The cajón is widely used in small-room, acoustic, and “unplugged” settings where a full drum set would exceed the ensemble’s dynamic balance. Yet many cajón resources remain organised around fixed patterns, genre grooves, or introductory technique, offering less guidance on how players should organise hand motion, sound-function, and ensemble role under low-volume acoustic constraints. This article proposes a motion-first pedagogical framework for cajón groove fluency in low-volume acoustic ensemble contexts. The term low-volume is used here as a pedagogical and ensemble-practical category rather than an acoustically measured sound-pressure threshold. It is framed as a conceptual and pedagogical proposal rather than as practice-led empirical inquiry or as validation of ensemble outcomes, listener perception, or student learning. Drawing on practitioner experience, cajón method literature, groove and microtiming research, and cross-percussion technique transfer, the article develops two related pedagogical artefacts: a mini-rudiment substrate for cajón-specific motion work and three notation-supported style modules for Straight-8, 16th-note hand-to-hand, and Sonic Layering applications. The design principles were organised through four lenses: (1) time-feel; (2) timbre/texture; (3) dynamics; and (4) designed-for ensemble sensitivity. It argues that motion-first cajón pedagogy can function as a transferable framework for connecting percussion technique, embodied groove pedagogy, sound-function awareness, and low-volume ensemble-facing musicianship. Its contribution is a claim-bounded teaching framework for helping cajón players stabilise pocket, clarify bass/slap contrast, shape density, and prepare low-intrusion cues without relying on high-volume fills or pattern memorisation.
Music is commonly utilized in educational settings to support mood regulation and concentration, yet its deep motivational relevance within physical education remains underexplored. Guided by Self Determination Theory (SDT), this study examined the associations between the Eudaimonic Functions of Music Listening (EFML), and intrinsic motivation among college students enrolled in mandatory Physical Activities Toward Health and Fitness (PATH Fit) courses at a Philippine State University. A cross-sectional correlational design was used to assess these relationships. To measure the variables, the study utilized the Eudaimonic Functions of Music Listening (EFML) scale to evaluate the elements of Peak Experience (PEX), Flow (FL), and Transcendence (TR), alongside the Intrinsic Motivation Inventory to examine the subdimensions of interest, enjoyment, value, usefulness, and perceived choice. Regression analyses revealed that PEX and FL were significantly associated with overall intrinsic motivation and multiple subdimensions, with PEX emerging as the strongest predictor overall. Conversely, TR demonstrated a more selective pattern, emerging as a unique predictor within the value and usefulness model, which overall accounted for one quarter of the variance. These results imply that emotionally meaningful musical experiences can profoundly shape motivational appraisals during learning through movement. In terms of practical implications, the findings suggest that physical education instructors can deliberately implement aesthetic musical strategies to cultivate deeper educational purpose and student connection. This research provides context specific evidence validating that music can function far beyond temporary affect regulation to serve as a meaningful pedagogical catalyst for long term behavioral engagement in physical education.
This study examines the motivations, self-reported competencies, and teaching challenges of music teachers in two central public elementary schools in Sorsogon City, Philippines. The findings indicate that intrinsic motivation, particularly a strong commitment to teaching and the desire to share musical knowledge, plays a central role in teachers' continued engagement with music instruction. Teachers generally rated their competencies as satisfactory in relation to curriculum content and performance standards, instructional strategies, and the use of teaching materials, while also acknowledging the need for further professional development. The most significant challenges identified were the lack of reference materials, limited availability of musical instruments, and insufficient access to training programmes and seminars. Additional concerns included outdated instructional skills, inadequate time for developing complex musical abilities, and confusion surrounding aspects of the spiral curriculum. Overall, the findings suggest that although teachers demonstrate commitment and a foundational level of competence, constraints related to resources and structured professional learning opportunities limit the effectiveness of music instruction. This study contributes to discussions on music education in public elementary schools by emphasising the importance of professional development support and adequate instructional provision in strengthening music teaching and learning in resource-strapped contexts.
This study examines differences and interaction effects among undergraduate students' traditional music ability, instructional models, and musical creativity. A quantitative comparative design was employed with a sample of 36 students from the Department of Drama, Dance, and Music Arts at Universitas Negeri Padang, Indonesia. Participants were selected through purposive sampling and assigned to an experimental group and a control group. Data were analysed using descriptive statistics, box plots, oneway analysis of variance (ANOVA), and two-way (2 x 2 factorial) ANOVA using Jeffreys's Amazing Statistics Program (JASP). The results indicate that students with high musical creativity achieved higher traditional music ability scores (M = 73.33, SD = 2.35) than those with low musical creativity (M = 62.78, SD = 4.76), F(1,16) = 35.567, p = 0.001, eta(2) = 0.69. Students who received explicit instruction also attained higher traditional music ability scores than those taught using the conventional instructional model, with this difference most evident among students in the high-creativity group (M = 73.5 versus M = 61.0). The two-way ANOVA revealed significant main effects for musical creativity (p = 0.012) and instructional model (p = 0.001), as well as a significant interaction effect between the two factors (p = 0.001). Overall, the findings indicate that instructional approach and musical creativity jointly shape traditional music ability outcomes, with explicit instruction most effective among students with higher levels of creativity.
This study examines sindh & egrave;nan p & ecirc;matut, the context-dependent adjustment of female vocal practice, in Surakarta-style karawitan (Central Javanese gamelan performance) as an adaptive mode of vocal garap (interpretive working-out in performance) that becomes operative when standard placement schemes and melodic conventions do not adequately fit the musical conditions of a gending or a formally structured gamelan piece. Rather than treating p & ecirc;matut as an aesthetic preference, the study frames it as a set of decisions through whichp & ecirc;sindh & egrave;n (female gamelan vocalists) maintain coherence across irregular forms and regular forms with atypical phrase organisation. The findings identify three interrelated dimensions of sindh & egrave;nan p & ecirc;matut: 1) adjustment of wangsalan placement according to padhang-ulihan phrase function and c & egrave;ngkok; 2) c & egrave;ngkok-based adaptation shaped by r & ecirc;bab garap, register, and balungan patterns such as ngadhal and nggantung; and 3) cak & ecirc;pan-based substitution influenced by ensemble texture and gending theme. Overall, sindh & egrave;nan p & ecirc;matut emerges as a context-dependent decision process that sustains vocal coherence when schematic conventions are insufficient.
