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1
Domagała, Jarosław. „Janusz Miketta – organizer and reformer of music education in Poland“. Konteksty Kształcenia Muzycznego 6, Nr. 1 (10) (30.06.2020): 11–26. http://dx.doi.org/10.5604/01.3001.0014.2310.
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Janusz Miketta (1890-1954) – Polish musicologist, pedagogue and music life organizer. He studied philosophy at the University of Warsaw. He completed his music studies at the Music Institute in Warsaw and in Leipzig, as well as at the F. Chopin Higher Music School in Warsaw. Next, he was the principal of the Music School in Warsaw and from 1919 – the director of the Music Society and the S. Moniuszko Music School in Lublin. In 1924, he started his teaching career at the F. Chopin Higher Music School in Warsaw and later at the M. Karłowicz Music School in Warsaw. In the years 1926–1931, he was a desk officer for music affairs in the Ministry of Religious Denominations and Public Enlightenment and from 1931 – the secretary of the Local Sightseeing Society in Warsaw and Stanisławów. From 1945 to 1948, he was the head of the Music Education Section of the Music Department in the Ministry of Culture and Art and the chairman of the Program Committee of Music Education in the above-mentioned Ministry. Based on Janusz Miketta’s own concept of music education, the Ministry of Culture and Art issued a directive of 7 December 1945 on a special system of music education. Music schools in Poland were divided into vocational ones (lower, middle and higher) and those providing music appreciation classes. This three-stage structure made it possible to adjust teaching program to new needs and select a specialization based on the degree of a pupil’s talent. As a result of reforms introduced in the 1949/1950 school year, schools providing music appreciation classes were liquidated, though the three-layer structure of the school system was maintained. This schooling system, with minor changes, is still in operation in Poland. In the years 1948-1954, Miketta was a professor of the State Higher Music School in Cracow.
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Fitriani, Yulianti. „Model Pembelajaran Seni Musik melalui Lesson Study: Studi Kasus di SDN Jawilan, Serang“. Resital: Jurnal Seni Pertunjukan 15, Nr. 2 (15.03.2015): 126–38. http://dx.doi.org/10.24821/resital.v15i2.847.
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Artikel ini dilatar-belakangi persoalan pembelajaran seni musik di SDN Jawilan Kab. Serang. Di SD ini penyelenggaraan pendidikan seni belum memperoleh perhatian yang cukup baik dari guru. Hal ini dapat dilihat dari pembagian alokasi waktu pembelajaran dan keterlibatan guru kelas yang tidak memiliki latar belakang pendidikan seni (musik). Dampak yang muncul, rata-rata siswa belum memiliki kemandirian dalam berkreativitas dan kurang berpartisipasi aktif dalam kegiatan musik baik di sekolah maupun di luar sekolah. Untuk memperbaiki persoalan tersebut dirasa perlu meminjam Lesson Study yang di dalamnya terdapat metode, pendekatan dan strategi pembelajaran sebagai pola untuk membelajarkan seni musik agar dapat memberikan alternatif sudut pandang terhadap persoalan metode yang tepat guna dan terencana dalam pengajaran pendidikan musik di SD, termasuk paradigma membelajarkan musik secara hakiki. Hasil yang diperoleh dapat memberikan alternatif sebagai dasar pengembangan pembelajaran seni musik. The Model of Music Learning through a Lesson Study: A Case Study in Jawilan Elementary School, Serang. The learning problems of music lessons at Jawilan Elementary School in Serang becomes the mainly source of the research background in this article. The implementation of art education in this school has not gained enough attention from teachers. It can be seen from the distribution of the allocated time of learning and the involvement of classroom teachers who do not have sufficient background in art education (music). The appearing impact shows that the average of students do not have any independence in creativity and have less-active participation in the activities of musical arts either in school or outside the school. However, solving the problem is necessary to do by using a Lesson Study as a pattern (approaches, strategies, and methods of learning) to teach music that can be used as an alternative point of view in developing methods and organizing the appropriate ones, including the paradigm of teaching music at school essentially. The results obtained from the activity may provide the alternative method as a basis for the development of learning music at school.
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Stuart, Chapman Hill. „The Art of Songwriting, Andrew West (2016)“. Journal of Popular Music Education 3, Nr. 1 (01.04.2019): 151–54. http://dx.doi.org/10.1386/jpme.3.1.151_5.
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The author reviews The Art of Songwriting, written by veteran songwriter Andrew West, who oversees a postgraduate course at Leeds College of Music. The book benefits greatly from the author’s encyclopaedic knowledge of songs and songwriters, and a rich variety of examples permeates the book. As a result, the book is not a simple ‘how-to’ volume, but rather captures the rich diversity of approaches and techniques professional songwriters employ. A different, tighter organizational scheme might help the book’s wisdom be digestible for the reader to consolidate and retain all the knowledge the book has to offer. Still, the book is a welcome contribution to an understudied field, especially as music education scholars seek to diversify the musics that define school music teaching and learning.
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Nogaj, Anna Antonina. „Locus of control and styles of coping with stress in students educated at Polish music and visual art schools – a cross-sectional study“. Polish Psychological Bulletin 48, Nr. 2 (27.06.2017): 279–87. http://dx.doi.org/10.1515/ppb-2017-0031.
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Abstract The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students (n = 354) of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that different types of difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students.
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Gajdošíková Zeleiová, Jaroslava. „INCLUSIVE MUSIC EDUCATION IN THE SLOVAK REPUBLIC“. Problems of Education in the 21st Century 48, Nr. 1 (20.11.2012): 23–33. http://dx.doi.org/10.33225/pec/12.48.23.
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The Slovak educational system went through several changes the last 20 years, and these changes affected also the structure of music education. The aim of this paper is to point out the changes in educational system, stated in different national school documents, in the context of innovations and changes in musical education. The author analyses predominantly music education in the specialized primary school system, namely in primary art schools. They are positively evaluating as favourable influence of music education on meaningful exploitation of free-time, in connection with prevention of socially unwanted phenomena, its influence on full-value exploitation of children´s free-time, observation and extension of components of regional culture in teaching and active share on cultural life of cities or villages, presentation in cultural undertakings, activity of various chamber ensembles in which pupils exploit and improve acquired abilities when practically playing in collective. Key words: educational system in Slovakia, music education, music therapy, primary art schools.
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Stankutė, Judita. „IN THE WORTEX OF NON - FORMAL ART EDUCATION“. ŠVIETIMAS: POLITIKA, VADYBA, KOKYBĖ / EDUCATION POLICY, MANAGEMENT AND QUALITY 1, Nr. 3 (10.12.2009): 39–42. http://dx.doi.org/10.48127/spvk-epmq/09.1.39b.
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Judita Stankutė, a member of the journal's editorial board, talks to Rita Urniežiene, the director of the Rietavas Art School and the leader of the Rietavas mixed choir Jūrava. The current Rietavas Art School started operating as a branch of the Plungė Children's Music School in 1967. In 1970 the Rietavas Children's Music School, which was still operating in the time of Duke Bogdan Oginskis, was restored.
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Сherkasov, Volodymyr. „FORMATION OF MUSIC AND PEDAGOGICAL EXPERIENCE OF MUSIC ART TEACHERS GENERAL EDUCATIONAL INSTITUTIONS“. Academic Notes Series Pedagogical Science 1, Nr. 190 (November 2020): 56–62. http://dx.doi.org/10.36550/2415-7988-2020-1-190-56-62.
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The article proves the possibility of forming the ability to understand music by primary school students. The influence of program works of the school program on the perception and understanding of music of different genres is proved by concrete examples. The educational influence of works of musical art on the formation of the artistic and emotional sphere of personality is proved. The formation of the ability to understand works of music by primary school students occurs in a certain sequence based on teacher-student interaction, both in music lessons and during extracurricular work on artistic and aesthetic education of primary school children. The collective type of creativity, inherent in the assimilation of the values of musical art, obliges the subjects of the educational process to comply with certain requirements for the organization of joint activities. In accordance with modern music-pedagogical technologies, which enable the effectiveness of the learning process, there are certain requirements for the perception of works of music of different genres and compositional styles provided by the school curriculum. Thus, the quality of the impact of music on primary school students depends on certain factors. Because, according to the school curriculum, music lessons are united by a common theme, which makes it possible to organize work with children in such a way as to give first-graders the opportunity to talk about their favorite music. To do this, prepare and ask the class a few questions, such as: remember what songs you sang or heard from radio and television programs that focused your attention and you liked ?; what song do you dream to sing ?; what dance music do you like Such a conversation should take place in a friendly atmosphere, and children's responses should be supported and evaluated positively. The teacher's tolerant attitude to any thoughts, feelings and expressions of students gives the child confidence in their own abilities, determination and activity in further work.
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Strange, Simon. „Cybernetic systems of music creation“. Journal of Popular Music Education 3, Nr. 2 (01.07.2019): 261–76. http://dx.doi.org/10.1386/jpme.3.2.261_1.
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Simplicity of thought and operation can help to define complex end results, with cybernetic systems being a useful means of defining this within songwriting practices. This study outlines utilization of cybernetic practices by key popular music composers, including David Byrne and Brian Eno, who benefited from an art school education which supported these practices. As postmodern creation became more evident within art colleges, systemized processes of creation, where hierarchies were delineated, supported freedom and experimentation within the creative process. The non-musician was able to express their musical creativity due to the rise of new technologies and the reduction of hierarchies, as exposed from interviews with Eno, his art school tutor Roy Ascott, and experimental composer Gavin Bryars. These elements of art school education that they discussed, helped a new generation of musicians to develop original and dynamic work in the 1970s; the results of this research suggest that these are practices that should be introduced and acknowledged within HPME.
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Vojkic, Ljiljana, und Jelena Dubljevic. „Correlation between music and art in pre-school institutions“. Sinteze, Nr. 12 (2017): 39–52. http://dx.doi.org/10.5937/sinteze6-14031.
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McPherson, Gary E., und Susan A. O'Neill. „Students’ motivation to study music as compared to other school subjects: A comparison of eight countries“. Research Studies in Music Education 32, Nr. 2 (Dezember 2010): 101–37. http://dx.doi.org/10.1177/1321103x10384202.
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This study draws on an expectancy-value theoretical framework to examine the motivation (competence beliefs, values and task difficulty) of 24,143 students (11,909 females and 10,066 males, aged 9 to 21 years) from eight countries (Brazil n = 1848; China n = 3049; Finland n = 1654; Hong Kong n = 6179; Israel n = 2257; Korea n = 2671; Mexico n = 3613; USA n = 3072). Music was studied in comparison to five other school subjects (art, mother tongue, physical education, mathematics, science) across three school grade levels that included the key transition from elementary to secondary school. Results indicated that music as a school subject was valued less and received lower task difficulty ratings than other school subjects with the exception of art. Students reported higher competence beliefs for physical education and mother tongue compared to music and lower competence beliefs for mathematics and art. There was an overall decline in students’ competence beliefs and values across the school grade levels for all countries except Brazil. Females reported higher competence beliefs and values and lower task difficulty ratings for music, art and mother tongue than males. Males reported higher competence beliefs and lower task difficulty ratings for physical education and mathematics. There were no gender differences for values in mathematics. Music learners reported higher competence beliefs and values and lower task difficulty across school subjects than non-music learners. Secondary analyses were used to further explore differences within each of the eight countries. Findings suggest that once students have experienced learning to play an instrument or voice, they become more motivated towards other school subjects. Implications of the findings suggest that advocacy aimed at increasing the values that students attach to music as a school subject may encourage more students to become music learners across a wide range of countries.
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Desyandri, Desyandri, Zuryanty Zuryanty und Mansurdin Mansurdin. „Pelatihan Pembelajaran Seni Musik sebagai Sarana Literasi Budaya untuk Guru Sekolah Dasar“. PengabdianMu: Jurnal Ilmiah Pengabdian kepada Masyarakat 5, Nr. 2 (30.03.2020): 119–26. http://dx.doi.org/10.33084/pengabdianmu.v5i2.1022.
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The background of this service is the lack of knowledge and skills of teachers in making music as a cultural literacy for elementary school teachers. The purpose of this service is to improve the experience and skills of primary school teachers in learning the art of music as a means of cultural literacy for elementary school teachers. This service method uses the seminar method and hands-on training. The results of the dedication showed an increase in the knowledge and skills of teachers in making music art learning a cultural literacy for elementary school teachers. The implications of this service can be used as a reference by teachers and education practitioners to improve the quality of art learning and its relation to cultural literacy.
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Ross, Malcolm. „Missing solemnis: reforming music in schools“. British Journal of Music Education 15, Nr. 3 (November 1998): 255–62. http://dx.doi.org/10.1017/s0265051700003934.
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This paper is intended as a sequel to my earlier paper, ‘What's Wrong with School Music? (BJME 1995, 12, 185-201). It carries an account of recent research into the arts in secondary schools which suggests that, despite National Curriculum reforms and innovations, music still lags behind the other arts in the general esteem of students. The paper proposes that the trouble with music in schools is that it has failed to modernise, that is, that it has somehow been impervious to the creative developments in classical and popular music. Robert Witkin's Art and Social Structure (1995) provides a theoretical account of modernism. The baleful influence of Hymns Ancient and Modern on generations of music teachers is condemned. Cited by way of contrast are two examples of a fully modem music education discovered at the Dartington International Summer School of Music. These, it is argued, capture the participatory ethos promoted in the Anthony Everitt's recent Gulbenkian publication Joining In.
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Portowitz, Adena, Patricia A. González-Moreno und Karin S. Hendricks. „Students’ motivation to study music: Israel“. Research Studies in Music Education 32, Nr. 2 (Dezember 2010): 169–84. http://dx.doi.org/10.1177/1321103x10385049.
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As a part of a larger international mapping exercise to examine students’ motivation to study music as compared to other school subjects, this article reports data drawn from a sample of 2257 Israeli students (primary to high school). Questionnaires were based on the expectancy-value theoretical framework by examining students’ perceptions of values, competence and task difficulty. Mixed-design ANOVAs were used to examine differences in students’ motivational beliefs across school levels, between music and non-music learners, and between girls and boys. Results of the analyses showed two major issues distinctive from the comparison of the eight-country analyses: (a) the lowest perceptions of task values and competence beliefs for any country among non-music learners in the upper level grades, and (b) a significant developmental increase in task difficulty for music as compared to other school subjects. In addition, the results of the Israeli data revealed that music learners attached higher values to music, art and science than non-music learners, and expressed significantly lower perceptions of difficulty for music, art and science than non-music learners. Furthermore, while music was one of the lowest-ranked subjects for in-school study, it was one of the highest-ranked subjects for out-of-school study. This suggests that music participation itself is not lacking in motivation or interest among students in Israel, but that the school system is not presently providing for the musical needs and interest of much of its youth population, in upper-level grades (middle and high school).
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Stachyra, Krzysztof, und Anita Łucjan-Kowalska. „Opening space at school for creative activity based on music“. Problemy Opiekuńczo-Wychowawcze 587, Nr. 2 (29.02.2020): 24–33. http://dx.doi.org/10.5604/01.3001.0013.8195.
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The aim of the article is to analyse the ways of using creative music-based activities in the educational process. The authors emphasize the marginal role that art plays in contemporary school, including music. At the same time, they emphasize the need to change this state of affairs, convincing about the huge, unused potential of using music-based activities to build relationships, improve mood, develop creativity and emotional and social competence. The use of musical activities on educational grounds may go beyond the typical activities known from music lessons. Building space for experiencing creative forms of contact with art, expression, spontaneous singing or improvisation, enabling multi-sensory art experience, can result in measurable benefits for both students and the teacher, being the answer to the challenges of modern education. An additional benefit of conducting such classes is the opportunity to observe the functioning of students, ways of coping with social situations, and assumed roles in the group. The article presents practical examples of the implementation of musical activities under the “ZA PROGIEM – wyprawy odkrywców project. The reactions of children participating in these activities testify to their great commitment, they also show that properly selected musical activities can have a positive impact on the child's behaviour in a very short time. Conclusions from the implementation of the activities under the project indicate that music-based – or more broadly art-based – activities, present so far, in the presented form, in pedagogy to a very limited extent, may prove to be an effective tool to support teachers’ work and student development.
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Porębski, Adam. „Composition learning at a music school on the example of the School Composers’ Club at the K. Szymanowski Primary and Secondary Music Schools in Wrocław“. Konteksty Kształcenia Muzycznego 7, Nr. 1(11) (31.12.2020): 155–66. http://dx.doi.org/10.5604/01.3001.0014.6477.
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It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositions in their pupils. In this article, the author shares his pedagogical experiences gained while giving composition classes at the K. Szymanowski Comprehensive Primary and Secondary Music Schools in Wrocław. The idea of promoting the art of composition was fully implemented in the form of the School Composers’ Club, founded in the school year of 2016/2017, the activity of which is based on the author’s original school curriculum, a system of individualized education and various forms of young composers’ presentations. The Club’s activity assumes, on the one hand, preparing pupils to take up compositional studies and, on the other one, fostering their general musical development enriched with creative competences.
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Burnazova, V., und O. Kostievych. „ART-THERAPEUTIC METHODS OF A MUSIC TEACHER’S WORK“. Aesthetics and Ethics of Pedagogical Action, Nr. 22 (27.12.2020): 108–18. http://dx.doi.org/10.33989/2226-4051.2020.22.222003.
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The article examines the problem of improving the psychophysical health of primary school students. The development of their musicality through a combination of visual, auditory, tactile, and motor sensations in the process of making music is described. Improvement of speech, coordination of movements, and fine motor skills of hands, emotional and sensory sphere is analyzed. It is the integration of children with mental and physical disabilities into the general educational space that is one of the areas of humanization of the entire education system and meets the priorities of public policy.The role and features of the use of art-therapeutic methods in the work of a teacher of music/art to create a comfortable environment for the formation of a comprehensively developed personality of the applicant of primary education are analyzed. Primary school is of special importance. As a child's psychological stability, personality traits, and character are formed during this period of their development. The experience of a specialist-practitioner of general secondary educational institution №52 in Mariupol was used, who for many years successfully implements art-pedagogical methods and techniques in music/art lessons and extracurricular activities in primary school, which contribute to the development of the emotional sphere of students with special educational needs. Psychophysical conditions, the formation of stable interest, and love for music are presented. Removal of neuropsychiatric overload, restoration of positive emotional and energetic tone is revealed. The creation of such conditions will ensure high-quality mastering of art by junior schoolchildren with special educational needs, as well as contribute to their spiritual, moral, and psychophysical development, which is relevant in the modern world.
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Chania, Monalisa, und Esy Maestro. „PERSEPSI SISWA TERHADAP PEMBELAJARAN SENI MUSIK DI KELAS XI IPA 4 SMA NEGERI 12 PADANG“. Jurnal Sendratasik 9, Nr. 1 (14.02.2020): 72. http://dx.doi.org/10.24036/jsu.v8i3.108142.
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AbstractThis study aims to see and describe the students' perceptions of music art learning in SMA 12 Padang. This type of study was a qualitative with using a descriptive approach. The instrument in this study was the researcher. It was also assisted by supporting instruments such as stationery and camera. Types of data used primary and secondary. Techniques of Data collection were carried out by doing observation, interview and literature study. Techniques in analyzing data were done by collecting, classifying, describing and making data conclusion. Based on observations and interviews, there are still many things that must be addressed by the school in order to improve the students learning outcomes. Some of them are as follows: (1) The students' perception of music art learning at class XI IPA 4 in SMA 12 Padang. (2) The students attention towards music art learning. (3) The music art learning material in SMA 12 Padang. (4) The facilities and the infrastructures provided by the school that can be supported by giving invitations to students to pay more attention to the learning of music as a subject that is as important as other subjects. Keywords: perception, music art learning
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Lypa, Iryna. „Extracurricular Musical Creative Activity of Primary School Pupils Attending Mountain Schools in the Carpathian Region“. Journal of Vasyl Stefanyk Precarpathian National University 1, Nr. 2-3 (22.12.2014): 128–31. http://dx.doi.org/10.15330/jpnu.1.2-3.128-131.
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The essence of the declared idea of general music education for pupils based onUkrainian national culture lies in the relation to music art as to an integral part of the spiritual lifeof people, appealing to folk music in the light of its connections with spiritual, material andpractical world of a human being. To implement such an idea, it is necessary to put ethnoregionalmaterial widely into music educational practice at comprehensive secondary school. It is both animportant component of ethnic and cultural environment of the child and the background formusical creative development. However, due to the music program for grades 1- 4 it is expected touse only 10% of ethnoregional material at the lesson 4. Therefore, the problem of organizingextracurricular musical creative activity for pupils based on ethnic culture of an appropriate regionin Ukraine, especially a Carpathian one, is a burning question.
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Gage, Nathan, Bronwen Low und Francisco Luis Reyes. „Listen to the tastemakers: Building an urban arts high school music curriculum“. Research Studies in Music Education 42, Nr. 1 (29.06.2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.
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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.
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Lee, HyunSu. „Alteration on Music Education Policy in School Art Education Promotion“. Korean Society of Music Education Technology 47 (16.04.2021): 151–71. http://dx.doi.org/10.30832/jmes.2020.47.151.
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Anggraini, Ajeng Cita, Rachmadi Nugroho und Suparno Suparno. „APLIKASI ARSITEKTUR METAFORA PADA STRATEGI PERANCANGAN LEMBAGA PENDIDIKAN MUSIK DI SURABAYA“. ARSITEKTURA 15, Nr. 2 (01.11.2017): 333. http://dx.doi.org/10.20961/arst.v15i2.12460.
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<p><em>The design proposal of Music School in Surabaya arises from society’s increasing interest in the art of music, significant growth of Indonesian music industry which promises anyone involved likely gain, and underdeveloped infrastructure of the numerous, existing music school in Surabaya to cater the need in a bigger scale. Hence, the proposal focuses on the issue of designing Music School in Surabaya which provides space for music- and informal-music-education-related activities. It aims to serve as the place to learn music theories and perform musical art. The metaphorical architecture approach is applied to the design in order to reflect the function of the building. In other words, building observer will have ideas about the activities occurred inside through the façade which utilised the stated design approach.</em></p><p> </p><p class="Keywords" align="left"><strong><em>Keywords</em></strong><em>: Metaphorical Architecture, Education Institute, Music, Surabaya</em></p>
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He, Zhang. „Explore the Importance of Strengthening Folk Music Theory Learning in Music Lessons in Hohhot“. Advances in Higher Education 3, Nr. 2 (10.10.2019): 171. http://dx.doi.org/10.18686/ahe.v3i2.1440.
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<p>At present our country's arts school is pushing new education plan, this made the related concept art education as well as major changes have taken place in the education mode. Also let the school music education realize the meaning of folk music is important, in the process of teaching reform, the local folk music also showed a more important role. In this paper, through the study of the characteristics and connotation of the folk music, we will sort out how to strengthen the learning and promotion of the folk music theory in the school music education in Hohhot. Based on the combination of music education and folk music, a more practical and complete music teaching method and system is constructed.</p>
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Mogro-Wilson, Cristina, und Lorin Tredinnick. „Influencing Social and Emotional Awareness and Empathy with a Visual Arts and Music Intervention for Adolescents“. Children & Schools 42, Nr. 2 (April 2020): 111–19. http://dx.doi.org/10.1093/cs/cdaa008.
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Abstract Art and music create a powerful presence in the lives of youths. Skills gained from participating in the arts can better facilitate social and emotional learning (SEL) such as improving goal setting, increasing empathy, building relationships, and improving decision making. Connect with Kids, an SEL program that focuses on social and emotional skill building through the use of visual arts and music, was implemented in an urban high school in the Northeast. A total of 304 high school students participated in the study. Students from eight classrooms received the intervention (n = 143); students from another 10 classrooms (n = 161) comprised the comparison group and did not receive the intervention. The average youth was 14 years old, white, and female. Results indicated that the Connect with Kids program increased positive social and emotional behaviors among students compared with the comparison group. Examining the implications of the intervention advances gaps in the literature on SEL programs, supports integrating SEL programming on music and art in schools, and promotes continued program evaluation of unique SEL programming specifically for high school students.
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Handayaningrum, Warih. „Science-Based Thematic Cultural Art Learning in Primary School (2013 Curriculum)“. Harmonia: Journal of Arts Research and Education 16, Nr. 1 (26.12.2016): 14. http://dx.doi.org/10.15294/harmonia.v16i1.6766.
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<p>This study is aimed at discussing the development result of thematic cultural art subject’s learning material based on science for primary school (2013 curriculum). This study is expected to inspire teacher to develop learning material that may explore artworks exist in our living environment (based on the context of children’s environment). This study applies steps in developmental research collaboration by Borg & Gall (1989) and Puslitjaknov (2008) to create the product. The development stages comprise observation in several primary schools in Surabaya, Gresik, and Sidoarjo that has implemented 2013 curriculum that is followed up by stages of development. Furthermore, prototype of cultural and art thematic learning material development results are verified by learning material experts, material expert, primary school teacher, and revised afterwards. The result of this research development is a set of teacher and student books. Science-based cultural art here means cultural art learning as the main medium to introduce local culture products (music, drawing, dance, and drama) by integrating mathematics, sciences, Bahasa Indonesia, and local language subjects. Cultural art products in the form of dance, music, drawing, dramas) will help children to understand a simple mathematical concept, such as: two-dimensional figure, geometry, comparing or estimating longer-shorter, smaller-bigger, or more-less.</p>
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BOURA, VASSILEIA. „The Effect of Electroacoustic Music in Enhancing Interpersonal Relationships in School Community An Empirical Research for Secondary Education“. Volume 5 - 2020, Issue 9 - September 5, Nr. 9 (03.10.2020): 891–900. http://dx.doi.org/10.38124/ijisrt20sep511.
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Electroacoustic music, as the contemporary art of sounds originating from the human environment, is selected to play a unifying role of interdisciplinary study areas in school, but also be the vehicle for the school community to form links with the wider society for enhancing students' learning, emotional skills and carrier orientation. Electroacoustic music learning methods are empiricaly proved to play an important role in students' education and in future citizens' attitude and ethics. This paper is based on empirical practices and statistically analysed results. Previous studies, worldwide, have shown a positive relationship between music and academic achievement. This study explores the possible reasons why electroacoustic music positively affects interpersonal relationships in school environment. Educators and curriculum developers may want to include electroacoustic music in their instructional units, on an international level. Bioscientists and psychologists may extend this empirical research to scientific. Since 2012 different empirical educational programmes in Greek European and public schools under the auspices of the Hellenic Ministry of Education and Religious Affairs, have aimed to enhance learning and intra-school interpersonal relationships in Secondary Education. The programmes reffered to in this paper discribe the results of electroacoustic music effect on interpersonal relationships in the school environment.
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Ozer, Burcu. „Analysis of high school students’ cognitive structures related to musical genre via word association test“. Cypriot Journal of Educational Sciences 15, Nr. 1 (29.02.2020): 127–43. http://dx.doi.org/10.18844/cjes.v15i1.4557.
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The aim of this study, via the Word Association Test, an alternative assessment and evaluation technique, to reveal the cognitive structures by determining high school students' perceptions about music genres. For this purpose, in the spring semester of 2015–2016 academic year, Data in the study is obtained with the participation of 100 students in 11th and 12th. Independent word association test was used to collect data. In order to create the test, music genres, namely, Turkish Folk Music, Turkish Art Music, Pop Music and Classical Western Music, were chosen as key concepts. The data were evaluated according to the content analysis; frequency values were given and divided into categories. In line with the findings of the research, the categories of ‘cultural’ related to the concept of Turkish Folk Music, ‘instrument’ about Turkish Art Music, ‘rhythmic’ about Pop Music, and ‘instrument’ related to Classical Western Music, answer words were produced.
Keywords: Concept, cognitive structure, musical genres, word association test.
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Tillborg, Adriana Di Lorenzo. „Disabilities within Sweden’s Art and Music Schools: Discourses of inclusion, policy and practice“. Policy Futures in Education 18, Nr. 3 (28.06.2019): 391–409. http://dx.doi.org/10.1177/1478210319855572.
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The aim of this paper is to investigate the discourses that emerge when Sweden’s Art and Music School leaders talk about the inclusion of pupils with disabilities in relation to policy. A starting point is that both earlier studies and policy documents have revealed inclusion problems within Art and Music Schools. The research question is: how are Art and Music School practice, policy and inclusion of pupils with disabilities connected within and through leaders’ discursive practices? The data are based on three focus group conversations with a total of 16 Art and Music School leaders from northern, central and southern Sweden. Discourse analysis as a social constructionist approach is applied since it provides a means to investigate the connection between social change and discourse. Concepts from both discursive psychology and Foucauldian-inspired discourse analysis are applied in order to investigate connections between rhetorical strategies on a micro level and discourses on an institutional level. The concept of multicentric inclusion is introduced and applied in the analysis. In addition, concepts from educational policy theories are applied in order to analyse how policies are conceptualised and enacted in the context of leaders’ discursive practices. Regarding terminology, the results challenge this researcher when the concept of mixed abilities is introduced by the participants. The analysis exposes three discourses: multicentric inclusion discourse, normality discourse and specialisation discourse. There are tensions between the multicentric inclusion discourse and the normality discourse, as well as between the multicentric inclusion discourse and the specialisation discourse. The analysis leads to the following suggestions in order to achieve justice in music education practices and policies: (a) to enforce a specific national inclusion policy, (b) to challenge the normality discourse and (c) to bring together the multicentric inclusion discourse with the specialisation discourse.
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Gumelar, Aji Cahya, Fatihah Ekawati, Fitriani Intan Purnamasari und Zharra Cynthia Dewi. „Ondel-Ondel Local Content Curriculum as A Vocational School of Betawi Cultural Preservation“. Edunesia : Jurnal Ilmiah Pendidikan 2, Nr. 3 (06.07.2021): 607–18. http://dx.doi.org/10.51276/edu.v2i3.150.
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The research objective was to implement the learning process ondel-ondel arts in local content in the form of music, dance, and fine art compositions at the Vocational High School level as an effort to preserve Betawi culture. This research was conducted using a qualitative approach with interview techniques, observation, literature study, and triangulation techniques. Music composition for ondel-ondel art only relies on the trumpet as an instrument that plays a melody or song. The song that was played was limited to only 2 songs, namely Leles and Mangle. Ondel-ondel art in terms of visual art, students are able to make ondel-ondel masks using recycled materials, besides that in terms of the ondel-ondel art dance uses free movements that can be pulled by students at a show using several musical instruments that are still maintained until now. The implementation of local content in schools provides provisions for knowledge, skills, behavioral orders and student behavior, in the form of insight into environmental conditions and local wisdom
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Finnäs, Leif. „Ninth-grade pupils' significant experiences in aesthetic areas: the role of music and of different basic modes of confronting music“. British Journal of Music Education 23, Nr. 3 (November 2006): 315–31. http://dx.doi.org/10.1017/s0265051706007030.
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Fifteen-sixteen years old Fenno–Swedish compulsory school pupils' written descriptions of ‘strong’ experiences were used for comparing (a) the frequency of experiences related to music and to other aesthetic areas (literature, drama etc.) and (b) the frequencies of music experiences related to different basic modes of confronting music: receptively (listening to live or technically reproduced music) or by productive activities (performing etc). In at least moderately urbanised regions, music was the art area most frequently evoking experiences. The ‘non-art’ area of nature was also important especially in some female and rural subgroups. Most music experiences related to listening, but a fifth involved performance activities. Among other things, attention was directed to the role of the school in preparing its pupils for music experiences, to the importance of productive activities, and to some problems regarding the efficiency of audiovisual media to evoke music experiences.
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Krušinská, Martina. „Elementary Art School of Folk Dance and Music in the Context of Regional Culture-Oriented Schools in Slovakia“. Central European Journal of Educational Research 3, Nr. 1 (30.04.2021): 16–26. http://dx.doi.org/10.37441/cejer/2021/3/1/9346.
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In the study, we present the basic goals, content, strategies and organisational forms of education of the Elementary Art School of Folk Dance and Music in Ružomberok. The basic information about the school is supplemented with the ideas of its founder and the school principal, as well as the photo documentation of this school environment. We analyse this school model in the broader context of elementary regional culture-oriented schools, which began to develop in Slovakia after 1989. In connection with the school reform in 2008, the educational content of such schools was transformed and defined in the State Education Programme in the subject of Regional Education and cross-cutting topic Regional Education and Folk Culture. In addition to other alternative and innovative educational programmes in Slovakia, the regional culture-oriented school represents a domestic model of education, which is based on the historical and cultural peculiarities of individual regions of Slovakia. Despite the uniform name, each school with this orientation can have a unique character expressed in its school curriculum.
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Sulaieva, N. „FUTURE MUSIC TEACHER TRAINING FOR PROFESSIONAL ACTIVITY IN OUT-OF-SCHOOL EDUCATIONAL INSTITUTIONS“. Aesthetics and Ethics of Pedagogical Action, Nr. 23 (04.08.2021): 100–109. http://dx.doi.org/10.33989/2226-4051.2021.23.238260.
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The article highlights the approaches to professional future music teacher training in the institutions of higher pedagogical education to work in out-of-school education institutions. The importance of providing the young generation with general art education and students of pedagogical universities training is emphasized. Emphasis is placed on the expediency of mastering the theoretical foundations of the organization and implementation of musical activities in out-of-school educational institutions in the process of formal education. At the same time, the need to combine such formal education with non-formal art education is highlighted. It is emphasized that in the process of preparing students for future music and pedagogical activities in out-of-school educational institutions, it is valuable to involve students in artistic and pedagogical educational activities in musical artistic and creative groups at higher pedagogical educational institutions. It is noted that such activities are examples of non-formal art education, and such experience of which s is an essential component of future music teacher training to work in out-of-school education.
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Havrilova, Liudmyla H. „КОМП’ЮТЕРНЕ ТЕСТУВАННЯ ЯК ЗАСІБ МОНІТОРИНГУ ПРОФЕСІЙНОЇ КОМПЕТЕНТНОСТІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИКИ В ПОЧАТКОВІЙ ШКОЛІ“. Information Technologies and Learning Tools 51, Nr. 1 (29.02.2016): 67. http://dx.doi.org/10.33407/itlt.v51i1.1320.
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Among the numerous tools for monitoring of future music teachers educational achievements the author of the article emphasizes the computer testing, which is now widely used at all levels of the educational system, including art education. The specificity of professional competence of future music primary school teachers was included in the parameters that should be assessed by means of the test control: musicological thesaurus, knowledge of psychological and pedagogical theories and methods of music lessons in primary school, historical and theoretical professional knowledge, individual skills before just listening to music. The procedure for monitoring the professional competence of future music teachers is described as an example of the course "History of musical art." The article analyzes the results of a computer testing of musical knowledge and skills of future music teachers who receive training in the Donbas State Pedagogical University (Sloviansk).
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Kontossi, Sofia. „Transition of Greek art song from the national school to modernism“. Muzikologija, Nr. 8 (2008): 27–44. http://dx.doi.org/10.2298/muz0808027k.
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This study presents the different ways in which two Greek composers, Leonidas Zoras and Jani Christou, viewed modernism. The songs of Zoras are typical example of the gradual withdrawal from the aesthetic framework of the National School which dominated during the first decades of the twentieth century. In contrast, Jani Christou, who spent his childhood in Alexandria and received an exclusively Western-type education, remained untouched by Greek traditional music or the Greek National School. His work was moulded by the ancient Greek philosophical belief in the elation of the listener through the transcendental power of Art. By his Six T. S. Eliot Songs Christou offered some of the best examples of twentieth-century expressionistic vocal music.
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Sudarman, Yos, und Erfan Lubis. „DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)“. Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, Nr. 1 (17.03.2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.
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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu
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Winterson, Julia. „So what's new? A survey of the education policies of orchestras and opera companies“. British Journal of Music Education 13, Nr. 3 (November 1996): 259–70. http://dx.doi.org/10.1017/s0265051700003284.
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Originally, the creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom, but today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own. Their role in partnership with schools and colleges now requires clarification: a survey of education policies has revealed some confusion of aims with few bodies looking closely at objectives, outcomes and effects. Music companies could profit from the experience of museums and art galleries.
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Wyse, V. „MUSIC IN SCHOOLS ‐ A DYING ART?“ Early Years 6, Nr. 2 (März 1986): 43–46. http://dx.doi.org/10.1080/0957514860060207.
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Toropkova, Evgeniya R. „Music education in the context of new information and distance technologies“. Vestnik of Saint Petersburg State University of Culture, Nr. 2 (47) (2021): 127–32. http://dx.doi.org/10.30725/2619-0303-2021-2-127-132.
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The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».
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Coppi, Antonella. „SEEING MUSIC, MUSIC TO SEE—Interdisciplinary Relations between Musical and Visual Art Education in Italian Pre-School and Primary School“. Proceedings 1, Nr. 9 (05.12.2017): 1079. http://dx.doi.org/10.3390/proceedings1091079.
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Ustymenko-Kosorich, Оlena. „Accordion training in music schools in Serb academically popular type“. Освітній вимір 44 (19.02.2015): 378–84. http://dx.doi.org/10.31812/educdim.v44i0.2714.
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Ustymenko-Kosorich O. А. Accordion training in music schools in Serb academically popular type.
The article analyzes the training of accordion Serbian school of academically popular type of two educational areas – professional / amateur, which represent progressive educational system that implements a dual bi-functional program – education of a competent specialist of national public purpose (amateur) and a potential artist of «high art» «means a compilation of genre».
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van Vuuren, Eurika Jansen, und Caroline van Niekerk. „Music in the Life Skills classroom“. British Journal of Music Education 32, Nr. 3 (November 2015): 273–89. http://dx.doi.org/10.1017/s0265051715000340.
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Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject advisors, often have had no music training. The twofold purpose of this study was to determine the extent of challenges experienced in the music component of Life Skills and Creative Arts in South Africa and how this can best be dealt with. In the current study, mixed methods research was conducted to ascertain the problems experienced with music tuition in Life Skills and Creative Arts classrooms. It was found that generalist educators have to teach music, whether they have the requisite skills or not. The subject has low status and is frequently used as a filler subject for teachers. Lack of music knowledge, scarce resources, limited support and ever-changing educators are some reasons for the absence of quality music tuition. Mentoring by competent subject advisors and senior educators and the re-alignment of school and university curricula will assist music in enjoying its rightful place in the school curriculum.
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Morozova, Nina W., und Irina A. Rastopina. „Studying and Development of the Musical Educational Needs of the Participants of the Pedagogical Process in the Children’s School of Arts“. Musical Art and Education 7, Nr. 2 (2019): 155–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-155-176.
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During the public discussion of the development of additional music education in Russia, the authors of the article propose to turn to the study of the basic and musical-educational needs of students and other participants in the pedagogical process in the children’s art school. The focus of attention is the village school of art or the music school on the outskirts of the big city, serving as one of the few cultural centers in the area and in need of active support from parents and the public. The authors analyze the basic needs of students and their satisfaction in the process of music education, describe risky situations in the education of gifted children and adolescents that require the in tervention of adults, using concrete examples from practice show the positive impact of music education on learning motivation. The results of the study of the musical and educational needs of the subjects of the pedagogical process in rural children’s art school are disclosed, on the basis of which the school has created a promising development program. Primarily, the content and forms of work of the general aesthetic direction of education, as well as the cultural and educational activities of students and teachers, aimed at developing the musical needs of the rural public, have been updated. Children’s activity in choosing the direction of additional education is provided by the school of arts through a trial study of children in various areas of artistic activity. For preschoolers 5-6 years old, the Maestro program was developed.
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Jemielnik, Joanna. „Dialogue or compromise – in search of new pedagogical relations in music education“. Konteksty Kształcenia Muzycznego 6, Nr. 1 (10) (30.06.2020): 85–102. http://dx.doi.org/10.5604/01.3001.0014.2351.
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The article was written based on the evaluation research conducted in one of music schools in eastern Poland, examining the quality of education in violin and piano classes. After the introduction presenting problems related to learning in an art school, the author showed the research purpose and description of the researched group, characteristics of the region and research method. The study group was asked questions concerning the quality and manner of students’ practice, methods of a teacher’s work with primary music school pupils, factors that contributed to and hampered effective instrument performance training, school relations and communication. The collected data, free statements and suggestions of students, teachers and parents, were described, categorized and confronted in the main part of the article. The comparison of opinions and voices from the three perspectives enabled to formulate conclusions on the changes undergoing in a contemporary music school, first of all – in relation to the perception of instrument performance training, methods of teachers’ and pupils’ work as well as the pupil – pedagogue – parent relation.
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Kutsyn, Erika. „Pedagogical potential of art-therapeutic influence of musical art“. Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, Nr. 3 (2019): 139–43. http://dx.doi.org/10.33310/2518-7813-2019-66-3-139-143.
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The article considers the problem of the introduction into the educational process of art-therapeutic technologies as a means of psychological and pedagogical adaptation of the individual in the conditions of society globalization. The role of musical art in influencing the emotional and sensual sphere of revealing and development of natural abilities, creative expression of personality is revealed, the expediency of using varieties of music therapy in music-creative activity of younger students is clarified. Music education, vocal therapy, receptive perception of music, rhythm therapy, which contribute to overcoming psychological discomfort in students' educational activities, encourage the creative expression of personality, the child's knowledge of the art world.The education system in Ukraine requires updating and enriching the content of the pedagogical process on the basis of humanization, which will contribute to the full development of the individual, the formation of vital competences for the maximum disclosure of his or her natural inclinations and creative potential. It is in the primary school that the foundations for the formation of the experience of educators (younger students), their needs, which motivate learning, knowledge and skills, which are formed in different educational environment, different social situations and condition the formation of attitude to them, are laid. The state normative document (The Law of Ukraine "On Education") emphasizes the need for students to acquire key competences that enable the development of successful learning, self-expression, self-knowledge, social adaptation and preservation of their physical and mental state. Such development of education in Ukraine makes it necessary to actively introduce into the educational process the innovative technologies and modern pedagogical approaches, among which artpedagogy is a new trend that integrates theoretical knowledge and methodological developments in psychology, art and pedagogy. With the help of music, drawing, fairy tales, theatre teachers can unite the class, identify problems of the child in time, form their life values, motivate them to study. The professional activity of a music art teacher in the context of educational reform and the introduction of inclusive education as a form of providing equal access to quality education for children with special educational needs, presupposes the need to master innovative technologies for the use of musical art as a method of comprehensive and multidimensional stimulation of personality development, child's condition, behavioural abnormalities, and also as a form of art treatment. One of the effective ways of solving the set tasks before the educational industry is the introduction of innovative, art-therapeutic – humanistic-oriented technology in the educational process, which involves the creation of a psychologically-comfortable educational environment by updating the pedagogical potential by means of art education (vocal therapy, art therapy, music therapy, (etc.)
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Muhammad Iqbal, Fadel, und Harisnal Hadi. „PENGGUNAAN KURIKULUM 2013 PEMBELAJARAN SENI BUDAYA (MUSIK) DI SMP NEGERI 10 KERINCI PROVINSI JAMBI“. Jurnal Sendratasik 9, Nr. 2 (25.09.2020): 45. http://dx.doi.org/10.24036/jsu.v9i1.109506.
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This research aims to describe the implementation of the 2013 curriculum on Music Art learning in the 10 Kerinci Junior high school, including soft-skill and hard-skill learning. The study uses theories related to the 2013 curriculum. The type of research used is qualitative research with descriptive methods of analysis. The object of this study was the study of musical art in class VIII SMP Negeri 10 kerinches on the Semetereven school year 2019/2020. Research instruments are self-research, namely in AIDS with the instruments of notebooks and observations with the technique of collecting observation data, interviews and library studies. The results showed that the teachers were able to music art of junior high School 10 Kerinci has been able to spread the concept of soft-skills and hard-skills well in the learning of music art in class VIII. As a BETUK application of the 2013 curriculum that succeeded characters, but does not overlook the purpose of learning knowledge and skills. Based on the results of the study, explained that whether or not the use of the curriculum 2013 and accompanying teaching devices, depends on the teacher's personal, especially in good faith and its codifying in explaining a curriculum. The 2013 curriculum which is based on soft-skill and hard-skill, will be successful or not, not because the curriculum are less precise or great, to the extent that the teacher understands with the intent of the 2013 curriculum that is involved in learning in the classroom.Keywords: use, curriculum 2013, Art culture (music)
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Manchester, Ralph A. „Promoting Health in Post-Secondary Music Schools“. Medical Problems of Performing Artists 21, Nr. 3 (01.09.2006): 95–96. http://dx.doi.org/10.21091/mppa.2006.3020.
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The Special Article in this issue of Medical Problems of Performing Artists has the potential to usher in a new era in improving the lives of musicians (and potentially other performing artists) around the world. The Health Promotion in Schools of Music conference that was held in Texas in the fall of 2004 brought together a rich mixture of music and performing arts medicine professionals. Stimulated by the new National Association of Schools of Music accreditation standard that requires undergraduate music students to receive instruction in injury prevention and occupational health promotion, participants in the conference worked diligently for 3 days to discuss what we know, what we don't know, and how to approach the vital yet immensely complex issue of health promotion and injury prevention for college-level music students. While the recommendations in the Special Article are intentionally broad and allow each school to develop its own program, they are based on a true state of the art analysis of the field.
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Hilewicz, Orit, Gibran Araújo De Souza, Lais Alves und Thayane Verçosa. „The Art of Music Between Image and Word: An Interview with Orit Hilewicz“. Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, Nr. 36 (15.09.2021): 25–59. http://dx.doi.org/10.12957/palimpsesto.2021.62361.
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Быков-Куликовский, Дмитрий Николаевич. „SEMANTIC APPROACH IN MUSIC AND ART EDUCATION“. Tomsk state pedagogical university bulletin, Nr. 2(214) (24.03.2021): 101–11. http://dx.doi.org/10.23951/1609-624x-2021-2-101-111.
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Рассматривается возможность использования исторически сложившихся интонационных семантических стереотипов для развития творческой активности учащихся, мотивации познавательной учебной деятельности. Анализируются конкретные варианты использования «мигрирующих интонационных комплексов» для импровизации, сочинения, ансамблевого музицирования на музыкально-теоретических дисциплинах детских музыкальных школ (детских школ искусств), на музыкальных занятиях общеобразовательных школ и различных учреждениях дополнительного образования, включая дошкольное. Именно мотивация способствует достижению важнейшей цели в образовании – экологизации учебного процесса. Это значит максимально вписать учебную деятельность в жизненные потребности учащихся. Положительно переживаемые эмоции в процессе музыкальных занятий способствуют решению очень многих задач. «Пропустить» музыку через себя, «прожить в ней», музицируя, – значит полюбить, понять. Решение весьма сложных вопросов музыкальной педагогики академик Б. В. Асафьев видел в использовании семантического подхода, открывающего и перспективу будущих исследований ученых, и перспективу разработки методики и методологии семантического подхода в музыкально-художественном воспитании и образовании. На основе семантического подхода-анализа исследуются наиболее яркие культурные коды «золотого фонда стандартов» мировой музыки. Представлены некоторые методические подходы-рекомендации и предложения их практического использования в музыкальной педагогике. Сделаны соответствующие выводы по теме исследования. На основе семантического подхода-анализа можно раскрыть феномен музыкального текста, его смысла «не только с позиции фонетики, грамматики и синтаксиса», но и «с точки зрения поэтики, семантики, стилистики». Используя семантический подход в процессе обучения, можно приобрести «навыки устной музыкальной речи» – импровизации, бывшей обязательной когда-то при подготовке музыканта. Необходимо создание «органичной межпредметной связи» между теоретическими дисциплинами и «музицирующей практикой», так как теоретические дисциплины могут и изначально должны быть музицирующими. Вопрос в методике, методологии «погружения» в музыку. Музыкальной педагогике еще предстоит принять и освоить семантический подход, учитывая уровень современной психологии восприятия, выработать методику и методологию учебного процесса, чтобы заинтересовать, увлечь, влюбить в музыку, слушаемую и исполняемую. The article considers the possibility of using historical intonation semantic stereotypes for the development of creative activity of students, motivation of cognitive learning activities. Specific options are being considered for the use of «migratory intonation complexes» for improvisation, composition, ensemble music in the musical-theoretical disciplines of CMS / CSA, in music classes of general education school and various institutions of additional education, including pre-school. It is motivation that contributes to the achievement of the most important goal in education - the greening of the educational process. This means to maximally incorporate educational activities into the life needs of students. Positively experienced emotions in the process of music classes contribute to the solution of many problems. To «pass» music through oneself, «to live in it» while playing music means to love, to understand. Academician B. V. Asafiev saw the solution to very complex issues of musical pedagogy in the use of the semantic approach, which opens up both the prospect of future research of scientists, and the prospect of developing the methods and methodology of the semantic approach in musical and artistic education and training. Based on the semantic approach of analysis the article explores the brightest cultural codes of the «golden fund of standards» of world music. Some methodical approaches-recommendations and proposals for their practical use in music pedagogy are presented. In the effective and final sections of the article, the relevant conclusions are drawn on the topic of the study. On the basis of semantic approach-analysis it is possible to reveal the phenomenon of musical text, its meaning «not only from the position of phonetics, grammar and syntax», but also «from the point of view of poetics, semantics, style». Using a semantic approach in the process of learning you need to acquire «the skills of oral musical speech» – improvisation, which was once obligatory in the training of a musician. It is necessary to create an «organic intersubject communication» between theoretical disciplines and «music-making practice» because theoretical disciplines can and should be musical. The question is the methods of teaching, the methodology of «immersion» in music. Musical pedagogy has yet to be adopted and mastered, taking into account the level of modern psychology of perception, to develop the methods and methodology of the educational process to interest, captivate, to make students fall in love with music heard and performed.
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Sasmita, Husni. „Persepsi Siswa terhadap Kurikulum 2013 Mata Pelajaran Seni Budaya Pada Kelas VII.3 di SMP Negeri 13 Pekanbaru Tahun pelajaran 2016/2017“. Instructional Development Journal 1, Nr. 1 (30.06.2018): 22. http://dx.doi.org/10.24014/idj.v1i1.6417.
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This study aims to determine and describe student perceptions towards the 2013 curriculum on art and culture subjects (music arts) in Public Middle School 13 Pekanbaru. The perception in question is the response of students to the 2013 curriculum in the eye art and culture lessons (music arts). Based on the results of this study, it can be concluded that students in the State Junior High School 13 Pekanbaru in the 2016/2017 school year have a good perception 2013 curriculum. This is evidenced from 40 respondents, there are 10 students (25%) have a good perception, 18 students (45%) have fairly good perceptions high and there are 9 students (22.5%) who have poor / less high perceptions, 3 students (7.5%) have very poor perceptions.
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Ruffer, David. „Out of Africa…into Hastings – Reflections on African Week at William Parker School, April 1991“. British Journal of Music Education 9, Nr. 2 (Juli 1992): 163–69. http://dx.doi.org/10.1017/s0265051700008949.
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The Report of the Working Group for Music on the National Curriculum suggested that music teachers should incorporate music from non-Western cultures into their programmes of study. African Week proved to be an ideal opportunity to introduce the idea of music and dance from Africa to both students and the wider community in a predominantly white area, as well as to address the vexed problem of how to teach combined arts without diluting standards in the individual art forms.
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Barnes, Jonathan. „‘We are still here’: The impacts of street music and street art during the 2020 London lockdowns“. International Journal of Community Music 00, Nr. 00 (09.03.2021): 1–12. http://dx.doi.org/10.1386/ijcm_00032_1.
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This article summarises the impacts of a spontaneous arts initiative involving the residents of eight London streets during the 2020 lockdowns. A local arts organization devised small-scale, informal street music projects that were evaluated by the residents themselves. Responses suggested that such events had a strong positive impact on the feelings of community. Common responses included reaffirming the importance of local cohesion, recognizing music as an accessible means of developing new connections in ‘distanced’ conditions and a new appreciation of family togetherness. Those involved suggested that researchers could learn much about the characteristics of cohesive, supportive communities from similar initiatives. The project confirmed that more research was needed on the role schools could play in bringing communities together and how music can be used to build bridges between school and community. Feedback raised questions about the absence of children’s voices in post-COVID-19 planning for ‘the recovery curriculum’.