by Carol W.

Benton

Promoting
Metacognition in
Music Classes
Abstract: Metacognition is a type of thinking in which learners think about their own
cognitive processes. Because it transcends disciplines and grade levels, metacognition is
useful in many educational settings and can be transferred from the music classroom to
other subject areas. Music educators can promote metacognition by designing and imple-
menting instructional strategies that encourage music students to engage in reflection,
self-assessment, and think-aloud sessions. This article offers several instructional strat-
egies for promoting metacognition and suggestions for reflective writing prompts and
self-assessment rubrics. Also included are instructions and questions for think-aloud ses-
sions with learning partners in music classes. Desired results of promoting metacognition
among students include increased self-reliance and independent learning.
Learning how to think
Keywords: instructional strategies, metacognition, music education, reflection, self-assessment,
is one of the greatest think-aloud, thinking.
assets of a well-
rounded education,
and music teachers
W
hether you are a director of instru- or sing well) could benefit from developing
mental or choral ensembles in a higher level of cognitive involvement in
can be at the forefront a high school or middle school, your music classes.
a general music teacher, or a keyboard, Music educators can help students
of teaching students theory, or music appreciation teacher, you develop thinking skills that will enhance
how to reflect about probably share some common goals and their cognitive engagement in music class
concerns about learning processes and out- and open their minds to higher-level think-
their thinking. comes for students in your classes. Perhaps ing skills.1 Through the use of instructional
you believe that some of your students are strategies that promote metacognition,
not as mentally/cognitively engaged in your music educators can
music classes or rehearsals as you would
like them to be. You might imagine that stu- •• increase students’ cognitive engagement
dents would progress more successfully if in music-making,
you could teach them to be more self-aware •• help students to become lifelong music-
and self-reliant in their approach to learning makers by developing necessary thinking
and practicing music. Or, maybe you sense strategies for musical self-reliance, and
that even some of your best students (those •• teach thinking skills in the music class-
who follow your directions and who play room that will transfer to other disciplines.
Copyright © 2013 National Association
for Music Education
DOI: 10.1177/0027432113500077 Carol W. Benton is an assistant professor of music education at Armstrong Atlantic State University, Savannah, Georgia. She can
http://mej.sagepub.com be contacted at carol.benton@armstrong.edu.

52 Music Educators Journal December 2013

Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
What Is Metacognition?
Educators began to discuss metacogni-
tion in the early 1970s. Researchers have
been challenged to define the term,
because metacognition encompasses a
number of cognitive processes that could
be called thinking skills, study skills, or
simply astute self-awareness and inde-
pendent learning. Metacognition cannot
be relegated to a simple list of study
or practice skills because it requires a
deeper level of thinking and a broader
array of teaching and learning activities.
John Flavell defined metacognition
as “One’s own knowledge concerning
one’s own cognitive processes. . . [and
the] active monitoring and consequent
regulation of . . . [cognitive] processes.”2
Educational researchers conclude that
metacognition includes self-awareness,
self-evaluation, and self-regulation,
leading to learners’ increased control of
their own thought processes.3
Music educators recognize that meta-
cognition, when applied to music teach-
ing and learning, can facilitate student
achievement. Learners who practice
metacognitive skills become increas-
ingly independent. When music educa-
tors incorporate specific instructional
strategies, students can develop meta-
cognitive skills for music learning.
What Are Metacognitive Skills?
The metacognitive learner self-regulates
by planning, monitoring, and evaluat-
ing throughout a learning task. Plan-
ning takes place before or early on in
a learning task, when the learner organ-
izes materials and selects learning strat-
egies. The learner self-monitors during
the learning task by maintaining aware-
ness of progress and consistently assess-
ing personal strengths and weaknesses.
At the end of the learning task, the
learner self-evaluates, making a judg-
ment regarding the product.4
Consider the following scenario
in which a band student engages in
metacognition. The student plans for
learning by arriving at rehearsal on time
with his instrument and all necessary
www.nafme.org
Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
accessories and materials. He immedi-
ately sets his chair and music stand in
position and places his technique book,
music scores, and a pencil on the stand.
Next, he reads information on the board
where his director has listed exercises
and repertoire for the rehearsal, and he
organizes his music scores in rehearsal
order. Assured that he is ready for a pro-
ductive rehearsal, the student begins to
warm up. Throughout the rehearsal, the
student monitors his own progress. He
marks his score, making note of difficult
passages that he will practice at home.
The student acknowledges his personal
strengths and weaknesses as the direc-
tor leads the band through rehearsal.
Finally, the student evaluates his perfor-
mance and is ready to make informed
plans for his at-home practice session
and the next day’s band rehearsal.
Three types of knowledge are
needed for metacognition: declarative,
procedural, and conditional. Declara-
tive knowledge involves knowing
what, procedural knowledge involves
knowing how, and conditional knowl-
edge involves knowing when. Simple
declarative knowledge includes fac-
tual information and skill in the subject
area, providing the learner with a back-
drop of prior learning acquired through
cognition. Metacognitive declarative
knowledge encompasses the learner’s
awareness of herself as a learner, with
attention to strengths and weaknesses.
For example, a piano student learns
that trills in late Baroque period music
begin on the upper neighbor of the
written note, whereas trills in Romantic
period music begin on the written note
and move to the upper neighbor. The
student acknowledges a weakness in
having confused these two facts in the
past. Procedural knowledge involves
strategizing for successful completion of
a learning task. The learner’s metacog-
nitive self-awareness leads to selection
and application of appropriate strate-
gies that enable her to achieve success.
The piano student, having identified a
weakness, is careful to double-check
her approach to trills. She marks her
scores, checks with her teacher for accu-
racy, and practices the two approaches
to trills. Finally, conditional knowledge
enables the learner to know when
and under what circumstances to apply
known procedures. The piano student
knows that the condition governing her
approach to trills is directly related to the
style period of the piece. With this con-
ditional knowledge, she performs trills
appropriately in Baroque and Romantic
period pieces. Successful application of
conditional knowledge is a manifestation
of self-regulation and self-monitoring on
the part of the learner.5
Metacognition is an essential part of
any musician’s repertoire of cognitive
skills. A musician must be able to recog-
nize the requirements and identify the
difficulties of a musical task. Next, the
musician must apply appropriate strate-
gies and monitor progress toward com-
pletion of the task. Self-monitoring allows
the musician to assess the results of strat-
egies and substitute alternative strategies
when needed. Finally, the musician must
evaluate learning outcomes in the con-
text of performance and take necessary
action to improve future performance.6
“Developing metacognition can help
music learners to become more objec-
tive about their overall musicianship.
If learners lack metacognition—that is,
if learners are not able ‘to think about
musical-thinking’—their musicianship
will plateau and fail to progress.”7
Strategies Promoting
Metacognition
Three classroom activities emerge from
the literature as instructional strate-
gies used by educators to promote
metacognition:
1. Students consciously reflect on
learning.8
2. Students assess their own progress.9
3. Students engage in think-aloud ses-
sions with learning partners.10
Strategy 1: Reflection
It is through reflection before, during,
and after a learning task that the learner
exercises self-awareness. Reflecting on
learning is essential to self-monitoring
53
 of ideas regarding learning strategies
FIGURE 1 and outcomes. In the theory class, stu-
dents can share their strategies for iden-
Suggested Prompts for Reflective Journal-Writing in Music Classes tifying key signatures and thereby learn
from each other. Whether reflection is
• As a musician, I …
required through open-ended questions
• Today in music class, I learned … in class discussions or through journal
entries, the music educator’s objective
• My favorite part of today’s music class was …
is to encourage students to think about
• I am most confident of my music ability when … their progress in music, set personal
goals for future achievement, and deter-
• My strategy for improving my playing/singing this week is …
mine their own strategies for accom-
• The reason I like music is … plishing their goals.13
• Today, in music, I learned … but, I’m still not sure about …
Strategy 2: Self-Assessment
• My practice plan for this week is …

• We have a concert in two weeks. Three things that I will personally do to get ready
for concert are …
• My goals in music for this 9-week marking period are …
• Since the first day of school, I have improved my musicianship in these ways …
and promotes strategizing and goal set-
ting. In the 1980s, researchers involved
in Arts PROPEL (associated with Harvard
Project Zero) established production,
perception, and reflection as the three
cornerstones of their project to improve
arts education. In a report on the project,
Arts PROPEL researchers Lyle Davidson
and Larry Scripp noted that “musicians
must also possess a highly developed
sense of self and a knowledge of their
individual working process, strengths
and weaknesses. Therefore, Arts PRO-
PEL domain projects place a high value
on reflection as an essential intraper-
sonal aspect of understanding one’s
work in the domain in terms of self-
knowledge and self-assessment.”11
Reflecting on learning can take sev-
eral forms in music classes. Journaling
or keeping a log of learning activities in
music class is one way for students to
reflect on music learning. Students can
illustrate, as well as write, reflective jour-
nals. Audio and video recordings can
enrich students’ reflections.12 While listen-
ing to recordings and watching videos of
their solo or ensemble performances, stu-
dents can write reflective journal entries
describing the music classes or concerts
that were captured in the recordings.
The music educator can encourage
reflective journaling by providing a time
and place for the activity during the reg-
ular course of lessons and rehearsals. It
is convenient for music students to store
journals along with other music materi-
als in the classroom and to write in them
on a daily or weekly basis.
Reflective writing is often more suc-
cessful if the teacher provides writ-
ing prompts. Writing prompts provide
structure and spark ideas for students
to write journal entries regarding their
progress and activities. It is important,
then, for writing prompts to guide stu-
dents toward self-awareness, analysis of
personal strengths and weaknesses, and
goal setting for future achievement. Fig-
ure 1 includes a list of suggested writing
prompts for students in music classes.
Music educators can promote reflec-
tion in classroom discussions by asking
open-ended questions that require stu-
dents to describe their thought processes
and strategies for achieving musical
goals. For example, a high school theory
teacher might ask students to talk about
their thinking processes for identifying
key signatures. This type of class discus-
sion serves the purpose of promoting
metacognition through social exchange
Student self-assessment is another activ-
ity that emerges as a prominent theme
in research on metacognition. When
students assess their own performances
and musical progress, they begin to reg-
ulate their own learning, which is central
to metacognition. Self-assessment is
similar to reflecting on learning, but it
involves more evaluation and judgment
on the part of the learner.
Expert musicians engage in a good
deal of self-assessment during practice
sessions. When compared with nov-
ice musicians, the habit of self-assess-
ment is one of the characteristics that
set expert musicians apart. They regu-
larly detect and correct their own errors
as a part of self-regulated practice. This
type of activity requires metacogni-
tion, particularly with regard to self-
monitoring, self-regulation, goal setting,
and strategy selection. Indeed, it is the
development of metacognitive thinking
during practice sessions that allows one
to become an expert music performer.14
Taking a cue from the experts, music
educators can encourage their students to
engage in self-assessment as they progress
toward musical goals.
Directors sometimes want students
to self-assess their performing ensem-
bles. This is particularly true in sec-
ondary choral or instrumental music
classes. Students can assess their
ensemble performance while listening
to a recording of a rehearsal or con-
cert or by giving immediate feedback
after playing/singing a passage or piece
of music in rehearsal. Students create

54 Music Educators Journal December 2013

Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
 FIGURE 2
Self-Assessment Rating Scale for Students in a Secondary Instrumental Ensemble

Student’s Name: ___________________________________________ Date: __________________________________________________

Band/Orchestra Class: ______________________________________ Class Period: ___________________________________________

Directions: Fill in\ the rating scale below, giving points for the stated criteria. Add up the points for individual categories, and indicate
total points.

Category Description Possible Points Given Today

Points

Tone Quality Natural, Free from tension, Blend, Energetic, Controlled 0–15

Pitch Accuracy 0–15

Intonation

Technique Attacks, Accents, Missed notes, Releases, Articulation/Bowing 0–15

Rhythm Accuracy, Tempo, Steady pulse 0–15

Interpretation and Correct style, Balance, Artistry, Sense of ensemble, 0–15

Musicianship Expressivity, Nuance, Communicating with a Sense
of Purpose

Dynamics Use of full range (pp–ff), Use of subtle dynamic changes 0–10

Breath/Mallet/Bow Phrasing, Supports tone, Carefully Planned and Executed 0–10

Management

Stage Deportment Attitude, Appearance, Confidence, Posture 0–5

TOTAL POINTS: _______

In the space below, briefly describe at least one thing that you will personally do in the next week to raise the performance quality of our
band/orchestra.
Adapted from National Music Adjudication Coalition Concert Band or Orchestra Music Assessment Form, accessed September 24, 2011, www.menc.org/
documents/nmac/NMACbandorchestraform.pdf.

formal self-assessments when they fill
out rubrics or rating scales to evaluate
their ensemble on musical progress and
performance. Some directors use rating
scales similar to those used by adjudica-
tors at music festivals or competitions.
While teaching students how to use the
rating scales for self-assessment of their
ensembles, directors can reinforce the
important criteria on which ensembles
will be judged by outside adjudicators.
Typical categories for these rating scales
include note accuracy, rhythm accuracy, In another type of self-assessment,
tone, intonation, balance, blend, dynam- students assess their own individual per-
ics, expression, and other criteria. Fig- formances in the context of being mem-
ure 2 is an example of a rating scale for bers of the music class or performing
ensemble self-assessment by students in ensemble. In this case, the individual
a secondary instrumental ensemble. It student makes a personal assessment
has been adapted from a rating scale of progress and achievement. Some
developed by the National Music Adju- examples of individual self-assessment
dication Coalition. Notice that the cur- rubrics for music students are shown in
rent version requires the student to state Figures 3 through 6.
a personal strategy for improvement and Informal self-assessment by students
contribution to the ensemble. can take the form of class discussion

www.nafme.org 55
Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
 FIGURE 3
Individual Self-Assessment Rating Scale
Directions to students: You will find a 3×5-inch card on your chair today. Use this card to complete a self-assessment rating scale
regarding your progress in sight-singing.
STEP 1. On your card, list the following 3 categories:

1 – Pitch Accuracy
2 – Rhythm Accuracy
3 – Note-reading

STEP 2. We will sight-sing exercises 1 through 4 on page 10.

STEP 3. Give yourself points on your rating-scale card. Give from 1 to 5 points in each of the three categories. A rating of 5 is the
highest. A rating of 1 is the lowest.
STEP 4. Add your points and give yourself a total. Keep the card in your folder.

FIGURE 4
Self-Assessment Holistic Qualitative Rubric
We rehearsed five pieces for Winter Concert today. How well did you do? Circle the rating that you think is appropriate for you today.

1. Excellent! 2. I Did a Good Job 3. I Was Okay 4 Not So Good

In the space below, write a statement about your personal strategies for preparing to perform in the Winter Concert.

FIGURE 5
Self-Assessment Analytic Qualitative Rubric
Directions: Answer each question by circling the most accurate answer.

1. I try to watch the music and the director at the same time. I can do this by sitting upright and holding my music at chest height.
Always Frequently Sometimes Never

2. I try to use good breath support while I am singing.

Always Frequently Sometimes Never

3. I try to sing with a full and free vocal tone, while blending my voice with others.
Always Frequently Sometimes Never

4. When I get ready to sing a song or exercise, I look at the key signature to determine the key (also called the “tonality”).
Always Frequently Sometimes Never

5. I try to read notes and rhythms as I am singing.

Always Frequently Sometimes Never

56 Music Educators Journal December 2013

Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
 FIGURE 6
Self-Assessment Survey: Likert Scale
Directions: Circle your most honest response to each statement.

SA = Strongly Agree. A = Agree. D = Disagree. SD = Strongly Disagree.

1. I understand the system of music notation, regarding the lines and spaces of the treble SA A D SD
and bass staves.

2. I know the letter names of all lines and spaces on the treble staff. SA A D SD

3. I know the letter names of all lines and spaces on the bass staff. SA A D SD

4. I know some strategies and can apply these strategies to help me determine the letter SA A D SD
names of notes.

5. I always look at the key signature and think about which notes will be sharped or flatted. SA A D SD

6. I am able to use the Circle of Fifths to help me determine the key of any piece of music. SA A D SD

or question/answer sessions where the
teacher encourages students to assess
their progress and performance. Even
a simple show of hands or “thumbs-
up/thumbs down” signal can serve as
a quick response to a teacher’s query
regarding students’ self-assessment of
their performance.
Think-Aloud Sessions
Metacognition is practiced through the
“internal voice” of the learner. It is com-
mon for most people to engage in some
kind of internal self-talk while perform-
ing a learning task. The “internal voice”
becomes the means through which the
learner engages in self-monitoring and
self-regulation of learning processes. 15
Educators find that it is beneficial to
bring out the self-talk of the learner’s
internal voice through think-aloud
activities. The act of simply verbalizing
one’s thoughts in a random way is
not particularly beneficial to learning.
Thinking aloud in specific ways, guided
by carefully constructed questions, has
been shown to be an effective tool for
learning. Thinking aloud has a positive
impact on student learning when learn- provide a list of questions for the
ers are required to (1) identify concepts, interviewer to ask of the learner. The
(2) state hypotheses, and (3) give rea- questions should require the learner to
sons for what they are doing.16 engage in analysis of the task, monitor
A third classroom activity that is progress, and identify successful strate-
used to promote metacognition in gies for completing the task. Figure 8
music classes is that of having students provides a list of questions for a think-
interact with partners in think-aloud aloud session on sight-singing in a
sessions as they work on music learn- choral music class.
ing tasks. Here is how a think-aloud Think-aloud sessions with learn-
session works: ing partners can be beneficial in many
music learning situations. By changing
1. Students are paired with learning the learning task and the scripted inter-
partners. In each pair, one partner viewer questions, the activity described
is performing the learning task and in Figures 7 and 8 can be easily adapted
the other partner is the interviewer. for instrumental ensembles or general
2. The learners think aloud, talking music classes.
about their thinking processes.
3. The interviewers ask thought-
provoking questions, provided by Signs of Metacognition
the teacher. Consider the responses of students
4. Partners switch roles and repeat when asked to self-assess their indi-
the procedure with a new learning vidual or group music-making activities.
task.17 When students are using metacognition,
their responses will show it in the fol-
Figure 7 provides an example of teacher lowing ways:
directions for a think-aloud session on
sight-singing in choral classrooms. 1. Students’ responses are specific to
To achieve positive results from a elements of music (e.g., dynamics,
think-aloud session, the teacher should rhythm, intonation, balance, or

www.nafme.org 57
Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
 FIGURE 7
Teacher’s Directions for a Think-Aloud Session on Sight-Singing in Choral Class

Students are sitting next to their learning partners. The teacher has designated the partner on the right to be the first “learner” and the
partner on the left to be the first “interviewer.”

The teacher says: “I will pass out a sight-singing exercise, face down. Every Learner needs to take one of the papers.
Every Interviewer needs to look at the script of questions. When I give the signal, all of the Learners will turn their sight-singing
papers over and begin to study the exercise. I will play the scale and cadence to establish tonality. You will have three minutes to
figure out how to sing your part, in solfège. During your three-minute preparation time, the Interviewer will ask the Learner several
thought-provoking questions. The Learner will respond to the questions, and think aloud while preparing to sing the exercise.
At the end of three minutes, I will again play the scale and cadence and give a signal to begin singing. All Learners will sight-sing
their parts. Following the first singing, Learners will have a one-minute period to reflect and self-assess, talking aloud to their
partners. They will tell their partners about any mistakes they made and will strategize ways to improve their performance.
Learners will then sing the exercise one more time, trying to make improvements.”

FIGURE 8
Scripted “Interviewer” Questions for a Think-Aloud Session on Sight-Singing in Choral Class

1. What is the key of the exercise? How do you know?

2. What is the tonal center, or do? How do you know?

3. What is the starting pitch? Is it do, or another note in the scale?

4. Does your part move mostly by step or by skip? Does it move mostly upward or downward? Do you see any tricky places in the
melodic contour of your part? Do you see any difficult intervals in your part? Do you see any places where your part creates a
dissonant interval with another part?

5. Do you see any measures that are exactly alike? Do you see any measures that are similar, but not the same?

6. Can you say the solfège names of the notes in your part? Say them for me.

7. What is the meter? How many beats are in each measure? How do you know? What kind of note will get one beat? How do you know?

8. What is the shortest note value that you see in the exercise?

9. What is the longest note value that you see in the exercise?

10. Can you tap the rhythm of your part as you speak the solfège names in rhythm? Do that for me.

blend) and specific to their personal
performance or to the ensemble’s
performance.
2. Students use music terminology in
their responses, such as “We were
late on our entrance at measure 32”
or “We were not soft enough when
the music said pp.”
3. When asked to do individual reflec- Next time, I will remember to take a
tion or individual self-assessment, bigger breath.”
students describe their own thought
processes and consequent musi- Modeling Metacognition
cal actions. For example, a stu-
dent might say, “I forgot to take a Perhaps the strongest influence on
big enough breath on the rest, so I music students will be the modeling
could not play through the phrase. of metacognitive strategies by music

58 Music Educators Journal December 2013

Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
teachers and ensemble directors.
Teachers can model metacognition by
openly verbalizing their own thought
processes. It is useful to approach
the discussion by saying, “This works
for me.” Teachers should, however,
emphasize that there are optional strat-
egies for completing learning tasks and
that a different learning strategy might
be more effective for a different learner.
For example, a choral teacher might
say, “When I need a deep breath to sing
a long phrase, I think of breathing into
my lower back. It works for me. But,
others might think of their lungs as two
large balloons being filled with air.” By
describing their own thought processes
and then allowing some choices for stu-
dents, teachers can model how meta-
cognition works in their own musical
thinking and simultaneously promote
metacognition among students. 18 As
music students increasingly use meta-
cognition, they take greater responsibil-
ity for their own learning, develop their
own strategies for working through
musical problems, and learn how to
learn more efficiently.
NOTES
1. Wendell Hanna, “The New Bloom’s
Taxonomy: Implications for Music
Education,” Arts Education Policy
Review 108, no. 4 (2007): 7–16.
2. John H. Flavell, “Metacognitive Aspects
of Problem Solving,” in The Nature of
Intelligence, ed. L. B. Resnick (Hillsdale,
NJ: Lawrence Erlbaum, 1976), 231–35.
3. Jeni Wilson, “Beyond the Basics:
Assessing Students’ Metacognition”
(paper presented at the annual meeting
of the Hong Kong Educational Research
Association, November 4, 1997), 1–23;
Robert Fisher, “Thinking about Thinking:
Developing Metacognition in Children,”
Early Child Development and Care 141
(1998): 1–13; and Gregory Schraw,
Kent J. Crippen, and Kendall Hartley,
“Promoting Self-Regulation in Science
Education: Metacognition as Part of
a Broader Perspective on Learning,”
Research in Science Education 36
(2006): 111–39.
www.nafme.org
Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016
4. George Schraw, “Promoting General John Lochhead, “Sound Thinking
Metacognitive Awareness,” in with Thinkback 2000,” TEND 2000:
Metacognition in Learning and Proceedings of the Technological
Instruction: Theory, Research, and Education and National Development
Practice, ed. H. J. Hartman (Dordrecht, Conference (Abu Dhabi, United Arab
the Netherlands: Kluwer Academic Emirates, 2000), 1–12; and Daniel
Publishers, 2001), 1–15; and Stuart McNamara and Joseph Magliano, “Self-
Rowlands, “The Importance of Cultivating Explanation and Metacognition: The
a Meta-Discourse in Deliberate Support Dynamics of Reading,” in Handbook of
of Metacognition,” in Metacognition: New Metacognition in Education, ed.
Research Developments, ed. C. B. Larson D. J. Hacker, J. Dunlosky, and A. C.
(New York: Nova Science Publishers, Graesser (New York: Routledge, 2009),
2009), 1–19. 60–82.
5. Schraw, “Promoting General 11. Lyle Davidson and Larry Scripp, “Tracing
Metacognitive Awareness,” 4. Reflective Thinking in the Performance
6. Susan Hallam, “The Development of Ensemble,” Quarterly Journal of Music
Metacognition in Musicians: Implications Teaching and Learning 1, no. 1 & 2
for Education,” British Journal of Music (1990): 49–62.
Education 18, no. 1 (2001): 27–39. 12. Costa and Lowery, Techniques for
7. Hanna, “The New Bloom’s Taxonomy,” Teaching Thinking, 60–73.
7–16.
13. Marlene J. Nolet, “Toward Musical
8. Arthur L. Costa and Lawrence F. Lowery, Independence: Metacognitive
Techniques for Teaching Thinking Strategies Employed by Young
(Pacific Grove, CA: Midwest Publications, Choristers Engaged in Notational
1989), 60–73; Petros Georghiades, Reading Tasks,” 2007, accessed January
“From the General to the Situated: Three 10, 2011, http://dspace.library.uvic.ca:8080/
Decades of Metacognition,” International handle/1828/277.
Journal of Science Education 26, no. 3
14. Robert H. Woody, “Learning from the
(2004): 365–83; and R. M. Smith and
Experts: Applying Research in Expert
Associates, Learning to Learn Across the
Performance to Music Education,”
Life Span (San Francisco: Jossey-Bass,
Update: Applications of Research in
1990), 175–80.
Music Education, no. 19 (2001):
9. William Bauer, “Metacognition and 9–14.
Middle School Band Students,” Journal
of Band Research 43, no. 2 (2008): 15. Rowlands, “Importance of Cultivating a
50–63; Connie L. Hale and Susan K. Meta-Discourse,” 1–19.
Green, “Six Key Principles for Music 16. Dominowski, “Verbalization and Problem
Assessment,” Music Educators Journal Solving,” 26–47.
95, no. 4 (2009): 27–31; Hallam,
“Development of Metacognition in 17. Costa and Lowery, Techniques for
Musicians,” 27–39; and Michael P. Teaching Thinking, 60–73; Fisher,
Hewitt, “Self-Evaluation Tendencies of “Thinking,” 1–13; Robert M. Gagné
Junior High Instrumentalists,” Journal of and Marcy P. Driscoll, Essentials of
Research in Music Education 50, no. 3 Learning for Instruction (Englewood
(2002): 215–26. Cliffs, NJ: Prentice Hall, 1988),
65–138; Lochhead, “Sound Thinking,”
10. Roger Dominowski, “Verbalization and
1–12; Schraw, Crippen, and Hartley,
Problem Solving,” in Metacognition
“Promoting Self-Regulation,” 111–39;
in Educational Theory and Practice,
and Smith et al., Learning to Learn,
ed. D. J. Hacker, J. Dunlosky, and A.
175–80.
C. Graesser (Mahwah, NJ: Lawrence
Erlbaum Associates, 1998), 26–47; 18. G. Foster, E. Sawicki, H. Schaeffer, and
John Dunlovsky and Janet Metcalfe, V. Zelinski, I Think, Therefore I Learn!
Metacognition (Thousand Oaks, CA: (Markham, Ontario, Canada: Pembroke
Sage Publications, 2009), 222–29; Publishers, 2002).
59
 Request for Submissions:

Articles from PreK–12 Music Teachers for Music Educators Journal

Have you been thinking about submitting an article to Music Educators Journal but are hesitating because you’ve never done it
before? Practicing music teachers at the prekindergarten through high school levels have much to share with others in the field,
both beginners and veteran educators.

MEJ Academic Editor Patrick K. Freer is seeking submissions of articles that deal with topics and issues critical to practitioners in
child care centers and schools of all sorts throughout the world. What you’ve learned with your students may help another teacher.

If you’re interested in writing with a coauthor and being mentored through the online submission/manuscript review process,
Patrick Freer may be able to pair you up with an experienced author/mentor who would help you at each stage and share a
byline if your article is printed. Don’t hesitate to query him about potential topics prior to submission (pfreer@gsu.edu) or to have
him help you find a willing coauthor among the members of the MEJ Editorial and Advisory Committees.

Authors should follow the “Manuscript Submission” guidelines found at www.mej.sagepub.com. All submitted manuscripts
will be reviewed by members of the Editorial and Advisory Committees. Some of these may also appear on the National
Association for Music Education (NAfME) website, www.nafme.org.

Ideal length should be no more than 12 double-spaced typed pages plus references.

Instructions for submitting manuscripts are found at www.mej.sagepub.com.

Welcome to a place where music echoes from the hills. A destination that
inspires wonder, where students look forward to every moment with wide-eyed
enthusiasm. A place where student singers, dancers and musicians become part
of the fun and learn important performance tips from seasoned professionals.
A destination with more fun, more entertainment, more opportunities to
perform, more mountain views and more ways to make lifelong memories.

PigeonForgeTours.com • 1-800-285-7557

60 Music Educators Journal December 2013

Downloaded from mej.sagepub.com at Pontificia Universidad Javeriana. Biblioteca Alfonso Borrero Cabal, S.J. on May 27, 2016