[en] In musical instrument training, researchers have gradually started exploring the potential of interactive technologies supporting learning processes and teaching methods. Although numerous technological tools have been proposed to enhance instrument learning and teaching, these methods rarely find their way into daily practice and teaching routines. In this study, we report data from an online survey study administered to violin and drum kit teachers. Results reveal distinct learning profiles of novice violin and drum kit students and exhibit a variety of teaching approaches toward adults and children. Furthermore, they provide more insight into teachers’ opinions on the use of virtual reality (VR) and smart wearable technologies in early instrumental training, as well as their attitudes regarding technology design. Overall, our findings highlight the importance of involving teachers in the initial stages of technology design to facilitate technology acceptance and adoption, prevent potential mismatches between requirements regarding technological functionality and actual user needs, and promote musical growth and skill acquisition.
Disciplines :
Education & enseignement
Auteur, co-auteur :
Michałko, Aleksandra; Department of Art, Music and Theatre Sciences, Faculty of Arts and Philosophy, Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University, Ghent, Belgium
Campo, Adriaan; Department of Art, Music and Theatre Sciences, Faculty of Arts and Philosophy, Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University, Ghent, Belgium
NIJS, Luc ; University of Luxembourg > Faculty of Humanities, Education and Social Sciences (FHSE) > Department of Education and Social Work (DESW) > Institute of Musicology and Arts ; Department of Art, Music and Theatre Sciences, Faculty of Arts and Philosophy, Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University, Ghent, Belgium
Leman, Marc; Department of Art, Music and Theatre Sciences, Faculty of Arts and Philosophy, Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University, Ghent, Belgium
Van Dyck, Edith; Department of Art, Music and Theatre Sciences, Faculty of Arts and Philosophy, Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University, Ghent, Belgium
Co-auteurs externes :
yes
Langue du document :
Anglais
Titre :
Toward a meaningful technology for instrumental music education: Teachers’ voice
Date de publication/diffusion :
28 octobre 2022
Titre du périodique :
Frontiers in Education
eISSN :
2504-284X
Maison d'édition :
Frontiers Media S.A.
Titre particulier du numéro :
Community Series: Towards a Meaningful Instrumental Music Education. Methods, Perspectives, and Challenges, volume II
This work was funded by the H2020/ICT European project [“CONnected through roBOTS: Physically Coupling Humans to Boost Handwriting and Music Learning” (CONBOTS)] (grant agreement no. 871803; call topic ICT-09-2019-2020).
Abernethy B. Kippers V. Hanrahan S. J. Pandy M. G. McManus A. Mackinnon L. (2018). Biophysical Foundations of Human Movement. Champaign, IL: Human Kinetics.
Allingham E. Wöllner C. (2021). Effects of attentional focus on motor performance and physiology in a slow-motion violin bow-control task: Evidence for the constrained action hypothesis in bowed string technique. J. Res. Music Educ. 70 168–189. 10.1177/00224294211034735 35783002
Allingham E. Burger B. Wöllner C. (2021). Motor performance in violin bowing: Effects of attentional focus on acoustical, physiological and physical parameters of a sound-producing action. J. New Music Res. 50 428–446. 10.1080/09298215.2021.1978506 35611362
Auer L. (1921). Violin Playing as I Teach It. New York, NY: Frederick A. Stokes Company.
Baillot P. M. F. Kreutzer R. (1802). Méthode de Violon. Paris: Magasin de Musique.
Bauer W. I. (2014). Music Learning and Technology. Available online at: https://www.newdirectionsmsu.org/issue-1/bauer-music-learning-and-technology/ (accessed May 19, 2022).
Bauer W. I. (2020). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. Oxford: Oxford University Press.
Bissonnette J. Dubé F. Provencher M. D. Moreno Sala M. T. (2015). Virtual reality exposure training for musicians: Its effect on performance anxiety and quality. Med. Probl. Perform. Artists 30 169–177. 10.21091/mppa.2015.3032 26395619
Blanco A. D. Tassani S. Ramirez R. (2021). Real-time sound and motion feedback for violin bow technique learning: A controlled, randomized trial. Front. Psychol. 12:1268. 10.3389/fpsyg.2021.648479 33981275
Blazing Tree Studio, (2016). Garage Drummer VR Available online at: https://store.steampowered.com/app/467890/Garage_Drummer_VR/ (accessed May 15, 2022).
Bobbe T. Oppici L. Lüneburg L.-M. Münzberg O. Li S.-C. Narciss S. et al. (2021). What early user involvement could look like—developing technology applications for piano teaching and learning. Multimodal Technol. Interact. 5:38. 10.3390/mti5070038
Bowman W. (2002). “Educating musically,” in The New Handbook of Research on Music Teaching and Learning, eds Colwell R. Richardson C. P. (New York, NY: Oxford University Press), 63–84.
Braun V. Clarke V. (2012). “Thematic analysis,” in APA Handbook of Research Methods in Psychology, Vol 2: Research Designs: Quantitative, Qualitative, Neuropsychological, and Biological APA handbooks in Psychology, eds Cooper H. Camic P. M. Long D. L. Panter A. T. Rindskopf D. Sher K. J. (Washington, DC: American Psychological Association), 57–71. 10.1037/13620-004
Brennan M. (2021). “The drum kit in theory,” in The Cambridge Companion to the Drum Kit, eds Brennan M. Pignato J. M. Stadnicki D. A. (Cambridge: Cambridge University Press), 7–20.
Calderón-Garrido D. Cisneros P. García I. D. Fernández D. De las Heras R. (2019). La tecnología digital en la educación musical: Una revisión de la literatura científica. Rev. Electrón. Complutense Investig. Educ. Musical 16 43–55. 10.5209/reciem.60768
Callaghan J. Thorpe W. Van Doorn J. (2004). “The science of singing and seeing,” in Paper Presented at the Conference of Interdisciplinary Musicology, (Graz).
Calvert I. W. (2014). Investigating the One-on-One Master-Apprentice Relationship: A Case Study in Traditional Craft Apprenticeship. Ph D Thesis. Salt Lake City, UT: Brigham Young University.
Collens P. Creech A. (2013). “Intersubjectivity in collaborative learning in one-to-one contexts,” in Collaborative Learning in Higher Music Education, eds Gaunt H. Westerlund H. (Farnham: Ashgate), 151–161.
Colwell R. Hewitt M. Fonder M. (eds). (2018). “Teaching and the role of motivation,” in The teaching of instrumental music (New York, NY: Routledge), 11–25. 10.4324/9781315665016 36153787
Costa-Giomi E. Flowers P. J. Sasaki W. (2005). Piano lessons of beginning students who persist or drop out: Teacher behavior, student behavior, and lesson progress. J. Res. Music Educ. 53 234–247. 10.1177/002242940505300305
Creech A. (2012). Interpersonal behaviour in one-to-one instrumental lessons: An observational analysis. Br. J. Music Educ. 29 387–407. 10.1017/S026505171200006X
Creech A. Gaunt H. (2012). “The Changing face of individual instrumental tuition: Value, purpose, and potential,” in The Oxford Handbook of Music Education, Vol. 1 eds McPherson G. E. Welch G. F. (Oxford: Oxford University Press). 10.1093/oxfordhb/9780199730810.013.0042
Creech A. Hallam S. (2011). Learning a musical instrument: The influence of interpersonal interaction on outcomes for school-aged pupils. Psychol. Music 39 102–122. 10.1177/0305735610370222
Creech A. Hallam S. (2017). “Facilitating learning in small groups: Interpersonal dynamics and task dimensions,” in Musicians in the Making: Pathways to Creative Performance, eds Rink J. Gaunt H. Williamon A. (Oxford: Oxford University Press).
D’Amato V. Volta E. Oneto L. Volpe G. Camurri A. Anguita D. (2020). Understanding violin players’ skill level based on motion capture: A data-driven perspective. Cogn. Comput. 12 1356–1369. 10.1007/s12559-020-09768-8
Dalgleish M. Spencer S. (2014). “POSTRUM: Developing good posture in trumpet players through directional haptic feedback,” in Paper Presented at the 9th Conference on Interdisciplinary Musicology- CIM14, 3rd-6th December 2014. (Berlin: Staatliches Institut für Musikforschung).
Daniel R. J. Parkes K. A. (2015). “Assessment and critical feedback in the master-apprentice relationship: Rethinking approaches to the learning of a music instrument,” in Assessment in Music Education: from Policy to Practice. Landscapes: The Arts, Aesthetics, and Education, eds Lebler D. Carey G. Harrison S. D. (Cham: Springer International Publishing), 107–124. 10.1007/978-3-319-10274-0_8
Davidson J. W. Howe M. J. A. Moore D. G. Sloboda J. A. (1996). The role of parental influences in the development of musical performance. Br. J. Dev. Psychol. 14 399–412. 10.1111/j.2044-835X.1996.tb00714.x
De Bruin L. R. (2021). Instrumental music educators in a COVID landscape: A reassertion of relationality and connection in teaching practice. Front. Psychol. 11:624717. 10.3389/fpsyg.2020.624717 33519654
Ehrlenspiel F. (2001). Paralysis by analysis? A functional framework for the effects of attentional focus on the control of motor skills. Eur. J. Sport Sci. 1 1–11. 10.1080/17461390100071505
Eissens M. VRROOM Ultimate VR Experiences BV (2019). DrumBeats VR. Available online at: https://store.steampowered.com/app/1015480/DrumBeats_VR/ (accessed May 15, 2022).
Ericsson K. A. (1997). “Deliberate practice and the acquisition of expert performance: An overview,” in Does Practice Make Perfect? Current Theory and Research on Instrumental Music Practice, eds Jørgensen H. Lehmann A.C. (Oslo: Norges Musikkhøgskole), 9–51. 10.1111/j.1553-2712.2008.00227.x 18778378
Ericsson K. A. (2003). “Development of elite performance and deliberate practice: An update from the perspective of the expert performance approach,” in Expert Performance in Sports: Advances in Research on Sport Expertise, eds Starkes J. Ericsson K. A. (Champaign, IL: Human Kinetics), 49–81.
Folkestad G. (2006). Formal and informal learning situations or practices vs formal and informal ways of learning. Br. J. Music Educ. 23 135–145. 10.1017/S0265051706006887
Gaunt H. López-Íñiguez G. Creech A. (2021). “Musical engagement in one-to-one contexts,” in Routledge International Handbook of Music Psychology in Education and the Community, eds Creech A. Hodges D. A. Hallam S. (London: Routledge), 335–350. 10.3389/fpsyg.2019.01300 31316411
Goodway J. D. Ozmun J. C. Gallahue D. L. (2019). Understanding Motor Development: Infants, Children, Adolescents, Adults. Burlington, MA: Jones & Bartlett Learning.
Grindlay G. (2008). “Haptic guidance benefits musical motor learning,” in Proceedings of the 2008 Proceedings Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems (Reno, NV), 397–404. 10.1109/HAPTICS.2008.4479984
Hallam S. Creech A. Varvarigou M. (2018). Are there differences in practicing and motivation between beginners playing different musical instruments? Orfeu 3 71-84. 10.5965/2525530403012018054
Hallam S. Rinta T. Varvarigou M. Creech A. Papageorgi I. Gomes T. et al. (2012). The development of practising strategies in young people. Psychol. Music 40 652–680. 10.1177/0305735612443868
Harrison A. C. O’Neill S. A. (2000). Children’s gender-typed preferences for musical instruments: An intervention study. Psychol. Music 28 81–97. 10.1177/0305735600281006
Hilton J. T. (2016). A case study of the application of SAMR and TPACK for reflection on technology integration into two social studies classrooms. Soc. Stud. 107 68–73. 10.1080/00377996.2015.1124376
Hofstede G. (1983). The cultural relativity of organizational practices and theories. J. Int. Bus. Stud. 14 75–89. 10.1057/palgrave.jibs.8490867
Hofstede G. (2011). Dimensionalizing cultures: The Hofstede model in context. Online Read. Psychol. Cult. 2 2307–2919. 10.9707/2307-0919.1014
Hoppe D. Sadakata M. Desain P. (2006). Development of real-time visual feedback assistance in singing training: A review. J. Comput. Assist. Learn. 22, 308–316. 10.1111/j.1365-2729.2006.00178.x
Howard D. M. Brereton J. Welch G. F. Himonides E. DeCosta M. Williams J. et al. (2007). Are real-time displays of benefit in the singing studio? An Exploratory Study. J. Voice 21 20–34. 10.1016/j.jvoice.2005.10.003 16472974
Kelchtermans G. (2009). Who I am in how I teach is the message: Self-understanding, vulnerability and reflection. Teach. Teach. 15 257–272. 10.1080/13540600902875332
Krause A. E. Davidson J. W. (2018). Effective educational strategies to promote life-long musical investment: Perceptions of educators. Front. Psychol. 9:1977. 10.3389/fpsyg.2018.01977 30410455
Lagerlöf P. Wallerstedt C. Pramling N. (2013). Engaging children’s participation in and around a new music technology through playful framing. Int. J. Early Years Educ. 21 325–335. 10.1080/09669760.2013.867170
Lehmann A. C. Sloboda J. A. Woody R. H. Woody R. H. (2007). Psychology for Musicians: Understanding and Acquiring the Skills. Oxford: Oxford University Press.
Leman M. Nijs L. (2017). “Cognition and technology for instrumental music learning,” in The Routledge Companion to Music, Technology, and Education, eds King A. Himonides E. Ruthmann S. A. (Abingdon: Routledge). 10.3389/fpsyg.2014.00414 24860531
Liu-Rosenbaum A. Creech A. (2021). “The role of technology in mediating collaborative learning in music,” in Routledge international handbook of music psychology in education and the community, eds Creech A. Hodges D. A. Hallam S. (London: Routledge). 10.1186/s12868-016-0283-6 27534393
Löchtefeld M. Gehring S. Jung R. Krüger A. (2011). “guitAR: Supporting guitar learning through mobile projection,” in Proceedings of the CHI ‘11 Extended Abstracts on Human Factors in Computing Systems CHI EA ’11, (New York, NY: Association for Computing Machinery), 1447–1452. 10.1145/1979742.1979789
Malinverni L. Schaper M.-M. Pares N. (2016). An evaluation-driven design approach to develop learning environments based on full-body interaction. Educ. Technol. Res. Dev. 64 1337–1360. 10.1007/s11423-016-9468-z
McLeod S. (2010). Jean Piaget’s Theory and Stages of Cognitive Development. Simply Psychology. Available online at: https://www.simplypsychology.org/piaget.html?campaignid=70161000000RNtB&vid=2120483 (accessed May 5, 2022).
McPherson G. E. Renwick J. M. (2001). A longitudinal study of self-regulation in children’s musical practice. Music Educ. Res. 3 169–186. 10.1080/14613800120089232
McPherson G. E. Welch G. F. (2012). The Oxford Handbook of Music Education. Oxford: Oxford University Press, Vol. 1. 10.1093/oxfordhb/9780199730810.001.0001
Mozart L. (1756). Versuch einer gründlichen violinschule: Entworfen und mit 4 kupfertafeln sammt einer tabelle versehen. Frankfurt: Selbstverl.
Mroziak J. Bowman J. (2016). “Music TPACK in higher education: Educating the educators,” in Handbook of Technological Pedagogical Content Knowledge (TPACK) for Educators, eds Herring M. C. Koehler M. J. Mishra P. (London: Routledge).
Mutio M. Marandola F. Ben Mansour K. André J. Marin F. (2017). Motion analysis of snare drum in relation with the musician’s expertise. Comput. Methods Biomech. Biomed. Eng. 20 149–150. 10.1080/10255842.2017.1382905 29088661
Ng K. Nesi P. (2008). “i-Maestro framework and interactive multimedia tools for technology-enhanced learning and teaching for music,” in Paper Presented at the 2008 International Conference on Automated Solutions for Cross Media Content and Multi-Channel Distribution (Florence), 266–269. 10.1109/AXMEDIS.2008.41
Nielsen S. G. Johansen G. G. (2021). “The role of peers in supporting learning in music,” in Routledge International Handbook of Music Psychology in Education and the Community, eds Creech A. Hodges D. A. Hallam S. (London: Routledge). 10.4324/9780429295362-36 36153787
Nijs L. Leman M. (2014). Interactive technologies in the instrumental music classroom: A longitudinal study with the Music Paint Machine. Comput. Educ. 73 40–59. 10.1016/j.compedu.2013.11.008
Ofosu-Ampong K. (2020). The shift to gamification in education: A review on dominant issues. J. Educ. Technol. Syst. 49 113–137. 10.1177/0047239520917629
Onderdijk K. E. Acar F. Van Dyck E. (2021). Impact of lockdown measures on joint music making: Playing online and physically together. Front. Psychol. 12:642713. 10.3389/fpsyg.2021.642713 34122232
Pardue L. S. (2017). Violin Augmentation Techniques for Learning Assistance (Doctoral Dissertation). London: Queen Mary University of London.
Perez Carrillo A. Wanderley M. M. (2012). “Learning and extraction of violin instrumental controls from audio signal,” in Proceedings of the Second International ACM Workshop on MUSIC Information Retrieval with User-Centered and Multimodal Strategies MIRUM ’12, (New York, NY: Association for Computing Machinery), 25–30. 10.1145/2390848.2390855
Pickering B. C. (2020). Survey and Analysis of Undergraduate Music Education Percussion Methods Courses in Relation to the Practical Needs of Secondary Music Educators in American Public Schools. ProQuest Dissertations and Theses. Available online at: https://www.proquest.com/docview/2446076248/abstract/6E76B1EEEDD54B52PQ/1 (accessed May 19, 2022).
Platz F. Kopiez R. Lehmann A. C. Wolf A. (2014). The influence of deliberate practice on musical achievement: A meta-analysis. Front. Psychol. 5:646. 10.3389/fpsyg.2014.00646 25018742
Provenzale C. Di Stefano N. Noccaro A. Taffoni F. (2021). Assessing the bowing technique in violin beginners using MIMU and optical proximity sensors: A Feasibility Study. Sensors 21:5817. 10.3390/s21175817 34502708
Puentedura R. (2013). Ruben R. Puentedura’s Weblog: SAMR: A Contextualized Introduction. Available online at: http://www.hippasus.com/rrpweblog/archives/000112.html (accessed March 16, 2022).
R Core Team (2020). R: A Language and Environment for Statistical Computing. Available online at: https://www.R-project.org/ (accessed May 4, 2020).
Revelle G. (2013). Applying developmental theory and research to the creation of educational games. New Direct. Child Adolesc. Dev. 2013 31–40. 10.1002/cad.20029 23483691
Roulston K. Jutras P. Kim S. J. (2015). Adult perspectives of learning musical instruments. Int. J. Music Educ. 33 325–335. 10.1177/0255761415584291
Rowe V. Triantafyllaki A. Pachet F. (2017). Children’s Creative Music-Making with Reflexive Interactive Technology: Adventures in Improvising and Composing. New York, NY: Routledge. 10.4324/9781315679952 36153787
Sandberg J. Maris M. de Geus K. (2011). Mobile English learning: An evidence-based study with fifth graders. Comput. Educ. 57 1334–1347. 10.1016/j.compedu.2011.01.015
Savage J. (2007). “Pedagogical strategies for change,” in Music education with digital technology, eds Finney J. Burnard P. (London: A and C Black), 142–155.
Schiavio A. Biasutti M. Antonini Philippe R. (2021). Creative pedagogies in the time of pandemic: A case study with conservatory students. Music Educ. Res. 23 167–178. 10.1080/14613808.2021.1881054
Schiavio A. Küssner M. B. Williamon A. (2020). Music Teachers’ perspectives and experiences of ensemble and learning skills. Front. Psychol. 11:291. 10.3389/fpsyg.2020.00291 32210875
Schoonderwaldt E. Demoucron M. (2009). Extraction of bowing parameters from violin performance combining motion capture and sensors. J. Acoust. Soc. Am. 126 2695–2708. 10.1121/1.3227640
Smith G. D. Davis V. W. (2022). A critical examination of percussion and drums in the collegiate curriculum. Bull. Council Res. Music Educ. 2022, 25–40. 10.5406/21627223.231.02
Spohr L. (1832). Violinschule. Vienna: T. Haslinger.
Su C.-H. Cheng C.-H. (2015). A mobile gamification learning system for improving the learning motivation and achievements. J. Comput. Assist. Learn. 31 268–286. 10.1111/jcal.12088
Suki N. (2011). Gender, age, and education: Do they really moderate online music acceptance? CIBIMA 2011 1–18. 10.5171/2011.959384
Tanirgan E. (2017). Paradiddle. Available online at: https://store.steampowered.com/app/685240/Paradiddle/ (accessed May 15, 2022).
Teo T. (2009). Modelling technology acceptance in education: A study of pre-service teachers. Comput. Educ. 52 302–312. 10.1016/j.compedu.2008.08.006
Teo T. Bahçekapili E. (2012). An assessment of pre-service teachers’ Technology acceptance in Turkey: A structural equation modeling approach. Asia Pacif. Educ. Res. 21 191–202.
Upitis R. Abrami P. C. Varela W. King M. Brook J. (2017). Student experiences with studio instruction. Music Educ. Res. 19 410–437. 10.1080/14613808.2016.1202221
Vamvakousis Z. Perez A. Ramírez R. (2018). “Acquisition of violin instrumental gestures using an infrared depth camera,” in Paper Presented at the 15th Sound and Music Computing Conference Sonic Crossings; 2018 Jul 4-7; Limassol, Cyprus, eds Georgaki A. Andreopoulou A. (Limassol: Cyprus University of Technology).
van der Linden J. Johnson R. Bird J. Rogers Y. Schoonderwaldt E. (2011). “Buzzing to play: Lessons learned from an in the wild study of real-time vibrotactile feedback,” in Paper Presented at the SIGCHI Conference on Human Factors in Computing Systems CHI ’11, (New York, NY: Association for Computing Machinery), 533–542. 10.1145/1978942.1979017
van der Linden J. Schoonderwaldt E. Bird J. (2009). “Towards a real-time system for teaching novices correct violin bowing technique,” in Proceedings of the 2009 IEEE International Workshop on Haptic Audio Visual Environments and Games (Lecco), 81–86. 10.1109/HAVE.2009.5356123
van der Linden J. Schoonderwaldt E. Bird J. Johnson R. (2010). MusicJacket—combining motion capture and vibrotactile feedback to teach violin bowing. IEEE Transac. Instrumentation Meas. 60 104–113. 10.1109/TIM.2010.2065770
van der Schyff D. (2015a). Music as a manifestation of life: Exploring enactivism and the ‘eastern perspective’ for music education. Front. Psychol. 6:345. 10.3389/fpsyg.2015.00345 25870576
van der Schyff D. (2015b). Praxial music education and the ontological perspective: An enactivist response to Music Matters 2. Action Crit. Theory Music Educ. 3 75–105.
Varvarigou M. Creech A. (2021). “Transformational models of music learning,” in Routledge International Handbook of Music Psychology in Education and the Community, eds Creech A. Hodges D. A. Hallam S. (London: Routledge), 169–184. 10.4324/9780429295362-17 36153787
Volta E. Volpe G. (2019). “Automated analysis of postural and movement qualities of violin players,” in Proceedings of the 2019 International Workshop on Multilayer Music Representation and Processing (MMRP) (Milan), 56–59. 10.1109/MMRP.2019.00018
Wallerstedt C. Lagerlöf P. (2011). Exploring turn-taking in children’s interaction with a new music technology. He Kupu 2 20–32.
Welch G. F. (1985). A Schema Theory of How Children Learn to Sing in Tune. Psychology of Music 13 3–18. 10.1177/0305735685131001
Welch G. F. Howard D. M. Rush C. (1989). Real-time Visual feedback in the development of vocal pitch accuracy in singing. Psychol. Music 17 146–157. 10.1177/0305735689172005
Welch G. F. Howard D. M. Himonides E. Brereton J. (2005). Real-time feedback in the singing studio: An innovatory action-research project using new voice technology. Music Educ. Res. 7 225–249. 10.1080/14613800500169779
West D. (2021). Tone and training: Teaching drum kit students on acoustic versus electronic instruments. J. Popular Music Educ. 5 263–279. 10.1386/jpme_00061_1
Williamon A. Ginsborg J. Perkins R. Waddell G. (2021). Performing Music Research: Methods in Music Education, Psychology, and Performance Science. Oxford: Oxford University Press. 10.1093/oso/9780198714545.001.0001 33782627
Wilson P. H. Thorpe C. W. Callaghan J. (2005). “Looking at singing: Does real-time visual feedback improve the way we learn to sing,” in Paper Presented at the Second APSCOM Conference: Asia-Pacific Society for the Cognitive Sciences of Music, South Korea, Seoul, August, 4–6. (Seoul).
Wrape E. R. Dittloff A. L. Callahan J. L. (2016). Gender and musical instrument stereotypes in middle school children: Have trends changed? Update Applic. Res. Music Educ. 34 40–47. 10.1177/8755123314564255
Yoo Y. Choi S. (2017). “A longitudinal study of haptic pitch correction guidance for string instrument players,” in Paper Presented at the 2017 IEEE World Haptics Conference (WHC) (Munich), 177–182. 10.1109/WHC.2017.7989897
Zdzinski S. F. (2021). “The role of the family in supporting musical learning,” in Routledge International Handbook of Music Psychology in Education and the Community, eds Creech A. Hodges D. A. Hallam S. (London: Routledge), 401–417. 10.4324/9780429295362-35 36153787
Zhu J. Xue X. Lu H. (2004). “Musical genre classification by instrumental features,” in Proceedings of the ICMC, San Francisco, CA, 4.
Zhukov K. (2021). “Learning to play an instrument,” in Routledge International Handbook of Music Psychology in Education and the Community, eds Creech A. Hodges D. A. Hallam S. (London: Routledge), 185–200. 10.4324/9780429295362-18 36153787
