Leonard Tan

Predicting collegiate wind players' practice efficiency, flow, and self-efficacy for self-regulation: An exploratory study of relationships between teachers' instruction and students' practicing

The purpose of this study was to determine whether students’ practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers’ methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse range of instruments: flute, oboe, bassoon, clarinet, saxophone, French horn, trumpet, trombone, euphonium, and tuba. The data for this study were self-reports collected via online questionnaires. Findings indicated that of the five predictor variables examined, only two—students’ tendencies to exhibit grit in their learning and their tendencies to be reflective about their practicing—were consistently related to the three outcome variables. Furthermore, all outcome variables were significantly related to one another.

Achievement motivation for band: A cross-cultural examination of the 2 × 2 achievement goal motivation framework

The purpose of this study was to explore the achievement goal motivation orientations of instrumental music students in the US and Singapore. Participants in this study were volunteer band students (N = 359) from eight American public high schools (n = 217) and five polytechnics in Singapore (n = 142). Data were collected via a questionnaire that included measures of (a) the 2 × 2 achievement goal orientation constructs (mastery approach, mastery avoid, performance approach, and performance avoid), (b) flow in band rehearsal, (c) grit in practicing, and (d) commitment to band. Confirmatory factor analyses indicated that the 2 × 2 achievement goal framework specifying four latent variables (mastery approach, mastery avoid, performance approach, performance avoid) was the best relative fit to the data when compared with competing dichotomous and trichotomous models. In contrast to previous research comparing achievement goals of learners from collectivistic and individualistic cultures, no significant differences in achievement goal sub-scale means were found as a function of culture. However, some differentiated patterns of relationship were found between the achievement goal sub-scales and flow, grit, and commitment to band as a function of culture.

The Self-Perceptions of Young Men as Singers in Singaporean Pre-University Schools.

The persistence of young men in choral singing activity has been widely studied in North America, with emerging parallel research in Europe (Freer, 2013; Harrison & Welch, 2012). There has been little such research in Asia. This study, of 12 young men enrolled in Singapore’s pre-university schools, collected both written narratives and drawn imagery to explore participants’ musical identities, perceptions of choral singing, and reasons for continued or discontinued participation in choral music. The report details the analytical methods used for understanding the visual imagery (Kress & van Leeuwen, 2006). Four a priori hypotheses were developed based on relevant, existing literature (Bell, 2001). Findings of the study related to these hypotheses were as follows: 1) individual decisions to enrol in choral music were mediated by peer influence; 2) individual decisions to remain or withdraw from choral singing were influenced by the perception of both individual vocal skills and musical issues within the ensemble; 3) there was no stated relationship between choral music and either masculinity or sexuality; and 4) there was no stated impact of the adolescent changing voice on choral participation or self-perception as a singer.

Confucian Creatio in situ – philosophical resource for a theory of creativity in instrumental music education

In this philosophical essay, I propose a theory of creativity for instrumental music education inspired by Confucian creatio in situ (‘situational creativity’). Through an analysis of three major texts from classical Confucianism – the Analects, the Zhongyong (‘Doctrine of the Mean’) and the Daxue (‘The Great Learning’) – I posit a theoretical model of creativity for instrumental music education that comprises the following pairs of facets: situation and sincerity, tradition and training and circumscription and collaboration. I then highlight how several ideas in this model bear striking similarities to those of the American pragmatists, in particular, John Dewey, and conclude by sketching a sample application of this theory. This study grounds creativity in performance in bands and orchestras by appeal to a major Asian philosophical tradition, and also serves as an initial step towards a transcultural theory of creativity for music education relevant to the present globalised world.

Towards an ancient Chinese-inspired theory of music education†

ABSTRACT In this philosophical paper, I propose a theory of music education inspired by ancient Chinese philosophy. In particular, I draw on five classical Chinese philosophical texts: the Analects (lunyu 論語), the Mencius (Mengzi 孟子), the Zhuangzi (庄子), the Xunzi (荀子) and the Yue Ji (樂記). Given that music education was an integral part of the social fabric in ancient China, it is potentially illuminating to uncover the theoretical underpinning of this enterprise, and to examine the implications of such a theory for contemporary music education. Based on the texts, I posit an ancient Chinese-inspired theory of music education that comprises four facets: society, teacher-model, effortful training and effortless action. I conclude this paper with implications for contemporary music education.

A Shared Vision of Human Excellence: Confucian Spirituality and Arts Education.

Abstract Spirituality encourages the individual to make sense of oneself within a wider framework of meaning and see oneself as part of some larger whole. This article discusses Confucian spirituality by focusing on the spiritual ideals of dao (Way) and he (harmony). It is explained that the Way represents a shared vision of human excellence that is embodied in the guiding discourse inherited from one’s cultural predecessors. The Confucian Way covers all the manifestations of Zhou culture, including its knowledge base, values, beliefs and practices that have been passed down through the generations. The Way is achieved through harmony where human beings find inner peace as well as co-exist with one another and their surroundings. Harmony encompasses an appreciation of beauty, joy and ethical values that may be obtained from arts education. The essay further illustrates an application of Confucian spiritual ideals through music education in a school. A Confucian aim of learning, the article concludes, is one that fosters spiritual development and contests the performativity agenda and school culture.

Concept Teaching in Instrumental Music Education A Literature Review

This article is a review of research literature on the teaching of concepts in instrumental music education. It is organized in four parts (a) the value of concept teaching in large instrumental ensembles, (b) time spent teaching concepts during rehearsals, (c) approaches to concept teaching, and (d) implications for music education. Research has indicated that there is value to teaching conceptually. Time invested in teaching concepts has not been found to detract from performance goals; on the contrary, performance may be enhanced. Musical concepts may be taught via positive and negative instances of concepts, music terms and descriptions, modeling, and music literature. More research on concept teaching in instrumental music is warranted.

Achievement Goals, Implicit Theories, and Intrinsic Motivation: A Test of Domain Specificity Across Music, Visual Art, and Sports

The purpose of this study was to test the domain specificity of achievement goals across music, visual art, and sports specializations, as measured by Elliot’s 2 × 2 achievement goal framework. Participants in the study were 103 volunteer student teachers from a teacher training institute in Singapore specializing in music, visual art, and physical education. Data were collected via self-report questionnaires that included measures of (a) the 2 × 2 achievement goal orientation constructs; (b) incremental and entity beliefs among the participants in music, visual art, and sports; and (c) participants’ enjoyment, perceived competence, effort, and tension while being engaged in music, visual art, and sports. MANOVA analyses indicated that (a) achievement goals are domain-specific and are highest in participants’ area of specialization; (b) implicit theories can be generalized across the three specializations, with higher incremental beliefs than entity beliefs reported across all specializations; and (c) enjoyment was highest for those who specialized in that particular area. Finally, mastery-approach goals positively predicted enjoyment in each specialization.

Motivational orientations of college band students: A cross-cultural examination of a collective 2 x 2 achievement goal model:

The purpose of this study was to determine the cross-cultural validity of a collective achievement goal model using a sample of non-music-major college band students from the US and Singapore. The study was situated within a theoretical framework that posited individual and collective achievement goal orientations of mastery-approach, mastery-avoidance, performance-approach, and performance-avoidance. These constructs were also examined in relation to three adaptive learning outcomes: flow, grit, and commitment to band. Confirmatory factor analyses indicated that whether considering the US, the Singapore, or the entire sample, the collective 2 × 2 achievement goal framework yielded a superior fit to the data when compared with four competing dichotomous and trichotomous models. Model invariance testing found that although the collective 2 × 2 achievement goal model appears to fit fairly well to the data from both groups of participants, cross-cultural model invariance can only be claimed conditionally. Hierarchical regression indicated that independent of any variation already explained by achievement goal sub-scales from the individual perspective, scales from the collective perspective explained a small but significant increase in variance for flow.

Developing twenty-first century competencies through the arts: a case study of a high performing secondary school band in Singapore

Abstract The purpose of this study was to examine the development of “21st Century Competencies” (21CC) through the secondary school band programme. The researcher used ethnographic research methods to document the lived musical experiences of students from a high performing secondary school band in Singapore, captured the voices of the participants through extensive focus group discussions and informal interviews, coded and analysed the data using the Singapore Ministry of Education’s (MOE) 21CC framework. Findings provide empirical support for the MOE’s initiatives to developing 21CC through music and the arts. Three interrelated themes – performance, peers, and patience – emerged as specific enablers of the school band to nurture 21CC. These enablers, however, may paradoxically be impediments for the development of 21CC; an awareness of how these enablers may sometimes be hindrances is necessary to optimize twenty-first century learning through the arts.