Environmental factors have a clear effect on children\'s motor development and can be manipulated; while biological factors are also powerfully influential, they are more resistant to intervention. Especially in restrictive environments (e.g., the recent pandemic-related shutdown), there can be increased importance to simple, fun, at-home, indoor programs. In this study, we investigated the effects on motor skill development of a movement education program based on the Orff approach, which has long been used in music education. This was an experimental research design involving 78 children, aged 6-7 years old, in two groups (Control Group, n = 39; Experimental Group, n = 39). We used a simple randomization method to determine the groups. We measured the children\'s skill levels with the Test of Gross Motor Development-2 (TGMD-2), and we analyzed data using 2 × 2 repeated-measures analyses of variance (ANOVA). Our results revealed significantly greater improvement in the children\'s scores on object control (p < .001), locomotor skills (p < .001), and total TGMD-2 (p < .001) in the experimental group than in the control group. Thus, programs designed with music and rhythm can help ensure that children have fun and are better motivated to participate in activities that have a positive effect on their motor skills.

Self-regulated learning-a cyclical process in which a learner sets a goal, monitors, and self-reflects on one\'s learning to set the next goal-is vital in instrumental learning. However, many conservatory students fail to initiate self-regulated learning; they take lessons passively, practice ineffectively, and fail to give satisfactory performance. These learning experiences could harm students\' well-being, and physical and mental health problems are widespread among students. Nevertheless, factors contributing to self-regulated learning remain unknown. We hypothesized that musicians\' autonomy in musical interpretation, which we refer to as interpretive autonomy, plays a pivotal role in self-regulated learning. Without developing interpretation, musicians fail to set personal goals, monitor, and self-evaluate their performances in terms of musicality. Although previous studies imply that interpretation plays a significant role in self-regulated learning, this has not been clearly demonstrated. Studies on interpretive autonomy are scarce due to a complicated discourse surrounding performers\' freedom in interpretation. The ideology of Werktreue underpins the classical music field, and classical music performances are evaluated based on how faithfully a performer interpreted the composer\'s intention. Yet musicians hold various beliefs regarding the meaning of faithful interpretation, thus the degree of interpretive autonomy cannot be assessed unless its clear definition is provided. In addition, the mechanisms that promote or hinder interpretive autonomy in learning remain unexplained. To address these issues, we proposed a model of Werktreue internalization by applying self-determination theory. The model defines interpretive autonomy based on internalization types, identifies its effects on musicians\' learning behavior and well-being, and reveals the mechanisms that promote or hinder interpretive autonomy in learning experiences. This model allows researchers and educators to assess the degree of interpretive autonomy, attribute impaired learning behavior and well-being to a lack of interpretive autonomy, and promote interpretive autonomy by supporting students\' psychological needs in interpretation.

Although remote music training has its limitations, the use of technology can lower barriers to its accessibility. This exploratory study compared the effects of remote and in-person percussion training on motor performance, performance quality, and students\' enjoyment. The training involved the motor aspects of playing legato on percussion instruments. Twenty percussionists received the training either remotely from an instructor using videoconferencing technology or in person from the same instructor who was in the training room. Motor behavior, legato expressivity, performance quality, and participants\' self-rated enjoyment were compared to determine potential advantages and disadvantages of training in the two formats. Furthermore, participants rated their interest in continuing to receive training in the same way they had experienced it, remote or in person. Regardless of whether the instructor was remote or in person, participants lifted their mallets to a greater height above the drums post-training, perhaps because there was more spatial and velocity variability in the movements of their elbows and wrists. Changes in their patterns of post-training movements were paralleled by higher ratings for expressivity of legato and performance quality. Critically, participants who received training from the remote instructor expressed greater interest in continuing training than those who received training from the instructor who was physically present, in both the short and long term. These findings may suggest that remote and in-person instruction yielded comparable changes on motor behavior, as demonstrated by the altered speed at which movements of the elbow and wrist were executed, which in turn may influence the perception of expressivity in legato playing. The results may support the use of remote training as an adjunct to physical practice to lower some barriers to music education.

This study aimed to comprehensively analyze Language Learning through Music on the academic achievement (AA), creative thinking (CT), and self-esteem (SE) of English as a Foreign Language (EFL) Learners. With the rapid progress of technology, there has been a growing interest in exploring innovative teaching methods that not only enhance learning outcomes but also actively engage students in the language learning process. However, the specific impact of technology-enhanced language learning through music (TELLTM) on these language learning outcomes has received limited attention in previous research. In 2023, a sample of 360 male elementary-level language learners was selected using a multiple-stage cluster sampling (MSCS) technique. The participants\' homogeneity was assessed through the Oxford Quick Placement Test (OQPT), administered following a random sampling procedure. Data collection involved the administration of three questionnaires: The academic achievement questionnaire, the self-esteem questionnaire, and the creative thinking questionnaire. The findings of the study analyzed through descriptive and inferential statistics, revealed a significant positive impact of TELLTM on the AA, CT, and SE of EFL learners. These results have important implications for educators, curriculum developers, and policymakers, providing valuable insights into the incorporation of TELLTM into English language instruction. The use of these three questionnaires provided valuable insights into the effectiveness of TELLTM in enhancing various aspects of language learning. These findings underscore the importance of incorporating music into language instruction and offer practical guidance for educators seeking to improve their teaching practices.

COVID-19 has had a profound effect on higher education institutions across the world. The rapid shift to blended teaching has meant changes to ways of teaching and learning. Author One (Australia) and Author Two (New Zealand) are tertiary academics in initial teacher education programmes. In this paper, they draw on narrative enquiry as a way to tell their stories of how they had to rapidly move from of face-to-face teaching to an emergency situation of online (cloud) teaching and learning. Through shared reflection, they offer a snapshot of their lived experience teaching music education, managing students and staff. In the findings, they discuss key challenges and opportunities they encountered in relation to student participation and engagement, teaching and learning, and wellbeing. Staying connected with each other across the Tasman Sea, using email and Zoom were important forms of providing mutual support that contributed positively to their sense of wellbeing as academics during this stressful time. They contend that universities need to consider the more human aspect of changes that have impacted staff and students. They question what the future will hold for initial teacher education programs post 2020. They suggest working collaboratively with schools, professional organisations, and industry when designing new programmes as the landscape of higher education changes due to the ongoing pandemic.

BACKGROUND: Rehabilitation of hearing and listening difficulties through neuroplasticity of the auditory nervous system is a promising technique. Evidence of enhanced auditory processing in adult musicians is often not based on clinical auditory processing tests and is lacking in children with musical education.
OBJECTIVE: The aim of this study is to investigate the temporal resolution and frequency discrimination elements of auditory processing both in adults and children with musical education and to compare them with those without any musical education.
METHODS: Participants consisted of ten children without musical training and ten children with musical training with mean age 11.3 years and range 8-15 years as well as ten adults without musical education and ten adults with musical education with mean age 38.1 years and range 30-45 years. All participants were tested with two temporal resolution tests (GIN:Gaps-In-Noise and RGDT:Random Gap Detection Test), a temporal ordering frequency test (FPT:Frequency Pattern Test), and a frequency discrimination test (DLF: Different Limen for Frequency).
RESULTS: All test results revealed better performance in both children and adults with musical training for both ears.
CONCLUSIONS: A positive effect of formal music education for specific auditory processing elements in both children and adults is documented. Larger samples, longitudinal studies, as well as groups with impaired hearing and/or auditory processing are needed to further substantiate the effect shown.

Interdisciplinary collaboration is an emerging imperative in music education, but current understanding of global practices remains limited. Prior studies have focused narrowly on specific programs within limited geographic areas. However, there is minimal quantitative mapping of initiatives across institutions and regions. Contextual insights explaining regional variations are also scarce. Hence, this study aims to address these gaps by conducting a comprehensive analysis of interdisciplinary programs, partnerships, events, and publications across leading global music institutions using a mixed methods approach. The analysis reveals significant diversity in models and determinants of productivity across regions. For instance, while Europe leads in formal integration and research output, North America prioritizes technology-enabled innovation through media and emerging tools. Partnerships are ubiquitous but focus areas and curricular integration vary. The findings reveal significant diversity in interdisciplinary education practices and formats worldwide, implying a need for contextualized implementation aligned to institutional strengths rather than a one-size-fits-all approach. Therefore, as music education evolves, tailored interdisciplinary strategies that blend local priorities with global best practices are recommended to creatively nurture multifaceted skills and maximize potential for innovation. Thus, this research contributes an invaluable knowledge base to inform evidence-based, nimble policies and frameworks for cultivating cutting-edge, socially engaged musicians and ventures worldwide.

UNASSIGNED: Teachers\' psychological factors have been argued to influence various aspects of music education. However, scant research has explored the psycho-affective aspects of music teachers\' work. To solve this shortage of research, this study examined the predictive role of Chinese music teachers\' job commitment and academic optimism in their self-efficacy.
UNASSIGNED: To this end, 340 music teachers from four universities in Henan Province completed an online survey including three questionnaires.
UNASSIGNED: The results of structural equation modeling (SEM) and regression analysis demonstrated that music teachers\' self-efficacy could be positively and significantly predicted by their optimism and job commitment.
UNASSIGNED: The study provided implications for music education to pay further attention to the psychology of teaching in this field. Finally, directions for further research are presented to scholars, who are interested in the psycho-emotional side of music education.

暂无摘要。

The purpose of this study is to investigate the uniqueness of the pop singing genre by determining the role of the Chinese language in the creation of popular singing in education with modern innovative technologies. The paper began by determining which types of popular music were the most popular among respondents and the influence of modern innovative technologies on music education. The results showed that popular folk music (25%) and popular music (23%) are the most popular genres. This is because they are based on improvisational elements and combine modern and ethnic musical elements with the use of modern innovative technologies. Pentatonic preservation (94.3), modern innovative technologies (91.2), expressive performance (85.6), sound fluidity and mobility (82) and instrumental accompaniment have been identified as the most defining characteristics of contemporary Chinese popular music (78.1). Taking into account how pure and expressive Chinese music is, the study found that singing should take into account the following aspects of the Chinese language: the tonality of vowels, the influence of consonant sounds, the use of sound imitations, the performance of words with different levels of complexity, and the relationship between speech and musical intonation. It has been proven that students in group 1 who studied vocals and were taught the rules for combining phonetic features of language when singing had better results in terms of quality performance (0.83) and expressive performance (0.91). The non-professional singers in group 2 attained scores of 0.62 and 0.85, respectively.