Search results for: orchestra

Authors: K. T. Kohler

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Typically in war, force involves physical violence, though those who perpetrated the Holocaust expanded manipulation techniques to include mental violence. This qualitative research study was conducted to understand the effects that the music of the Women’s Orchestra of Auschwitz-Birkenau had on women prisoners during World War II. Over 100 testimonies from the USC Shoah Foundation’s Visual History Archive reveal that the orchestra’s music had a profoundly distressing effect on many of the women in the camp. Led by Gustav Mahler’s granddaughter, Alma Rosé, the orchestra rhythmed the life cycle of the camp, from marching to and from work, Sunday concerts, welcoming transports, to the prisoners’ walk to gas chambers. What surfaced from these testimonies was that the more technical the exposure a woman had to music before camp, the more disturbing its effect. The juxtaposition of beauty with the visible horror of the camp thrust them into an impossible state where suicide became a plausible alternative. By exploiting the Women’s Orchestra, the Nazis made music a critical component of manipulation within Auschwitz-Birkenau.

Keywords: Alma Rosé, Auschwitz-Birkenau, camp life, concert, Holocaust, music, Oświęcim, Poland, women’s orchestra

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Authors: Chananart Meenanan

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The composition Isan Symphonic Variations for Chorus and Orchestra is a musical composition inspired by Isan Folk music tunes. The composer has created the well crafted melodic variations and cultural sound character of the piece based on the Klon Lum Tang Isan Keaw (Green Isan’s short poems). Meanwhile, the poetic lyric has been motivatedly recreated to bring the abundance of Northeastern Thailand region’s sentiment back to life. Moreover, the sound of xylophone (Ponglang), the instruments of the orchestra and the chorus were blended in order to present Isan folk music’s character via the Western musical idiom. The 3 movement of this composition is divided as following: In Movement I (Allegro), the introduction has been represented the uniqueness in Isan folk music’s liveliness by expressing it through the sound of chorus and orchestra. The composer also added the melodious sound flavor by utilizing the variety of the muting sound style on trumpets and horns. In Movement II (Moderato), the aspect of the heterophonic approach music has been implied to the main idea of the entire movement whereby its formatted transformation worked effectively through chorus and the orchestra. In Movement III (Allegretto) the harmonic chromaticism was modified and applied as the symbolic icon of the entire movement. The transparence of Isan cultural sound was perfectly designed to be the highlight of this spectacular episode.

Keywords: Isan, symphonic variations, chorus, orchestra

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Authors: Z. Kurtaslan, H. Hakan Okay, E. Can Dönmez, I. Kuçukdoğan

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Music education aims to bring up individuals most appropriately and to advanced levels as a balanced whole physically, cognitively, affectively, and kinesthetically while making a major contribution to the physical and spiritual development of the individual. The most crucial aim of music education, an influential education medium per se, is to make music be loved; yet, among its educational aims are concepts such as affinity, friendship, goodness, philanthropy, responsibility, and respect all extremely crucial bringing up individuals as a balanced whole. One of the most essential assets of the music education is the training of making music together, solidifying musical knowledge and enabling the acquisition of cooperation. This habit requires internalization of values like responsibility, patience, cooperativeness, respect, self-control, friendship, and fairness. If musicians lack these values, the ensemble will become after some certain time a cacophony. In this qualitative research, the attitudes of music teacher candidates in orchestra/chamber music classes will be examined in terms of values.

Keywords: education, music, orchestra/chamber music, values

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Authors: Prasan Briboonnanggoul

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The major objective of this research study was to explore some aspects of the performance culture of musical folk drama called Ligkey. This study was undertaken in an effect to focus on the specific functions of orchestra which accompanied Ligkey on Thai musical instruments in Chachoengsao Province. The process of study and exploration consisted of questionnaire, interview, a tape recording of an interview and photographs of performances which all of them were analyzed for the finding. The information obtained from the study indicated that Ligkey still received stable attention from people despite lesser performances affected by economics crisis. Almost all of the performances were organized and supported by both the public sector and the private sector. Based on the summary and finding of this study, a) there were ten Ligkey ensemble and ten orchestra which were Mon orchestra, not the precedent and the predecessor known as Thai orchestra; b) a variety of functions performed by musicians must harmonize discipline, punctuality, patience, no negligence, proficiency in performance; c) folklore melodies known as Plengnapad were performed as usual, but folklore melodies and songs known as Plangsongchan got lesser and got a tendency towards extinction because of the plot which corresponded with a market-driven entertainment. Therefore, a purpose-built schema of the preservation of Thai folklore songs was that they should have been recognized by both the performers and the audiences and patronized by the public sector via the government media to publicize the value of popular art form.

Keywords: Pipat Ensemble, Ligkey, Amphur Muaeng, Chachoengsao Province

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Authors: Li Na Zhao, Arieh Warshel

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The design of enzymes is an extremely challenging task, and this is also true for metalloenzymes. In the case of naturally evolved enzymes, one may consider the active site residues as the musicians in the enzyme orchestra, while the metal can be considered as their concertmaster. Together they catalyze reactions as if they performed a masterpiece written by nature. The Lactonase can be thought as a member of the amidohydrolase family, with two concertmasters, Fe and Zn, at its active site. It catalyzes the quorum sensing signal- N-acyl homoserine lactones (AHLs or N-AHLs)- by hydrolyzing the lactone ring. This process, known as quorum quenching, provides a strategy in the treatment of infectious diseases without introducing selection pressure. However, the activity of lactonase is metal-dependent, and this dependence hampers the clinic usage. In our study, we use the empirical valence bond (EVB) approach to evaluate the catalytic contributions decomposing them to electrostatic and other components.

Keywords: enzyme redesign, empirical valence bond, lactonase, quorum quenching

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Authors: Dutica Luminita

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For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement.

Keywords: archetype, chronogenesis, concert, multiphonics

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Authors: Linda Dusman, Linda Baker

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The Bearman Study of Audience Engagement examined the potential for real-time music education during online symphony orchestra concerts. It follows on the promising results of a preliminary study of STEAM (Science, Technology, Engineering, Arts, and Mathematics) education during live concerts, funded by the National Science Foundation with the Baltimore Symphony Orchestra. For the Bearman Study, audience groups were recruited to attend two previously recorded concerts of the National Orchestral Institute (NOI) in 2020 or the Utah Symphony in 2021. They used a smartphone app called EnCue to present real-time program notes about the music being performed. Short notes along with visual information (photos and score fragments) were designed to provide historical, cultural, biographical, and theoretical information at specific moments in the music where that information would be most pertinent, generally spaced 2-3 minutes apart to avoid distraction. The music performed included Dvorak Symphony No. 8 and Mahler Symphony No. 5 at NOI, and Mendelssohn Scottish Symphony and Richard Strauss Metamorphosen with the Utah Symphony, all standard repertoire for symphony orchestras. During each phase of the study (2020 and 2021), participants were randomly assigned to use the app to view program notes during the first concert or to use the app during the second concert. A total of 139 participants (67 in 2020 and 72 in 2021) completed three online questionnaires, one before attending the first concert, one immediately after the concert, and the third immediately after the second concert. Questionnaires assessed demographic background, expertise in music, engagement during the concert, learning of content about the composers and the symphonies, and interest in the future use of the app. In both phases of the study, participants demonstrated that they learned content presented on the app, evidenced by the fact that their multiple-choice test scores were significantly higher when they used the app than when they did not. In addition, most participants indicated that using the app enriched their experience of the concert. Overall, they were very positive about their experience using the app for real-time learning and they expressed interest in using it in the future at both live and streaming concerts. Results confirmed that informal real-time learning during concerts is possible and can generate enhanced engagement and interest in classical music.

Keywords: audience engagement, informal education, music technology, real-time learning

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Authors: Xin Wang, Yuanzhong Wang

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Pipa is one of the most important Chinese traditional plucked instruments, but its directivity has never been measured systematically. In western, directivity of loudness for western instruments is deeply researched through analysis of sound pressure level, whereas the directivity of timbre is seldom studied. In this paper, a new method for directivity of timbre was proposed, and horizontal directivity patterns of loudness and timbre of Pipa were measured. Directivity of Pipa radiation was measured in an anechoic room. The sound of Pipa played by a musician was recorded simultaneously by 32 microphones with Pipa in the center. The measuring results were examined through listening test. According to the measurement of Pipa directivity radiation, we put forward the best localization of Pipa in the Chinese traditional orchestra and the optimal recording region.

Keywords: directivity, Pipa, roughness, listening test

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Authors: Anar Koli

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After the Paris agreement in 2015, a comprehensive initiative both from the developed and developing countries towards the adaptation to climate change is emerging. The Global Environmental Facility (GEF), which is financing a global portfolio of adaptation projects and programs in over 124 countries is playing a significant role to a new financing framework that included the concept of “climate-resilient development”. However, both the adaptation and sustainable development paradigms remain continuously contested, especially the role of the multilateral institutions with their technical and financial assistance to the developing world. Focusing on the adaptation initiatives of the GEF, this study aims to understand to what extent the global multilateral institutions, particularly the GEF is contributing to the climate-resilient development. From the political ecology perspective, the argument of this study is that the global financial framework is highly politicized, and understanding the contribution of the global institutions of the global climate change needs to be related both from the response and causal perspectives. A holistic perspective, which includes the contribution of the GEF as a response to the climate change and as well the cause of global climate change, are needed to understand the broader environment- political economic relation. The study intends to make a critical analysis of the way in which the political economy structure and the environment are related along with the social and ecological implications. It does not provide a narrow description of institutional responses to climate change, rather it looks at how the global institutions are influencing the relationship of the global ecologies and economies. This study thus developed a framework combining the global governance and the political economy perspective. This framework includes environment-society relation, environment-political economy linkage, global institutions as the orchestra, and division between the North and the South. Through the analysis of the GEF as the orchestra of the global governance, this study helps to understand how GEF is coordinating the interactions between the North and the South and responding the global climate resilient development. Through the other components of the framework, the study explains how the role of the global institutions is related to the cause of the human induced global climate change. The study employs a case study based on both the quantitative and qualitative data. Along with the GEF reports and data sets, this study draws from an eclectic range of literature from a range of disciplines to explain the broader relation of the environment and political economy. Based on a case study on GEF, the study found that the GEF has positive contributions in bringing developing countries’ capacity in terms of sustainable development goal, local institutional development. However, through a critical holistic analysis, this study found that this contribution to the resilient development helps the developing countries to conform the fossil fuel based capitalist political economy. The global governance institution is contributing both to the pro market based environment society relation and, to the consequences of this relation.

Keywords: climate change adaptation, global environmental facility (GEF), political economy, the north -south relation

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Authors: Weronika Molińska, Joanna Rajchert

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A musical career is not only about the quality of performing or playing music. Musicians can choose from a variety of specializations and career paths. The described study focused on psychological traits which relate to a solo career (performing individually or as a leader) or performing as part of a chamber ensemble, ensemble, choir, or orchestra. The hypothesis predicted that narcissism and self-efficacy would be higher in musicians performing solo. The study involved 124 professional musicians: instrumentalists and soloists, singers (n = 59), and ensemble instrumentalists and singers (n = 65). The results confirmed the hypothesis and showed that soloists were higher on self-efficacy and narcissism. In particular, soloists were higher on leader characteristics, demand for admiration, and vanity than musicians performing in ensembles. The result of these studies is a good introduction to a broader project answering the questions of what can increase or decrease the musician's sense of self-efficacy and whether the decreased self-efficacy could induce musicians to give up their solo careers.

Keywords: self-efficacy, musicians, musical profession, narcissism, soloists

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Authors: Christel Elisabeth Bonin

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The score of the 2 ½ hour ‘magnum opus’ named ‘Epitaph’ was reconstructed 10 years after Charles Mingus’ death in 1979. Most of the movements were probably composed in the late 1950s. As the finale was missing, Gunther Schuller, the conductor of the world premiere in 1989, decided to improvise one with the orchestra, using Mingus as a guide. The aim of this paper is to analyze ‘Main Score Part I ‘ and ‘Main Score Part II’ and to look into the score of Mingus’ reconstructed compositions under particular observation of the new finale, ‘Main Score Reprise’. There, Mingus left instructions for a return to the opening section of ‘Epitaph’. By examining ‘Epitaph’ in the historical context of Jazz between 1955 to 1967 and the 1980s and comparing the finale of ‘Epitaph’, created - or better said: improvised - by the musicians of the 1989 world premiere with the opening section, at first it will be interesting to discover at which point Gunther Schuller followed Mingus creative process and brought it to life in 1989. Finally, it will be speculated if Charles Mingus composition still represents a foresight of Jazz nearly 30 years after its creation.

Keywords: epitaph, Charles Mingus, Gunter Schuller, jazz reception, bebop, hardbop, Duke Ellington, black, brown and beige, African-American music, free-jazz

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Authors: Michael Alsop, Hannah Heitz, Prathiba Natesan Batley, Marion Hambrick, Jason Immekus

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The impacts of cultural engagement on individuals’ health and well-being have been well documented. The purposes of this study were to create an instrument to measure wellbeing constructs, including cultural wellbeing, and explore the relationships between cultural wellbeing and other wellbeing constructs (e.g., emotional, social, physical, spiritual). A sample of 358 participants attending concerts performed by a civic orchestra in the southeastern United States completed a questionnaire designed to measure eight wellbeing constructs. Split-half exploratory, confirmatory factor analyses resulted in the retention of four wellbeing constructs: general, emotional, financial, and cultural. Structural equation modeling showed statistically significant relationships between cultural wellbeing and other wellbeing constructs. In addition to the indirect effect of financial wellbeing on emotional and general wellbeing through cultural wellbeing, there were also direct statistically significant relationships (i.e., moderator). This highlights the importance of removing financial barriers to cultural engagement and the relationship between cultural wellbeing on emotional and general wellbeing. Additionally, the retained cultural wellbeing items focused primarily on community features, indicating the value of community-based cultural engagement opportunities.

Keywords: cultural wellbeing, cultural engagement, factor analysis, structural equation modeling

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Authors: Yana Gorina, Olga Lopatina, Elina Tsigeman, Larisa Mararitsa

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The ability to act in concert with others, the so-called sensorimotor synchronisation, is a fundamental human ability that underlies successful interpersonal coordination. The manifestation of accuracy and plasticity in synchronisation is an adaptive aspect of interaction with the environment, as well as the ability to predict upcoming actions and behaviour of others. The ability to temporarily coordinate one’s actions with a predictable external event is manifested in such types of social behaviour as a synchronised group dance to music played live by an orchestra, group sports (rowing, swimming, etc.), synchronised actions of surgeons during an operation, applause from an admiring audience, walking rhythms, etc. Both our body and mind are involved in achieving the synchronisation during social interactions. However, it has not yet been well described how the brain determine the external rhythm and what neuropeptides coordinate and synchronise actions. Over the past few decades, there has been an increased interest among neuroscientists and neurophysiologists regarding the neuropeptide oxytocin in the context of its complex, diverse and sometimes polar effects manifested in the emotional and social aspects of behaviour (attachment, trust, empathy, emotion recognition, stress response, anxiety and depression, etc.). Presumable, oxytocin might also be involved in social synchronisation processes. The aim of our study is to test the hypothesis that oxytocin is linked to interpersonal synchronisation in a pair of strangers.

Keywords: behavior, movement, oxytocin, synchronization

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Authors: Mina Fenercioglu

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This study discusses a Turkish music education model similar to El Sistema. The Music for Peace (Baris icin Muzik) program, founded in 2005 by an idealist humanitarian in Istanbul, started as a pilot project with accordion and then with flute in ensembles at the Ulubatlı Hasan Primary School where mostly underprivileged children attend. The program gives complimentary music lessons particularly to deprived children, who at the beginning were prone to crime. With music education, the attitudes of the children turn to a positive aspect. The aim of this initiative provides social and cultural awareness, which serves the same mission as the world known El Sistema. In 2009, the Music for Peace project received Deutsche Bank Urban Age Award, which is a prize presented to enterprises that improve the quality of life in urban environment. Since 2010, the Music for Peace continues the symphonic music education at its own place. In 2011, Music for Peace gained foundation status, and started to accept donations as musical instruments for children who attend the courses. On July 2013, IKSV (Istanbul Culture and Arts Foundation) became the institutional partner of Music for Peace Foundation and in June 2014, the foundation signed up to join El Sistema’s global program. Now in 2015, the foundation has three ensembles: the Music for Peace Orchestra, which consists of two orchestras practicing and performing in different levels; the Music for Peace Chorus, which has joined Istanbul International Polyphonic Choruses Festival; and the recently established Music for Peace Brass Ensemble.

Keywords: El Sistema, music education, music for peace, socialization

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Authors: Khrystyna Zai

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This research delves into the profound impact of Ukrainian musical traditions on the life and works of the renowned composer Sergei Prokofiev. Sergei Prokofiev's formative years in Ukraine, particularly in Sontsivka(Eastern Ukraine), allowed him to immerse himself in the local music. He encountered Ukrainian folk songs and dances, which left an indelible mark on his musical sensibilities. With a focus on the early 20th century, a period of significant cultural transformation in both Ukraine and Europe, this study examines how Prokofiev's exposure to Ukrainian folk music, its melodic motifs, and rhythmic patterns influenced his compositions. Prokofiev’s works showcase his deliberate efforts to fuse Ukrainian elements with his distinctive modernist style. This study analyzes Prokofiev's engagement with Ukrainian themes in his music, such as the "Semen Kotko”, “The Love of Three Oranges”, “On the Dnieper”, “Scythian Suite”, “Sinfonia Concertante" for cello and orchestra, "Sonata No. 9,", “Partisans in the steppes of Ukraine” (where Prokofiev uses texts in Ukrainian). The scientific work mentions his interactions and collaborations with Ukrainian musicians and cultural figures during Prokofiev’s career. Notably, his association with Ukrainian pianist Sviatoslav Richter and conductor Kirill Karabits led to interpretations of his compositions with a Ukrainian perspective. This research illuminates the nuances of cross-cultural influences in Prokofiev's oeuvre, contributing to a deeper understanding of the interplay between national identities and artistic expression during a pivotal period in history, based on the fact that the composer himself considered Ukraine to be his homeland, calling himself “steppe boy”.

Keywords: florida atlantic university, ukrainian music, ukrainian composer, sergei prokofiev

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Authors: Elena Roadhouse

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“When it take the kitchen middens from the latest canning session out to the compost before going to bed, the orchestra is in full chorus. Night vapors and scents from the earth mingle with the fragrance of honeysuckle nearby and basil grown in the compost. They merge into the rhythmic pulse of night”. William Longgood Carl Jung did not specifically recognize scent and olfactory function as a window into the psyche. He did recognize instinct and the natural history of mankind as key to understanding and reconnecting with the Psyche. The progressive path of modern humans has brought incredible scientific and industrial advancements that have changed the human relationship with Mother Earth, the primal wisdom of mankind, and led to the loss of instinct. The olfactory bulbs are an integral part of our ancient brain and has evolved in a way that is proportional to the human separation with the instinctual self. If olfaction is a gateway to our instinct, then it is also a portal to the soul. Natural aromatics are significant and powerful instruments for supporting the mind, our emotional selves, and our bodies. This paper aims to shed light on the important role of scent in the understanding of the existence of the psyche, generational trauma, and archetypal fragrance. Personalized Natural Perfume combined with mindfulness practices can be used as an effective behavioral conditioning tool to promote the healing of transgenerational and individual trauma, the fragmented self, and the physical body.

Keywords: scentscape of the soul, psyche, individuation, epigenetics, depth psychology, carl Jung, instinct, trauma, archetypal scent, personal myth, holistic wellness, natural perfumery

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Authors: Dan Wang, Qing Ma, Xiaodan Wang, Tianjiao Qi

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The sound of peddling in Beijing, also called “yo-heave-ho” or “cry of one's ware”, is a unique folk culture and usually found in Beijing hutong. For the civilians in Beijing, sound of peddling is part of their childhood. And for those who love the traditional culture of Beijing, it is an old song singing the local conditions and customs of the ancient city. For example, because of his great appreciation, the British poet Osbert Stewart once put sound of peddling which he had heard in Beijing as a street orchestra performance in the article named "Beijing's sound and color".This research aims to collect and integrate the voice/photo resources and historical materials of sound concerning peddling in Beijing by digital technology in order to protect the intangible cultural heritage and pass on the city memory. With the goal in mind, the next stage is to collect and record all the materials and resources based on the historical documents study and interviews with civilians or performers. Then set up a metadata scheme (which refers to the domestic and international standards such as "Audio Data Processing Standards in the National Library", DC, VRA, and CDWA, etc.) to describe, process and organize the sound of peddling into a database. In order to fully show the traditional culture of sound of peddling in Beijing, web design and GIS technology are utilized to establish a website and plan holding offline exhibitions and events for people to simulate and learn the sound of peddling by using VR/AR technology. All resources are opened to the public and civilians can share the digital memory through not only the offline experiential activities, but also the online interaction. With all the attempts, a multi-media narrative platform has been established to multi-dimensionally record the sound of peddling in old Beijing with text, images, audio, video and so on.

Keywords: sound of peddling, GIS, metadata scheme, VR/AR technology

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Authors: Pansak Vandee

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The research aims to study the background and format of Tableau Vivant suite song and the singing style of Kru Luen SunTharawatin. The data is gained by content analysis and the in-depth interview from experts on Tableau Vivant suite song, as well as an analysis on singing style of Kru Luen SunTharawatin. The research results are as follows: (1) The Tableau Vivant suite song first appeared in the reign of King Rama V, composing by Prince Naris, for paralleling with the still picture presentation offered to Crown Prince Maha Vajirunahit, which was adapted from the French performance Tableau Vivant. The performance is assigned to perform by the Crown Prince’s younger brother and other young royal siblings. The 8 suite songs were played by archeological Thai orchestra (Piphat duek dam ban) and were restored once again in the reign of King Rama VII for the pleasure of the king, being sung by the Royal Entertainment Department Officers. (2) The format of Tableau Vivant suite song is a short series song, composing a double strand of 4 to 6 songs with 6 suite songs in 8 suites, in the form of a combination of suite lyric – Unnarut (the play narrated by King Rama I) and Phra Pen Chao (the homage to Brahman gods in Na Phat song); and suite song – Khom Dam Din with Khmer tone; the Three Kingdoms with Chinese tone; Rajadhirat with Burmese and Mon tone; Nitra Chakrit (the Arabian Night) with Arabian tone; Cinderella with Western tone; Phra Lor in Laotian tone. (3) The Tableau Vivant suite singing style of Kru Luen SunTharawatin is based on Phra-ya Sanor Duriyang (Cham SunTharawatin) style, which was newly created for Kru Luen, his daughter. The five suite songs Khom Dam Din, the Three Kingdoms, Rajadhirat, Nitra Chakrit (the Arabian Night), Cinderella, Phra Lor have their distinguish tones according to their language accents. The songs were recorded in the album of the Royal Institute of Thailand in 1931; but, unfortunately, the entire album was completely destroyed during the World War II in Germany.

Keywords: Krue Luen Sun Tharawatin, tableau vivant, singing style, suite song

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Authors: Johanna Gamboa-Kroesen

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School connectedness, or the sense of belonging at school, is a critical factor in adolescent health, academic achievement, and socioemotional well-being. In educational research, the construct of the psychological sense of school membership is often referred to as school engagement, school bonding, or school attachment. While current research recognizes school connectedness as integral to a child’s mental health and academic success, many schools have yet to develop adequate interventions to promote a child’s overall sense of belonging at school. However, prior researches in music education indicates that, among other benefits, music classrooms may provide an environment where students feel they belong. While studies indicates that music learning environments, specifically performing ensemble learning environments, instill a sense of school connectedness and, more broadly, contribute to a student’s socio-emotional development, there has been inadequate research on how the actions of music teachers contribute to this phenomenon. The purpose of this study was to examine the relationship between school connectedness and music learning environments with middle school music students enrolled in a school-based music ensemble. In addition, the study aimed to provide a descriptive analysis of the instructional practices that music teachers use to promote an inclusive environment in their classrooms and an overall sense of belonging in their students. Using 191 student surveys of school membership, student reflective writings, 5 teacher interviews, and 10 classroom observations, this study examined the relationship between 7th and 8th-grade student-reported levels of connectedness within their school-based music ensemble and teacher instructional practice. The study found that students reported high levels of positive school membership within their music classes. Students who participate in school-based orchestra ensembles reported a positive change in emotional state during music instruction. In addition, evidence in this study found that music teachers use instructional practices to build connectedness through de-emphasizing competition and strengthening a student’s sense of relational value within their music learning experience. The findings offer implications for future music teacher instruction to create environments of inclusion, strengthen student-teacher relationships, and promote strategies that enhance student connection to school.

Keywords: music education, belonging, instructional practice, school connectedness

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