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God/Inspector “What is Hidden, Does Appear”: A Comparative Analysis of All-Seeing and Panopticon in Hymns for Trial Service and Bentham’s Vision of the Chapel
No full textThis article explores the interplay between theological and utilitarian conceptions of omniscience and moral accountability through a comparative analysis of hymns from Swedish trial services (1686–1989) and Jeremy Bentham’s writings on surveillance architecture, particularly the chapel, examining how they illuminate contrasting frameworks for transforming human behavior under an omniscient gaze. While Lutheran hymns depict God’s omniscience as a transcendent, relational presence fostering repentance and spiritual renewal through divine grace, Bentham’s panopticon reimagines omniscience as a secular mechanism of behavioral regulation, achieved through perpetual surveillance. The analysis identifies thematic as well as social parallels—such as the transformative impact of observation and the role of moral reform—while highlighting key divergences. Hymns emphasize voluntary spiritual transformation anchored in divine mercy, whereas the panopticon enforces conformity through external pressure and institutional control. Theological reflections on omniscience, omnipresence, and justice in the hymns underscore a relational and redemptive paradigm, in contrast to the panopticon’s utilitarian focus on societal order and efficiency. This study contributes to previous research and the interdisciplinary discourse on surveillance, ethics, and religion, revealing how theological and secular paradigms of observation shape divergent understandings of justice, moral accountability, and human transformation
In Memoriam: Dra Ana Lucía Frega (1935 - 2025)
No full textThese Proceedings are dedicated to Dra Ana Lucía Frega (1935 - 2025)
Dr Ana Lucía Frega was a pioneer of music education research in Argentina and a visionary teacher, researcher, and leader whose influence transformed music education across Latin America and beyond.
A dedicated supporter of the International Society of Music Education, she served as ISME President from 1996 to 1998, playing an instrumental role in the development of the Regional ISME Conferences. She was also deeply committed to the ISME Research Commission, attending every Research Commission seminar since its inception and serving as both Commissioner and Chair from 1986 to 1988, from the Frankfurt Seminar through to the Melbourne Seminar in 1988.
Dr Frega remained an active and committed presence with ISME until the very end of her life. She attended the 2024 event virtually, participating in all sessions—including those held in the middle of the night in her home city of Buenos Aires.
Through her scholarship, leadership, and unwavering commitment to the field, she supported and inspired generations of music educators and music education researchers. Her legacy will endure through her extensive publications and through the many individuals and communities shaped by her work.
_______________________
La Dra. Ana Lucía Frega fue una pionera de la investigación en educación musical en la Argentina y una docente, investigadora y referente visionaria cuya influencia transformó la educación musical en América Latina y más allá.
Firme impulsora de la Sociedad Internacional para la Educación Musical (ISME), se desempeñó como Presidenta de ISME entre 1996 y 1998, cumpliendo un rol clave en el desarrollo de las Conferencias Regionales de ISME. También mantuvo un profundo compromiso con la Comisión de Investigación de ISME, participando en todos los Seminarios de la Comisión desde su creación y ejerciendo los cargos de Comisionada y Presidenta entre 1986 y 1988, desde el Seminario de Frankfurt hasta el de Melbourne en 1988.
La Dra. Frega permaneció activa y comprometida con ISME hasta el final de su vida. Participó de manera virtual en el evento de 2024, asistiendo a todas las sesiones —incluidas aquellas que se desarrollaron en plena madrugada en su ciudad de Buenos Aires—.
A través de su producción académica, su liderazgo y su compromiso inquebrantable con el campo, acompañó e inspiró a generaciones de docentes e investigadores en educación musical. Su legado perdurará tanto en sus numerosas publicaciones como en las múltiples personas y comunidades que fueron profundamente marcadas por su trabajo
Latino Immigrant Children\u27s Acculturative Stress in Music Classes: A Structural Equation Model
No full textUsing structural equation modeling, this study explored how social support (in and through music) and music self-perceptions affect the relationship between acculturation and acculturation outcomes (i.e., acculturative stress) in music classes. Psychological research has shown that the process of acculturation (adjustment to a new environment) determines psychological outcomes, such as acculturative stress. The relationship between acculturation and acculturation outcomes is affected by a number of mediator variables, such as social support and self-perceptions. However, no studies have addressed how the interplay of social support in and through music (from parents, peers, and teachers) and music-self-perceptions affects immigrant children’s psychological states in formal learning environments. Questionnaire data were collected among immigrant students (N = 501) aged 6 to 11 from two Title I elementary schools in a large city in the Southeastern United States. Findings partially confirmed the research hypotheses. As expected, higher levels of American acculturation were related to less acculturative stress in music classes. Contrary to expectations, higher levels of Latino acculturation predicted higher levels of acculturative stress. In addition, music support and music self-perceptions mediated the relationship between American and Latino acculturation and acculturative stress in music classes. However, contrary to expectations, acculturative stress in music classes increased due to the combined effects of social support and self-perceptions. Overall, this study complemented the descriptive accounts of music education research by providing an explanatory perspective on acculturation and musical interactions across immigrant childhood. While focusing on the conditions of immigrant students, this study sheds light on the importance of designing intervention programs that foster immigrant children’s psychological adjustment in music classes
Where Is Mi Gente? Codeswitching (Afro)Latinidad in the Music Classroom
No full textMusical codeswitching (CS) entails mixing musical ideas and genres. The term CS originated in linguistics, based on language alternations attested in bilinguals. Switches in sociocultural behaviors also now receive scholarly attention as CS. The current multiple case study explores CS domains (music, language, behavior) in the context of music education programs, where CS remains under-researched. This study also fills a gap by examining historically underrepresented individuals´ (HURIs) participation in music education. Here, a CS-based account provides a deeper understanding of the complex sociocultural capital, linguistic resources, and lived experiences that HURIs navigate. As part of an interpretive qualitative study design, semi-structured interviews were carried out with a HURI subpopulation (bilingual, AfroLatina/o/x faculty and students) in music education. Findings show participants perceive CS to be mandatory for accessing dominant U.S. music school culture. Additional findings reveal HURIs must master CS in musical, linguistic, and behavioral domains to avoid negative outcomes, yet sustained multi-CS scenarios may have psychological and even physical costs. Insights from CS are thus critical for pinpointing institutional barriers to greater HURI involvement in music education
The Role of Music Teachers as Creative Educators: A Case Study of Composing a Piece
No full textThis study examined how high school students make musical pieces using their own creativity and teachers’ comments while composing a short musical piece. Five research questions were addressed:
1. How do high school students find their creativity and make up original musical pieces?
2. What kind of and how do music teachers give their advice to students?
3. Are there any differences in the students’ processing?
4. How does a professional composer assess the students’ outcomes and their creativity? 5. How do we cultivate the students’ musical creativity in a school curriculum?
Ten male and 21 female Japanese high school students between the ages of 15 and 16 years participated in the study. All participants had one music lesson per week in high school and they were required to join the composition class titled “Compose a new interlude of our school song.“ The musical knowledge and skill of the students varied from beginner to advanced. It should be noted that some female students had private music lessons beyond the outlined curriculum. Three composing lessons were organized to cultivate personally meaningful creativity of the students (mini-c), based on five structural guidelines. Whole lessons were recorded for analysis, every worksheet and sketch by the students was submitted, and open-ended interviews were informally conducted by the authors. Students’ completed musical works were collected and evaluated by two professional composers. Results of this study indicated that the five structural guidelines had a significant effect on the students’ creative progression. Many students managed to recreate their own visions and create novel sounds through the teacher’s advice and comments. Since excellent evaluations were given by professional composers (p < .01), it is believed that composing music would be effective in cultivating students’ musical creativity
A Longitudinal Study of “Onchi” Consciousness and Inferiority Complex in Japanese Junior High Schools
No full textIn Japan, there is a prevalent inclination toward experiencing “onchi” consciousness, a colloquial term primarily associated with singing off-key. A survey of 680 Japanese junior high school students in 2017, as reported by Obata (2019), disclosed that 50.2% of students experience onchi consciousness. As such, this study’s purpose is to investigate the evolution of onchi among Japanese junior high school students over a three-year span, particularly emphasizing gender disparities. The study collected 148 responses from 74 boys and 74 girls from junior high schools affiliated with National Universities. Questionnaires were administered on three occasions: during the first year (November 2019), the second year (November 2020), and the third year (October 2021). Notably, the first-year survey was conducted prior to the outbreak of the COVID-19 pandemic, whereas the subsequent surveys took place during the pandemic. The collective percentage of those who identified as “very onchi” or “a little onchi” increased from 44.6% in the first year to 56.7% in the second year for boys. A t-test comparing these two grades demonstrated a statistically significant difference, (t(73) = 2.28, p <.05). Girls also experienced an increase, from 36.5% to 46.0%, over the same period, but a t-test comparing the two years revealed no statistically significant difference (t(73) = 0.78, p >.05). Concerning the relationship between onchi consciousness in second-year boys and their vocal changes, a t-test comparing those who responded “My voice hasn’t changed yet” with those who stated “My voice is changing now” showed no significant difference (t(35) = 1.47, p >.05). Similarly, there was no significant difference between those who responded “My voice is changing now” and those who responded “My voice has already changed” (t(53) = 1.59, p >.05), suggesting that the perception of onchi consciousness was not linked to voice changes. However, a question posed in the second year revealed that 54.0% of boys and 27.1% of girls felt that they encountered greater difficulty in vocalizing while singing during the COVID-19 pandemic compared to before. A significant gender disparity emerged from this finding (t(146) = 2.95, p <.01). This implies that the heightened challenge faced by boys in vocalizing during the pandemic may be connected to the gender differences observed in onchi consciousness
Children’s Playground Musical Games as a Means of Intercultural Interaction and Communication: A Pilot Study
No full textThere is evidence that music helps mentally traumatized children by providing them with physical and emotional release (Osborne, 2009). During a study conducted at a refugee camp in Greece (Millar & Warwick, 2018), young people who were involved in music lessons and workshops witnessed a positive effect on their wellbeing. Music’s ambiguous meanings can also be powerful in situations of social uncertainty (Cross & Woodruff, 2009). Flexibility in playground musical games allows players to adjust rhythm, movements, and text to suit their needs, interests, and values (Saltari, 2022). In related studies (Marsh, 2017; Marsh & Dieckman, 2017), musical games were used as a means of social integration for refugee children who developed agency and a sense of belonging as they moved between home and host cultures during their performances.
A pilot study is currently taking place on the Greek island of Chios with refugee and local children, using playground musical games as a means of self-expression, interaction, and communication. The study investigates the possibilities of establishing intercultural conversations among multicultural child populations through playground musical games. This intervention follows an action research methodology. It is democratic because it allows for self and group reflection in action, encourages inclusion, and enables agency (Cohen et al., 2007). Also, it is an ecologically sustainable practice as children use solely their bodies and voices. The playground games that are used in this study have been previously collected during an extensive ethnographic study in Greek school playgrounds (Saltari & Welch, 2023). Musical games with nonsense syllables are appropriate for such a context and contribute to overcoming challenges in oral communication with speakers of different languages.
Study participants are 6- to 10-year-old refugee children from Afghanistan, Syria, and Somalia, as well as children who attend a primary school in Chios. A number of flexible data collection methods are employed in order to understand participants’ experience and capture their voices: a questionnaire, a focus group, and a researcher’s journal. In addition, one music educator and co-researcher carries out field observation, provides feedback, and will participate in a semi-structured interview at the end of the study.
The project is expected to have positive effects on the participant children and foster skills for personal exploration. Educators face many challenges as financial support is disproportionate to the increasing number of refugee children in various educational environments. A "pedagogy of welcome" (Gaywood et al., 2020) can be achieved through the use of musical games as a means for developing democratic and ecological sustainable intercultural practices
Parallel-Form Reliability of the Online Primary Measures of Music Audiation: A Pilot Study
No full textStudent assessments provide educators insight into individual student learning needs and can guide educators in implementing instruction. Formative assessments, including those that measure music aptitude, may be used to explore where students are developmentally. Gordon’s Primary Measures of Music Audiation (PMMA) (1979b) was created to measure the developmental music aptitude of primary school students. To date, there has been no attempt to measure the parallelform reliability of the online version of the PMMA relative to the paper version. Therefore, the purpose of the current pilot study was to (1) determine if our procedures and analyses were feasible; and (2) reveal preliminary results regarding the reliability of the online PMMA with kindergartners. Subsequent analyses for the full study will include kindergarten, first, and second grade children.
Two teachers in separate parts of the United States administered the PMMA across five weeks to kindergartners (n = 68). PMMA administration was counterbalanced to control for order effects. Overall, raw scores were higher for paper versions of the Tonal (M = 28.12, SD = 4.86) and Rhythm subtests (M = 27.54, SD = 4.95) than for the online version subtests (M tonal = 26.28, SD = 5.16; M rhythm = 23.43, SD = 4.39). Using parallel-form reliability, we found that the paper and online versions of the PMMA were moderately associated (r = 0.3–0.46), except for a small association between paper and online normed-referenced rhythm scores (r = 0.24). Observations of mean differences between the two versions indicated no regression effect from testing. Very few participant scores remained the same. Of the 68 kindergartners, 10.3% (n = 7) had the same online raw tonal scores as paper raw tonal scores, none had the same online raw rhythm scores as paper raw rhythm scores, and 5.88% (n = 4) had the same online raw composite scores as paper raw composite scores. Regarding the feasibility of our testing procedures, we found that they were mostly appropriate, albeit problematic for kindergarteners and their teachers who administered the PMMA. Revisions for the full study will include pattern-marking and teacher training videos. Our preliminary interpretation of the pilot study results indicated that the online version of the PMMA may not be a feasible alternative option for kindergartners due to problematic reliability as well as internal validity concerns including instrumentation and environment. Further exploration of the PMMA is warranted
Acknowledgements
No full textAcknowledgements
These Proceedings are dedicated to the memory of Dr Ana Lucía Frega, a pioneering scholar in music education and a long-standing leader within the International Society for Music Education.
It has been a pleasure and an honour to serve as Chairs of the Research Commission (2022–24). We are deeply indebted to our fellow Commissioners, as well as to the ISME leadership and staff, for their support of this Pre-Conference Seminar. Creating space to exchange knowledge about research methodologies and findings is imperative to the continued advancement and sustainability of our music education practices, and we are grateful to all those who helped make the Conference such a success. Thank you to our fellow commissioners for this biennium:
ISME Research Commissioners 2022–2024
Julia Brook, Co-Chair, Canada representing Oceania and Canada (2018–2024)
Ruth Brittin, Co-Chair, USA representing USA (2018–2024)
Graham Welch, UK, representing UK and Africa (2020–2026)
Hiromichi Mito, Japan, representing Asia (2022–2028)
Ramiro Limongi, Argentina, representing Latin and South America (2020–2026)
Suvi Saarikallio, Finland, representing Europe (2022–2028)
Honorary Life Members of the ISME Research Commission
Dr James Carlsen (posth.)
Dr Clifford Madsen
We would especially like to express our sincere gratitude to our host institution, the University of Jyväskylä, and to Suvi Saarikallio and Markku Pöyhönen for their generous hospitality. Having hosted our 2020 virtual commission, they once again welcomed us—this time in person—and facilitated the delivery of the first Research Commission hybrid conference. We thank them for their warm hospitality to both our in-person and virtual delegates.
We are also grateful for the support of the ISME leadership and staff: Prof. Bo-Wah Leung (president), Ryan Zelner (ISME CEO), and Shree Lakshmi Vaidyanathan (ISME Communications). We greatly appreciate your logistical guidance and your ongoing support of the Research Commission.
We would also like to express our gratitude to the Proceedings development team, including our Associate Editor, Dr Wynnpaul Varela, Naimul Karim (PhD candidate), and the team at Queen’s University library, who have helped us set up our online journal for these proceedings.
Finally, we extend our thanks to the international group of music education scholars whose work is represented in these proceedings. Without your contributions, there would be no Research Commission. Thank you for your time and dedication.
Dust, Air, and Resistance: Multisensory Aesthetics Against Surveillance in Zia Haider Rahman’s In Light of What We Know
No full textThis article argues that literature offers distinctive ways of theorizing and resisting surveillance by foregrounding multisensory experience, materiality, and human–nonhuman entanglement. Within surveillance studies, resistance is often framed through visual or data-centric practices such as sousveillance, stealth, or counter-monitoring. By contrast, literary texts can disrupt surveillance at the level of perception itself. Focusing on Zia Haider Rahman’s In the Light of What We Know (2014), the article proposes a multisensory ecological aesthetics of resistance that shifts attention away from visibility and human agency toward atmosphere, ordinary matter, and nonhuman actors. Through recurring motifs of dust, air, and smell, the novel challenges colonial and anthropocentric regimes that seek to render environments and bodies fully legible. These sensory and material elements generate forms of opacity and relationality that exceed the visual and informational logics of surveillance. By reading literature as a multisensory medium that reconfigures how surveillance is perceived and contested, the article shows how literary analysis expands surveillance studies beyond visuality and toward an ecological understanding of resistance