Music motivation depends on what to motivate: research review of Gumm's music teaching and conducting models.

The history and philosophy of music education are traced with varied efforts to hone, enhance, and shift a strong tradition of performance-based instruction. The purpose of this study is to summarize the research of Gumm's empirical models of eight music teaching and six conducting approaches and their application in the profession across three decades toward varied philosophical aims. Each approach coordinates a distinct set of instructional and motivational behaviors toward a particular learning effect or outcome. Different balances of approaches reveal broader aims, such as performance, comprehensive musicianship, cooperative, discovery, and affective learning, or even basic on-task behavior. Broader yet are two overarching aims found in common to both music teaching and conducting-to control or release. Controlling music teaching asserts correct on-task behavior through clear task directions and corrective feedback, motivates attention to task nonverbally, efficiently fills time with active tasks, and clarifies and affirms positive learning. In contrast, cooperative group leadership releases interdependent learning, questioning fosters music concept learning, imagery and movement release artistry, and discussing unique perspectives releases independent ideas and feelings. In conducting, precise gestures control accurate timing, signals and alerts motivate attention, and mimicry of musician exertions controls physical tone production; whereas shaping of phrases and score markings release musical expression, psychosocially familiarized gestures foster interdependence, and tension-easing gestures release freer independent tone production. Control-oriented teaching is most prevalent across the field, yet links to greater burnout and appeals to accommodating students motivated by effort and ability more than students motivated by social and affective enjoyment of music. In conducting, music-oriented precision and expression are more prevalent than musician-oriented approaches. Releasing approaches are more prevalent in Western than Eastern culture, upper levels, early rehearsals well before concerts, smaller ensembles, competitive ensembles, and teachers and conductors with greater experience or varied movement training. Conclusive implications are that the key to motivation is to draw attention to specific and intentional forms of learning, and that whatever is motivated to attention also motivates a particular philosophy of music education. Future research is suggested in general music and ethnic, folk, popular, community, and professional music ensembles.

The Role of Psychological Suggestion Combined With Sports in Music Teaching / El papel de la sugestión psicológica combinada con el deporte en la enseñanza de la música

To alleviate the psychological burden on students and facilitate the efficient delivery of high-quality teaching information, psychological suggestions can be employed. Psychological suggestion involves subtly influencing the subconscious mind through discussions, expressions, gestures, attire, environmental factors, and a non-confrontational, non-critical, and non-resistant approach. This approach aims to stimulate students' internal psychological needs and potential indirectly, resulting in meaningful changes in their psychological states. In the context of music teaching, utilizing suggestion techniques is valuable for altering students' intrinsic motivations and psychological potential. By reducing the psychological stress students may experience in the classroom, it becomes possible to achieve high-speed, high-quality transmission of educational content. This approach represents a significant strategy for attaining educational objectives. Music classroom instruction, aside from imparting subject knowledge and honing essential skills, places greater emphasis on fostering students' enthusiasm for learning and their ability for self-directed learning. In this experimental study, a total of 100 students participated, including 72 male and 28 female students. The participants were drawn from various academic backgrounds, including four classes of music education majors in the Music Department, 18 students (13 males and 5 females) from the 22nd-grade Music Information Technology Department, 27 students (15 males and 12 females) from the 22nd-grade Music Leisure Major in the Music Economic Management College, and 19 students (9 males and 10 females) from the 22nd-grade Human System Applied Psychology Major. This research utilized teaching experiments, questionnaire surveys, and logical analysis, focusing on students from a music conservatory. The study conducted a comparative experimental investigation involving a Psychological Suggestion Experimental Group and a Normal Teaching Control Group. The TOPS questionnaire was administered during the teaching sessions of the experimental group. Students were asked to complete the questionnaire honestly and anonymously. In the experimental group, which consisted of four classes, there were 28 students in Group 3 (all of whom were male), and 28 students in Group 13 (comprising 6 males and 22 females). Additionally, there were 27 students (15 males and 12 females) majoring in Music Leisure in the School of Music Economics and Management at Grade 22, as well as 19 students (9 males and 10 females) majoring in Applied Psychology in Grade 07. The TOPS scale was distributed to both the experimental and control groups. The average and standard deviation of the eight factors of the TOPS training strategy for male and female amateur students were calculated. Among male students, the highest average score was observed in the "Emotional Control" factor, with a mean score of 3.54. For female students, the "Automation" factor had the highest average score, at 3.34. Conclusion: Integrating psychological suggestion into music education can effectively enhance student engagement and enthusiasm in the classroom. This approach enables students to better connect with their instructors and actively participate in their learning. When compared to traditional music teaching methods, the judicious use of psychological cues aids students in the experimental group in successfully accomplishing their learning objectives. Moreover, this approach assists novice students in developing a habit of actively engaging with music, which contributes to the cultivation of a lifelong appreciation for music.(AU)

E-learning during the COVID-19 lockdown: An interview study with primary school music teachers in Italy.

The present article provides an in-depth look at the strategies and practices developed by a cohort of primary school music teachers in Italy to deliver online music lessons during the COVID-19 lockdown. We used a qualitative methodology based on semi-structured interviews to bring out our participants' voices and reflections in a very personal manner and examine their perspectives on issues important to their profession and daily work. We were interested in investigating which practices and strategies were used or developed to deal with the difficulties and positive aspects characterising their experiences as teachers during the lockdown period. A focus was put on lesson planning, time management, student involvement, and information and communication technology (ICT) skills. Qualitative data were analysed using an inductive method based on grounded theory, giving rise to the five following dimensions: classroom activities; the role of the school and staff members; teachers' interactions with children and their parents; positive outcomes; unresolved challenges. Participants discussed how they used ICT and managed their classes remotely, provided vivid descriptions of their professional relationships with colleagues and students, and reflected on the advantages and disadvantages of teaching music remotely, pointing to new ways to improve current teaching methodologies.

Meaningful approaches to content selection and ways of working: Norwegian instrumental music teachers' experiences.

The Norwegian municipal schools of music and arts are publicly funded institutions which offer extra-curricular activities for children and adolescents in music and other art forms. The system is designed to ideally reach all children, but while each municipality is legally responsible for providing school of music and arts education for its inhabitants, the law does not state anything about teaching content or ways of working. Consequently, this is up to the teachers to decide. What is taught in these schools is, however, relevant to whether children feel included or excluded. This means that music teachers' beliefs and actions are among the factors that influence who will feel welcomed and who will feel alienated. On this basis, in this article we explore music teachers' approach to content-related decision-making processes by asking about their meaningful approaches to selecting content and ways of working within instrumental music teaching. To answer that question, we discuss what kinds of teaching content the teachers choose in general, as well as for beginner and advanced students, the reasons they express for selecting content, which, if any, music they find not to be suitable as teaching content, and how they work with the selected repertoire. We draw on empirical data from a survey among 151 music teachers and an interview study with 11 music teachers. Discussing results from these sources of data in relation to the Nordic and German music Didaktik theories, enables us to address meaningful approaches to selecting content and ways of working. From the analysis, we draw conclusions about what the music teachers experience as meaningful approaches. These can be summarized as (a) the centrality of the students in the process of selecting content; (b) genre versatility, meaning that students should be exposed to a broad range of musical genres and styles; and (c) that students are exposed to the "classical repertoire," or the standard repertoire within a genre or tradition. In general, what seems to be meaningful for the teachers is working "close to the student's wishes and preferences," but in ways that relate to a variety of Didaktik principles.

The approaches and methods of music psychology in the relationship between music emotion and cognition in music teaching activities.

In order to further improve the effect of music teaching, more music psychology should be applied in music teaching to assist teaching, and students should better understand the emotional elements reflected in music through music emotion and cognitive teaching. This essay starts from the relationship between music emotion and cognition, to deeply explore the application of music psychology in teaching activities, through the construction of music education psychological regulation function model to explore the effect of the application of psychology in music teaching. The results showed that the scores of positive emotions were significantly improved, while the scores of negative emotions were significantly decreased. The difference between the improvement and reduction of positive emotions was significant (p < 0.01, p < 0.01). The results show that psychology based on the relationship between emotions and people is helpful to improve the effectiveness of music teaching. And on this basis put forward the music teaching activity innovation path.

Music aesthetic teaching and emotional visualization under emotional teaching theory and deep learning.

The study aims to overcome the shortcomings of the traditional music teaching system, for it cannot analyze the emotions of music works and does not have the advantages in music aesthetic teaching. First, the relevant theories of emotional teaching are expounded and the important roles of emotional teaching and aesthetic teaching in shaping students' personalities are described. Second, a music emotion classification model based on the deep neural network (DNN) is proposed, and it can accurately classify music emotions through model training. Finally, according to the emotional teaching theory and the model based on DNN, a visual system of music teaching is designed for visualizing the emotions, which is helpful to students' understanding of music works and the improvement of teaching effect. The results show that: (1) the teaching system designed has five parts, namely the audio input layer, emotion classification layer, virtual role perception layer, emotion expression layer, and output layer. The system can classify the emotions of the current input audio and map it to the virtual characters for emotional expression. Finally, the emotions are displayed to the students through the display screen layer to realize the visualization of the emotions of music works, so that the students can intuitively feel the emotional elements in the works. (2) The accuracy of the music emotion classification model based on DNN is more than 3.4% higher than other models and has better performance. The study provides important technical support for the upgrading of the teaching system and improving the quality of music aesthetic teaching.

Cultivation and interpretation of students' psychological quality: Vocal psychological model.

Reflecting students' mental health data through vocal music teaching expressive system is a research hotspot in vocal music teaching psychology. Based on the theory of students' expressiveness in vocal music teaching, this paper constructs a psychological model of vocal music teaching. The model uses psychological data mining technology to conduct a feasibility study and analysis on the mental health education of vocal music students, solves the quantitative problem of mental health, and analyzes the relationship between psychological problems and students. In the simulation process, the psychological data of the vocal music freshmen of a certain college was taken as the research object, and the association rule Apriori algorithm was used to analyze the relationship between the factors of the psychological dimension. Psychological data mining was carried out, and descriptive indicators and univariate analysis methods were used to analyze the current situation of students' mental health and personality characteristics, and Pearson correlation analysis and structural equation model were used to explore the relationship between their mental health and personality characteristics. The amount of vocal music learning is the duration of the load and the total number of tasks completed within a single exercise or a series of exercises. ASP-NET and SQLServer2008 and other experimental results show that the chi-square test value of the overall fit of the model is 20.078, and the ratio of the chi-square value to the degree of freedom is 4.016, which has a relatively high accuracy and effectively enhances the psychological data mining technology in vocal music students for operation and practicality of applications in health data analysis.

Psychological Emotion and Behavior Analysis in Music Teaching Based on the Attention, Relevance, Confidence, and Satisfaction Motivation Model.

The abbreviation ARCS in the ARCS motivational model comprises the first letters of four English words: Attention, Relevance, Confidence, and Satisfaction. The ARCS motivation model is based on a systematic and easy-to-operate motivation theory. Many research studies have verified the applicability and effectiveness of the ARCS model in education worldwide. The proposed optimized ARCS motivation model takes the traditional ARCS motivation model and systematically optimizes it to make it suitable for the coding of data from videos of music classes. The case analysis method selected 14 high-quality music lessons as the research object. The optimized ARCS model involves text conversion, coding, and statistical analysis of the transcripts of videos of high-quality music classes. The data analysis was used to analyze the characteristics of students' emotional and behavioral motivation incentive strategies in each section of the ARCS motivation model in combination with specific high-quality case lesson fragments. This paper summarizes ways and means of using a motivational approach in the teaching of quality music classes, providing theoretical support for the practice of music teaching.

Teaching and learning musical instruments through ICT: the impact of the COVID-19 pandemic lockdown.

The COVID-19 lockdown in education institutions required music teachers to use ICT to continue teaching. This research study, with the use of a Likert type online questionnaire, analyses the ICT activities carried out during this period and the learning conceptions they reflect. The questionnaire consisted of the description of activities which varied, depending on the learning promoted (reproductive or constructive), the learning outcomes (verbal, procedural, or attitudinal), the type of assessment to which the activities were directed, and the presence of cooperative activities. The teachers had to indicate the frequency with which they carried out these activities. The questionnaire was completed by 254 instrumental music teachers from different types of institutions and different levels. The main study outcome was that teachers used reproductive activities more frequently than constructive ones. We also found that most activities were those favouring verbal learning and assessment. The cooperative activities were the least frequent. Finally, through a cluster analysis, we identified three teaching profiles depending on the frequency and type of ICT used: Passive, Active, and Interpretative. The variable that produced the most consistent differences was previous ICT use.

Educational Psychology-Based Strategy for Instrumental Music Teaching in Normal College.

The study is intended to explore the teaching mode of instrumental music teaching in normal college, so as to have qualified instrumental music teaching talents. Based on relevant content of educational psychology, the current instrumental music teaching model of normal college should be reformed in terms of curriculum content, teaching mode, and teaching methods, and a more systematic and standardized education model should be established. As per Orff's music teaching method, a music recommendation model is established based on the convolutional neural network model to provide students with a positive and happy learning environment for instrumental music, and music materials that meet their personal preferences and performance level through user data. The outcomes show that the designed music recommendation model has a music recommendation accuracy rate of 0.3 and a recall rate of 0.29 when the recommendation list is 30, which conforms to the general rules of the music recommendation system. The study is expected to provide reference for establishment of a standardized and systematic instrumental music teaching strategy in normal college.

An Empirical Comparative Study on the Two Methods of Eliciting Singers' Emotions in Singing: Self-Imagination and VR Training.

Emotional singing can affect vocal performance and the audience's engagement. Chinese universities use traditional training techniques for teaching theoretical and applied knowledge. Self-imagination is the predominant training method for emotional singing. Recently, virtual reality (VR) technologies have been applied in several fields for training purposes. In this empirical comparative study, a VR training task was implemented to elicit emotions from singers and further assist them with improving their emotional singing performance. The VR training method was compared against the traditional self-imagination method. By conducting a two-stage experiment, the two methods were compared in terms of emotions' elicitation and emotional singing performance. In the first stage, electroencephalographic (EEG) data were collected from the subjects. In the second stage, self-rating reports and third-party teachers' evaluations were collected. The EEG data were analyzed by adopting the max-relevance and min-redundancy algorithm for feature selection and the support vector machine (SVM) for emotion recognition. Based on the results of EEG emotion classification and subjective scale, VR can better elicit the positive, neutral, and negative emotional states from the singers than not using this technology (i.e., self-imagination). Furthermore, due to the improvement of emotional activation, VR brings the improvement of singing performance. The VR hence appears to be an effective approach that may improve and complement the available vocal music teaching methods.

Exploring the Learning Psychology Mobilization of Music Majors Through Innovative Teaching Methods Under the Background of New Curriculum Reform.

The research expects to explore the psychological mobilization of innovative teaching methods of Music Majors under the new curriculum reform. The relevant theories of college students' innovative teaching methods are analyzed under deep learning together with the innovation and construction of music courses. Thereupon, college students' psychological mobilization is studied. Firstly, the relationship between innovation and entrepreneurship teaching and deep learning is obtained through a literature review. Secondly, the music classroom model is designed based on the deep learning theory, and the four dimensions of the music curriculum are defined to innovate and optimize the music teaching model. Finally, the Questionnaire Survey (QS) is used to analyze the design classroom model. Only 15% of the 180 respondents understand the concept of deep learning, 32% like interactive music learning, and 36% like competitive comparative music classroom learning. And the students who study instrumental music have higher significant differences in learning motivation than those who study vocal music. In addition to classroom learning, 16% of people improve their music skills through music equipment. College students like interactive music classes and competitive comparison classes that can give more play to their subjective initiative. After the new curriculum reform, the music curriculum based on deep learning can stimulate students' interest in learning and participate in the mobilization of students' learning psychology. Therefore, in the future of music education and teaching, there is a need to pay more attention to students' psychological status. The research results can provide references and practical significance for the innovative teaching activities of music classrooms after the new curriculum reform.

Sense-Making, Meaningfulness, and Instrumental Music Education.

The purpose of this paper is to re-examine the nature of "meaning" and "meaningfulness" in the context of instrumental music education. By doing so, I propose to expand the ways in which instrumental music educators conceive their mission and the ways in which we may instill meaning in people's lives. Traditionally, pursuits of philosophical deliberation have claimed that meaningfulness comes from either personal happiness (e.g., Jeremy Bentham and John Stuart Mill) or an impersonal sense of duty (e.g., St. Augustine, St. Thomas Aquinas, and Immanuel Kant). However, philosopher Wolf (2010) criticizes these positions in favor of a broader perspective, one that arises from understanding that there is a third sort of value, namely "meaningfulness." Rightly understanding meaningfulness may help us engage more fully with a greater sense and understanding of the full potentials of eudaimonia: a life of significance and value for oneself and one's community. Therefore, this paper links meaningfulness to a 4E (embodied, embedded, enacted, and extended) account of "sense-making" in/for instrumental music education. In doing so, I discuss the aims of public-school music education; aims that engage teachers and students in meaningfulness-a meaningfulness that is ethical, embodied, enacted, and extended-in, with, and through musics and, more directly, "instrumental" music making.

Theoretical Framework for Facilitating Young Musicians' Learning of Expressive Performance.

Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build a new theoretical framework for teaching and learning expressive music performance in instrumental music lessons with children and teenagers. The article will start with a brief discussion of interpretation and expression in music performance, before providing an overview of studies that investigated teaching and learning of performance expression in instrumental music education with adults and children. On the foundation of this research a theoretical framework for dialogic teaching and learning of expressive music performance will be proposed and the rationale explained. Dialogic teaching can be useful for scaffolding young musicians' learning of expressivity as open questions can stimulate thinking about the interpretation and may serve to connect musical ideas to the embodied experience of the learner. A "toolkit" for teaching and learning of expressiveness will be presented for practical application in music lessons. In addition, a theoretical model will be proposed to further our understanding of teaching and learning of expressive music performance as a multifaceted and interactive process that is embedded in the context of tutors' and learners' experiences and environment. Finally, implications of this framework and suggestions for future research will be discussed.

Resiliência e educação musical erudita: estudo em projeto social com jovens de periferia / Resilience and Erudite Music Education: Study in Social Project with Outskirts Youth / Resiliencia y Educación Musical Erudita: Estudio en Proyecto Social con Jóvenes de Periferia

O presente trabalho teve por objetivo investigar se a participação em um projeto social de musicalização erudita facilita a construção de resiliência em jovens de periferia. Participaram jovens inseridos num projeto de musicalização, promovido por uma ONG da cidade de Natal, Brasil. Foram utilizadas, como procedimentos de obtenção dos dados, a observação participante, a técnica da Linha da Vida e entrevistas semi-estruturadas. Como resultados, verificou-se que, apesar de os jovens buscarem com a participação no projeto algo positivo depois de dificuldades vividas, a maioria deles não vê tal projeto como prioridade. A despeito das falas positivas com relação ao projeto e à música, evidenciou-se que a ligação dos jovens com o projeto é, na maioria das vezes, atribuída somente à aquisição de técnica musical. Os jovens relatam que, sobre sua dedicação à música erudita, existe entre seus familiares e amigos olhares de estranhamento e desencorajamento, mas também curiosidade e cobrança de maior dedicação. Alguns dos jovens apontam que a música erudita não é atrativa ou amparadora quando se tem uma vida difícil; outros, porém, encontraram nela apoio para enfrentar adversidades ­ um suporte ao desenvolvimento da resiliência.

The aim of this study was to investigate whether the participation in a social project of erudite musicalization supports or facilitates the construction of resilience in young people from the outskirts. The participants were young members of a musicalization project, promoted by an NGO in the city of Natal, Brazil. Participant observation, the Life Line technique and semi-structured interviews were used as data collection procedures. As a result, it was found that, although the participants have sought, with involvement in the project, something positive after difficulties experienced, most of them do not see such project as a priority. In spite of the positive statements about the project and music, it was evidenced that the connection with the project is, in most cases, only attributed to the acquisition of musical technique. The participants report that some friends and relatives find it odd and discourage them when it comes to erudite music, but some are also curious about it or ask for more dedication. Some of the participants point out that erudite music is not attractive or helpful when one has a difficult life; others, however, found support in dealing with adversity ­ a support for the development of resilience.

El presente trabajo tuvo por objetivo investigar si la participación en un proyecto social de musicalización erudita facilita la construcción de resiliencia en jóvenes de periferia. Participaron jóvenes componentes de un proyecto de musicalización, promovido por una ONG de la ciudad de Natal, Brasil. Se utilizaron, como procedimientos de obtención de los datos, observación participante, técnica de la Línea de la Vida y entrevistas semiestructuradas. Como resultados, se verificó que, a pesar de los jóvenes buscaren, con la participación en el proyecto, algo positivo después de dificultades vividas, la mayoría de ellos no ve tal proyecto como prioridad. No obstante las palabras positivas con respecto al proyecto y a la música, evidenció que la conexión de los jóvenes con el proyecto es, en la mayoría de las veces, atribuida solamente a la adquisición de técnica musical. Los jóvenes relatan que, sobre su dedicación a la música erudita, existen entre sus familiares y amigos miradas de extrañamiento y desaliento, pero también curiosidad y cobranza de mayor dedicación. Algunos de los jóvenes apuntan que la música erudita no es atractiva o amparadora cuando se tiene una vida difícil; otros, sin embargo, encontraron en ella apoyo para enfrentar adversidades - un soporte al desarrollo de la resiliencia.

Treino musical e capacidade da memória operacional em crianças iniciantes, veteranas e sem conhecimentos musicais / Musical training and working memory span in beginners, veterans and with no musical knowledge children

A memória operacional e a atividade musical ativam áreas encefálicas recíprocas e homólogas, contudo não há evidências se o treino musical pode ampliar a capacidade da memória operacional. Objetivo: Avaliar o desempenho do treino musical sob a memória operacional em crianças de 9 e 10 anos de idade, praticantes de treino musical e sem experiência musical. PARTICIPANTES: Crianças Iniciantes (n=20), Veteranas (n=20) e Grupo Controle (n=20). MATERIAIS: Instrumentos computadorizados para avaliação da memória operacional. RESULTADOS: Crianças veteranas apresentaram melhores pontuações no BCPR (Teste de Repetição de Pseudopalavras para crianças brasileiras) e em subtestes da AWMA (Avaliação Automatizada da Memória Operacional). CONCLUSÃO: O treino musical parece ter contribuído para o desenvolvimento da memória operacional em crianças veteranas no programa de treino musical.(AU)

Working memory and musical activity activate reciprocal and homologues brain areas. However, there is a lack of evidence if musical training can amplify the working memory span. Objective: To assess the performance of musical training on working memory in children aged 9 and 10 years old who regularly have musical training or with no musical training at all. PARTICIPANTS: Beginners (n=20), Veterans (n=20) and a Control Group (n=20). MATERIALS: Computerized instruments to assess working memory. RESULTS: Veteran children presented higher scores in BCPR (Brazilian Children's Test of Pseudoword Repetition) and in specific tasks of AWMA (Automated Working Memory Assessment). CONCLUSION: Musical training seems to have contributed for working memory development in veteran children under musical training programs.(AU)

Treino musical e capacidade da memória operacional em crianças iniciantes, veteranas e sem conhecimentos musicais / Musical training and working memory span in beginners, veterans and with no musical knowledge children

A memória operacional e a atividade musical ativam áreas encefálicas recíprocas e homólogas, contudo não há evidências se o treino musical pode ampliar a capacidade da memória operacional. Objetivo: Avaliar o desempenho do treino musical sob a memória operacional em crianças de 9 e 10 anos de idade, praticantes de treino musical e sem experiência musical. PARTICIPANTES: Crianças Iniciantes (n=20), Veteranas (n=20) e Grupo Controle (n=20). MATERIAIS: Instrumentos computadorizados para avaliação da memória operacional. RESULTADOS: Crianças veteranas apresentaram melhores pontuações no BCPR (Teste de Repetição de Pseudopalavras para crianças brasileiras) e em subtestes da AWMA (Avaliação Automatizada da Memória Operacional). CONCLUSÃO: O treino musical parece ter contribuído para o desenvolvimento da memória operacional em crianças veteranas no programa de treino musical.

Working memory and musical activity activate reciprocal and homologues brain areas. However, there is a lack of evidence if musical training can amplify the working memory span. Objective: To assess the performance of musical training on working memory in children aged 9 and 10 years old who regularly have musical training or with no musical training at all. PARTICIPANTS: Beginners (n=20), Veterans (n=20) and a Control Group (n=20). MATERIALS: Computerized instruments to assess working memory. RESULTS: Veteran children presented higher scores in BCPR (Brazilian Children's Test of Pseudoword Repetition) and in specific tasks of AWMA (Automated Working Memory Assessment). CONCLUSION: Musical training seems to have contributed for working memory development in veteran children under musical training programs.