are like that, have set the tone for what our program is of like, be proud of who you are and what you bring to the table. Don't be afraid of it.

One, two, DZ. Yeah, Isaac rock it out.

That theme of pride is evident in the crescendo orchestra as well. Formed somewhat fortuitously during the pandemic. It's for students with significant and severe disabilities.

I was lucky enough to be able to start it in this kind of like weird this time during the pandemic, during COVID. Nobody was here and except for our students in our category B Special Education Department. So, I invited them down to make some music with me because I was just wanting to make music with anybody who was around me instead of just online, we started playing together and the students inspired me, then walked down to my principal and say, hey, I want to make this an actual class like these students have the right to a quality music education.

And the only reason it's to the point that it is now is because of my special education team, my instructional assistants that occupational therapists who really taught me everything that they know and we just applied it to music. It really takes a village you can see that when you all are working together like we did this morning. We as music educators can't do things alone.

One student in particular, Kevin Hadamio (ph) was the spark that lit the crescendo orchestra's fire.

Kevin was one of those kids who came down that first day I brought them all down. And he was so unhappy to be there. He was mad at us pull it out of his routine that we sat down and I started playing the cello for him. And he repeatedly started saying, meet me and he doesn't verbalize much. And so I was like, okay, well, here you here we go check, Kevin, you can try playing and he pulled the ball out of my hand and started going back and forth. And tears started welling up in his eyes.

And it was this moment where I was like, wow, he is — we're connecting so much here right now. I've gotten so many kind emails from these parents or spoken with them where they're like, my child seems so unhappy all the time. And let's put here he's not, or there's might be a student who struggles in different aspects of the day. But here, she's so incredibly successful, and flourishing. But that looks different for every kid and every kid's learning and their process looks different.

And so we need to meet everyone where they're at. But then, besides that, pull them along further than they ever thought possible, have high expectations for them know that they can get to these high places of learning.

Ray holds all of her students to those high standards. It's part of why her colleagues nominated her for the Music Educator of the Year Grammy Award. She won and got to attend the award show in February, snapping selfies with stars who were excited to meet her. But the main thing her win delivered is a new audience and platform for raise message that Music and Performing Arts should be a core subject in schools, not just an option.

When we're talking about social emotional learning right now, this is this huge buzzword social emotional learning is happening so authentically through the performing arts, through the arts, through creativity and tapping into these kids.

I watch kids who might come from very challenging backgrounds or very challenging situations, who stepped through the door and they might be a little bit opposed to it. But then they come in a little bit more and a little bit more next. I know they're running the whole program, the orchestra leadership and making it what it is not just a music education issue. It's an education issue of not funding enough for all teachers.

And so, I do call for like music education to become more of a fundamental right to a student's education a fundamental part of who they are.

For the Annandale class of 2024 orchestra members, it was time for one final performance. One final bow and one final exam.

I'm saying goodbye to close to 40 seniors who are the reason that ended up orchestra is the way that it is they set the tone for what orchestra is or for what we do here, the purpose of us here. And so, I sent out their final exam which one of the questions was like can you describe orchestra and one word and so many of them said community and home. And the fact that they did say scales or anything like that I was like yes they got it. But to read their messages has been again one of the most humbling things of my life.

And as those seniors embark on new journeys, they know they can always come home to their orchestra family and to Annie Ray. For PBS News Weekend in Annandale, Virginia, I'm Ali Rogin.

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Ali Rogin is a correspondent with the PBS NewsHour and PBS News Weekend.

Lorna Baldwin is an Emmy and Peabody award winning producer at the PBS NewsHour. In her two decades at the NewsHour, Baldwin has crisscrossed the US reporting on issues ranging from the water crisis in Flint, Michigan to tsunami preparedness in the Pacific Northwest to the politics of poverty on the campaign trail in North Carolina. Farther afield, Baldwin reported on the problem of sea turtle nest poaching in Costa Rica, the distinctive architecture of Rotterdam, the Netherlands and world renowned landscape artist, Piet Oudolf.

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How Music Can Enhance Your Child’s School Success

Music can support learning in a variety of ways..

Posted May 30, 2024 | Reviewed by Gary Drevitch

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Why is it easier to recall lyrics to a song than to memorize a poem? What is the power of emotional connections to some songs we remember years later? How does awareness of making progress in a musical instrument sustain motivated learning effort? The answers to these questions can show you how to support children’s memory , mood, and learning—with music.

Music can promote buy-in to topics of study, opportunities to recognize the power of effort to progress when learning a musical instrument, boost moods, provide memory-enhancing tools, and even expand the brain’s creative potential.

Music Provides Motivation and Improves Mood

Music gives opportunities for children who are having a hard time in school to experience the motivating emotional highs of awareness through their progressive achievement. In addition, information acquired or mentally manipulated through the symbolic representations of music can construct into expanded neural networks for expanded memory and creative insights.

Dopamine Increases Pleasure in Learning

The dopamine -reward system enhances the experience of pleasure, satisfaction, and increased motivation and memory. The desire to seek the pleasurable response to dopamine release can be enhanced by music to facilitate motivated learning and enduring memory.

You can promote your child’s positivity and perseverance by tapping into the power of the dopamine reward cycle. Dopamine boosters associated with learning include choice, optimism , movement, positive interactions with peers, being read to, acting kindly, expressing gratitude , humor , and listening to or playing music .

3 Benefits of Music Incorporation

Music can boost interest in what is to come and and enhance enthusiasm that can keep children’s brains engaged and receptive to learning.

1. More joyful and powerful learning. Playing music that children enjoy, as they do homework or learn new topics and skills, encourages greater dopamine-enhanced experiences. You can provide music related to the school topic, such as a Strauss waltz if they are about to study Austria, or jazz before a discussion of The Great Gatsby . You can play theme music from a game show, such as Jeopardy , before they review for a test.

2. Practice makes progress. Share with your children the following concept: “A process called neuroplasticity is ready to work for you to make your learning stronger and more useful. Every time your brain practices a skill or reviews new learning, the memories and actions strengthen.”

Awareness of their capacity to change their brains can be exemplified through past successes. Encourage children to reflect on their progressive success, such as when they learned to ride a bicycle or to keyboard a computer or phone. Learning a musical instrument is a powerful way to remind them of how their sustained practice over time improved their skills. In addition, if they are motivated to learn a new instrument, you can record their playing at intervals so they can hear for themselves, and be reminded, that practice did result in their progress. These experiences promote their connections, competence, and confidence that they are capable of building their understanding and skills—and that they are changing their brains in positive ways.

3. Extended memory and creativity . It is easier to recall the lyrics to a song than to memorize a poem. When children have opportunities to put information they are learning into a familiar tune, rhyme, or song those memories are enhanced. When movement, such as gestures, dance movements, or body position (turn left/right or moving to another place in the room), are used, they add another storage locker for the new information and further increase access to memory.

A study* about the brain’s increased interconnectivity during musical improvisation is compelling: Skilled musicians were placed in a brain scanner and given a keyboard with the request to improvise new music. When they did so, their fMRI scans showed wide-ranging activation and extensive interconnectivity during periods of improvisation far beyond that displayed when performing known melodies.

Additionally, multisensory experiences that include music can extend wider-ranging memory access. When information is learned, practiced, or applied through different senses (hearing, seeing, touching, moving) the memories are stored in multiple regions of the brain. This extended network of information can then be accessed by way of any one of the sensory experiences through which it was incorporated. Incorporating musical experiences as part of learning may increase memory and potentially extend the brain’s interconnectivity of knowledge, promoting recognition of relationships that might not have otherwise been recognized—and in doing so promote creative insights.

What a wonderful opportunity parents have to utilize music to encourage children’s engagement, memory, and experiences of delight from moments of insight. As you integrate more music into your children’s studies, they can engage with learning more joyfully and successfully, potentially expanding their learning into creative discoveries and innovations.

* Limb, C. J., & Braun, A. R. (2008). Neural substrates of spontaneous music performance: An fMRI study of jazz improvisation. PLoS ONE, 3(2), 2-9.

Judy Willis , M.D., is a board-certified neurologist and middle school teacher, specializing in classroom strategies derived from brain research.

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At any moment, someone’s aggravating behavior or our own bad luck can set us off on an emotional spiral that threatens to derail our entire day. Here’s how we can face our triggers with less reactivity so that we can get on with our lives.

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Take a Shortened Summer Elective in Music – Part of the Online Master of Music in Music Education

Professional development for music teachers and electives for current kent state students of any major. offered for credit or as a non-credit workshop..

Join us this summer! Kent State University’s School of Music offers summer electives that can be applied to Kent State Online’s 100% Online Master of Music degree in Music Education. This online degree can be completed in as few as 23 months and is created for you, the music teaching professional.

Music Education 2024 Summer Courses

Register for a Summer Course

Orff Levels 1, 2, 3

June 17-28, 2024

Study the materials and techniques of the Orff Schulwerk approach to music learning. Students will engage in singing, playing recorder, playing percussion, movement, and basic Orff pedagogy in this comprehensive approach to music instruction for children. These courses are offered in conjunction with the American Orff Schulwerk Association.

• Level 1 - Develop Orff-Schulwerk principles and techniques through instruction in recorder, pitched, and unpitched percussion, singing, movement, and Orff process. The workshop is appropriate for all educators with a music degree.
• Level 2 - Develop Orff-Schulwerk principles and techniques through instruction in recorder, pitched, and unpitched percussion, singing, movement, and Orff process. The workshop is appropriate for all educators who have completed level I at AOSA-approved institutions.
• Level 3 - Develop Orff-Schulwerk principles and techniques through instruction in recorder, pitched, and unpitched percussion, singing, movement, and Orff process. The workshop is appropriate for all educators who have completed levels I and II at AOSA-approved institutions.

Rock Band Performance and Pedagogy

July 7-12, 2024

In the six days of the class, Dr. Dorfman and an additional professor emphasize student-directed learning that is often seen in non-formal types of ensembles, such as rock bands. It is a week of picking songs, learning them, and playing them in small groups. Yes, there will be some academic stuff, too, such as learning about theories of non-formal learning, discussing the logistics of rock bands in schools, etc. But most of it is about developing some basic chops on rock band instruments. We will assemble a list of about 10 songs and play a gig at a local bar on the last day. We also leave room for things like learning to improvise, songwriting, and other things associated with rock bands.

Culturally Responsive Song Research: Applications to Instruction for General Music and Youth Choirs

Hybrid Structure: Virtual: June 10-July 19, 2024 In-Person: July 23-25, 2024

With guest specialist Kathy Kuddes .

Using the philosophical lens of Culturally Responsive Teaching (Gay) and the application process of Kodály-inspired pedagogy, this course will guide practitioners in examining music education curriculum, particularly song repertoire, to be better informed about the cultural implications of the repertoire, appropriateness, and need for contextual teaching. Participants will read relevant literature, explore resources to aid in song-origin research, identify curricular units they want to revise, examine teaching strategies that support culturally responsive practice, and engage in teaching demonstrations of revised units.

Kent State University Online Master of Music in Music Education

The Online Master of Music degree in Music Education offers music teachers the opportunity to develop and refine their professional skills. The program is differentiated from others in that it is practitioner-oriented and offers elective courses in specialized music teaching areas.

With this degree, you will have the opportunity to focus your course of study on the aspects of music teaching that are most relevant to your career now and in the future. A master’s degree opens opportunities to teach in post-secondary institutions or apply for further doctoral study in music education or related fields. This degree in music education may also help you climb the salary scale, and it may qualify you for leadership positions within your school, district, and state.

For more information on Kent State’s Online Master of Music in Music Education degree, visit https://onlinedegrees.kent.edu/degrees/master-of-music-in-music-education .

Why Music Education at Kent State University?

Kent State University provides:

• 100% online courses.  Kent State Online has its own course and instructional design team, so all content is created by faculty and designed for the online platform.
• Outstanding faculty . Learn from some of the country’s finest music teacher educators in all areas of specialty. Many of our faculty have published multiple research articles, textbooks, book chapters, and journal articles.
• Personal attention.  We are dedicated to helping you succeed in your academics! You will have a professional Academic Advisor throughout your collegiate experience and be assigned a Faculty Advisor when you enroll in Capstone.
• Opportunity to complete an elective in a shortened amount of time!  During the summer, students can choose to take a shortened, 3-credit hour elective focusing on unique music methods.
• Affordability.  The program costs only $655 per credit hour.
• Proudly Accredited.  We are accredited through NASM, the National Association of Schools of Music. Kent State University is accredited by the Higher Learning Commission and Council for the Accreditation of Educator Preparation.
• Rolling admissions.  You can enroll in classes every seven weeks, fall, spring, and summer. Please refer to our admission page for application deadlines.

• Music Education

Yamaha Music DeLights

Yamaha Music DeLights is a group music program that uses the technology of a CVP-705 Clavinova and the lighted keys of the EZ-220 keyboard so that anyone can experience the joy of making music from day one!

Yamaha Music School programs

International Yamaha Music Education System for beginners age 3-8 and Piano Lessons for adults

MLC-200 Music Laboratory System

This ultimate lab system delivers crystal-clear digital audio, putting unprecedented control in the hands of music educators.

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Piano courses for children and adults 7 years and up

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Spreading the joy of music throughout our communities, and celebrating student achievement

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Lab-based group music instruction helps teachers manage large or small groups of students with maximum efficiency.

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Southern Music Alum Appointed Director of Bands at Howard University.

Southern University A&M alum and Baton Rouge native Chancellor Mills has been appointed Director of Bands for the Chadwick A. Boseman College of Fine Arts at Howard University. Mr. Mills moved into the top spot after serving as assistant director of the Howard University “Showtime” Marching Band the previous two years.

Prior to his time at Howard University, Mr. Mills taught at several high schools including Lutcher High School in St. James Parish, LA, Banneker High in Atlanta, GA, and Langston Hughes High in Fairburn, GA.

Mills earned a Bachelor of Music Education from Southern University A&M and a Master of Music Education degree from VanderCook College of Music in Chicago, Illinois. He is currently pursuing an Ed.D. in Educational Leadership with a Specialization in Curriculum and Instruction at the University of Phoenix.

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