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Relevant bibliographies by topics / Higher Music Learning

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Academic literature on the topic 'Higher Music Learning'

Author: Grafiati

Published: 22 February 2025

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Journal articles on the topic "Higher Music Learning"

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Younker, Betty Anne. "Collaborative learning in higher music education." Music Education Research 16, no. 3 (May 19, 2014): 369–71. http://dx.doi.org/10.1080/14613808.2014.895396.

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Zebua, Testi Bazarni, Julaga Situmorang, and R. Mursid. "PENGARUH STRATEGI PEMBELAJARAN DAN APRESIASI TERHADAP HASIL BELAJAR SENI MUSIK SISWA." Jurnal Teknologi Pendidikan (JTP) 11, no. 1 (November 2, 2018): 60. http://dx.doi.org/10.24114/jtp.v11i1.11197.

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Abstrak: Tujuan penelitian ini adalah: (1) untuk mengetahui apakah belajar seni musik siswa yang diajar dengan menggunakan strategi pembelajaran discovery learning lebih tinggi dari strategi ekspositori, (2) untuk mengetahui apakah hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi lebih tinggi dari tingkat apresiasi rendah, dan (3) Untuk mengetahui apakah ada interaksi antara strategi pembelajaran dan apresiasi dalam memberikan pengaruh terhadap hasil belajar seni musik siswa. Metode penelitian menggunakan quasi eksperimen dengan desain penelitian penelitian faktorial 2 x 2. Teknik analisis data menggunakan ANAVA dua jalur pada taraf signifikan α = 0,05. Temuan penelitian menunjukkan : (1) Hasil belajar seni musik siswa yang diajar dengan strategi pembelajaran discovery learning dari konstruktivisme (79,67) lebih tinggi dibandingkan siswa yang diajar dengan strategi pembelajaran ekspositori (76,67). (2) Hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi (79,50) lebih tinggi dibandingkan siswa yang memiliki tingkat apresiasi rendah (74,93). (3) Terdapat interaksi antara strategi pembelajaran dan tingkat apresiasi dalam mempengaruhi hasil belajar seni musik siswa. Siswa dengan apresiasi tinggi akan memperoleh hasil belajar yang lebih tinggi jika diajar dengan strategi pembelajaran discovery learning dari konstruktivisme. Demikian pula dengan siswa yang memiliki apresiasi rendah, akan memperoleh hasil belajar yangg lebih tinggi jika diajar dengan strategi pembelajaran ekspositori. Kata Kunci: strategi pembelajaran, apresiasi, hasil belajar seni musik Abstract: The purpose of this study are: (1) to find out whether learning music art students taught by using discovery learning learning strategies is higher than expository strategies, (2) to find out whether the results of students learning music are higher than low level of appreciation, and (3) To find out if there is an interaction between learning strategies and appreciation in influencing students' learning outcomes in music. The research method uses quasi-experimental research design with 2 x 2 factorial research. Data analysis techniques using two-way ANAVA at a significant level α = 0.05. The findings of the study show: (1) The results of learning the music arts of students taught by discovery learning learning strategies of constructivism (79.67) are higher than students taught with expository learning strategies (76.67). (2) The results of learning the music arts of students who have a high level of appreciation (79.50) are higher than students who have a low appreciation level (74.93). (3) There is an interaction between learning strategies and the level of appreciation in influencing students' learning outcomes in music. Students with high appreciation will obtain higher learning outcomes if taught with discovery learning learning strategies from constructivism. Likewise with students who have low appreciation, will get higher learning outcomes if taught with an expository learning strategy. Keywords: learning strategies, appreciation, learning outcomes of music art

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Hanken, Ingrid Maria. "Peer learning in specialist higher music education." Arts and Humanities in Higher Education 15, no. 3-4 (July 2016): 364–75. http://dx.doi.org/10.1177/1474022216647389.

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Carruthers, Glen. "Marshall Mcluhan and Higher Music Education." Articles 36, no. 2 (October 1, 2018): 3–11. http://dx.doi.org/10.7202/1051593ar.

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The way in which Marshall McLuhan’s theories relate to teaching and learning broadly has garnered scholarly attention. It is surprising, though, given his impact on Schafer and others, that there is scant critical commentary on the implications of McLuhan’s theories for either mass music or higher music education. The present study is a step towards redressing this gap. The study concludes that McLuhan’s iconoclastic views have direct bearing on formal learning environments, like music schools, that struggle with notions of inclusivity and exclusivity, community music and concert music, improvisation and textual interpretation, even as they embrace timely and sweeping curricular reform.

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Lorenzo de Reizábal, Margarita, and Manuel Benito Gómez. "Learning Analytics and Higher Music Education: Perspectives and Challenges." ARTSEDUCA, no. 34 (December 7, 2022): 219–28. http://dx.doi.org/10.6035/artseduca.6831.

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Continually monitoring student learning, improving tutoring, predicting academic risks such as performance drops or dropouts, assessing more objectively or understanding the behavior of student groups are some of the tasks that have been beyond the reach of music teachers. The current technology of massive data processing (Big Data) and its analysis (Learning Analytics-LA) allows to achieve these goals with relative ease. The possibility of extracting individual behavior patterns facilitates attention to diversity, reduces school dropout and failure, and opens the possibility of implementing new educational strategies. The phenomenon of data-based education has led to different types of studies. This paper reflects on three trends or fundamental perspectives in the use of the collection of massive information applied to learning and teaching. We offer an overview of research and applications of Learning Analytics specifically in the field of music education, as well as a reflection on its possible practical uses in higher music education in conservatories. For this purpose, we discuss some practical examples of how this technological methodology could be incorporated into music and music education research, and its influence on possible new educational paradigms that lead to innovation on teaching-learning process through new technological resources.

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Bartleet, Brydie-Leigh, Catherine Grant, Charulatha Mani, and Vanessa Tomlinson. "Global mobility in music higher education: Reflections on how intercultural music-making can enhance students’ musical practices and identities." International Journal of Music Education 38, no. 2 (January 5, 2020): 161–76. http://dx.doi.org/10.1177/0255761419890943.

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Music higher education institutions are increasingly recognising the educational value of intercultural learning experiences. Delivering such learning experiences in a way that provides music students with a rich cultural and musical learning experience, rather than a superficial one, can be a challenging task, particularly in the case of short-term ‘mobility’ or ‘study-abroad’ programmes. This article explores ways to address this challenge by reflecting on student learnings from a suite of international study experiences, or ‘global mobility programmes’, at one Australian tertiary music institution, run in collaboration with community partners, universities and nongovernmental organisations in the Asia Pacific. Focusing on how intercultural music-making in the context can enhance students’ musical practices and identities, we first outline the sociocultural contexts of our music global mobility programmes in Cambodia, China and India, and explore the different modes of music-making these experiences afforded. We then draw on Coessens’ ‘web of artistic practice’ to explore site-specific examples of the ways in which global mobility programmes can enhance students’ musical practices and identities. These findings hold particular relevance for music educators and higher education institutions in justifying, designing and carrying out such intercultural experiences to maximise student learning and success.

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Tarwiyah, Tuti. "ECE Music Courses in Higher Education: Rhythmic Learning Based on Local Culture Through the Solfeggio Technique." JPUD - Jurnal Pendidikan Usia Dini 17, no. 1 (April 30, 2023): 134–43. http://dx.doi.org/10.21009/jpud.171.10.

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The lack of learning techniques used by teachers in teaching music in early childhood, especially rhythmic learning, in general teachers only teach rhythm by explaining the value of notes, not using singing, and not connecting it with singing. The purpose of this research is to describe the effectiveness of rhythmic learning using cultural-based solfeggio techniques through lecture assignments. The research method used is descriptive qualitative with an emphasis on exploration. Data collection was taken from the results of the learning value of the rhythmic ensemble which lasted for four meetings. The results showed that of the eighteen students who attended the Culture-Based Arts Education course, when it came to Rhythmic Ensemble, fifteen of them got an A and only one got an A-. All of them can read notes and show them through body rhythmics while singing folk songs. Therefore, it can be recommended that early childhood teachers for music learning, especially in discussing the value of notes/rhythmic learning, use the solfeggio technique using folk songs to introduce local culture from an early age. Keywords: ECE program student, rhythmic learning, local culture, solfeggio technique References: Banoe, P. (2003). Kamus musik. Kanisius. Bronson, M. B. (1995). The right stuff for children birth to 8: Selecting play materials to support development. Natl Assn for the Education. Burak, S. (2019). Self-efficacy of pre-school and primary school pre-service teachers in musical ability and music teaching. International Journal of Music Education, 37(2), 257–271. https://doi.org/10.1177/0255761419833083 Carrillo, C., Baguley, M., & Vilar, M. (2015). The Influence of Professional Identity on Teaching Practice: Experiences of Four Music Educators. International Journal of Music Education, 33(4), 451–462. https://doi.org/10.1177/0255761415582348 Duţică, L. (2018). Assessment Typologies Used Within the Discipline Theory, Solfeggio, Musical Dictation. Review of Artistic Education, 15(1), 37–43. https://doi.org/doi:10.2478/rae-2018-0004 Eyles, A.-M. (2018). Teachers’ Perspectives about Implementing ICT in Music Education. Australian Journal of Teacher Education, 43(5), 110–131. https://doi.org/10.14221/ajte.2018v43n5.8 Hamilton, A. (2007). Music and the Aural Arts. The British Journal of Aesthetics, 47(1), 46–63. https://doi.org/10.1093/aesthj/ayl038 Ismail, M. J., Fung Chiat, L., & Anuar, A. F. (2021). Learning Music Through Rhythmic Movements in Malaysia. Malaysian Journal of Learning and Instruction, 18(Number 1), 241–263. https://doi.org/10.32890/mjli2021.18.1.10 Jing, W., & Danprdit, P. (2022). Piano Rhythmic Exercise for Preschool Education Major Teaching at Taiyuan Teacher College. Journal of Green Learning, 2(2), 100–105. https://doi.org/10.53889/jgl.v2i2.120 Kim, H., Sefcik, J. S., & Bradway, C. (2017). Characteristics of Qualitative Descriptive Studies: A Systematic Review. Research in Nursing & Health, 40(1), 23–42. https://doi.org/10.1002/nur.21768 Kiraly, Z. (2003). Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer. International Journal of Music Education, os-40(1), 41–58. https://doi.org/10.1177/025576140304000105 Lubkov, A. V. (2020). Modern Problems of Pedagogical Education. The Education and Science Journal., 22(3). https://doi.org/10.17853/1994-5639-2020-3-36-54 Mohedo, M. T. D., & Bújez, A. V. (2012). Improving Learning in a Professional Context: A Research Perspective on the New Music Teacher. Procedia - Social and Behavioral Sciences, 69, 579–584. https://doi.org/10.1016/j.sbspro.2012.11.449 Niland, A. (2009). The Power of Musical Play: The Value of Play-Based, Child-Centered Curriculum in Early Childhood Music Education. General Music Today, 23(1), 17–21. https://doi.org/10.1177/1048371309335625 Wang, L. (2022). The Skill Training of Reading Music in the Teaching of Solfeggio and Ear Training in the New Media Environment. Applied Bionics and Biomechanics, 2022, 1–11. https://doi.org/10.1155/2022/8209861 Zhang, W. (2022). Practice and Exploration of Music Solfeggio Teaching Based on Data Mining Technology. Journal of Environmental and Public Health, 2022, 5436772. https://doi.org/10.1155/2022/5436772

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Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (November 18, 2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.

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This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly involved with Passepartout Duo in the creative processes required in creating their own music composition and the culmination of the workshop was a concert featuring music compositions from participating composers performed by the duo. Students attending the workshop were found to better grasp musical concepts, be more creative, and have a peek into the career as a composer. Implementing workshops into the music course also maximised learning for students and ensured the efficient development of the course.

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Yang, Yang, and Graham Welch. "Pedagogical challenges in folk music teaching in higher education: a case study of Hua’er music in China." British Journal of Music Education 33, no. 1 (January 11, 2016): 61–79. http://dx.doi.org/10.1017/s0265051715000248.

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Recent literature suggests that traditional approaches in folk music education are not necessarily compatible with the pedagogical conventions of formal music education. Whilst several recent studies have tended to define these non-classical-music learning contexts as ‘informal’, the practice of folk music that was recently introduced into Chinese Higher Music Education appears to be much more complex and fluid, at least in its real world setting. This case study presents a detailed example of the teaching and learning of folk singing in contemporary society in Western China. In this particular context, both ‘informal learning’ and ‘formal’ music practices were observed and compared, based on research data collected from four music lessons and subsequent interviews with the participants. Drawing upon the analytical evidence, the research discusses a possible pedagogical model where two apparently contrasting approaches to learning (i.e. a conservatory model vs. traditional folk learning) could coalesce to ensure more effective learning outcomes of traditional folk music in higher education contexts.

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Vyshynskyi, Vitalii, and Iryna Yahodzynska. "DISTANCE LEARNING FOR MUSIC DISCIPLINES IN HIGHER EDUCATION: CHALLENGES AND PROSPECTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 3 (May 26, 2017): 585. http://dx.doi.org/10.17770/sie2017vol3.2382.

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As a worldwide trend of the modern education distance learning gives the possibility to study many disciplines, nevertheless of the fact, is there a practical component in them, for example music disciplines. Among the Ukrainian universities, at the moment only at the Borys Grinchenko Kyiv University has been developing the system of distance learning using the Moodle platform, including the study of special music disciplines. Distance learning for music disciplines associated with a number of specific difficulties, which increases the requirements for the content of the training online course. Even the best and technologically perfect online course does not guarantee that the student will pass it to the end, if there is no threat to disrupt the implementation of the academic plan. Academic results of passing the online training course about modern classical music, that is already tested at Grinchenko University, gives the opportunity to distinguish the basic qualities of effective distance course for music disciplines, that focuses on students; to outline the basic problems related to its implementation into the educational process, as well as their solutions.

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Dissertations / Theses on the topic "Higher Music Learning"

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Feichas, Heloisa Faria Braga. "Formal and informal music learning in Brazilian higher education." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10020512/.

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Balija, Ayn Theresa. "What do I Assume? An Applied Lesson Approach Integrating Critical Thinking and Student-Directed Learning." Thesis, James Madison University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702655.

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The applied music lesson remains a revered symbol of Western European tradition in American music education. Very little research exists assessing its continued viability as a method in its current form. This paper examines eight author observed assumptions about applied music lessons which flaw the learning process. Through available research, the assumptions demonstrate that the traditional applied lesson is teacher centered and difficult to assess. Exposing the resultant delusions of the eight assumptions reveals how a holistic approach in a studio can engage students in critical thinking and enhance student self-awareness. These primary goals place the educational emphasis on the process rather than the technically perfect performance as the terminal experience. Sample lesson techniques for undergraduate viola students will incorporate critical thinking methods to transform the weekly encounter into a student-centered experience which develops skills for continued self-directed study.

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Jung, Joo Yeon. "Peer learning group among college voice majors | Collaborative inquiry case study." Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3594111.

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This collaborative inquiry case study investigated a pre-existing peer learning group composed of five Korean college voice students and a non-musician facilitator. The group was chosen for this research to understand the implications of a diversified learning context in addition to the typical master-apprenticeship context of higher music education. The main activity for this peer learning group was researching literature related to classical vocal music along with presenting a performance project. This performance was in connection to their learning, and the chosen theme was a musical autobiography. Data were collected during the performance project process that included participant observations, interviews, and artifacts. The peer group's learning experiences and how this process influenced their behaviors, attitudes, and performance, and the role of the facilitator were content analyzed and reported. Results revealed that the students' intense meaning making process included mutual communication, cooperative interaction, enhanced motivation with group cohesion, and a sense of autonomy in their music learning. The autobiographic aspects of each member's life as a musician proved to be transformative in their learning and positively influenced their identity development as musicians. Careful intervention regarding individual differences was found to be an important consideration. The role of the non-musician facilitator aided group development with a contrasting perspective, allowing for positive support to the individuals, and suggestions for long-term goals regarding pedagogical aspects despite his lack of a music background. Challenges of the peer learning group included a lack of available learning resources, time intensiveness of the process, and a lack of continuity with few consistent acknowledged goals.

This study illuminated the need to reflect on diverse learning contexts in addition to the traditional master-apprentice dyad in order to enhance students' initiatives in their learning process; allow for opportunities for the formation of their musical identities; and to encourage a facilitator role for the master teachers. Future research is recommended to replicate peer learning among diverse musicians and to focus further on autobiographic learning in addition to online learning opportunities. Continuous innovation in the learning process in higher music education will empower future musicians to be creative meaning makers and lifelong learners.

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Anthony, Brendan. "Perspectives of Learning Popular Music Production in Higher Education From Both Sides of the Glass." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394317.

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The aim of this research is to investigate how popular music production can be learned in higher education contexts, and how higher education can design and implement reputable approaches in popular music production pedagogy that bridge to modern professional practice. Music production has developed from large studio contexts and become ubiquitous within project studios following the invention of the Internet and democratisation of high quality and affordable computer-based recording technology. As a result, multi-skilled popular musicians now blur the once-standardised roles of the producer and artist, use face-to-face and online/remote collaboration, and create music in diverse technological, socio-cultural, and musical landscapes. Yet music production is often a collaborative experience, the culmination of musicians, engineers, producers, and songwriters working together through cognitive and practice-based processes. Therefore, the rationale of this thesis is based around the discovery of effective ways to educate students regarding the selection of creative practices and the design of music production cultures, and how these affect the musical output. Aspiring music producers seek instruction in popular music production and higher education’s role in this landscape is integral. Yet the diversity that music-making now purveys adds to the complexity of pedagogical designs. As such, popular music production pedagogy needs to be considered alongside applications that bridge the pedagogical experience to the professional world and promote graduate industry integration. However, it is still very unclear as to what form effective higher education music production pedagogical frameworks should take to ensure that the expansive tacit knowledge of professionals can be articulated, and the practice of modern music production be understood by students. This research utilised an ethnographic case study of a one-year, university-based popular music production pedagogical offering to investigate how effective pedagogy in this field may be created. The students’ and educator’s perceptions of the practice-based tutorial activity were collected through a vast array of data collection methods including surveys, video footage, semi-structured interviews, focus groups, and assessment items. A qualitative thematic analysis informed key findings that were situated within domains including the usefulness of music production cultures, the instinctive and intuitive role of the educator, the necessity of bridging the tutorial experience to the professional world, and the many different ways in which students learned. In particular, the research found that effective pedagogy targets the student’s understanding of the greater practice of music production by engaging with music production from both sides of the glass. In these scenarios songwriting, performance, sound engineering, and production occurred in holistic, collaborative environments where all those involved in the music-making were present during the pedagogy. The research concludes by recognising that the pedagogical approaches of the future need to consider the affordances of modern music producers. These frameworks should facilitate tacit learning in entrepreneurial habits, self-belief, and life skills. Subsequently, students can then be encouraged to consider themselves as professional practitioners prior to their transition to the music industry.
Thesis (Professional Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
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Forbes, Melissa Therese. "Playing the Changes: An Expanded View of Higher Music Education through the Use of Collaborative Learning and Teaching." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366951.

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In Australia, higher music education faces challenging times— university reform has ushered in an era of public accountability and budget cuts; the sector has become portfolio career-focussed and a university education must prepare students for uncertain futures. Within higher music education, collaborative learning has been identified as one way to address these types of challenges. There has recently been increased interest in the use of collaborative learning in a variety of higher music education contexts. To date, however, collaborative learning for music practice or performance in higher music education remains little used and under-researched. Situated within a practitioner inquiry framework, this study employed narrative approaches to discover participants’ experiences of collaborative learning in first year music practice courses at the University of Southern Queensland, a regional Australian university. The participants in this study were students who completed the first year music practice courses in 2014 and the teacher/researcher. Preliminary research during 2012 and a pilot study in 2013 shaped the focus and design of the study. Data were collected from students’ essays, journals and short answer questionnaires. Teacher’s data took the form of a teacher/researcher diary. Thematic analysis of students’ essays and journals established the ways in which collaborative learning built students’ individual and collective agency. Narrative analysis of the entire data set was undertaken to develop a robust picture of the value created through learning music practice collaboratively.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Corley, Alton L. "An investigation of the predictive relationship of academic variables in three different learning environments to the intentions of music education majors to leave the degree program." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/corley%5Falton/index.htm.

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Darby, Megan. "Challenges to Student Success in an Introductory Music Theory I Course." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5066.

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A state college in the mid-Atlantic United States requires a music theory course for 4 of its undergraduate music programs. In the 6 years prior to this study, students had difficulty with the course, with many failing or withdrawing. Tinto's theory of student retention served as the foundation of the conceptual framework for this study, the purpose of which was to identify challenges to successfully completing the course. This purpose was reflected in the study's driving research question focused on students' experiences regarding challenges to success. In this instrumental case study, 12 students and 2 instructors participated in individual interviews, and 7 students participated in a focus group. Initial coding was used for the 1st-cycle coding phase. Axial coding was used for the 2nd cycle. Seven themes emerged through an iterative categorization protocol: 3 student-related themes, 3 college-related themes, and 1 theme relating to solutions for overcoming challenges to success in Music Theory I. Although data indicated that students experienced diverse challenges to success, the need for additional help was most evident. Thus, a logical project for this study was a music theory lab designed using best practices for course redesign and adult learning found in the literature and developed to support student learning of the concepts presented in Music Theory I. This study may contribute to positive social change by providing an opportunity for students at the college to receive academic support structured to meet their learning needs and improve their performance in Music Theory I, which may prevent students from withdrawing from or failing the course.

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Meredith, Tamara. "Extending the Apprenticeship through Informal Learning on Facebook: An Interpretative Phenomenological Analysis of the Lived Experiences of Music Faculty." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984183/.

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Facebook studio groups/pages are commonly used by applied music faculty to communicate with current students, recruit new students, share students' activities, and promote faculty members' professional performances and academic endeavors. However, the blurred lines between academic, professional performance, and social activities in the field have led to a wide variety of approaches to Facebook use by music faculty. This dissertation documents the first generation of music faculty social media users and investigates the beliefs, intent, and lived experiences of music faculty who use Facebook studio groups/pages to communicate with their students. Four music faculty were interviewed and a semester's Facebook studio group/page data collected for each faculty member. Interviews and Facebook data were analyzed using Interpretative phenomenological analysis (IPA) to identify emergent, and ultimately super-ordinate, themes from the data. The three super-ordinate themes that emerged were: Impact of Social Media on Studio Teaching and Learning, Learning through Enculturation, and Faculty Lived Experiences with Facebook Studio Groups/Pages. Findings of the study included: faculty concerns about personal and professional risk; the observation that teaching and learning are occurring through these Facebook studio groups/pages by way of the process of enculturation, but without evidence of a Virtual Community of Practice; and, a multitude of group/page management practices developed in isolation that suggest a need for discussion/debate and training in the field to determine best practices for using Facebook studio groups/pages as an extension of the physical studio. Recommendations include training for music faculty that situates Facebook studio groups/pages within the enculturation process of students pursuing careers in music, music department development of guidelines for Facebook group/page creation and management based upon their institutions' rules and oversight procedures, and the sharing of exemplar Facebook studio groups/pages by professional music education organizations to encourage discussion of best practices for teaching and learning in informal environments.

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Olszewski, Carol A. "Experiences of Music Therapy Junior Faculty Members: A Narrative Exploration." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu156812475885396.

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Draper, Paul A. "New learning: The challenge of flexible delivery in higher education." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/36625/1/36625_Digitised%20Thesis.pdf.

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Information technologies now enable people to communicate m real-time on a planetary scale. Previously isolated cultures have become interdependent in dynamic relationships of economy, government and society, where electronic information is a universal currency instantly distributed by a global web of inter-computer networks. Traditional labour theories of value are being rapidly superseded by knowledge value systems. Government and corporate rhetoric is now suffused with references to intellectual capital and employment opportunities that increasingly depend on people who can put knowledge to work in fluid, fast-changing landscapes. Thus, education has a critical and enhanced role in this new world order where knowledge is seen as the key to wealth and the engine of social change. By implication, universities are under increased pressure to develop and produce 'fast' knowledge workers by means of flexible formats of educational delivery. This dissertation examines the implications of these imperatives by undertaking an investigation into the professional development of the author as university teacher. The work responds to what has become known as the 'triple challenge' for universities, that is, i) to provide increased accessibility and student-centredness of higher education, ii) to achieve greater economy of operations but with less traditional sources of funding, and iii) to maintain quality, but also improve learning outcomes. The aim is to scrutinise the meaning of the terms 'flexible delivery' and 'lifelong learning' in the context of changing university structures and priorities. To do so, the author investigates teaching and learning practices that arise from within his specialist domains of professional music-making and education in music technology. The dissertation then argues the implications of this project for an overarching investigation of 'new learning' arising out of global change and its effects on all participants within the pedagogical arena - students, teachers, and the university as an organisational culture. The research is located amid two sets of contestations - that which exists between corporate managers and practitioners, and that which exists between practical creativity and the traditional research culture. In keeping with the challenge of working in this shifting and fragmented terrain, the research methodology makes a postmodern break with traditional formats by employing a generative 'double-science' approach to practitioner-research. However, the project was not generated out of postmodern theory, but out of the 'messiness' inherent in teaching practice. It is not, therefore, a 'postmodern' project, despite the fact that postmodern scholarship informs recent developments in the author's thinking about pedagogical praxis. The enquiry strives to transcend the divides of 'science' and 'experience' by generating a confluence of knowledges, a co-authorship arising from a symbiosis of analytical scholarship and artistic creativiry. The action is about both 'doing practice' and 'troubling practice'. It acknowledges the non-innocence of any knowledge production where the practitioner is both the researcher and the researched. Central to the design is a double-pronged engagement in/with analysis/application whereby recurring themes are deconstructed in chaptered sub-cycles that spiral toward validation and theory-building. It is a reflexive process which works through compounding reconstructions of information, through re-comparisons and member-checks that provide multiple accounts of the data-as-evidence. The dissertation argues a new logic that arises out of an explicit interrogation of the complexiry, uncertainty, and artistry of pedagogical practices in the context of the author's work. It demonstrates how flexible learning mechanisms can exist amid the artificially imposed boundaries of class segregation and discipline. In the exploration of these opportunities, it is shown that powerful new relationships can be mobilised by the supportive use of information technologies. An examination of collaborative teamwork, interdisciplinary groupings and cross-year activities suggests ways in which current demands for increased accessibility and student-centredness might be met. With its focus on improving practice, the research documents pedagogical activity that is not only generative of theory, but of learning and self-improvement. In its open-endedness, the dissertation also signals that this pedagogical project is unfinished, yet amenable to completion. It imagines a complete, yet on-going body of work that invites further experimentation, innovation and self-reflection in university teaching.

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Books on the topic "Higher Music Learning"

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Hunter, Desmond. Peer learning in music. Newtownabbey, Co. Antrim: University of Ulster, 2000.

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Shaw, G. L. Keeping Mozart in mind. San Diego, Calif: Academic, 2000.

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Mackinlay, Elizabeth. Disturbances and dislocations: Understanding teaching and learning experiences in indigenous Australian woman's music and dance. New York: Lang, 2006.

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Siksimova, Marina, Ol'ga Begicheva, and Svetlana Mozgot. Solfeggio and music theory: a practical course. ru: INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1971854.

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The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the necessary professional knowledge, skills and abilities. It is intended for use in the classroom work of students of performing and theoretical departments of music colleges, as well as advanced students of the senior classes of SSMSH, DMSh and DSHI. It can be used for independent work of students of various specialties of secondary vocational education institutions and areas of higher education: 53.02.03 "Instrumental performance (by types of instruments)", 53.03.03 "Vocal art", 53.03.04 "The Art of folk singing", as well as for preparing applicants for entrance exams.

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Winn, James Anderson. The pale of words: Reflections on the humanities and performance. New Haven: Yale University Press, 1998.

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Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. [Toronto, ON: s.n.], 1989.

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Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. [Toronto, ON: s.n.], 1988.

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Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. [Toronto, ON: s.n.]., 1986.

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Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. [Ontario: s.n.], 1991.

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Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. [Ontario: s.n.], 1990.

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Book chapters on the topic "Higher Music Learning"

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Haddon, Elizabeth. "Creativity in higher music education." In Creative Teaching for Creative Learning in Higher Music Education, 35–48. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-4.

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Sholl, Robert. "5. Artistic Practice as Embodied Learning." In Teaching Music Performance in Higher Education, 135–64. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.07.

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Almost fourty-five years ago, Joseph Kerman proposed the notion of getting out of analysis, in fact a strategy through criticism to broaden its formalist parameters (Kerman, 1980). Kerman’s argument was flawed in many respects as Agawu pointed out; analysis was necessary in his view to teach “undergraduate music theory” and “basic musical literacy,” (Agawu, 2004: 269) something Kerman would not have denied. Yet these debates, and their continuation (Horton 2020; Cavett et al. 2023) have missed something more fundamental, especially as ideological ivory towers and territories needed protection. Over the last fourty years the rise of theory courses, has led to a schism between theory as a discipline and theory as a necessary precursor to practice (for learning repertoire, improvisation and composition); this is till prevalent in Universities and conservatoires today. This issue has not been helped by the interdisciplinarity of musicology, by the concomitant continual expansion of the curriculum, and the move away in many university departments from study of ‘the dots’ to other equally-valid forms of engagement with music. Part of this separation results from an educational ideal that differentiation is necessary before integration, something that the somatic thinker Mosche Feldenkrais advocated, but the ‘integration’ element, has more often been left to chance. This study seeks to make a pedagogical synthesis between theory improvisation and composition, allowing the teacher and student to move freely between these areas, and the student to develop their own sense of autonomy. Artistic research is premised on knowing something, on having some ‘petrol in the tank’, and especially on the ability to make aesthetic choices. This paper develops a critical and reflexive method to do begin this task. It begins by presenting a creative rethinking of species counterpoint, a foundation for thinking in Schenkerian analysis (Forte and Gilbert, 1983, also played out through Kennan 1987, Schubert 2003, Davidian 2015, and Denisch 2017) through Bach’s Goldberg Variations (1741). This develops a resource for pedagogy and practice through teaching musical techniques of composition. I present a layered-cake of musical lines against the figured bass of the theme (moving from semibreves to quavers) as an exercise that inculcates various aspects of var. 1 of the ‘Goldbergs’, and then I explore the codes and ramifications of this that allow both historical sensitivity and creative development. This contextualized exercise provides a stepping-stone to a discussion of Variation 1 (prefigured in my species example), and the development of complete variations beginning with a given “invention” (Dreyfus 1997), and then moving to the composition of new ideas. I suggest how these exercises can be used for teaching improvisation and show how this invaluable connection can be developed through other models (‘la folia’ for example). This model of thinking is historically connected to partimenti (Gjerdingen 2010, 2020), and, following Feldenkrais’s thinking (Sholl 2019, 2021), I provide different solutions to the same exercises. This strategy attempts to promote an “adaptive flexibility” (Thelen and Smith 2004) in which students can enactively and organically learn musical and technical fluency, while also developing their creativity and autonomy.

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Pizzol, Fausto Lessa F. "2. Experimentation as a Learning Method." In Teaching Music Performance in Higher Education, 47–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.03.

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Organologically classified as a melodic instrument, the electric bass has tonal and ergonomic characteristics that enhance its use beyond this designation. In this perspective, an increasing number of bassists seek to use the electric bass as a harmonic instrument. However, the lack of research on this approach hinders its development beyond individual initiatives. Based on an alternative tonal concept to consolidated practice, called LCCTO (Russell, 2001) and guided by a research design structured according to the concept of Affordances (Gibson, 1979) and the Perceptual Learning theory (Gibson & Pick, 2000), this artistic research adopts experimentation as a learning method for performing vertical harmonies on the electric bass. The development of this path involves, (i) the construction of a harmonic vocabulary for the instrument and (ii) the creation of musical works from this vocabulary. The result of this work intends to contribute to the construction of a new paradigm for the performance of the instrument, for the academic discussion about it, and, consequently, bring pedagogical implications concerning the academic program for bassists and the teaching methodology for this harmonic content. Regarding the latter, the proposed research design, as well as the harmonic vocabulary, structured as a book, may point to an initial path for further debate. The results achieved so far point positively to the potential of using experimentation for the development of a, here called, Harmonic Approach to the Electric Bass. The experiments already concluded provided a considerable number of chords playable on the instrument, which has been organized as a dictionary, as well as extensive material resulting from articulations (simultaneous execution) between these chords and the different scales proposed in the LCCTO. Also included in this material resulting from the experiments, are the Creative Applications, organized as musical studies, which reflect, through composition, the use of the contents already obtained.

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Parkes, Kelly A. "Assessment of Learning, for Learning, and as Learning in the Applied Music Studio." In The Applied Studio Model in Higher Music Education, 99–123. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003426448-8.

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Barton, Georgina. "Reflective Practice in Music: A Collaborative Professional Approach." In Teaching Reflective Learning in Higher Education, 65–76. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09271-3_5.

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Torleiv Furnes, Odd. "9. The Musical Object in Deep Learning." In Teaching Music Performance in Higher Education, 225–50. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.12.

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From August 2020 the Norwegian National Curriculum for primary, lower secondary and upper secondary education and training was replaced. A main concern was to equip students with 21st century competencies aimed at enabling students to transfer and apply knowledge and skills in different contexts. One key aspect in achieving such competencies is that of providing for in-depth or deep learning. While deep learning is defined in slightly different ways in documents leading up to the new curriculum they all emphasise developing an understanding of concepts and relationships in and between subject areas (NOU 2014: 7, s. 7). This involves a break with so-called surface learning based on facts and isolated skills. This chapter will investigate what it means to provide for deep learning in music by turning to two oppositional frameworks of understanding: on the one side sociocultural learning theories and pragmatic aesthetics and on the other side the more contentious perspectives of musical objectivism and musical autonomy. Within this field of tension, we find to some extent contradictory views on the role of musical knowledge and what this knowledge consists of. Research on perception and musical emotion strongly indicates that bottom-up perspectives are central to musical experience. Thus, taking a sociocultural stance that leans heavily towards a pragmatic and relativistic view on musical knowledge production may inhibit knowledge about, and even acknowledgement of, music as an aesthetic, perceptible object.

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Kharatyan, Mariam. "7. Score-Based Learning and Improvisation in Classical Music Performance." In Teaching Music Performance in Higher Education, 181–94. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.09.

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This chapter reflects on the author’s artistic path as a classical pianist and her experiences within the artistic research projects Armenian Fingerprints (Kharatyan, 2019) and the ongoing project Armenian Crossroads, the latter project involving music performance students from the Department of Classical Music and Music Education at the University of Agder. With these students, the Armenian Crossroads project explored how the interpretation of scored music can stretch beyond the limitations of Werktreue, by experimenting with co-create approaches and collaborative music making through improvisation. It is argued that the impact of Werktreue on the teaching and learning of music performance of classical music in most of HMEI’s curricula has strongly suppressed improvisational practices and limited the scope for creativity and unconventional interpretations. The author seeks to challenge the norms in higher music education, and describes two artistic projects that explore new methods, seeking to re-introduce improvisation in classical music performance education. Drawing on interviews with the participating students, the chapter brings forth how students found that the improvisation sessions had (i) stimulated musical creativity; (ii) provided broader perspectives on music performance; (iii) promoted listening and interaction (iv) demanded that each performer accept their vulnerability; (v) provided new musical insights; (vi) increased focus and sense of presence. In conclusion, the chapter proposes that by implementing improvisation and including the students in artistic research projects in performance education, novel and creative approaches to the teaching and learning of musical interpretation can be created.

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Berryman, Steven. "Pre-higher education creativity." In Creative Teaching for Creative Learning in Higher Music Education, 9–21. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-2.

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Guillaumier, Christina, Ruth Slater, and Peter Argondizza. "Recontextualised learning through embedded creativity." In Creative Teaching for Creative Learning in Higher Music Education, 186–97. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-14.

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Parker-Dixon, Martin. "The learning community, a quodlibet." In Higher Education in Music in the Twenty-First Century, 30–54. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586793-3.

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Conference papers on the topic "Higher Music Learning"

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López-Íñiguez, Guadalupe, and Tuula Jääskeläinen. "How about equality and equity in higher music education? A theoretical framework for researching quality of music teaching and learning." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5417.

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While quality development has an important role in higher education in Finland, its connection with equality and equity in teaching and learning music is not often mentioned. Most of the discussions about equality in education have focused on how to equalize access to and participation in education, but there are disagreements about what the very concepts of equality and equity mean in education. When striving to achieve equality in higher music education, the use of learner-centered pedagogies may promote an engaging and satisfying learning experience. We illustrate a more holistic approach in teaching and learning music by adapting the equality-equity model developed by Espinoza (2007) to give an overview of dimensions of equality and equity with reference to the different stages of the educational process at the music university level. Constructivist research and phenomenographic research in teaching and learning music suggest that the conceptions held by teachers and students about teaching and learning can be relevant factors in the pursuit of change in educational practices. On this basis, we develop a theoretical framework and suggest some remedies for the research of teaching and learning in music universities aimed at developing more holistic quality in higher music education.

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Vernia-Carrasco, Ana Mercedes. "Competency-based learning: Music education, the great forgotten." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7473.

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Adapting to the European framework in education, without thinking about the approaches of UNESCO, assumed that there was no type of exclusion, neither by subjects nor by profiles, however, we find a clear void regarding the competencies that a professional of music must acquire, in their training and for their employability. Not only in the strictest areas such as the Conservatories, but also in elementary schools and at the University. Our work required the help of professionals from music schools, because current laws do not refer to work in the area of competences, except in some decrees where professional competences are mentioned, or in other cases, where reference is simply made to integrate the basic skills of primary schools. The results were a proposal of basic Competences in music, which could include both conservatories and music schools, regardless of the instrumental specialty, which is a first step to establish a criterion that unifies the criteria for this group of teachers.

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November, Nancy. "Teaching Music Historical Literacy Using Video Clips." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9395.

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Four professionally-created, student-presented, three- to five-minute videos were integrated into two undergraduate music history courses at the University of Auckland, to support the development of key historical literacy skills. These include crucial skills and understandings that music students need to master in their first two years: identifying different kinds of music scores; understanding the difference between primary and secondary sources for music historical topics; finding one’s way around critical, “complete works” editions of music; and finding and assessing music-related literature on the Internet. The intervention led to marked improvements in student learning in each of the four areas.

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Rajput, Vinay, Hemakshi Rajput, and P. Padmanabhan. "Music Recommendation System Using Machine Learning." In International Research Conference on IOT, Cloud and Data Science. Switzerland: Trans Tech Publications Ltd, 2023. http://dx.doi.org/10.4028/p-80t0o0.

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Usually, people really need advice in deciding their choices. Whether it's the movie to watch on Friday night or there are some exciting new things available on e-business. In this distinctive situation, we tend to build a framework which will thus bring down new melodies to shoppers supported their previous history of listening. Now many companies today use the recommendation systems to their advantage such as flip kart and Amazon for the sale of products (e-commerce), ganna.com and music for streaming music, for the sale of clothes, for the films. It assists each business and customers as businesses get financial advantages by attracting customers and users pick up services. Nowadays, everyone uses recommender systems in various forms and they are getting better and better day by day because researchers are trying to cause them to higher and higher each day because of the sturdy competitiveness of the marketplace to provide higher and higher offerings and entice peoples. This project mainly focuses on music only for the music lovers to help them listen to songs they might love. This project allows customers to find new collections or the songs by making the lovey the list accessible for the tuning. Along these lines, the executive can assess which artist or collection would co-ordinate the client's inclinations towards the customers. For the music lovers, music is lifeline and music are a lovely part of the everyone's life because everything in this world can be related to frequency and vibrations. According to all the good things about the music and the high demand for recommendation systems in the market, we chose to do music recommendation system.

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Ren, Xiulei. "Integration of Music Teaching and Native Ethnic Music in Yunnan's Institutions of Higher Learning." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.21.

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Xu, Jin. "Application Research of Big Data Analysis in Higher Vocational Music Education." In 2020 2nd International Conference on Applied Machine Learning (ICAML). IEEE, 2020. http://dx.doi.org/10.1109/icaml51583.2020.00042.

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Arrington, Nancy McBride. "Examining Preservice Teachers’ Self-Efficacy for Enhancing Literacy of Diverse Learners through Music." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5415.

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The sense of efficaciousness for teaching diverse learners was examined with twenty-four pre-service teachers concurrently enrolled in a junior-level Creative Arts methods course and a field experience course with placements in K-2 general education classrooms. The pre-service teachers participated in music and literacy activities in their university class, then planned and implemented standards-based music activities in literacy lessons with their young students. Both quantitative and qualitative data were collected, including a teacher self-efficacy scale, an attitude survey, written reflections, interviews, open-ended responses, and lesson plans. Results demonstrated a significant increase in the pre-service teachers’ self-efficacy in pre-post ratings analysis and indicated that this project contributed to their efficacy for meeting needs of diverse learners in the elementary classrooms. The pre-service teachers demonstrated proactive classroom management and reflected upon their students’ increased focus in class. The pre-service teachers indicated that their success with these types of projects encouraged them to plan for similar implementation with their future diverse learners, potentially contributing to a positive impact on their future performance. Additionally, this project emanated Scholarship of Teaching and Learning by encouraging self-reflection; examining and applying effective teaching strategies; and advancing the field of teacher education. Keywords: Self-Efficacy, Diverse Learners, Music Integration, Scholarship of Teaching and Learning

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Johnson, Carol, and Alana Blackburn. "Video feedback in tertiary music performance classes." In ASCILITE 2021: Back to the Future – ASCILITE ‘21. University of New England, Armidale, 2021. http://dx.doi.org/10.14742/ascilite2021.0114.

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Video feedback can be an important and key mechanism for supporting online student learning in higher education. In the context of online music teaching, video feedback provides a necessary audio and visual element to support music students’ learning of music performance practice. A predecessor to a larger study in video feedback, this pilot study sought to explore instructor perceptions of the use of video feedback in music performance teaching classes. Using self-study methodology, findings suggest that video feedback can effectively complement individualised online music teaching within an undergraduate performance class and a Master of Music Performance Teaching group music class, provide supportive scaffolding for self-regulated learning, and offer students opportunities to create meaningful student-instructor connections and community. Strategies for effective implementation by way of self-regulation and communication are also addressed.

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Churikova-Kushnir, O. D., and Z. V. Sofronii. "Vocal and choral training of future music art teachers in higher education institutions." In PEDAGOGY AND PSYCHOLOGY IN THE MODERN WORLD: THE ART OF TEACHING AND LEARNING. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-041-4-112.

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Lee, Kuo-Ying. "The Pedagogical Strategies for Online Music Learning of Instrumental Lessons in Higher Education." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.265.

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