Literature Review:
The perception we have about ourselves is referred to as self-concept and it might be stronger in music than in any other domain (Cogdill, 2015). Evidently, such a perception has been shown to be reinforced by the evaluation that an individual will receive from others and even comparing oneself to others. Often, the music self-concept of an individual begins to gain shape when they are in a position to establish their performances in specific tasks. When focusing on a person, it would be essential to consider the fact that students are unique hence make sense of such experiences. In the process, the create beliefs concerning themselves while establishing own learning situations. Such beliefs are mostly domain-specific which means that the intelligence concept for the conversation will imply a person’s musical capability.
The mindset further presents two different views of intelligence including growth mindset and fixed mindset (Dweck, 2006).When children are exposed to the right strategy that would enable them to move forward will give them clear choices when it comes to creating their success. For human brain to adapt, it must be efficiently used to support the ability for lifelong learning.Therefore, it follows that efforts are a core ingredient in the development of musical skills (Cogdill, 2015). Lastly, practice is critical, and students should practice with a definite objective in their mind as they focus on a given task. Music teachers have supported the fact that practicing is important to reinforce the musical skills.
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Music Uniqueness as a Subject
Music has various aspects that distinguish it from other subjects. First, it has been shown that music is one of the uniquely human phenomenon which implies that it helps to define the concept of being human (Lehmann et al., 2007, p. 30). Such an inherent music quality thus makes music different from the rest of the subjects. Additionally, music is apparently a strategy of self-expression which is also exceptional to itself. For motivation of students to take part in music activities to work, there has to be a music class to teach. The teacher will also be required to continuously enlist to encourage the students to register in the music course.
Motivational Differences by Age
According to Cogdill (2015), specific differences apparently moulds motivation and music learning among students particularly the adolescents and children who are also influenced by their beliefs concerning their capability and interests. The beliefs significantly change when a child grows. Majority of young children tend to be highly optimistic in their beliefs in achievement and when they grow their music competence becomes realistic. The student becomes more aware of his ability and compares it to that of others (Hallam, 2009). Based on this, it can be argued that young children are often open to their capability while the adolescents began to close themselves off but tend to improve with age.
Models of Success
Currently, there are practical music teaching instructions which are successful model of motivation and learning (McPherson & O’Neill, 2010). Teachers are aware of the importance of reflecting on their teaching pedagogy and creating strategies that will help to improve continuously. As the students and the society changes, teachers too should adjust and change to be able to adapt to these changing needs. It might be important for teachers to take time to understand the students’ background which would enable them effectively correct with the students. Often, teachers tend to choose the music literature and activities which are apparently interest and ability appropriate to engage learning and foster motivation.
Maintenance/Upgrading Teaching Practices:
Teachers should offer feedbacks that are specifically related to the persistence of student together with his effort in music. Engaging in music outside of school is of paramount importance, and this is in the form of listening to music (Cogdill, 2015). The professions should offer other additional classes for students to learn about and experience music, for instance, creative musicing, songwriting and sound mixing. Beliefs often play a vital role regarding predicting the academic success of children and offer a greater insight into their experiences as a student; therefore, the intervention would benefit the music education profession. Teachers should be encouraged to provide a meaningful and authentic evaluation to inform the students where they are and strategies they require to improve. The teacher should further try to explore the academic requirements of each learner to identify a suitable strategy that would help them become successful in music.
Response
“ Many choral students graduate high school learning only 16 music selections on their part, never receiving specific feedback that could have motivated them to practice or seek new learning ” (p. 55), based on this statement, it is clear that assessment is a critical tool that might have to encourage and motivate the students. It would be essential to provide feedback to the students so that they become motivated to practice. A learning assessment that I have experienced is measuring my progress at the end of learning. Using this assessment method, I always focus on ensuring that I achieve the best result when I complete a given task.
References
Cogdill, S. H. (2015). Applying Research in Motivation and Learning to Music Education: What the Experts Say. Update: Applications of Research in Music Education , 33 (2), 49-57.
Dweck, C. S. (2006). Mindset: The new psychology of success . Random House Incorporated.
Hallam, S., Cross, I., & Thaut, M. (Eds.). (2011). Oxford handbook of music psychology . Oxford University Press.
Lehmann, A. C., Sloboda, J. A., & Woody, R. H. (2007). Psychology for musicians: Understanding and acquiring the skills . Oxford University Press.
McPherson, G. E., & O'Neill, S. A. (2010). Students’ motivation to study music as compared to other school subjects: A comparison of eight countries. Research Studies in Music Education , 32 (2), 101-137.
