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Instruction emphasized metacognitive strategies and proactive, self-regulatory attitudes, supporting students’ capacity to reflect, engage in self- and peer assessment, and monitor musical learning processes across performing, listening, and creating.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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HolcarBrunauer‡  \nQualitative research has provided insight into how students experience and perceive the learning process in music. A model of learning, teaching, assessment and evaluation has been researched and reconstructed together with students. As a basic investigative approach the method of action research has been used. Two action cycles were planned and executed. Findings of the study in which students were given instruction with an emphasis on the development of metacognitive strategies or developing proactive and selfregulatory attitudes to learning, evaluation and assessment, broaden understanding of how to integrate assessment and evaluation into the learning process, and monitor all processes of music learning.  \nIntroduction  \nBamford points out that assessment of pupils’ knowledge should be as creative as possible. Methods of assessment and evaluation should take into account various kinds of learning which enable pupils to express themselves, create and evaluate in arts education, including music education (Bamford, 2009) . Given the complex nature of learning responding, which in music includes learning processes and objectives in the affective, psychomotor and cognitive domains, it is necessary to consider all three areas when establishing criteria for assessment and evaluation in music education (Sicherl-Kafol, 1997) .  \nStandardized national tests still represent a great problem for teaching (Bresler, 2010), as many teachers teach for the tests, even though they are aware of the fact that those tests do not provide authentic feedback on pupils'musical knowledge. Authentic evaluation in music education should be based on the most important (rather than the most convenient) dimensions of musical knowing, i.e. on the processes and achievements of musical learning in the areas of performing, listening and creating which include holistic learning response (affective, psychomotor and cognitive) and represent the basis for assessment and evaluation criteria in music education (Sicherl-Kafol, 2004) .  \n􀀍Associate Professor, University of Ljubljana, Slovenia.  \n†Associate Professor, University of Ljubljana, Slovenia.  \n‡Senior Consultant, National Education Institute Slovenia, Slovenia.  \n[https://doi.org/10.30958/aje.1-4-2](https://doi.org/10.30958/aje.1-4-2) doi=10.30958/aje.1-4-2  \nThis means process oriented assessment with flexible methods of evaluating musical achievements instead of the mere use of standard aptitude and knowledge tests, as “our tests are meant to measure what is least essential in the arts” (Aróstegui, 2003, str. 112) . In her book Beyond Testing (Gipps, 1994a), Caroline Gipps defines this as a shift from a culture of tests and interrogations to a culture of assessment and evaluation at different stages of learning in its various forms.  \nAssessment for learning (Daniel, 2004) attributes a great importance also to self-assessment and peer assessment that have a very positive impact on learning. Research show (Bloom in Poole, 2004) that pupils involved in such assessment developed their learning skills, critical thinking, evaluation skills, improved their self-confidence and their understanding of assessment procedures. Also, their wish to participate and assume responsibility for their learning increased, while the quality of their feedback kept improving. Bloom and Poole (2004) report, that involving pupils into peer assessment made it possible to harmonise their expectations with the reality; to them, assessment was no longer something mysterious, alienated, something that others arrange for them. Pupils understood they were offered a different method of learning and insight into the process of their own musical development.  \nResearch Objectives  \nBased on the above mentioned problems this study aimed at contributing to the development of the theory of music learning, teaching, assessment an","cbCair8pN6TZSQIr","https://ap.wps.com/l/cbCair8pN6TZSQIr","pdf",568877,13,"English","# Introduction\n# Research Objectives\n# Methodology\n## Research Method","[{\"question\":\"What does the study propose about assessment in music education?\",\"answer\":\"It emphasizes process-oriented assessment using flexible methods to evaluate musical achievements rather than relying only on standardized tests.\"},{\"question\":\"What research method and study design were used?\",\"answer\":\"The study used qualitative research, with action research as the basic approach and analysis of results through a multiple case study after two action cycles.\"},{\"question\":\"How were students involved in the formative assessment model?\",\"answer\":\"Students were involved in reflections through development workbooks, and the model encouraged self-assessment and peer assessment to improve understanding of assessment procedures and feedback quality.\"}]","A Model of Formative Assessment in Music Education - By Urban Kordes, Barbara Sicherl Kafol, and Ada HolcarBrunauer | PDF",1792075119,33]