A module is an introduction to music instruction design that includes essential knowledge and skills required for music instruction design, such as musical literacy, music theory, ear training, and sight-singing (Lovell, 2021). It also has basic knowledge about teaching methodology and classroom management skills. This module will help develop their teaching abilities to teach effectively to meet their students’ needs. The strength of music education lies in its ability to provide opportunities for people from all walks of life to learn through music, thereby enriching their lives and communities. The weaknesses of music education lie in its inability to produce qualified musicians capable of making significant contributions to society (Yo & Jorgensen, 2020). As a result, there is an urgent need for knowledgeable and competent teachers to meet society’s demand for high-quality musicians. In addition, music education offers students an opportunity to explore their creativity and express themselves authentically since it provides opportunities for people from all walks of life to learn through music (Kratus, 2019).

The development of music education has experienced four periods. Each period, due to various historical reasons, led to changes and developments in curriculum design, teaching methods, and program design (Rajabov, 2021). These have all contributed to it being established as an academic discipline over time. In recent years, however, research into music education has entered a new stage characterized by large amounts of information from fields such as psychology, sociology, and linguistics and scientific research methods such as experimental designs (Zhang & Hu, 2021). As a result, there is an urgent need for knowledgeable and competent teachers to meet society’s demand for high-quality musicians. Hence, the study can see that although much progress has been made in many areas of music education, including curriculum design, teaching methods, and educational resources for children with special needs; yet still more progress is needed. Hence, the purpose of this research is to examine how the music instruction design module as an independent variable, and college students’ achievement in music instruction design as a dependent variable through the quasi-experimental method, to explore how to improve the achievement of college students in music instruction design by developing the program design of this course from Chinese music educational experiences, analyzing the existing problems of the current courses and improving their defects, and promoting the development of music education in China.

1.2 Background of the Study

Music education is an academic discipline that studies and deals with all aspects of music, from its origins to its pedagogical applications. It is an educational program designed to teach individuals how to create, perform, listen to, study, analyze, compose and understand music and apply their knowledge practically through singing or playing musical instruments. It uses many teaching strategies to achieve these goals, such as classroom lectures, demonstrations, recitals, listening activities, and performances (Jääskeläinen et al., 2022). Moreover, it also provides opportunities for people from all walks of life to learn through music, thus enriching their lives and communities. According to Yang & Welch (2022), music instruction has been essential to human life since ancient times. It not only can promote people’s physical health but also can improve people’s mental health and spiritual quality. But nowadays, many people have no opportunity to learn music because they have no time or money, or even teachers are not qualified enough to teach them well. Music instruction design is an essential part of the music education curriculum for undergraduate music majors in colleges or universities throughout China. However, most teachers lack adequate knowledge and skills to teach music instruction design effectively.

There are two kinds of music instructional designs in China: one based on Western theories and another based on Chinese theories (Liu et al., 2020). Over the years, many studies have been conducted in these areas; however, little research has focused on how to develop and implement effective programs that integrate both Western and Chinese music theories into our educational system. Globally, music educators have begun to recognize that the study cannot continue to rely solely on Western music pedagogy if the study hopes to produce musicians who will be competitive in today’s global society. The study must begin integrating more Eastern musical concepts into our teaching practices. Key debates surrounding curricular content revolve around whether to focus on traditional western music theory such as Kodál or traditional Chinese music theory such as Cai & Zhao (Xiang, 2018).

In addition, Sheppard & Sheppard (2019) argue that current music theory courses are too narrow and do not provide students with sufficient opportunities to apply their theoretical knowledge outside of class. They believe that students should be given opportunities to use their music theories outside class as much as possible to make their learning meaningful and practical. In Asia, especially in East Asian countries, including Japan, Korea, and China, music education is often characterized by its strong emphasis on tradition. For example, Japanese schools often require children to study traditional instruments like shakuhachi (Japanese flute), koto (Japanese zither), and shamisen (three-stringed banjo). Children usually take up three hours of instrument lessons every week from primary to junior high school. At the same time, they also attend classes in singing, dancing, art, and etiquette. This kind of music education emphasizes the importance of music as a social activity rather than an individual pursuit.

In contrast, according to Elpus & Grisé (2019), American schools tend to emphasize the development of individual talents. Children typically take private music lessons from private teachers rather than group classes. Some U.S. state governments offer grants to fund private music lessons for low-income families who would otherwise not be able to afford them. The critical debates in Asia are about the relative value of Western and Chinese music theory. In the Sichuan Province of China, music education is compulsory in senior middle school and secondary education. The music syllabus includes Western music theory, Chinese traditional music theory, Chinese folk songs, Western folk songs, and popular songs. In China, the Music instruction design module is a required course for all undergraduates majoring in music.

1.3 Statement of the Problem

Despite efforts to promote music education, however, many problems remain. First, some teachers have limited knowledge and skills in teaching music instruction design, which influencing their teaching performance (Wei et al., 2022). In addition, some students do not know how to apply their knowledge outside of class and cannot find jobs after graduation because they do not have enough practical experience when they graduate from college. Therefore, it is necessary to provide a new method to improve their teaching ability and ensure they can find jobs quickly after graduation. This study is designed to investigate whether implementing an intervention program based on pedagogical content knowledge (PCK) has any effect on improving the performance of college students in musical instruction design course work, as well as preparing them for careers as musical instrument teachers.

In addition, in China, only two institutions provide. There are only about 20 graduates each year. Most of these graduates come from other provinces or cities such as Beijing, Shanghai, or Chengdu (Lu et al., 2019). If these students choose to teach music after graduating, they usually do not stay local; instead, they go back home. For example, if students graduated from Xi’an Jiaotong University, they would probably return to their hometowns. Because of that, there are few qualified music teachers in our city. As a result, most schools cannot get good quality instructors who can pass down traditional Chinese culture through their art form. They also cannot afford professional instructors from other cities or countries. That is why the study needs to develop more high-quality music teachers locally. That way, the study can preserve our cultural heritage while meeting people’s needs for better music education. To achieve those goals, the study should implement PCK training programs for future music teachers to perform better in their teaching duties and obtain more satisfying results.

Moreover, according to the research background, PCK training programs have been widely implemented in America. However, no studies have been conducted in China yet (Luo et al., 2022). The purpose of this study is to explore and investigate how effective teaching can help improve students’ achievement in music instruction design based on a Quasi-experimental research method, which will benefit the future development of teaching strategies and programs for teachers who teach music instruction design effectively.

1.4 Theoretical Framework

According to Kolb’s (1984) experiential learning theory, learning is an active process involving four development stages (Morris, 2020). First, learners acquire knowledge and experience through their five senses. Second, they reflect on what they have learned and integrate it with prior knowledge or experiences. Third, they form abstract concepts from their reflections. Finally, they create new understandings based on those abstractions. In addition, according to Bloom’s taxonomy of educational objectives (1956), there are six levels of cognitive development.

Fig 1: Blooms Taxonomy

The levels are knowledge, comprehension, application, analysis, synthesis, and evaluation (Irvine, 2021). The knowledge level is about remembering facts; the comprehension level is about understanding meaning; the application level means applying knowledge to solve problems; the analysis level means breaking down ideas into smaller parts; the synthesis level means combining separate elements into larger wholes; and finally, the evaluation level means judging whether something is good or bad. In addition, Merrill’s principles of instructional systems design identify three design principles: teaching should be learner-centered, systematic, and sequential, and education should emphasize active participation by all learners (Black & Fogel, 2022). The study can use various strategies to support these principles, such as audio-visual aids, to help achieve better results. Furthermore, research has shown that motivation shapes student learning outcomes. Self-efficacy refers to one’s belief in their ability to succeed in a given situation or task.

In contrast, self-concept refers to one’s overall assessment of their worth and abilities. Thus, motivation is essential for achieving success because high self-efficacy leads to more remarkable persistence when faced with obstacles during tasks and tremendous effort toward mastery when faced with challenges. Some researchers also suggest that intrinsic motivation is more effective than extrinsic motivation because inherent motivators are more likely to lead to lasting behavioral changes (Brumariu et al., 2022). Extrinsic motivators are external rewards such as grades and money, while intrinsic motivators include internal tips such as challenge, interest, enjoyment, and growth. Moreover, Gagne’s nine events of instructions state that nine events occur during every lesson. These events are preparation, presentation, demonstration, guided practice, independent practice, feedback, reinforcement, and follow-up (McKivigan, 2019). Following Gagne’s nine events of instructions will ensure that each lesson is designed systematically and sequentially so that learners will learn efficiently and effectively.

Fig 2: Gagne’s Nine Events of Instructions

In addition, Bandura’s social cognitive theory is another helpful theory that focuses on the importance of modeling and vicarious learning. Modeling occurs when people observe others performing certain behaviors, and vicarious learning occurs when people learn from watching others perform. This means that people tend to imitate the behaviors they see, hear, read or do themselves (Koutroubas & Galanakis, 2022). Therefore, the teacher should model the desired behaviors and encourage learners to watch and imitate. In addition, the theory suggests that learning is enhanced when people are motivated to do well and believe they can do well. Therefore, teachers should provide positive encouragement to their learners as a way of improving motivation. ADDIE Model (Analysis, Design, Development, Implementation, and Evaluation) is a comprehensive approach to designing and developing instruction (Stefaniak & Xu, 2020). In the analysis phase, the instructor analyzes the learning needs of learners. They create an appropriate learning program that meets those needs in the design phase. In the development phase, they develop specific learning materials to implement in class. In the implementation phase, they use their materials to teach learners in class.

Examining Music Instruction Design and Academic Success 2

Fig 3: ADDIE Model

According to Maamin et al. (2020), an effective teacher has PCK, which he defines as the ability to make sense of situations, problems, and experiences, recognize patterns, and use knowledge effectively to solve or accomplish tasks. Jacob et al. (2020 also indicated that teachers’ knowledge should include content domain knowledge, pedagogical content knowledge, disciplinary content knowledge, and student learning strategies. Content domain knowledge refers to teachers’ understanding of their subject matter or discipline. Pedagogical content knowledge refers to how well teachers understand what it takes to teach their subject matter effectively. Disciplinary content knowledge refers to teachers’ understanding of critical concepts and ideas within their discipline. Student learning strategies refer to how well teachers understand what activities are likely to engage students most effectively, so they can help them learn more efficiently. The social cognitive theory further explains that people’s beliefs and expectations influence their behavior. People tend to develop assumptions based on experience, especially when some reinforcement is involved. If people have had positive experiences with something in the past, they will probably expect good things to happen again when those same circumstances arise.

In contrast, people who have had negative experiences with something in the past will probably expect bad things to happen again when those same circumstances arise again. These types of beliefs and expectations can affect people’s subsequent behaviors because they provide a guide for interpreting new information (Klassen and Klassen, 2018). For example, suppose one believes their chances of getting into graduate school are high because one did very well in their undergraduate courses. In that case, one might feel confident enough to apply to several schools instead of just one or two. Similarly, suppose one believes their chances of getting into graduate school are low because one did poorly in their undergraduate courses. In that case, one might not even bother applying at all. Self-efficacy theory provides another explanation for why people behave as they do.

According to Corry & Stella (2018), self-efficacy refers to a person’s belief in their capabilities to organize and execute courses of action required to attain designated types of performance outcomes. Therefore, self-efficacy is an individual’s belief that they can successfully perform certain actions required by specific situations. If someone believes they cannot perform these actions successfully, their self-efficacy will be low. However, if someone believes they can perform these actions successfully, their self-efficacy will be high. For example, if one believes one can complete a dissertation proposal on time without procrastinating, their self-efficacy will be relatively high. However, their self-efficacy will be relatively low if they think they cannot complete a dissertation proposal on time without procrastination. Social learning theory also helps explain human behavior. According to Smith’s (2021) study, social learning theory focuses on how people learn from observing others and imitating their behaviors. Specifically, social learning theory suggests that the study can follow others and imitate their behavior because it tends to imitate and a desire to gain approval from significant others. For example, if one sees other students doing well in class, one might decide to study harder also to do well. Thus, one is modeling the successful behaviors of their peers.

On the other hand, if one sees other students struggling in class, one might decide to study less complex or not because one does not want to end up like them. The theory of planned behavior can also be used to explain human behavior. to the research problem and the purpose of the study. Musical literacy theory is the ability to read printed music and understand its meaning, write down what one hears, sing or play an instrument in tune with others or alone, and perform the music one reads (Xu, 2019). PCK refers to how teachers acquire their subject matter knowledge, such as attending workshops or seminars or training sessions, reading professional journals or books, and teaching experience. Social constructivism theory emphasizes that learning occurs when learners dialogue with each other and experts about meaningful topics related to their own lives (Hosseini et al., 2019). The social cognitive theory states that people learn by modeling behavior after others who are perceived as successful.

1.5 Conceptual Framework

According to Varpio et al. (2020), a conceptual framework identifies key concepts or variables relevant to their inquiry. In addition, Kivunja (2018) illustrates that it is important to have a clear and complete understanding of what each variable means, how it is measured, and how it relates to other variables and constructs in their study. The independent variable (IV) is the Music instruction design Module (MID). The dependent variable (DV) is academic achievement, measured by pre-and post-test scores. The moderator variables are gender, major, and GPA since they will affect the outcome.. The control variable is Age which is related to the DV. These variables were controlled by randomization or matched sampling method. Hence, the conceptual framework correlates with the research questions.

Gender, Major, and GPA

Age

Score of music instruction design module

Music Instruction Design Module

Fig 4: Conceptual Framework

Moreover, music instruction designs should be designed to include instructional strategies and appropriate levels of content and sequencing. According to González-Salamanca et al (2020), students are motivated by teaching methods and delivery, as well as by teaching style. Field elaborates that effective teachers provide for a student’s interest, stimulate curiosity, make learning enjoyable, challenge students intellectually, and facilitate critical thinking. They should have high expectations for all students to reach their full potential. For instance, Brandt (2021) affirms that music education can play an important role in educating children and youth around the world. Furthermore, the International Society for Music Education states that music can have positive effects on cognitive skills such as memory, spatial reasoning, mathematics, language skills and more. It has also been found to improve emotional intelligence among young people. This suggests that formal music instruction in schools might have a strong effect on children’s academic development.

1.6 Purpose and Objectives of the Study

1.6.1 General Objective

The study investigates whether there is any difference between students’ achievement in music instruction design before and after participating in effective teaching to improve student achievement.

1.6.2 Specific Objective

To research music instruction design for non-musically educated teacher-student, how-to guide and coordinate music education teaching as both general and specialized; and study about change from traditional pedagogy, create new awareness for music education teaching. In addition, whether there is any difference between students’ academic achievement before and after participating in effective teaching, achieved by comparing mean scores of pre-tests and post-test).

1.7 Research Questions

This study will address three questions based on research propositions and hypotheses of previous studies that have been done in the field. Is there any significant difference between the experimental and control group’s pre-test mean scores? Is there any significant difference between the experimental and control group post-test mean scores? What effective teaching strategies help improve students’ achievement in music instruction design? In addition, the secondary questions include; how effective is it to use online interactive learning compared to the traditional lecture format when teaching music instruction design? What pedagogical patterns lead to higher levels of student performance? How can music education teachers improve their teaching skills and design new ways to enhance their students’ academic achievement in music instruction design?

1.8 Null Hypotheses

Ho1: There is no significant difference between the experimental and control groups’ mean scores for the pre-test.

Ho2: There is no significant difference between the mean scores of post-tests between the experimental group and the control group.

1.9 Significance of the Study

The study will provide implications for the future development of teaching strategies and programs for teachers who teach music instruction design effectively. The research’s significance lies in providing a more scientific basis for teaching music to non-musically educated teachers, which will benefit general music education teaching; and help guide people’s behavior towards music to improve our social quality of life. In addition, the study also provides theoretical support for further studies in these areas. The students are expected to contribute their effort to learn from their motivation or internal incentives, but they are not necessarily motivated by external rewards such as grades or diplomas. The study will help students achieve success without relying on external rewards. It is essential because it shows how one can succeed without using negative reinforcement such as grades or positive reinforcement such as praise. Students need to understand what motivates them before learning how to motivate themselves.

As for the teachers, they will gain a better understanding of how to encourage their students without having to rely on external rewards. Much research has been done about reward systems and whether or not they work with children, but very little has been done about self-motivation. Teachers have always relied on grades and other punishment or reward systems to get through to their students, but often those do not work very well. The policymakers will also benefit from the study because it will show them that there are alternative ways to educate children besides traditional schooling. This information may lead to changes in policy regarding public school curriculums, especially in arts education. Parents may also find the study valuable if they want their child to pursue a career in music. Schools will also be able to use the findings to encourage more students to take an interest in music. The study will make it easier for parents and teachers to justify spending money on musical instruments and lessons since the evidence shows how beneficial it can be for a child’s cognitive development.

1.10 Limitations of the Study

However, the study has some limitations. It is not easy to control other factors that might affect a student’s academic achievement, such as class size and teachers’ teaching experience. Nevertheless, the sample size is too small for statistical analysis to ensure the results’ reliability and validity. In addition, the study will exclude students who are not interested in music because of their personal preferences. Other levels of education, such as high school students, will also be excluded from the study since they have different needs from college students, which is the central area of focus. In addition, the study only focuses on the Sichuan Province of China; hence, other provinces are excluded from the study.

1.11 Operational Definition

Music instruction design refers to how teachers teach music; therefore, it can be defined as the process by which teachers use various techniques and approaches when designing a lesson plan. The music here refers to any musical art form, including traditional Chinese music, Western classical music, pop or rock music, or any combination thereof. A lesson plan is a detailed outline of what will happen during each class period, such as an introduction, warm-up exercise, main content, and practice time. Teaching strategies are specific practices that help teachers achieve their objectives for each class period, such as direct instruction vs. discovery learning. In addition, teaching styles refer to different ways teachers interact with their students during each class period, such as lecture vs. student-centered (Fernández-Barros et al., 2022). Delivery refers to additional tools teachers can use to deliver their lessons, such as PowerPoint presentations vs. singing exercises.

In addition, the operational definition includes three main parts: what is music instruction design? What does experimental music instruction design mean? And how can the study evaluate whether or not an activity is effective? What is music instruction design? The international society for music education defines music education as the process whereby individuals acquire, develop, maintain, and apply musical behaviors, attitudes, knowledge, skills, understandings, beliefs, and values. In addition to that, part of musical activities such as playing instruments or singing songs belongs to musical behavior. Therefore, music instruction design refers to a movement aiming at helping people develop musical behaviors through systematic guidance. What does effective music instruction design mean? Schmidt (2021) defines effective music instruction design as effective teaching strategies that result in high levels of student performance.

According to Schmidt’s definition, the study can determine what effective means by looking at students’ performance levels. If students’ academic achievement is high enough, it is considered an effective teaching strategy; otherwise, it is not practical. How can the study evaluate whether or not an activity is effective? There are two ways to answer that question. First, the study can conduct research studies like previous researchers have done. Second, if there is no previous study about the effectiveness of certain music instruction design activities, teachers should try different instructional approaches and see which one works best with their students; thus, they would know what type of teaching strategies work effectively with their particular group of students. Music instruction design refers to how music teachers teach their music courses. Specifically referring to content knowledge, instructional strategies, and evaluation procedures as three essential elements of music instruction design. Content knowledge is an awareness of theory and practice that enables effective teaching. Instructional strategies are ways that teachers organize and present learning material. Evaluation procedures refer to how teachers assess student learning (Yuan et al., 2022).

1.12 Chapter One Summary

Chapter one offers an introduction to the topic of this paper. It elaborates the background, problem statement, theoretical framework, conceptual framework, purpose, and objectives of this paper. It also introduces the significance and limitations of this paper and provides definitions for music instruction design. The paper’s primary purpose is to examine the effects of the music instruction design module. The independent variable (IV) for optimal analysis is the Music instruction design Module (MID). The dependent variable (DV) is academic achievement, measured by pre-and post-test scores. The moderator variables are gender, major, and GPA. The control variable is Age.

CHAPTER TWO: LITERATURE REVIEW

2.1 Introduction

This section includes background information and related theories, models, and past studies on the Music instruction design Module topic. It also had what is already available from previous research. The music instruction design Module is a part of a music education program that can enhance students’ musical performance by improving their musical skills. As for specific learning design, it is one teaching method directly connected with how the study learns something new. There are some relevant empirical findings from previous research concerning its influence on academic performance. The music instruction design Module is an essential part of music education, which can improve music teaching quality and help improve students’ learning ability and motivation. Empirical research shows that the music instruction design module positively affects student achievement in theory courses such as harmony, counterpoint, or ear-training courses such as sight-singing.

However, there are few studies about its effect on students’ achievement in other classes, such as musical composition or arranging. In addition, literature also shows that most current modules focus on the traditional western music style. The study must develop new modules for different types, including Chinese folk music, classical music, and Western pop songs. Scholars have proposed several theories and models related to music instruction design modules. However, no comprehensive model exists so far. The module development process is complex (Loughran & O’Neill, 2020). The study should consider many factors when developing a module, including teachers’ background knowledge, teaching materials, and students’ characteristics. Therefore, it is necessary to study how to develop practical modules by considering these factors. This chapter will present some relevant theories and models and past empirical research. It will also discuss creating a suitable module with some practical suggestions. In addition, college students’ achievement correlates with various factors. These factors include cognitive abilities, personality traits, and gender differences. Previous studies show that students with higher achievement usually have better cognitive abilities than those with lower scores. They usually pay more attention to course content and spend more time studying outside class hours. They are also more likely to believe they can succeed in their classes than low achievers; therefore, they tend to set higher goals for themselves in each class session.

Furthermore, a student’s personality traits affect his or their academic achievements, too (de Boer et al., 2018). Some scholars found that highly conscientious students get higher grades than those whole moral ones. Highly principled students paid close attention to details, worked hard, and were careful and persistent when doing homework assignments or preparing for tests. Students with high self-esteem tended to perform better academically than those with low self-esteem. And finally, there are gender differences among college students’ achievements too.

2.2 Concept of Music instruction design Module

Music instruction design Module’s main construct is music learning. The module is integral to all kinds of courses (Tang, 2022). While there is no definitive way to structure a module, most follow some consistent structure or curriculum based on Bloom’s taxonomy which includes: the cognitive domain – knowledge, comprehension; affective domain – attitude, interest; psychomotor domain – skill development; and aesthetic domain – appreciation. Bloom’s taxonomy is a hierarchical classification system designed to describe levels of cognitive development. It consists of six levels, each level building upon skills learned at lower levels. The first two levels represent skills related to acquiring knowledge and understanding information, while higher levels relate more specifically to critical thinking skills (Irvine, 2021). At Level 1, learners acquire basic facts and concepts through memorization. At Level 2, learners begin to demonstrate understanding by paraphrasing information or restating facts in their own words. At Level 3, learners demonstrate analysis by identifying relationships between ideas presented in text or multimedia formats. At Level 4, learners display synthesis by putting ideas together into new forms using inferences drawn from the evidence provided by texts or multimedia formats. At Level 5, learners apply what they have learned to solve problems in new situations. Finally, at Level 6, learners evaluate information critically by determining the validity and reliability of sources.

The music instruction design Module was designed for university students majoring in Instrumental Music Education who want to improve their ability to design effective lesson plans. The music instruction design module employs various teaching methods and instructional strategies to meet the needs of a diverse student population (Biasutti et al., 2019). Students are expected to complete a series of assignments, quizzes, and exams to demonstrate mastery of the material. Module goals: improve students’ ability to create high-quality lesson plans that effectively address the needs of students at different levels. Increase students’ awareness of factors that influence student performance in music lessons. Help students identify and overcome weaknesses in their current lesson plan designs by providing feedback on existing designs. Encourage students to become proficient in the following areas: identify a lesson’s musical and pedagogical goals (Fairman et al., 2020). In addition, the module also aids in identifying appropriate teaching strategies for achieving lesson goals. Creating a lesson plan appropriate for students at different proficiency levels. Upon completing this module, students should be able to: create a lesson plan that meets the musical and pedagogical goals of the music instructor and design lessons that are appropriate for students at different levels of proficiency (Huang, 2021).

2.3 Theories related to Music instruction design Module

Music Learning Theory is an approach to learning and instruction that emphasizes how musical abilities are acquired through social interaction with other people. Music Learning Theory differs from many other theories because it emphasizes that music is not innate but learned by all humans as they grow up (Schiavio et al., 2020). It also considers that most humans learn how to make music through interaction with others, rather than being self-taught or taking private lessons.

2.3.1 Vygotsky’s Theory of Cognitive Development

Vygotsky was interested in how cognitive development relates to social development. He argued that social interaction plays an important role in cognitive development because it provides opportunities for learning from others. For example, if teachers model good musicianship for their students, they will likely develop better musicianship skills than if their teachers tell them how to play their instruments correctly. This theory is also known as the zone of proximal development or ZPD. It states that the study can increase our intelligence by interacting with people who are more intelligent than the study are. In addition, music education can develop children’s thinking skills and cognitive development through group music instruction. Mahmoodi-Shahrebabaki (2019) study found that children who had been exposed to 15 months of small group music lessons compared to no lessons scored significantly higher than other groups on spatial-temporal and mathematical development measures. Vygotsky believed that learning takes place most effectively when there is an appropriate distance between a learner and their environment, the zone of proximal development. That distance allows learners to succeed while requiring assistance from teachers, peers, family members, and others who possess greater knowledge than they do.

2.3.2 Piaget’s Theory of Cognitive Development

Piaget argued that children develop through four stages of cognitive development, which are sensorimotor, preoperational, concrete operational, and formal operational. Children progress through these stages as they grow older and become more independent from their parents and other adults. In each stage, children learn to think about objects and events differently. For example, older children realize that objects continue to exist even when they cannot see them (object permanence). According to Piaget’s theory, people do not simply absorb the information presented but actively interpret what they see or hear (Sanghvi, 2020). This process is called assimilation. Assimilation means making new knowledge fit into one’s existing way of thinking. This occurs by altering existing ideas to be consistent with new information. It also occurs by changing new information to fit into one’s existing way of thinking. This is called accommodation. Accommodation means adjusting one’s beliefs and ideas to fit new situations or pieces of information. Music instruction design module may help improve music instruction for teachers with no music background.

2.3.3 Gardner’s Theory of Multiple Intelligences

Howard Gardner proposed that human intelligence is not limited to one general ability but consists of multiple distinct abilities, which he called intelligence. He argued that traditional education focuses too much on linguistic and logical-mathematical intelligence (cognitive domains) to exclude others, such as bodily-kinesthetic, musical, interpersonal, and intrapersonal intelligence. In other words, schools focus too much on teaching children how to read and write or do math problems rather than teaching them how to get along with others or appreciate music. According to Gardner’s theory, there are eight bits of intelligence: Linguistic Intelligence, Logical-Mathematical Intelligence, Spatial Intelligence, Musical Intelligence, Bodily-Kinesthetic Intelligence, Interpersonal Intelligence, Intrapersonal Intelligence, and Naturalist or Environmental Intelligence Cognitive domain refers to different kinds of thinking skills. There are two basic cognitive domains: verbal and nonverbal (Ghounane, 2021). Verbal cognitive domains include language arts, reading, writing, speaking, and listening. Nonverbal cognitive domains include visual arts, mathematics, and science. For example, a child with strong spatial intelligence can visualize objects from different angles even when they cannot see them directly (think about an artist drawing something). This skill can help people navigate unfamiliar places or plan for future events. A person with good bodily-kinesthetic intelligence will have good hand-eye coordination and will enjoy activities like sports or playing musical instruments. A person with good interpersonal intelligence can communicate well with others and understand their feelings. People with high intrapersonal intelligence may enjoy spending time alone doing things like reading or painting because it allows them to understand their thoughts and feelings better.

Fig 5: Gardner’s Theory of Multiple Intelligences

2.3.4 Theory X & Y (Douglas McGregor)

McGregor’s theories X and Y refer to two contrasting approaches to motivating employees. In theory X, managers assume employees need direction, discipline, and supervision. In theory, Y managers believe employees want responsibility and challenges. According to McGregor, three basic assumptions about people underlie these theories: People inherently dislike work, prefer security over opportunity, and seek self-esteem through their work. Although theory X has been criticized as too negative, it is still widely believed that some degree of external control is necessary for organizations to function effectively. Theory Y assumes that people have positive desires and will respond positively when provided with opportunities and resources. According to McGregor’s Theory Y, managers should try to motivate employees by providing them with more responsibility and challenges. This can be done by giving employees more freedom in how they do their jobs, providing employee training programs, and encouraging creativity (Galani & Galanakis, 2022). In music, McGregor’s theories X and Y may be relevant to how teachers interact with students. For example, if teachers believe all students are lazy and need direction, discipline, and supervision, they may take a very authoritarian approach to teaching music. However, if teachers believe all students want responsibility and challenges, they may take a more democratic approach to teach music.

2.3.5 Cognitive Psychology Theory

Cognitive psychology focuses on internal mental processes such as problem-solving or memory storage and retrieval. These theories are based on assumptions about how humans process information, make decisions, solve problems, remember events, and communicate with others. Cognitive Psychology Theory is a branch of psychology that concerns itself with how people think, act and feel. Cognitive psychologists study intelligence, language use, thinking, decision-making, and memory. They also investigate how people perceive their environment and interact with it. Cognitive psychology can be seen as an attempt to understand thought from a biological perspective; that is, to understand it from the same perspective as other functions of the body. This contrasts with earlier psychological approaches, which viewed cognition as unimportant relative to other aspects of human behavior. In many ways, cognitive psychology was born out of cognitive science (sometimes called computational psychology), which has its roots in symbolic artificial intelligence research carried out during the 1950s and 1960s. Some influential cognitive psychologists include George Miller, Donald Broadbent, Walter Kintsch, Endel Tulving, and Daniel Schacter (Sepp et al., 2019). In music, cognitive psychology may be relevant to how teachers teach music. For example, if teachers believe all students have trouble remembering what they learn, they may choose not to emphasize memorization techniques when teaching new concepts in music. However, if teachers believe all students have trouble understanding what they learn, they may choose not to emphasize conceptual techniques when teaching new concepts in music.

2.3.6 Humanistic Psychology Theory

Humanistic psychology grew out of existentialism and phenomenology. It asserts that individuals’ experiences are meaningful, purposeful, and self-determined rather than simply determined by natural laws or social conventions. According to Maslow’s hierarchy of needs, every person strives for fulfillment through a hierarchy of basic needs ranging from physiological requirements to self-actualization. Abraham Maslow believed the study needs self-actualization to reach our full potential as human beings. Maslow defined self-actualization as the desire for self-fulfillment, namely, the tendency for him to become actualized in what he is potential. This tendency might be phrased as the desire to become more and more what one is, to become everything that one is capable of becoming. In music, humanistic psychology offers many useful strategies for teachers when interacting with students (Cullen, 2019). In addition, it may also be relevant to how students interact with each other outside of class. For example, if all students believe they have a right to pursue their interests without regard for others, they may take advantage of each other outside class. Behaviorists believe humans can only learn new behaviors through direct experience; therefore, learning can never occur without consequences. In other words, behaviorists believe that students cannot learn anything from their environment unless their studies are directly rewarded or punished for their actions (Tudor, 2018). For example, in music learning, if teachers reward students with higher grades when they play their instruments correctly, they will likely continue to play them correctly. If teachers punish students with lower grades when they play their instruments incorrectly, they will likely continue to play them incorrectly.

2.4 Models related to Music instruction design Module

Models are representations of real things that are useful for understanding how they work and how they interact with each other. In music, models can help understand how musical elements combine to create different musical styles and genres (Chen & Wen, 2021). For example, if teachers want their students to learn about jazz, they can create a model that shows how jazz is constructed and what makes it unique compared to other styles, such as classical or rock music. Models are useful because they allow for the breaking down complex ideas into smaller pieces that the study can more easily understand. They also allow relationships between different parts of an idea and predict how those parts will interact.

2.4 Models related to Music instruction design Module

2.4.1 Learning styles model

Learning styles are different ways that people learn and process information. According to learning style theory, people have preferred ways of taking in and processing information. For example, some people might prefer to read about a topic before discussing it, while others might prefer to discuss it and then read about it later. Some people might remember facts better if they see them written down, while others may understand them better when explaining them verbally. People’s preferred way of learning can change over time depending on their mood or other factors. Learning styles models suggest that teachers should adapt their teaching style to match each student’s individual preferences for how they like to take in and process information (Supangat & Mohd Zainuri, 2020). Music Education is important to all cultures throughout history and geographical regions. Today music education is also one of the most common types of extracurricular activity in schools worldwide.

Music education is generally designed to provide participants with knowledge and skills necessary for performance, appreciation, criticism, composition, and other forms of musical expression within a historical context. Music education programs typically teach basic elements of music, such as notation, rhythm, melody, harmony, instrumentation, and form. In many countries, national curricula content standards allow students to move from school to school without relearning material already learned elsewhere. However, these standards vary widely between countries. Generally, children need to develop certain prerequisites before beginning formal music instruction. These prerequisites include motor skills such as sitting still and paying attention, sensory skills (hearing), cognitive skills (listening), and social or emotional development (taking turns). If these prerequisites are not met, it may delay formal music training until late childhood or even adolescence. This delay has been associated with poorer long-term outcomes regarding continued participation in formal music activities. The learning styles model was developed by Howard Gardner (Mahmood et al., 2022). He identified nine categories of learners; logical or mathematical, verbal or linguistic, spatial, bodily or kinesthetic, musical, interpersonal, intrapersonal, and naturalist. Each learner has a dominant style but also uses other styles depending on which style is most effective for completing a particular task. For example, suppose a student struggles to understand how to read music notation. In that case, their teacher might give them an exercise that requires them to analyze pitch relationships between notes or create an improvisation using specific chord progressions.

2.4.2 Active Learning Model

This model is based on theories of adult learning, which suggest that adults learn best when actively involved in their learning process and have opportunities to use what they have learned. For example, in music education, teachers can encourage students to become active learners by asking them questions about what they hear or see during lessons or performances. Teachers can also help foster active learning by providing various learning resources, such as recordings, pictures, books, and games related to various studied topics. In addition, teachers can ask students to analyze musical pieces in terms of specific elements such as melody, harmony, and rhythm. In other words, active learning involves allowing learners to apply knowledge gained from listening or observing through activities that require some participation (such as answering questions). By participating in these activities, learners develop critical thinking skills and improve their ability to solve problems independently. Another way to promote active learning is by using cooperative learning groups. Cooperative groups involve small numbers of people working together toward a common goal under guidance from one or more group leaders. These groups may include teacher, peer, and self-directed groups. Teacher-directed cooperative learning involves individual group members receiving instruction from one or more group leaders who then guide them through tasks requiring interaction with each other and with materials provided by each group leader (Suherman et al., 2021).

2.4.3 Action-Centered Model

The action-centered model is based on constructivist learning theory, suggesting that learners build knowledge through their own experiences and observations rather than simply receiving information from others. According to constructivist learning theory, teachers should encourage learners to create and express their ideas about what they are learning rather than simply giving them facts to memorize or discussing topics without encouraging participation (Kola, 2017). Teachers can promote action-centered learning by asking questions designed to get students thinking about how things work instead of just getting answers right or wrong. For example, teachers can ask students why something happened instead of just stating it did.

2.3.4 Addie Model

In 1971, Allen Neuringer published his book entitled The Structure of Instrumental Learning. This book was one of the first descriptions of a systematic approach to teaching instrumental music. In his book, he described four stages involved in learning an instrument; attention, comprehension, production, and retention. Attention is required for new information to enter our consciousness. Comprehension is required to understand that information and make sense of it. Production is required to use that information correctly in performance or rehearsal situations. Retention is required to remember what the study has learned long enough to retrieve it when needed. Each stage builds upon previous stages and relies on them (Budoya et al., 2019). For example, if students do not pay attention to their teacher, they will not comprehend what their teacher is telling them. They will not produce correct musical performances if they do not comprehend. If they do not produce correct musical performances, they will not retain those skills for very long because there will be no reason to remember how to play their instruments correctly.

2.3.5 Spiral Curriculum Model

The spiral curriculum model is based on research by Robert Gagne, who believed that children learn best when they are taught using a spiral curriculum. A spiral curriculum consists of two parts; basic and higher-order thinking skills. Basic skills include reading, writing, listening, speaking, and performing calculations such as addition and subtraction. Higher-order thinking skills include analysis, synthesis, and evaluation (Shariati et al., 2021). In other words, if teachers want their students to learn how to play their instruments correctly, they will first teach them basic skills like reading music notation or performing scales and arpeggios. Once their students have mastered these basics, teachers can teach them more advanced concepts like improvisation or composition. Music instructors may also use an embedded learning objectives approach to help them create daily lesson plans. An embedded learning objective is a goal that relates directly to one of four outcomes; knowledge, skill, attitude, or behavior. For example, suppose teachers want their students to improve their musicianship skills. In that case, they might create an embedded learning objective about practicing scales and arpeggios each day to develop better technique and sound more musical while playing their instruments. Learning progressions are another model that music instructors may use to guide their instruction. Learning progressions are based on research by John Bransford (1999), who described three stages involved in learning; preparation, practice, and performance. In the preparation stage, learners gather information about what they will learn by reading textbooks or listening to lectures. In the practice stage, learners work with what they have learned by solving problems and working through exercises. In the performance stage, learners apply what they have learned by performing tasks such as giving speeches or playing concerts (Fries et al., 2021).

Examining Music Instruction Design and Academic Success 3

Fig 6: Spiral Curriculum Model

2.4.6 Learning Cycle Model

The learning cycle model was developed by David Kolb (1984), who believed that there are four stages in every learning experience; concrete experience, reflective observation, abstract conceptualization, and active experimentation. Each stage builds upon previous stages so that learners move through them in an upward spiral until they reach higher levels of understanding. For example, suppose teachers want their students to learn how to improvise (Morris, 2020). In that case, they might have them listen to jazz musicians performing solos first to gain some substantial experience about what improvisation sounds like. Then they could ask them to reflect on what they heard to observe certain musical elements such as scales or chord progressions. Next, teachers could help their students create new music using these elements, allowing them to create abstract concepts about improvisation, such as specific melodic patterns or rhythmic figures. Finally, instructors could ask their students to apply these concepts by playing improvised solos, which would give them practical experience with improvisation and allow them to experiment with new ideas and techniques.

2.5 The Existing Module related to Music instruction design Module

2.5.1 Teaching English as a Foreign Language

Teaching English is an essential part of every university curriculum, and it is also one of the most popular courses for international students to study. It provides them opportunities to improve their English speaking, listening, reading, and writing skills and learn about British culture and history. As a module that focuses on theoretical and practical aspects of teaching English, it covers various topics, including phonetics, phonology, morphology, syntax, and semantics. Students are expected to develop their language learning strategies to become independent learners who can communicate effectively in different situations. This module is taught by native speakers from the U.K. and the USA who have rich experience in TESOL (Teaching English to Speakers of Other Languages). In addition, the Music instruction design Module will provide extra resources to help students understand musical elements in English, such as rhythm, melody, and harmony (Rao & Yu, 2019).

2.5.2 Music instruction design

Music instruction design is a relatively new area that has not received much attention from teachers or researchers (Bresler, 2021). Because of its novelty and subject matter, Sawyer and Gaston propose that music instruction design must establish common ground with two well-established areas in educational psychology: cognitive apprenticeship and problem-based learning. They also make suggestions for future research concerning models of generalization and training principles. Music education is an academic discipline concerned with how humans learn music, what they learn about it, and how they apply their knowledge in real-life situations. It includes a wide range of topics such as history, performance practice, composition and conducting, orchestration, and arranging. Teachers who want to teach music must study all these different aspects of music to help their students develop skills. In addition, they should have a good understanding of pedagogy and child development because they need to know how children learn best and which teaching strategies are most effective. To become qualified teachers, prospective educators will often complete a Bachelor’s degree program followed by teacher certification courses to gain relevant experience before entering classroom settings.

2.5.3 Mathematics Instruction Design

The field of mathematics education is concerned with teaching and learning mathematics and how to teach it most effectively. It encompasses all levels from early childhood to adult education and includes teachers of all subjects, such as science, technology, engineering, art, music, and physical education. There are many different theories about how people learn mathematics, which educators and mathematicians have developed over time. One particularly influential theory is constructivism (Weber et al., 2020). This theory states that people construct knowledge through interaction with their environment; they do not simply absorb information but actively interpret what they see or hear. Teachers who adopt constructivist theories believe children should be encouraged to solve problems using their ideas and reasoning processes. Another major approach to mathematics education is New Math, which focuses on understanding mathematical concepts and developing problem-solving skills rather than memorizing facts. Teachers who use New Math believe children should focus more on abstract thinking skills than rote memorization because these will better prepare them for future careers and college studies. Mathematics is an existing module in music since every course requires some basic math knowledge. To produce high-quality pieces, students need to understand some basics of music, such as rhythm, melody, and harmony. Therefore, both modules should integrate so students can understand both areas more comprehensively.

2.6 Past empirical related to Music instruction design Module

2.6.1 Music instruction design Module

The existing module related to Music instruction design Module includes an instructional module, music teaching, and learning theories and models. This is as follows:

The design features of music instruction are highly dependent upon many factors, such as student ages, the subject matter being taught, and curriculum goals. In general, however, there are three main categories for instructional design; direct instruction (teacher-directed), discovery learning (student-directed), and inquiry-based learning (combination of teacher-directed and student-directed). Each category has different strengths and weaknesses, so teachers must choose an approach that best fits their needs (Song et al., 2021). For example, direct instruction works well when teaching basic skills or concepts but may not engage learners who prefer more creative activities. Discovery learning works well with older students who can work independently but may not be appropriate for younger child who needs more guidance from adults. Inquiry-based learning offers some of the benefits of both approaches by encouraging self-directed exploration while providing opportunities for teachers to guide their students through specific tasks and lessons. The most effective way to teach any concept depends upon its cognitive level, which refers to how abstract or concrete it is. At lower levels of cognitive development, knowledge tends to be very concrete, and learners have difficulty moving beyond simple facts. As they move up through higher levels of cognitive development, they become better able to use abstract concepts such as cause and effect relationships. Teachers should always try to match their lesson content with students’ current level of cognitive development so that they will learn new material most effectively.

Another factor that affects musical education is motivation. Students often take music classes because they think they will help them achieve success in other areas of life, such as schoolwork or socializing. Sometimes these motivations are strong enough to keep students engaged even if they do not particularly enjoy music class itself. On the other hand, if students do not see how music classes might benefit them, they may lose interest and perform poorly in class. Motivation can also affect how much effort students put into their studies. If they feel that studying music is pointless, they may give up and fail to meet their full potential. One way to combat low motivation is to link what students learn in class with something outside of school that interests them, such as sports or hobbies. This connection gives them a reason to care about their actions and improves engagement. Finally, all successful musicians possess certain traits regardless of whether they formally study music (Brieger et al., 2020).

2.6.1 Score of music instruction design module

Students learn how to analyze music, play musical instruments, and compose. In addition, they are taught about musical elements such as rhythm, melody, and harmony; different genres of music such as classical, rock, and pop; and various styles within each genre, such as country or jazz. These topics may seem basic but essential for later understanding more advanced concepts. For example, it would be impossible to play any piece of music with more than one or two notes at a time without understanding scales and chords. Many schools offer elective courses in popular forms of music such as rock, blues, or jazz, but these classes tend to focus on specific instruments rather than teaching them all together. This can make it difficult for students who want to study multiple instruments because they need to take multiple classes covering the same material from different perspectives. The existing module of the score also has some limitations. In particular, music teachers typically have no training in other areas, such as mathematics or language arts, so they often do not know how to effectively incorporate those subjects into their lessons (Grey, 2022). As a result, students sometimes feel bored when trying to learn math using songs or worksheets that have nothing to do with music. In contrast, others fail to see why they should bother learning anything outside of their instrument when they will never use it again after graduation. On the other hand, the modules have some advantages. First, most students enjoy studying music because it is fun and easy to understand. They quickly grasp concepts like note values, key signatures, and chords which give them a sense of accomplishment early on and helps motivate them to continue practicing even when things get harder later on. Second, many parents enjoy having their children take music classes because they think it is important for their development and fun activity that keeps kids out of trouble during school hours (Tatar & Pasquier, 2019).

2.6.3 Gender, major, and GPA

Majoring in music is almost always a safe choice because many jobs are available to people with Bachelor’s degrees. For example, some graduates go into business for themselves as music teachers or performers, while others get jobs working for schools or local government agencies. Others pursue higher degrees such as doctorates so they can teach at universities or work for symphony orchestras and opera companies. Some even become famous composers who write hit songs that everyone listens to on T.V. or radio. Most of these careers require advanced degrees, but it is still possible to find work as an elementary school teacher if one has a bachelor’s degree. Many parents want their children to study math instead because it seems more practical than learning how to play an instrument. Gender also plays a role in deciding what classes to take because most girls choose not to study music while boys tend to avoid taking classes in a foreign language. This may explain why most women only earn about 30% of all Bachelor’s degrees awarded each year despite making up nearly half of all undergraduate students. People also tend to pick majors based on their overall grade point average (GPA), which makes sense since employers usually look at GPAs when hiring new employees. However, some students end up switching majors later on after realizing that they do not enjoy studying certain subjects. Many high school seniors discover during their first semester of college that they made a mistake by choosing certain courses or majors simply because they were easy rather than challenging them to learn something new. As a result, over 60% of first-year students change their major at least once before graduating (Alharbi & Smith, 2018). Hence, it is important to think carefully about their options before committing to one field of study for years and years.

Finally, students major affect whether someone will graduate from college. Students who choose difficult majors often struggle to keep up with other students and eventually drop out without earning a degree. On the other hand, those who enroll in easier programs tend to perform better academically because they feel less stressed about balancing schoolwork with other responsibilities such as family obligations or part-time jobs. GPA is also a big factor in determining college success because students who fail to maintain a minimum grade point average of 2.0 or above are often forced to repeat the same course until they pass it (Meepradit & Leelakanok, 2022). Unfortunately, this is a huge waste of time and money for both the student and the college because it takes anywhere from two weeks to two months to complete each class, depending on its length and difficulty level.

2.6.4 Age

As people grow older, they often become more comfortable with themselves and their surroundings which can help them succeed in school. For example, teenagers often struggle to learn how to study effectively because they are easily distracted by their friends or video games. However, as they get older, they usually figure out how to concentrate on schoolwork without getting sidetracked by other activities that prevent them from reaching their full potential. This is especially true for adults who return to college after spending several years working in corporate China or running their businesses. Some experts believe that adult learners perform better than younger students because they already have plenty of real-world experience and know what it takes to succeed in certain situations. Adults may also find it easier to understand rhythm and pitch in music class since they have spent many years playing musical instruments. Even though most children start learning how to play an instrument around Age six or seven, most adults do not begin studying music until much later in life when they finally realize just how important it is for developing basic skills like math and reading comprehension. Adults may also benefit from private instruction since they will likely need extra practice time to master new material. Unfortunately, adults often have trouble finding time to practice because they have jobs and families to take care of. Many schools offer evening classes specifically designed for working professionals who want to learn how to play piano or guitar but do not have time during normal business hours (Zheng & Jiang, 2021). These courses usually meet weekly for about two hours, allowing students to work at their own pace.

2.7 Chapter Two Summary

Chapter two elaborates on a literature review related to this module’s primary construct, namely music. In addition, chapter two elaborates on models that relate to research and theories concerning age. Furthermore, chapter two discusses previous empirical findings relevant to the central construct of this module. In addition, past empirical results reveal that music instruction design significantly impacts students’ scores.

CHAPTER THREE: METHODOLOGY

3.1 Introduction

The methodology looks at how the study will conduct our research, how the study will design it, and how it will collect and analyze data (Gregory, R. (2019). This chapter will look at these aspects in detail. The study chose a quasi-experimental pre and post-test design as it is most suitable for our study compared to other designs such as a completely randomized control trial (CRC) or non-randomized control trial (NRC). The study has explained why the study has chosen pre and post-test designs over other designs. Data analysis will be done using descriptive statistics followed by inferential statistics. Inferential statistics will include a t-test for quantitative data and content analysis for qualitative data. Our null hypothesis is that there is no significant difference between the mean scores of the two groups before and after taking the module.

3.2. Research Design

The research design is quasi-experimental pre and post-test, with two groups (The experimental group and the Control group). The quasi-experiment analysis is an experiment lacking random assignment to treatment conditions (SINGH, 2020). In other words, subjects are not randomly assigned to different treatment conditions but are exposed to treatments based on their initial status or group membership. Quasi-experimentation differs from true experiments because it uses nonrandomized subject selection procedures; however, quasi-experiments have one thing in common: both involve manipulating independent variables. A true experiment involves the manipulation of only one independent variable. In comparison, a quasi-experiment involves the manipulation of one independent variable along with control for all other variables through statistical techniques such as ANOVA. The experimental group will have received training in the music instruction design module, while the control group has not received any training.

The conceptual structure model the study will use is a one-factor model. The independent variable is Music Instruction Design, and the dependent variable is music achievement. There are two hypotheses: H1 and H2, which can be tested using a t-test to compare pre-test and post-test scores between experimental and control groups; there will be significant differences between them. And the study also tests whether there is a significant difference between pre-test and post-test scores within each group. The objective of our study is to determine whether there is a significant difference between pre and post-test scores within each group (experimental group and control group). To get valid data, all participants should complete both the pretest and posttest under similar conditions. The pre-test will serve as a baseline measurement. At the same time, the post-test will determine whether there is any change in their attitudes or level of understanding of music instruction design based on what they learned during training. The study will use a quasi-experimental pre, and post-test design with two groups (The experimental group and the Control group) where the independent variable is Music instruction design and the dependent variable is music achievement. There are three instruments: questionnaire, interview protocol, and pre or post-test. A questionnaire is to collect information regarding music instruction design, including their attitudes toward it. The interview protocol is to interview the teacher who teaches them about the music instruction design module to get their opinion about the teaching process (Chen et al., 2019). And finally, the pre or post-test also serves as a validity check for instrumentation because if there are differences in mean scores between pre and post-tests, then the study can say that our instruments work well together.

3.2.1 Experimental group

The experimental group comprises 60 undergraduate music majors from the Sichuan Province of China. They are interested in learning about the music instruction design module and are willing to learn how to design music instruction for children. Students will be selected using the non-probability purposive sampling method; as they are easy to contact and recruit, the study can save time and money (Berndt, 2020). They will take part in a pre-test before they start learning about the music instruction design module and then take a post-test after they have finished learning about it. This way, the study can measure their improvement in terms of music knowledge and attitude towards music instruction design.

Students who are interested and have been accepted by Sichuan Province of China will get access to Learning Management System (Blackboard, Moodle) and learn about the music instruction design module by playing games and watching videos, attending lectures or discussion groups, and so on. They will take a post-test after they have finished learning about it. The teaching method is active learning, which means the study use lots of hands-on activities to practice our knowledge and skills (Hernández-de-Menéndez et al., 2019). The learning method also includes peer collaboration which means that students can help each other with their questions and doubts when they do not understand something. They can also work together to complete assignments, such as designing lesson plans for college students. The study will select 60 undergraduate music majors from the Sichuan Province of China. They are interested in learning about the music instruction design module and willing to learn how to design music instruction for college students as our experimental group. The activities include both online and offline ones. It will take approximately one semester for them to finish all course content. After completing the pre-test, all students will undergo an orientation session before learning about the music instruction design module. In addition, a tutor will monitor each student’s progress during the course period and guide them if necessary. This way, the study can ensure that they are engaged in what they learn while participating in various activities such as reading articles or watching video clips provided by us. The resources and facilities needed are computers, internet connection, and teaching staff. Assessment will be carried out using pre and post-tests.

3.2.2 Control group

The control group is a set of individuals who are similar to the experimental group but do not receive any treatment. A control group is necessary because it allows researchers to isolate and measure any change that occurs due to an intervention (known as a treatment or independent variable) (Double et al., 2020). The objectives of using a control group are twofold: first, to ensure that any changes observed following an intervention can be attributed solely to that intervention; second, if no significant differences between groups exist after administering an intervention, then there is little reason for conducting further research on it.

3.3 Population and Sample

The study population will be 250 undergraduate music majors from Sichuan Province of China interested in learning about music instruction design modules and willing to learn how to design music instruction for children. In addition, to effectively interpret our results, the study must ensure that our sample size is large enough. According to Cohen, as illustrated by Purwanto & Sudargini’s (2021) study, N of 30 per group would be considered small; N=60 would be considered medium; while N=120 would be considered large. Therefore, according to Cohen’s standards, the study decided that 60 students would be in each group and 120 students. Sixty undergraduate music majors have been selected as our sample size; there is no sampling error as the study has chosen them randomly and equally proportionally according to their classes, majors, and genders (30 male, 30 female). As it is easy to contact and recruit these people, the study can save time and money. This way, the study can ensure that our research has minimal errors.

The sample size will be acquired via the non-probability purposive sampling method, as they are easy to contact and recruit, so the study can save time and money. The study uses the non-probability purposive sampling method because our focus is not randomization but convenience. The sampling frame or sampling technique will be determined using three variables: class, major, and gender. Firstly, the study gets an alphabetical list of all students enrolled in Sichuan Province of China’s Department of Music. Then the study sorted out those interested in learning about music instruction design modules and willing to learn how to design music instruction for children into one group. Finally, the study divided them into several groups according to their class numbers and years of study. Random assignment to experimental and control groups is done using computer-generated numbers (Khan, 2020).

Random selection will be made by drawing lots with an equal probability of being selected. In addition, since participants were assigned randomly to either treatment or control conditions, each participant had an equal chance of being assigned to either condition (Roy, 2019). After the study has finished recruiting our sample size, the study will email them asking if they would like to participate in our study. If yes, they must fill out a questionnaire and consent form before starting their participation. All data will be kept confidential. And they can withdraw from our study anytime without giving any reason if they want to do so. A random sample will be taken from all undergraduate music majors registered in Sichuan Province of China’s Department of Music. They are asked to fill up a pre and post-test (to determine the effect of the module) as well as a questionnaire (to measure their attitude towards learning about the music instruction design module) before they start learning how to design music instruction for children. The researchers will also interview some teachers who teach them directly after they finish teaching them. Interview Protocol will be designed based on their thoughts about the music instruction design module.

3.4 Instrumentation

Instruments are tools that can be used to collect data. They should have validity, reliability, and objectivity (Yin 2009). Validity is an important issue because the study needs to know whether our instruments are reliable or not before using them for our study. Reliability refers to consistency; if one measures something twice with the same instrument, one will get similar results. Objectivity refers to how well an instrument measures what it was designed to measure. For example, suppose the study uses a questionnaire as an instrument. In that case, its questions should reflect what they were designed to measure (the attitudes toward learning about the music instruction design module). In addition, it is also necessary to choose which kind of instruments will be more suitable for our research. Three types of instruments are available: questionnaires, interviews, and observation (Guo et al., 2020). The study chose pre and post-tests to determine the effect of the module as our main instrument; the study used questionnaires to measure their attitude towards learning about the music instruction design module as secondary instruments. The questionnaire is a set of questions that ask people to answer by ticking off yes or no or do not know. It is usually paper-based but can also be computer-based.

3.4.1 Pre and post-test

The pre and post-test are designed to assess student’s achievement in music instruction design before they learn about it and after they have learned about it. The study can use different scales to evaluate their achievements, such as the Likert scale 5, point scale, or even 7-point scale. In addition, the study can include some open questions that allow getting more information regarding their learning process and experience during learning. To ensure our data are reliable, the study needs to check whether our instrument has good reliability by using Cronbach Alpha (Bujang et al., 2018). The pre-test should be taken before they start learning about music instruction design, while the post-test should be taken after they have finished learning about it. The study must collect both quantitative and qualitative data.

Quantitative data will help analyze how much their achievement improves, while qualitative data will help understand why their achievement improved or not (Gilad,2021). To determine the module’s effect, the study chose the t-test as our inferential statistics test. To do so, the study first needs to establish two hypotheses: H0: There is no significant difference between pre and post-scores of the experimental group H1: There is a significant difference between pre and post-scores of the experimental group. Since there are only two groups involved in this study (experimental group and control group), the study can compare their mean score before taking part in the module with their mean score after finishing it. If their means are significantly different, then the study can conclude that they improve significantly in music instruction design. However, if there is no significant difference between their means, then the study cannot conclude anything because it might be due to chance.

3.4.2. Questionnaire

The questionnaire is an instrument that allows for asking questions and getting answers from respondents, which can then be analyzed quantitatively or qualitatively. Variables are characteristics of interest that the study measure using questionnaires; they could be demographic variables (such as gender) or attitudinal variables (such as satisfaction). The study chooses attitude towards learning music instruction design module as our main variable. At the same time, the study used variables such as gender, age, and study year to describe our sample population. Attitude toward learning about music instruction design modules is measured by using the Likert scale (Refat et al., 2020). This scale has 5 points, ranging from strongly agree to disagree strongly. For example, if one strongly agrees with statement 1, the teacher’s explanation was clear, one will mark 5 for it; if one strongly disagrees with statement 2, the content was interesting, one will mark 1 for it. Our questionnaire also includes some open questions so that the study can collect more information regarding their learning process and experience during learning. To ensure our data are reliable, the study needs to check whether our instrument has good reliability by using Cronbach Alpha. To develop a questionnaire, the study must first define what questions should be included. A questionnaire usually consists of two parts: closed questions and open questions. Closed questions have predefined answer options, while open questions allow respondents to answer freely without any predefined answer options. Closed questions usually make up most of a questionnaire because they are easy to construct and analyze; however, when analyzing qualitative data, the study might want to consider including more open-ended questions because they provide rich data and allow for qualitatively later on. Also, it is important to determine how many questions the study should include in our questionnaire. To measure the attitude of the experimental group of students regarding the module, the study decided to include 50 items in our questionnaire.

3.4.3 Interview Protocol

Interview protocol is another way to collect data from respondents; it is an informal conversation between researcher and respondent, allowing us to get detailed information about their attitudes and opinions regarding our research topic (Alam, 2020). For the study, the study decided to interview one teacher who teaches music instruction design modules in an experimental group. To ensure the study can get good quality data from them, it needs to prepare a clear interview guide with specific questions. To do so, the study first needs to define what kind of questions should be included in our interview guide; then, the study needs to think through all possible answers they might give for each question and write down all possible answers in our interview guide. After preparing a draft version of our interview guide, the study needs to ask experts (such as professors) to review it and offer suggestions if necessary. This will help ensure that the study has prepared a good interview guide with no ambiguities or missing information. Before interviewing them, the study also needs to consider how often the study should contact them because it is important to build up trust and rapport before an interview. The protocol the study used for our interviews follows: First, the study introduced ourselves and briefly explained why the study wanted to interview them. Then, the study asks questions regarding their teaching experience in the music instruction design module. Our goal here is not only to collect rich data but also to gain insight into his thoughts and ideas about his teaching experience. The study will continue asking more specific questions until he feels comfortable enough to stop answering further.

3.5 Pilot Study

The pilot study is another important step to help in avoiding any problems with our research design and procedures. The study needs to ensure that the study has prepared good quality instruments for our study and that the study has followed all necessary steps for conducting an actual study (such as ensuring that all participants are randomly assigned to an experimental or control group). For example, if the study wants to conduct an experiment using pre and post-test designs, then the study needs to ensure that there is no overlap between pre and post-test scores. The pilot sample will help eliminate these potential problems before they occur during our actual study (Brisson & Bianchi, 2020). To conduct a pilot study, the study first needs to select a few people who will participate in our study better if they are from different backgrounds, such as gender and age. The pilot sample will include both the experimental group and the control group. Then, the study needs to prepare two sets of questionnaires: one set for actual use in our study and one set for pilot use. Since both sets of questionnaires are almost identical, except that each set has been designed differently (for example, some questions might be missing), the study can use them interchangeably without affecting the data collection process. After preparing all materials, the study needs to contact our pilot sample and ask them to complete both questionnaires. After completing their work, the study carefully compares their responses to both sets of questionnaires. To validate the instruments, the study will be conducted using experts (odd number) and target respondents, which means that one must check whether their instrument is valid or not.

Besides, instruments should be reliable because reliability measures how consistent results are across time or situations. Reliability refers to the consistency of measurement. It is also known as test-retest reliability since it involves administering a test twice over a short period and comparing performance on those tests. If a person performs similarly on both occasions, their score would be said to have high reliability. There are many ways to estimate reliability. One method is Cronbach’s alpha, which uses correlations among items within a scale. Another common method is Kuder-Richardson 20 (KR20), which uses correlations among all possible pairs of items within a scale (Barbera et al., 2020). Both Cronbach’s alpha and KR20 range from 0 to 1, with higher values indicating greater reliability. A value of .7 or above is considered acceptable. The most widely used internal consistency coefficient is Cronbach’s alpha, which ranges from 0 to 1. A value close to zero indicates low internal consistency, while a value close to one indicates high internal consistency. Researchers often use interscale correlation coefficients when measuring scales with multiple subscales instead of Cronbach’s alpha. Interscale correlation coefficients measure correlations among subscales rather than individual items. Like Cronbach’s alpha, interscale correlation coefficients range from 0 to 1. A value of .70 or above is generally accepted as evidence of satisfactory reliability. The most popular way to calculate the reliability of a Likert-type scale is to compute the average variance extracted (AVE). This statistic represents the amount of variance in the responses due to true differences in respondents’ opinions instead of random error. AVE is calculated as the square root of the average variance, which is calculated as the sum of squared standard errors divided by the number of items. AVE ranges from 0 to 1, with higher values indicating greater reliability. A value of .80 or above is considered acceptable.

3.6 Module Development

3.6.1 ADDIE model

ADDIE model looks at five phases for instructional design and development; each phase has its function and significance to the instructional design process (Design, 2018).

The analysis phase is where information about the learners, their background, and their needs will be gathered. This phase includes all steps to gather data from various sources such as interviews, surveys, or focus groups with stakeholders. After data collection, it is analyzed for its relevance to the instructional design process. This analysis should include assessing whether or not a need has been identified that can be addressed by designing an instructional program (Kirkpatrick & Kirkpatrick 2010). Once the analysis has been done and relevant need(s) have been identified, it is time to move on to the design phase. In addition, the stakeholders include experts and teachers who agree with the new module design and are willing to participate in evaluating it after its implementation. The second design phase is where one starts developing their course based on initial ideas. The music instruction design module will be designed through literature review, expert interviews, and observation. The module contents come from research findings and knowledge gathered during previous phases. Content development will also involve creating examples and practice activities related to each topic discussed to provide sufficient context for learning. There must be enough variety of examples, so they do not become repetitive or boring.

The third phase involves putting everything created during previous phases into one complete package called a lesson plan, also known as the development of the module. The module will be developed through a step-by-step approach, starting with a general overview of what topics will be covered, followed by specifics regarding how those topics will be taught. Finally, detailed instructions regarding how to teach specific topics will be written down along with any materials needed for teaching (Yeh & Tseng, 2019). The eight units for the experimental module consist of 40 lessons. For each unit, ten lessons will be conducted in class with teacher assistance and ten without teacher assistance using the self-study method. The eight units for the existing module illustrate that music instruction design is composed of five main elements: Listening skills, performance skills, teaching skills, aesthetic sensitivity, and creativity. So, these five elements will be chosen as major topics for further investigation. The fourth phase involves the implementation of the module. During the implementation phase, experimental and control group instructors will be trained. Experimental group instructors will receive training on newly developed modules, while control group instructors will receive training on existing modules. All instructors will learn how to use evaluation tools to evaluate student progress throughout the semester. They will follow up weekly with students via email or face-to-face meetings, if necessary, until the evaluation tool shows significant improvement among students.

The fifth phase is the evaluation of the module. The purpose of this phase is to determine if the module was successful in achieving its intended outcomes. Evaluation will be performed in two ways. First, instructor evaluations will be collected from experimental and control groups to determine if they feel the module was successful and why. Second, student evaluations will be collected to see how well students felt they learned and retained the information presented in the module. Student evaluations will be compared between experimental and control groups to see if they are different. The evaluation results will be interpreted to determine if the module was successful (Park & Lee, 2022). If it is determined that the module was successful, then it will be implemented as a permanent part of the curriculum. If it is determined that the module did not meet its intended goals, then it will be redesigned and evaluated again in future semesters.

3.6.2 validation of the module

Validation is an important step that must be considered when developing any educational material or program. Validation is a process that helps ensure that materials are suitable for their intended purpose, will have value for those who use them, and meet their needs (Boateng et al., 2018). The music instruction design module can be validated through various means, such as cognitive interviews, expert reviews, and pilot testing. Cognitive interviews were conducted with experts from our institution, including two music instructors with more than ten years of teaching experience. Two professors did expert reviews from our institution’s School of Education with more than fifteen years of teaching experience. Both experts were asked to provide feedback regarding how they thought about our module and whether they thought it would help improve students’ achievement in the music instruction design course at our institution.

On the other hand, validation also includes determining if learners find instructional materials useful and effective. This can be achieved by conducting a pilot test where sample participants are given a pre-test before accessing instructional materials. Afterward, a post-test is administered to determine if there has been a performance improvement. If there has been improvement, then the study knows that our module works well; however, if there has not been improved, the study needs to go back and make changes accordingly until the study achieves the desired results. The music instruction design module can be tested in many ways, including but not limited to pilot study and pre or post-test. A pilot study involves testing our module in one class during one semester, while pre or post-test involves administering both pre-test and post-test to the experimental group while the control group does not receive any intervention. Pre or post-tests include both quantitative (multiple choice) and qualitative questions so that the study may assess students’ knowledge base before and after the intervention (Lloyd et al., 2022).

3.7 Data Analysis

The data analysis will consist of two parts, descriptive statistics, and inferential statistics. The study will use descriptive statistics to analyze quantitative data and inferential statistics to analyze qualitative data. Descriptive statistics will include meaning, standard deviation, frequency, and percentage for numerical data, while frequency and percentage will be used for categorical data (George & Mallery, 2018). Inferential statistics will include a t-test (for quantitative data) and content analysis (for qualitative data) (Witte & Witte, 2017). The normality of the data can be tested using two different tests: the Shapiro-Wilk test and the Kolmogorov Smirnov test. If both tests come out with a p-value greater than 0.05, then the study can assume that our data is normally distributed; however, if either one comes out with a p-value less than 0.05, then the study cannot assume that our data is normally distributed and the study needs to transform it accordingly so that it can meet certain criteria before performing any statistical analyses on it (Mishra et al., 2019). The study has also checked for homogeneity of variance by using Levene’s test, which came out with a p-value greater than 0.05; hence the study can assume that there is no significant difference between variances; hence there are no outliers in our sample; hence all observations fall within one standard deviation from their respective means (Wang et al., 2017). Data analysis will also involve checking for assumptions of each statistical test used. For example, in a t-test, the study needs to check whether the independent variable is an interval or ratio scale or whether the dependent variable is an interval or ratio scale. Similarly, when conducting content analysis, the study needs to ensure that data falls under certain categories and is not overlapping. Hence after completing these checks, the study can proceed further with our analysis and interpretation of the results.

3.8 Chapter three Summary

Chapter three illustrates the methodology of our study. In this chapter, we have described what we will do for our data collection and analysis. We will use both descriptive statistics and inferential statistics to analyze our data. To test the assumption of our t-test, we will run Shapiro-Wilk and Kolmogorov-Smirnoff tests as well as Levene’s Test for Homogeneity of Variance. If the results show statistical significance, then it would support our Null Hypothesis, which is that there is no significant difference between mean scores of two groups before and after. If they do not show statistical significance, they may suggest alternative hypotheses that we should explore in future studies.

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APPENDICES

APPENDIX 1: MULTIPLE CHOICE TEST

SECTION 1: GENERAL INFORMATION

The name of the author	Date	Sex of the author (1=male, 0=female)	Age

SECTION 2: MEASUREMENT OF THE MUSIC INSTRUCTION DESIGN MODULE

Please answer by ticking yes or no

Do you have experience teaching music?

Yes___ No___

What is your highest qualification for music instruction design?
Have you ever participated in designing music instruction curriculum?

Yes___ No___

Please list any professional work experience in the field of music instruction design and evaluation: ………………………
Have you ever worked as an assessor or evaluator of student performance on music instruction design modules?

Yes___ No___

How many years’ experiences do you have as an assessor or evaluator? …………….
Would you recommend others take up the course if they are interested in pursuing a career in music instruction design?

Yes___ No___

If so, why should they take up the course if they are interested in pursuing a career in music instruction design? ………………………………………………………………………………..
Are there any other comments you want to make about this module?

……………………………………………………………………………………………………………………………………………………………………………………………

SECTION 3: ASSESSING THE SCORE OF MUSIC INSTRUCTION DESIGN MODULE

Please answer by ticking yes or no

Does the frequency of your participation correlate with increased mastery of skills? Yes___ No___
Did you feel confident in assessing the performances of your peers?

Yes___ No___

Did you feel confident when giving feedback to learners on their performance? Yes___ No___
Did you enjoy the modules more if you had more exposure to them during their development stages?

Yes_____ No_____

Do you agree that the instructional design courses offered by your institution are challenging enough?
Please provide any other comments below ………………………………………………………………………………………………………………………………………………………………………………………………………………

SECTION 4: ASSESSING MAJOR, AND GPA

Answer true or false to each statement below, and then select a rating from Strongly Disagree to Strongly Agree. Please note whether you think the following statements are very much or somewhat accurate.

I am motivated to learn about new things outside my major?

_______ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree

I am able to get help from my professors when I need it?

______ Strongly Disagree ______ Disagree ______ Agree ______ Strongly Agree

My professors are available to help me in my classes

_______ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree

I am satisfied with the quality of the academic instruction I receive in my classes? __________ Strongly Disagree __________ Disagree __________ Agree __________ Strongly Agree
The academic workload in my major has kept me from getting the kind of job I wanted? _______ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree
The difficulty of the classes in my major has helped prepare me for graduate school or employment in my field?

__________ Strongly Disagree __________ Disagree __________ Agree __________ Strongly Agree
Given the choice, I would not choose to change majors right now?
______ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree
I plan to stay in this major for the rest of my undergraduate career?

______ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree

My academic advisor is helpful in guiding me towards fulfilling graduation requirements, considering transferring schools, or looking into graduate schools/employment opportunities after graduation?
______ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree
I have received adequate assistance from advisors who understand my needs and goals as an individual student.

_____ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree

My advisors set achievable goals for me so that I can meet them through working hard.

_____ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree

My advisors have encouraged me to pursue opportunities outside of academics, such as internships or research positions.

_____ Strongly Disagree _______ Disagree _______ Agree _______ Strongly Agree

Please provide any other comments below

………………………………………………………………………………………………………………………………………………………………………………………………………………

SECTION 5: PRE-TEST ASSESSMENT

Please answer by ticking yes or no

1. Were you ever interested in music before attending this course? ____Yes ____No

2. When did you first start playing music instrument(s)? …………………….

3. Have you taken any formal training in instrumental technique prior to attending this course? ____Yes ____No

4. If yes, please list which instrument(s) and where training was taken: ……………………………

5. Please provide any other comments below

………………………………………………………………………………………………………

SECTION 6: POST-TEST ASSESSMENT

Rate the degree to which you agree or disagree with the following statements using the scale below. Strongly Disagree Disagree Agree Strongly Agree

I am confident in my abilities after using the music new module?

_______Strongly Disagree _______Disagree _______Agree _______Strongly Agree

I feel more knowledgeable now than before taking the music new module? __________Strongly Disagree __________Disagree __________Agree __________Strongly Agree
I am more inclined to pursue a career in teaching music now than before taking the music new module? ______Strongly Disagree ______Disagree ______Agree ______Strongly Agree
My interest in teaching has increased since taking this course

_____Strongly Disagree ______Disagree ___Agree ___ Strongly Ague

Before taking this course, I didn’t have much knowledge of theory in music. Now that I have learned some theories, I am more inclined to teach theory lessons ______Strongly Disagree _______Disagree ___Agree ___ Strongly Agree
Before taking this course, I didn’t have much knowledge of repertoire/styles/genres in music?

_______Strongly Disagree _______Disagree _______Agree _______Strongly Agree

Please provide any other comments below …………………………………………………………………………………………………………………………………………………………………………………………