UNASSIGNED: Via mirror mechanism, motor training approaches based on the alternation of action observation and execution (i.e., Action Observation Training-AOT) promote the acquisition of motor abilities. Previous studies showed that both visual and auditory stimuli may elicit a common motor representation of music-related gestures; however, the potentialities of AOT for the acquisition of musical skills are still underexplored.
UNASSIGNED: Twenty-one music-naïve participants underwent two blocks of training: AOT and Key-light Observation Training (KOT). AOT consisted of the observation of a melodic sequence played on a keyboard with the right hand by an expert model, followed by participant\'s imitation. Observation and execution were repeated six consecutive times (T1-T6). KOT followed the same procedure, except for the visual content of the stimulus, depicting the sequential highlighting of the piano keys corresponding to the melody. The rate of correct notes (C), the trainee-model similarity of key-pressure strength (S), and the trainee-model consistency of note duration (R) were collected across T1-T6.
UNASSIGNED: Both AOT and KOT improved musical performance. Noteworthy, AOT showed a higher learning magnitude relative to KOT in terms of C and S.
UNASSIGNED: Action Observation Training promotes the acquisition of key elements of melodic sequences, encompassing not only the accurate sequencing of notes but also their expressive characteristics, such as key-pressure dynamics. The convergence of listening and observation of actions onto a shared motor representation not only explains several pedagogical approaches applied in all musical cultures worldwide, but also enhances the potential efficacy of current procedures for music training.

Performance anxiety is a widespread issue that can affect musicians across their education and career. It can develop in musicians from a young age leading to short-term and long-term impacts on not only their performance, but also their wellbeing. There is potentially a significant role that music educators hold in the development of their students and how they handle performance anxiety, though it is not clear how, or how often, teachers support their students in this way. Through a PRISMA-based systematic review, this paper explores what is known about the strategies used by music educators to help manage their students\' performance anxiety. The paper also discusses the role that instrumental/vocal tutors and school classroom teachers might hold in this area. The findings show that music educators are implementing multiple strategies to assist their students with MPA, with the most common being simulated performance, positive outlook, preparation and breathing. It was found that there is a role for teachers to address MPA management with their students. While some students prefer to receive MPA support from experts in the field of psychology, students still expressed a need to have this support come from their teacher. Though many teachers felt a need for additional training for them to help their students cope with MPA, many of the strategies were found to be multifunctional and embedded into the regular teaching practices or teaching styles of the educator. Although these strategies might be implicit rather than explicit, the findings suggest that music educators could represent a valuable source of support for MPA management.

OBJECTIVE: Controlled and randomized study to analyze longitudinal voice data of boys and girls aged 8-12.5, to describe their physiological development and to evaluate the influence of a one-year music pedagogical interventional program focused on the singing voice.
METHODS: Singing voice profiles of 116 children (52 boys, 64 girls) aged 8-12.5 years were collected longitudinally at the beginning and the end of the third school year and the end of the fourth school year. 64 of the 116 children received a music pedagogical program during their third school year (interventional group). Maximum and minimum voice intensity, highest and lowest frequency, maximum phonation time (MPT) and Jitter were investigated.
RESULTS: In two years\' time highest frequency increased on average by 100.23 Hz from G1 up to A1 for boys and for girls. Lowest frequency decreased by 18.36Hz from Gis-1 to G-1 (boys: Gis-1-Fis-1; girls: A-1-G-1). There was no clinically relevant development of the intensity parameters for both sexes. However, after the interventional year, minimum voice intensity significantly decreased in the interventional group compared to the control group. The MPT increased by 2.41 seconds from 10.67 seconds up to 13.09 seconds in two years. Here the increase was higher for boys (+3.2 seconds) than for girls (+1.77 seconds). Jitter was found to be 0.84%-1.11%, showing no clinically relevant changes in two years.
CONCLUSIONS: To the best of our knowledge, for the first time this study presents longitudinal data on singing voice parameters of the voice range profile of boys and girls aged 8-12.5 years. While frequency and intensity parameters develop equally for boys and girls, the MPT is found to develop more distinctly within boys. A music pedagogical intervention of a small extent has a positive effect on the ability to sing as soft as possible.

Background: Expression is a key skill in music performance, and one that is difficult to address in music lessons. Computational models that learn from expert performances can help providing suggestions and feedback to students. Aim: We propose and analyze an approach to modeling variations in dynamics and note onset timing for solo violin pieces with the purpose of facilitating expressive performance learning in new pieces, for which no reference performance is available. Method: The method generates phrase-level predictions based on musical score information on the assumption that expressiveness is idiomatic, and thus influenced by similar-sounding melodies. Predictions were evaluated numerically using three different datasets and against note-level machine-learning models, and also perceptually by listeners, who were presented to synthesized versions of musical excerpts, and asked to choose the most human-sounding one. Some of the presented excerpts were synthesized to reflect the variations in dynamics and timing predicted by the model, whereas others were shaped to reflect the dynamics and timing of an actual expert performance, and a third group was presented with no expressive variations. Results: surprisingly, none of the three synthesized versions was consistently selected as human-like nor preferred with statistical significance by listeners. Possible interpretations of these results include the fact that the melodies might have been impossible to interpret outside their musical context, or that expressive features that were left out of the modeling such as note articulation and vibrato are, in fact, essential to the perception of expression in violin performance. Positive feedback by some listeners toward the modeled melodies in a blind setting indicate that the modeling approach was capable of generating appropriate renditions at least for a subset of the data. Numerically, performance in phrase-level suffers a small degradation if compared to note-level, but produces predictions easier to interpret visually, thus more useful in a pedagogical setting.

Recent approaches in the cognitive and psychological sciences conceive of mind as an Embodied, Embedded, Extended, and Enactive (or 4E) phenomenon. While this has stimulated important discussions and debates across a vast array of disciplines, its principles, applications, and explanatory power have not yet been properly addressed in the domain of musical development. Accordingly, it remains unclear how the cognitive processes involved in the acquisition of musical skills might be understood through the lenses of this approach, and what this might offer for practical areas like music education. To begin filling this gap, the present contribution aims to explore central aspects of music pedagogy through the lenses of 4E cognitive science. By discussing cross-disciplinary research in music, pedagogy, psychology, and philosophy of mind, we will provide novel insights that may help inspire a richer understanding of what musical learning entails. In doing so, we will develop conceptual bridges between the notion of \'autopoiesis\' (the property of continuous self-regeneration that characterizes living systems) and the emergent dynamics contributing to the flourishing of one\'s musical life. This will reveal important continuities between a number of new teaching approaches and principles of self-organization. In conclusion, we will briefly consider how these conceptual tools align with recent work in interactive cognition and collective music pedagogy, promoting the close collaboration of musicians, pedagogues, and cognitive scientists.

Development of perceptual aptitude is a critical yet complex skill that requires the effective organization and interpretation of data using visual and auditory clinical observation. Educators face challenges in creating pedagogy that consistently demonstrates reliability and validity in fostering clinical skills. We have dependably used the arts as a means to improve students\' auditory and visual skills, and this article will describe replication of our work with accelerated nursing students in a bachelor\'s program in their last semester of nursing school (n=23). Our results reveal that auscultative and observational abilities of soon-to-be registered nurses are in need of improvement. The use of art in a museum improves observational and assessment abilities, and music training increases auscultative interpretive skills significantly.

This practice paper explores the intersection of school studio-music pedagogy and positive psychology in order to enhance students\' learning and engagement. The paper has a practitioner focus and puts forward a new model of studio teaching, the Positive Instruction in Music Studios (PIMS) model that guides teachers through four key positive psychology processes that can be used in a music lesson: positive priming, strengths spotting, positive pause, and process praise. The model provides a new, positively oriented approach to studio-music pedagogy that can be integrated into specific methods-based programs to enhance student learning and engagement.

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