The aim of this study is to determine the relationship between musical performance anxiety, learning styles, and the field of instrument and solo singing music teacher candidates. Musical performance anxiety has been investigated at various musical events, such as performance during exams, singing and playing on stage, or in front of judges for an…

Fostering accurate musical self-perceptions may be particularly challenging when developing singing technique, where self-assessment is complicated by the close physiological and emotional relationship between the performer and the body-instrument. The aim of the present study was to investigate how vocal students' beliefs in their performance…

Today, some of the important dilemmas of music education are that performers are too dependent on the notes in a written musical score and they are not being so able to improvise. Stage phobia, lack of motivation and problematic of perception regarding today's modern music are additional problems facing musicians. This research aims at revealing…

We studied music majors' perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large…

In response to Europe's societal challenges, such as current issues about migration, the Institute of Music Education at the University of Music and Performing Arts Graz established Meet4Music (M4M), a low-threshold community music project. M4M is open to individuals from all sociocultural and musical backgrounds and ages, and provides them with…

Entrance examinations and auditions are common admission procedures for college music programs, yet few researchers have attempted to look at the long-term predictive validity of such selection processes. In this study, archival data from 93 student records of a German music academy were used to predict development of musicianship skills over the…

A survey of final-year music students at the University of York for the Investigating Musical Performance research project found that 45% (23 of the 51 students in the year group) regularly gave instrumental or vocal lessons. Semi-structured interviews with 16 students revealed a range of teaching activities including workshop leading, one-to-one…

The primary purpose of this study was to investigate the effects of a singing-aural imitation treatment on collegiate instrumentalists' jazz performance achievement and self-efficacy to play and teach jazz and improvisation. A secondary purpose was to investigate to what extent various background variables might relate to jazz improvisation…

This study had two primary purposes: (1) to investigate the effect of register, direction, and magnitude on musicians' evaluation of chamber ensemble intonation, and (2) determine whether a novel nonparametric technique, ordinal pattern analysis (OPA), was a viable alternative to repeated-measures analysis of variance (rANOVA). I digitally…

The purpose of this study was to conduct a qualitative study examining 'real-world' jazz performance contexts within an Australian tertiary music course. Course projects were designed to offer students opportunities to gain a better understanding of the intersections of working and performing with their teachers in an improvised music ensemble.…

The purpose of the present study was to examine collegiate band, choir, and orchestra members' preferred teacher interpersonal behaviors. The sample (N = 705) was composed of band, choir, and orchestra members at six universities. Participants completed the Teacher Interaction Preference Questionnaire (TIPQ). Descriptive results showed that all…

The purpose of this study was to examine participants' (college band and choral musicians, N = 143) perceptions of conductor clarity and expressivity after viewing band and choral directors conducting with or without a baton. One band and one choral conductor each prepared and conducted two excerpts of Guy Forbes's "O Nata Lux", a piece…

In recent years researchers have contributed a great deal to our shared understanding of the complexities of studio practices, which are widely regarded as a centre-point of higher education music. This article investigates an aspect of studio learning that does not lend itself easily to scrutiny, by drawing common issues from the cases of two…

Music performance in the higher educational context is shaped by a reciprocal chain of interactions between students, part-time tutors and full-time teaching staff, each with specific expectations about the teaching and learning process. Such expectations can provide valuable insights not only for designing and implementing meaningful educational…

This article reports on the self-regulated learning strategies of two advanced students in jazz/improvised music education when learning pre-played solos over well-known jazz tunes. The students were enrolled in a well-established performance degree programme in a music conservatoire, and videotaped their own individual practice sessions. In…