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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
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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
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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
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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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Przybylski, Liz, and Nasim Niknafs. "Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach." IASPM Journal 5, no. 1 (April 29, 2015): 100–123. http://dx.doi.org/10.5429/ij.v5i1.706.
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This article provides a contextualized explanation of an emerging strategy for popular music teaching and learning in higher education that the authors term Improvisatory Integrative Learning. This strategy coalesces around four themes from a Do-It-Yourself and Do-It-With-Others ethos: autonomy, play, peer learning, and peer teaching. To explicate the possibilities and pitfalls of teaching popular music in this way, the authors analyze the approaches taken in a co-taught university course integrating two perspectives: music education and ethnomusicology. The interdisciplinary collaboration became an investigative space for informal music learning approaches in a formal context, in which students improvised with creative composition. We explore not only how processes that are part and parcel of popular music learning can help improve productivity in a popular music classroom, but also the ways that improvisatory integrative learning can serve a diverse university student population by expanding interdisciplinary approaches to multiple kinds of subject matter.
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Zhang, Lei. "Exploring the Independent Learning of Music Students in Higher Teacher Training Colleges in a Pluralistic Network Environment." Journal of Environmental and Public Health 2022 (June 28, 2022): 1–9. http://dx.doi.org/10.1155/2022/5024006.
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As the main base for training teachers, normal colleges and universities can not only reserve a large number of talents for the construction of teachers but also help to improve the professional quality and teaching ability of teachers. Carrying out research on music education in normal colleges and universities can further meet the diversified needs of the current society for music talents and promote the improvement of art cultivation and cultural level of music students in normal colleges and universities. This paper discusses the preparation work of higher normal music colleges under the new curriculum standards from four aspects: “experience learning, independent learning, cooperative learning, and inquiry learning.” Later, through the method of questionnaire survey, starting from the survey of the independent learning motivation of 325 music education students, the independent learning situation of music education students under the network resources was analyzed, and the learning strategies were discussed from various aspects of students, teachers, and the school. By analyzing the current situation of music teaching in higher teacher training colleges from many aspects, and putting forward relevant suggestions according to the survey results, we hope to help the transformation of music teaching methods in the future and make contributions to the field of music teaching in China.
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Forbes, Melissa. "The value of collaborative learning for music practice in higher education." British Journal of Music Education 37, no. 3 (August 26, 2020): 207–20. http://dx.doi.org/10.1017/s0265051720000200.
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AbstractThis article presents evidence of the value of collaborative learning for students working in small heterogeneous groups within first year music practice courses in an Australian university popular music program. Wenger, Trayner, and de Laat’s framework for promoting and assessing value creation in communities and networks was used to gather and analyse data from students throughout one academic year. Collaborative learning created value for students through peer-to-peer learning which cultivated new skills and improved performance, causing students to reframe their criteria for musical and personal success. The value of collaborative learning promotes its use both within and beyond popular music degree programs.
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Belousova, M. V., M. S. Kazinik, V. A. Merkulova, and N. V. Futina. "Development of higher mental functions through music lessons: neurocognitive aspects of music learning." Practical medicine 19, no. 1 (2021): 22–28. http://dx.doi.org/10.32000/2072-1757-2021-1-22-28.
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The article contains theoretical material on higher mental functions and neurocognitive mechanisms involved in providing various forms of musical learning (playing a musical instrument, singing, working with rhythm). The article provides a niveau identification of the areas of the cerebral cortex involved in the perception and processing of musical impressions, in the implementation of highly coordinated motor activity, auditory control, perception of melody and rhythm. The neurocognitive features are indicated that are formed in a child during active music playing and during passive listening to music. The article provides information on the formation of certain competencies during music lessons and the possibilities of their subsequent improvement in other aspects of educational activities, in sports, in the study of foreign languages, in the development of emotional intelligence, in the training of adaptability and cognitive flexibility.
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Reid, Anna, and Michael Duke. "Student for student: Peer learning in music higher education." International Journal of Music Education 33, no. 2 (February 4, 2015): 222–32. http://dx.doi.org/10.1177/0255761415569107.
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Merrick, Brad, and Carol Johnson. "Teaching Music Online in Higher Education: 2020 conference report." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 95–108. http://dx.doi.org/10.1386/jmte_00018_1.
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Faced with the state of emergency restrictions due to the global COVID-19 pandemic, the 2020 Teaching Music Online in Higher Education conference was adaptively modified to exist as a synchronous, online event. Embracing the opportunity to model online music pedagogy in its online format, organizers transformed the conference to utilize live-streaming, video recordings and other online active learning strategies. A total of 143 tertiary music instructors and graduate students from 66 institutions located around the world took part in the conference at a time of unprecedented restriction on face-to-face learning and travel restrictions. This report is both important and timely, as it provides insights into components that were found to be both necessary and fundamental to the success of the event for music researchers, teachers and other delegates in attendance. Key areas related to organization, communication, structure, protocols and activities were explored through learning analytics and a conference evaluation. Strategies and recommendations are included to assist others who wish to create and present an online conference that exemplifies online pedagogy principles.
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Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.
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Vásquez Alburqueque, Iris Liliana, Yersi Luis Huamán Romaní, Gladys Marcionila Cruz Yupanqui, Richard Carrión Abollaneda, and María Inés Rivero Aedo. "Improvisation of Music Therapy with Repertoire of Marineras Trujillanas in Online Higher Education Learning." International Journal of Emerging Technologies in Learning (iJET) 17, no. 15 (August 17, 2022): 171–87. http://dx.doi.org/10.3991/ijet.v17i15.31843.
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University students face and faced cases of anxiety, stress, shyness in front of the public which caused effects on learning and if it was online learning were stronger those negative effects, so the improvisation music therapy with workshops had to intervene as a fundamental tool in online learning, the objective of this research was to analyze the results of the development of an improvisation music therapy program, with Peruvian marinera repertoire in general studies students of the music workshop of the National University of Trujillo with a total of 133 out of 156 participants using the methodology of the online survey resulted in significant effects and group participation of the students of the music workshop. It was concluded that music therapy significantly helps students to improve their self-esteem, motivates them to continue studying, motivates them to participate and/or relate to their environment and decreases stress and anxiety.
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Elida, Elida. "The Influence of Music and Learning Motivation to the Results of Learning the Productive Practice in Vocational High School Tourism Group." Innovation of Vocational Technology Education 14, no. 1 (April 27, 2018): 11. http://dx.doi.org/10.17509/invotec.v14i1.11041.
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The purpose of the research is to analyze difference of the results of students learning the practice of productive, that is: learning strategy between with music and without music, student who has high motivation even hard with learning process of with music and without music. Interactions between learning strategy with student learn motivation by music. This research is experiment research with factorial 2x2 designs. Population student X grade Tata Boga major tourism group of vocational high school in West Sumatra. The sample is taken by multistage random sampling. The Data is analyzed descriptively and ANAVA two way analyzed and continued by Tukey test. The findings research shows that (1) the result of student learning the practice of productive group with learning music is higher than without learning music. (2) there is interaction between processes using music with student motivation learning that giving difference influence to the productive practice student learning (3) the result of group of students learning the practice of productive who have high motivation by learning music is higher than without learning music, and (4) The result of a group of students learning the practice of productive who have low motivation with learning music is lower than without music.
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Cuervo-Calvo, Laura, and Alberto Cabedo-Mas. "Service-Learning and Project-Based Learning Methodologies in Higher Music Education: a review of the literature." Bordón. Revista de Pedagogía 76, no. 3 (September 30, 2024): 35–60. http://dx.doi.org/10.13042/bordon.2024.99887.
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INTRODUCTION. Recent research highlights the potential of multidimensional and holistic learning in educational transforation, the provision of social services from the university and development of professional identity. This article aims to analyse the relationship between the Service-Learning and Project-Based Learning methodologies in higher music education and the acquisition of transversal competences. METHOD. A review of 29 articles on both methodologies in higher music education, published between 2012 and 2022, was conducted. The articles were selected from WoS, Scopus, and ERIC databases. Four categories were explored: (1) Social interaction, (2) personal growth, (3) academic learning, and (4) challenges related to the implementation and contextualization of the methodologies. RESULTS. Results show that, in the context of higher music education, both methodologies have a potentially positive impact on the development of transversal competencies in students. The review shows benefits in social aspects such as the development of civic responsibility and communication skills among peers and teachers; academic aspects such as adaptation to complex learning environments, mutually beneficial goals and shared authority; and personal development aspects such as flexibility, solidarity and respect. The review also shows that reflective practice contributes to developing students’ openness to constructive criticism, which is perceived as a positive contribution to learning. CONCLUSIONS. The methodologies studied can foster students’ personal growth, the mitigation of their biases in the classroom and the reflective and conscious appreciation of their own learning. To be taken into account are the challenges related to the complexity of adjusting the projects to the academic curriculum and community needs, as well as the large amount of time and effort required for the process. Finally, further research using different search terms and criteria is encouraged to achieve a broader understanding of how music initiatives can be designed and implemented through these methodologies, the projection they can have, and how research is conducted in this field.
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Toulson, Rob, and Russ Hepworth-Sawyer. "Connected learning journeys in music production education." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 269–86. http://dx.doi.org/10.1386/jmte.11.3.269_1.
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The field of music production education is a challenging one, exploring multiple creative, technical and entrepreneurial disciplines, including music composition, performance electronics, acoustics, musicology, project management and psychology. As a result, students take multiple ‘learning journeys’ on their pathway towards becoming autonomous learners. This article uniquely evaluates the journey of climbing Bloom’s cognitive domain in the field of music production and gives specific examples that validate teaching music production in higher education through multiple, connected ascents of the framework. Owing to the practical nature of music production, Kolb’s Experiential Learning Model is also considered as a recurring function that is necessary for climbing Bloom’s domain, in order to ensure that learners are equipped for employability and entrepreneurship on graduation. The authors’ own experiences of higher education course delivery, design and development are also reflected upon with reference to music production pathways at both the University of Westminster (London, United Kingdom) and York St John University (York, United Kingdom).
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Gardiner, Paula, and Rachel Kilby. "Music is music? Striking the balance in music education in Wales." Journal of Popular Music Education 5, no. 1 (April 1, 2021): 39–54. http://dx.doi.org/10.1386/jpme_00042_1.
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Through the examination of past and current practice, survey and interview, this article discusses how music from the widest parameters may be included in mainstream education in Wales. In 2014, the Welsh Government commissioned Professor Graham Donaldson to review the curriculum and assessment arrangements in schools in Wales. The outcome, Successful Futures: Independent Review of Curriculum and Assessment Arrangements in Wales (2015), was adopted by the Welsh Government for implementation by 2021. This new curriculum and its approach to learning and teaching offers the opportunity to re-examine the provision of music in schools, outlining a significant shift from ‘…“learning about” to “learning to” with a growing skills focus and an emphasis on application and development of higher-order skills, particularly creativity (entrepreneurship) and digital literacy’ (Donaldson 2015: 18). This vision requires exploration and engagement in a greater diversity of music.
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Nutt, Haley J. "The University Rock Ensemble: Popular music learning and drumming in higher education." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 243–62. http://dx.doi.org/10.1386/jpme_00060_1.
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This article provides a descriptive study of the FSU Rock Ensemble to demonstrate the value of providing inclusive popular music-based ensemble learning and opportunities in higher education. Beginning with an autoethnographic study of my experiences as a drummer in – and eventually director of – the non-auditioned ensemble, followed by a consideration of the attitudes articulated by several other drummers who recently participated in the ensemble, I analyse how musicians learn a traditionally non-academic music in an academic space. I conclude with a critical assessment of challenges that the group faced, with the hope that such considerations are useful for universities interested in establishing similar ensembles. Overall, the inclusive nature of the Rock Ensemble facilitated interactions that I argue are advantageous within the current climate of North American higher education, allowing students, drummers and non-drummers alike, unprecedented opportunities to perform music they love, forge new relationships and engage with the local community.
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Yang, Shifang. "The Role of Multi-culture Music Teaching in Higher Vocational Music Education." Region - Educational Research and Reviews 6, no. 2 (February 29, 2024): 142. http://dx.doi.org/10.32629/rerr.v6i2.1714.
Full textAbstract:
With the rapid progress and development of society, the quality of life and aesthetic standards of the people are also constantly improving. Among them, music culture is an important component of people’s spiritual world, and it is also an indispensable entertainment project in the daily life of modern society. At the same time, the emergence of music culture and art not only resonates with people’s thoughts and emotions, but also plays an important role in inheriting traditional culture and art. The application of diversified music culture and art in higher vocational music education can fully stimulate students’ inner musical sense and promote the development of students’ comprehensive ability, which is of great practical significance for teachers’ teaching and students’ learning. This paper will analyze the application advantages of multi-cultural music teaching in higher vocational music education, combined with the current situation of multi-cultural music teaching, and put forward scientific and reasonable teaching strategies.
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Bonastre, Carolina, Enrique Muñoz, and Renee Timmers. "Conceptions about teaching and learning of expressivity in music among Higher Education teachers and students." British Journal of Music Education 34, no. 3 (April 7, 2017): 277–90. http://dx.doi.org/10.1017/s0265051716000462.
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This work aimed to analyse factors related to conceptions and beliefs about expressivity in music among students and teachers. A questionnaire with 11 Likert-type items was developed covering the main factors included in the literature of teaching-learning of expressivity and emotion in music. Through exploratory factor analysis three factors were identified:expressive technique (ET), emotional expression (EE), and self-learning of expressivity (SLE). Comparisons between teachers and students showed that teachers had significant higher scores in EE with no differences in ET or SLE, although the effect size for SLE was high. The three factors are proposed as a tool for the assessment of conceptions of expressivity and its learning in both teachers and advanced students of music for teaching and research objectives.
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COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 21, no. 1 (March 2004): 5–6. http://dx.doi.org/10.1017/s0265051704005595.
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This issue – the first of our 21st anniversary year – has two clear themes: the teaching and learning of world musics, and the assessment of musical performance and understanding. Within these themes, the papers present accounts of research at all levels of music teaching, from nursery to higher education, and range across diverse geographical contexts: Australia, China, the UK, the USA and Zambia. There is evidence here of a wide-ranging research community in music education, which would have been hard to imagine when the British Journal of Music Education was founded in 1984.
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Su, Yan, and Yan Xiao. "Teachers’ Beliefs and Actions on affective responses during music listening activities in higher education in China." Advances in Education, Humanities and Social Science Research 8, no. 1 (October 26, 2023): 196. http://dx.doi.org/10.56028/aehssr.8.1.196.2023.
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Music listening is very important in all stages of music learning. Affective response and cognition take place simultaneously during the music-listening process. However, there is a paucity of research on how university music teachers deal with the issues of involving the affective responses of students in listening. This study employed a questionnaire survey to investigate the current situation of teaching beliefs and actions of music academics towards affective responses while listening to music in China. The views of 160 music university teachers recruited from 15 different universities have been surveyed. The questionnaire was designed based on the concept of music teaching and learning with an acceptable reliability of K=0.58. The survey data identified the potential correlation between the teacher’s beliefs and their actions (r=0.67). Moreover, the possible correlation between several predictors associated with the teachers (gender, educational degree, teaching experience and the type of university, and so on) also have been investigated. The results of this study revealed that around 90% of respondents agreed that affective responses can be enhanced music cognition during the teaching process. The relationship between teachers’ beliefs and actions is found to be positive but not linear related. In addition, it was found that the teacher’s knowledge of effective pedagogical responses during music listening has the potential to broaden the scope of their teaching.
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Nalyvaiko, Oleksii, and Kseniia Lykhoshvai. "Impact of higher music education on coping with stress during COVID-19." Engineering and Educational Technologies 9, no. 3 (September 30, 2021): 55–67. http://dx.doi.org/10.30929/2307-9770.2021.09.03.05.
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The article is dedicated to the study if students with special musical education have any benefits of stress coping over students of other specialties during the pandemic. The main purpose is to study the attitude of student musicians to overcome stressful situations caused by COVID-19 in the learning process. Research objectives include: current state of music education in the context of forced quarantine distance learning; the impact of forced quarantine distance learning on stress among students of music and non-music specialties; the analysis of stress coping skills and the impact of music education on them; recommendations for improving the psychological and pedagogical interaction of the participants in the educational process. The study involved 160 respondents, 80 of them are music students and 80 students of other specialties that do not belong to the study of musical art. To collect information and data, the study participants were asked to fill out a Google form. The results of the study show that online learning is very time-consuming and that losing a satisfactory work-life balance is stressful. But students became more organized in managing their activities. Internet platforms have proven useful for sharing materials, communicating, sharing information and content, and keeping track of all work done. Thus, there is a tendency towards easier tolerance of stress by musicians, although our study showed that with a slight margin of 80.6%, people without musical education consider themselves happier by 82%. This is also confirmed by the fact that non-musicians are more optimistic about their future according to the results obtained on the Beck's Hopelessness Scale, where 2 units are for musicians and 1 for non-musicians. These results indicate that hopelessness has not been identified and students are optimistic about their future. In the context of stress coping recommendations for students are provided. In conclusion, based on the information gained and own experience there is a variety of ways to obtain benefits from both online and offline learning forms for both musicians and non-musicians.
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Egger, John Okley. "Effects of cooperative learning on preservice elementary teachers’ interest in and integration of music into core academic subjects." International Journal of Music Education 37, no. 4 (August 2, 2019): 608–21. http://dx.doi.org/10.1177/0255761419852173.
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The author investigated the effects of a cooperative learning environment on the implementation of integrating music into core academic subjects. Using a quasi-experimental design, participants ( N = 59) were preservice generalist elementary and special education majors from four course sections of a required music methods course, where two course sections worked in a cooperative learning environment and two course sections worked individually. For six weeks, participants worked on a final project that integrated music into academic core subject lessons. At the conclusion of six weeks, each participant individually microtaught one lesson created from the music integration project. Additionally, participants completed an interest survey after the study was concluded. Results showed that participants in the cooperative learning group scored statistically significantly higher ( p < .05) on the music integration project, microteaching evaluations, and rated statistically significantly higher interest on their projects from the student interest survey. These results suggest that participants in the cooperative learning group produced work of a higher quality than participants in the control group and that the cooperative learning group also showed a higher level of interest in their own music integration projects.
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Jarmani, Jarmani. "The Effect of Learning Gamelan Art on Emotional Intelligence." International Journal on Social Science, Economics and Art 12, no. 1 (May 30, 2022): 39–45. http://dx.doi.org/10.35335/ijosea.v12i1.65.
Full textAbstract:
Adolescents are increasingly confronted with emotional issues, demanding a solution such as adolescent emotional intelligence development. Traditional Indonesian music, notably Javanese gamelan, can help adolescents develop emotional intelligence. People who follow a set of rules and limits undertake Javanese gamelan exercises. When practicing gamelan, the individual must hit his gamelan tool and listen to the gamelan played by his colleagues in the gamelan group to generate a harmonic gamelan sound. The study's findings revealed a link between the severity of Javanese gamelan music training and emotional intelligence, with the higher the intensity of Javanese gamelan music training, the higher the emotional intelligence. The intensity variable of Javanese gamelan music training can contribute 30.25 percent to the emotional intelligence variable. In contrast, the remaining 69.75 percent is influenced by elements other than the intensity variable of Javanese gamelan music training. Beyond the intensity variables of Javanese gamelan music training, the family, non-family, physical, and psychological environments all have a role.
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Fathima, Sheeba. "Music Genre Classification using Deep Learning." International Journal for Research in Applied Science and Engineering Technology 9, no. VII (July 10, 2021): 66–71. http://dx.doi.org/10.22214/ijraset.2021.36087.
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Many subjects are affected by digital music production., including music genre prediction. Machine learning techniques were used to classify music genres in this research. Deep neural networks (DNN) have recently been demonstrated to be effective in a variety of classification tasks. Including music genre classification. In this paper, we propose two methods for boosting music genre classification with convolutional neural networks: 1) using a process inspired by residual learning to combine peak- and average pooling to provide more statistical information to higher level neural networks; and 2) To bypass one or more layers, use shortcut connections. To perform classification, the KNN output is fed into another deep neural network. Our preliminary experimental results on the GTZAN data set show that the above two methods, especially the second one, can effectively improve classification accuracy when compared to two different network topologies.
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Chen, YiPin. "Effective Strategies and Methods to Enhance Music Practical Teaching in Higher Vocational Preschool Education." Pacific International Journal 7, no. 1 (February 15, 2024): 162–67. http://dx.doi.org/10.55014/pij.v7i1.545.
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Abstract:This paper studies of effective strategies and methods to elevate music practical teaching in higher vocational preschool education. Acknowledging the pivotal role of higher vocational preschools in shaping the foundational years of a child's development, the study navigates through a comprehensive exploration of the significance of music education. Grounded in a robust literature review, the paper highlights the importance of curriculum design, instructional techniques, assessment methods, and the seamless integration of technology in shaping impactful music education experiences.Theoretical frameworks, notably the Suzuki Method and Vygotsky's Sociocultural Theory, offer insights into pedagogical and socio-cultural aspects, emphasizing the creation of positive and immersive musical environments and collaborative learning experiences. Subsequently, the paper presents effective strategies, including the incorporation of technology, active learning approaches, and the customization of lessons to individual needs. The multifaceted benefits of music practical teaching in cognitive, emotional, and social domains are explored, emphasizing its role in holistic preschooler development. The study advocates for continuous professional development for music educators, stressing the importance of staying abreast of evolving pedagogical trends, engaging in collaboration and networking, and remaining informed about current trends and research in music education. By embracing these strategies, educators can cultivate a vibrant and enriching musical environment that fosters a lifelong love for music and nurtures the holistic development of preschool learners.
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GRIGORYEVA, V. "FORMATION OF DISTANCE-EDUCATIONAL COMPETENCE OF STUDENTS-MUSICIANS IN HIGHER EDUCATION PEDAGOGICAL INSTITUTIONS." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 85–90. http://dx.doi.org/10.31494/2412-9208-2022-1-1-85-90.
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The article considers the problem of distance-educational competence formation of music students in higher education pedagogical institutions. The urgency of this problem for higher education is related to the introduction of electronic educational resources, information and communication technologies and the forming of specialists who can effectively use the information and educational environment, distance learning for their own professional development. It is noted that due to the pandemic, which led to forced self-isolation and limited personal contact, higher education institutions took the necessary measures for social distance, which encouraged students to be engaged in professional activities, study and even plan leisure activities without leaving home. This has become a particularly difficult task for students-musicians, adapting practical and individual lessons to the distance education system, taking into account the sound nature of music and the requirements for participants in the learning process to control, first of all, the quality of instrumental and vocal sound. It is found out that to ensure quality conditions for future professionals to acquire professional competencies for further instrumental performance, vocal-choral, conducting or music-pedagogical activities of a trained teacher with relevant competencies in distance learning, information and communication technologies is required. The article highlights such communication channels as social networks, messengers or programs for video communication, which are primarily used by teachers during the implementation of pedagogical activities remotely. With the help of these communication channels, you can organize the learning process in both individual and group formats. Effective information technologies and programs are highlighted, which provide an opportunity to implement practice-oriented learning of a student-musician in a distance form. Key words: distance learning, distance-educational competence, students- musicians, information and telecommunication technologies, music education.
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Lupton, Mandy, and Christine Bruce. "Craft, process and art: Teaching and learning music composition in higher education." British Journal of Music Education 27, no. 3 (September 22, 2010): 271–87. http://dx.doi.org/10.1017/s0265051710000239.
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This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.
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Phensit, Thassanai, Pongpitthaya Sapaso, and Sansanee Jasuwan. "Music Curriculum in Higher Education that is Consistent with Student Development in the 21st Century: Empirical Data from Rajabhat University in Thailand." International Journal of Religion 5, no. 8 (May 17, 2024): 172–78. http://dx.doi.org/10.61707/1q6wdj93.
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The curriculum is important in setting the directions of teaching and learning activities and developing students to have knowledge and ability which lead to success. This research focuses on the study of music curriculum development and student development with the objectives: 1. To analyze the music curriculum in higher education 2. To study structures and learning outcomes of music curriculum in higher education in student development according to the 21st century skills and 3. To develop music curriculum in higher education to respond to changes in the 21st century. The research scope is to study Rajabhat University group in Thailand by analyzing data from the curriculum structures and learning outcomes. The correctness and suitability are assessed by using EDFR technique for 2 rounds to confirm the data and use it to create a questionnaire to organize a group discussion (focus group). The study shows that the music curriculum in Rajabhat University has a total of 127-140 credits throughout the curriculum, which is in line with the standards for undergraduate programs, with a total of not less than 120 credits. The learning outcomes of music curriculum of Rajabhat University have 6 learning outcomes which are consistent with the standard qualifications of higher education. It is also found that developing the curriculum to be consistent with changes in the 21st century must be created with outstanding points and unique identity and set clear goals for developing students to have knowledge and skills consistent with the needs of Thai and global contexts.
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Zeng, Xi. "Practical Research on Music Teaching Reform of Higher Vocational Preschool Education Specialty Under New Situation." Learning & Education 10, no. 7 (June 7, 2022): 167. http://dx.doi.org/10.18282/l-e.v10i7.2994.
Full textAbstract:
With the continuous advancement of curriculum reform, preschool education stage, music has a profound enlightenment
effect on students, in addition to let students get constantly rich experience, but also edify sentiment, add fun to the dull learning
life. This paper mainly expounds the necessity of music teaching reform of higher vocational preschool education specialty under
the new situation, analyzes the problems of music teaching reform of current higher vocational preschool education specialty, and
puts forward the measures of music teaching reform of higher vocational preschool education specialty under the new
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Schneider Grings, Ana Francisca, and Liane Hentschke. "Attributional Theory in investigating public music performance in higher music education." International Journal of Music Education 35, no. 1 (July 8, 2016): 31–46. http://dx.doi.org/10.1177/0255761415619393.
Full textAbstract:
The purpose of this research was to investigate the causes attributed by undergraduate music students to situations of failure and success in public music performance. Attributional Theory has been used in this research as the theoretical framework to understand how situations of success and failure are interpreted by the person of the activity. The analysis was conducted from an Intrapersonal perspective of motivation, i.e., how the attributions made by the students doing an undergraduate course in music revealed their notions and beliefs. The methodology used included a non-probabilistic survey and the data were collected through a self-administered questionnaire involving 130 undergraduate music students of southern Brazil. The results show that in situations considered to be successful, the most frequent attributed causes are effort (77.7%), persistence (65.4%), and interest in the performance (63.1%), whereas in situations considered to be failures the most important aspects are emotional (60.8%), difficulty of the task (36.2%), and lack of effort (30.8%). This research shows that students who have more musical experience regard their performances as good or excellent, whereas those that have little experience do not view themselves in this way. The data reveal that the greater the importance that is attached to an activity, the more time is spent on preparing for it; in the same way students tend to be more engaged with musical activities and devote more time to them when they are aware of their skills and value them. Music students feel responsible for their results, which shows that they are engaged in their learning and seek to satisfy an inner need to achieve success.
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Trainor, Laurel J. "Innateness, Learning, and the Difficulty of Determining Whether Music is an Evolutionary Adaptation." Music Perception 24, no. 1 (September 1, 2006): 105–10. http://dx.doi.org/10.1525/mp.2006.24.1.105.
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McDermott and Hauser (2005) and Justus and Hutsler (2005) argue that in order for music to be an evolutionary adaptation, and not an exaptation, music must be constrained by innate factors that are specific to music and that evolved because music conferred survival advantages. I argue that the dichotomy between adaptation and exaptation is not very clear for higher cognitive functions such as music and language, because genes set up general neural architectures and learning mechanisms, rather than specifying the details of what they will represent, and that such higher cognitive functions are therefore dependent on interactions between genes and experience. Furthermore, because higher cognitive functions depend on a common set of mechanisms such as sensory encoding strategies, working memory capacity, working memory processes, longterm memory encoding and retrieval, and attentional focusing, it is difficult to make arguments about innate specificity. Thus, the question of whether music is an evolutionary adaptation appears to depend on whether or not music conferred survival advantages, a question that is difficult to answer.
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Feichas, Heloisa. "Bridging the gap: Informal learning practices as a pedagogy of integration." British Journal of Music Education 27, no. 1 (January 26, 2010): 47–58. http://dx.doi.org/10.1017/s0265051709990192.
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This work derives from a doctoral research study which looked at the differences in students' attitudes towards learning music in a Brazilian music higher education institution, while taking into account their different music learning backgrounds. The students' backgrounds (which consist of their set of musical experiences and music-learning processes that had been acquired and developed in their lives before entering the university course) are divided into three types: (i) those who have acquired their skills and knowledge mostly through informal learning experiences, particularly in the world of popular music; (ii) those who have only experienced classical training either within institutions such as music schools, or privately; and (iii) those whose backgrounds consist of both informal learning and classical training. These different backgrounds are termed here formal, informal and mixed. The research also discusses the gap between the way music is conceived and taught within the university and the reality students will have to face outside university. It further suggests that the traditional teaching approaches for music in higher education are possibly inadequate for educating university students from varied music learning backgrounds, especially those with informal music learning backgrounds. After examining some findings of the research, the paper proposes pedagogical strategies in which informal music learning practices might help the integration of students from different backgrounds, encouraging students' diversity and their inclusion in the university music school environment. The suggested strategies exemplify approaches that enable the students to bridge the gap between their own musical practices and those they are expected to learn in their institution. In this case, the students have more autonomy and the teacher becomes a facilitator of the process.
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Sriputtarin, Saran, Pongpittaya Sabpaso, and Anak Charanyananda. "Guidelines for the Development of Jazz Music Education Management in Thailand’s Higher Education Institutions." International Journal of Membrane Science and Technology 10, no. 3 (September 18, 2023): 2534–41. http://dx.doi.org/10.15379/ijmst.v10i3.1992.
Full textAbstract:
The objectives of this research were to study 1) the conditions and problems of jazz education management in higher education institutions in Thailand, and 2) the guidelines for developing jazz music education management in higher education institutions in Thailand. Qualitative research methods were employed by collecting data from documents, interviews, observations, and focus group discussions. The findings are as follows: Regarding the conditions of jazz music education management in Thailand’s higher education institutions, in terms of curriculum, the course offered is a four-year Bachelor of Music Program in Jazz Studies; in terms of instruction, there were qualified instructors with expertise in professional jazz, and the educational system allows students to gain knowledge and experience to the fullest extent from the faculty members and external experts; regarding educational resources, enough budgets are allocated for the purchase of educational equipment, and quality instruments and music rooms were provided; regarding measurement and evaluation, there was a measurement and evaluation system that complies with the undergraduate learning benchmarks, teaching strategies were evaluated, and student achievement was assessed according to standard criteria. Meanwhile, the problems were that some courses focused too much on classical music, learners still lacked good basic skills for jazz, the budget for organizing skills-enhancing activities was insufficient, and individual differences made group assessment difficult. Guidelines for the development of jazz music education management in Thailand’s higher education institutions. Jazz music personnel should be prepared to study the history of jazz music and understand its essence. It should be encouraged that learning content be determined, starting from the listening-memorizing-understanding-application. The inspiration and space for jazz music should be promoted in all dimensions of society, and linkages between other types of music and jazz music should be established. Jazz music should be developed based on the area, history, society, and culture of each locality. There should be an integration of what exists in society in education management personnel and agencies in the public and private sectors. As well as other related parties providing cooperation, the jazz music curriculum should be developed in accordance with the undergraduate education framework, national policy and strategy, manpower development policy of the country, United Nations Sustainable Development Goals (SDGs), and visions and missions of each university.
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Zhu, Zhen, Zhongqiu Xu, and Jing Liu. "Application of Lightweight Deep Learning Model in Vocal Music Education in Higher Institutions." Computational Intelligence and Neuroscience 2022 (March 26, 2022): 1–15. http://dx.doi.org/10.1155/2022/6757341.
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The aim is to improve the teaching quality of music majors and cultivate their innovative ability. This article takes Vocal Music Education (VME) method as the research object to explore the teaching reform of Music Major courses. Firstly, this article makes an in-depth study on Big Data Analytics (BDA) and Digital Twins (DTs) technology and constructs a DTs platform connecting real teaching space and virtual teaching space. Secondly, the DTs platform is divided into online learning feature analysis and virtual-real teaching space integration functional modules. This article explores the online immersive education process design and technology application of the DTs platform from the two aspects of teaching and technology. Afterward, it designs a student action and expression recognition network based on the Visual Geometry Group (VGG) Net model and Google Net model in teaching data collection and management. Finally, the proposed system is tested. The test results show that the active and passive interaction curves of the traditional VME system have no obvious fluctuation, indicating that the interaction of the traditional VME system is not strong, and the ability of active feedback information is poor. By contrast, the active and passive interaction curves in the proposed VME have large fluctuations, showing that the proposed VME has more frequent interaction, and the teaching information can get real-time and active feedback. Therefore, the proposed VME system can better stimulate students’ learning desire. Meanwhile, the constructed Neural Network (NN) has the highest recognition accuracy of 99.07% on the student action and expression dataset. When tested with the image data taken by the research experiment, the highest accuracy is 89%, with an average of more than 85%. The proposed VME system provides ideas for applying DTs technology in the college of music education.
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Wang, Dongfang. "Application of Machine Learning Technology in Classical Music Education." International Journal of Web-Based Learning and Teaching Technologies 18, no. 2 (March 24, 2023): 1–15. http://dx.doi.org/10.4018/ijwltt.320490.
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The goal is to promote the healthy and stable development of music education in China. The time-frequency sequence topology in frequency domain can improve the effect of convolution operation. Therefore, this paper applies the above algorithms to classical music education, including the recognition of classical instruments, the feature extraction and recognition of classical music, and the quality evaluation of classical music education. The quality of the music quality evaluation system can be judged according to the correlation between the output results and the subjective evaluation. The higher the correlation, the better the music quality evaluation method. Through relevant experiments, it is proved that DTW score alignment and end-to-end are more successful in extracting the features of classical music, and more accurate in identifying classical instruments. The objective evaluation method of pronunciation teaching quality is more objective and accurate than P.563 music teaching quality evaluation.
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Jarmani, Jarmani. "The Effect of Learning Gamelan Art on Emotional Intelligence." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 5, no. 1 (June 30, 2022): 75–81. http://dx.doi.org/10.26740/vt.v5n1.p75-81.
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Teenager are increasingly confronted with emotional issues, demanding a solution such as adolescent emotional intelligence development. Traditional Indonesian music, notably Javanese gamelan, can help teenager develop emotional intelligence. People who follow a set of rules and limits undertake Javanese gamelan exercises. When practicing gamelan, the individual must hit his gamelan tool and listen to the gamelan played by his colleagues in the gamelan group to generate a harmonic gamelan sound. This study used quantitative approaches in conjunction with a sample size of 135 UWK Surabaya students. The Java Gamelan Music Exercise Intensity Scale (r = 0.848) and the Emotional Intelligence Scale (r = 0.772) are used as data-gathering instruments in the sampling technique. The product-moment correlation method was used to analyze the data, and the result was 0.550. The study's findings revealed a link between the severity of Javanese gamelan music training and emotional intelligence, with the higher the intensity of Javanese gamelan music training, the higher the emotional intelligence. The intensity variable of Javanese gamelan music training can contribute 30.25 percent to the emotional intelligence variable. In contrast, the remaining 69.75 percent is influenced by elements other than the intensity variable of Javanese gamelan music training. Beyond the intensity variables of Javanese gamelan music training, the family, non-family, physical, and psychological environments all have a role.
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Bennett, Dawn, Sally Macarthur, Cat Hope, Talisha Goh, and Sophie Hennekam. "Creating a career as a woman composer: Implications for music in higher education." British Journal of Music Education 35, no. 3 (June 13, 2018): 237–53. http://dx.doi.org/10.1017/s0265051718000104.
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Recent decades have seen gender and feminist research emerge as major fields of enquiry in musicology and to a far lesser extent, music education. While these fields have increased awareness of the issues confronting women and other marginalised groups, the pedagogical practices and curricular design that might support aspiring women composers are in urgent need of attention. This article reports from an international survey of women composers (n=225), who in western art music continue to experience a masculine bias that has its roots in the past. The findings in the survey were focused on income, work and learning, relationships and networks, and gender. Numerous composers surveyed noted the under-representation of music composed by women in their higher education curricula. They also described their unpreparedness for a career in music. The article explores the issue of gender in music composition and makes practical recommendations for a more gender balanced music curriculum in higher education.
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Boon, İlkay Ebru Tuncer, and İrfan Yurdabakan. "Achievement Goal Orientations and Self-regulated Learning Levels among Pre-service Music Teachers: A Comparative Study." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 178–89. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.178.
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This study examines how 2×2 Achievement Goal Orientations (AGO) relate to Self-Regulated Learning (SRL) levels in pre-service music teachers, considering variables that influence these orientations. The research found that female pre-service music teachers showed higher achievement orientations than males, especially in Learning-Approach and Learning-Avoidance Orientations. Different grade levels and study habits also impacted these orientations. Students who studied more displayed greater Learning-Approach Orientation and SRL. Females had higher SRL scores, particularly in Planning, Goal Setting, and Strategy Use. Academic achievers showed more positive orientations and lower Learning Dependency. These insights can guide interventions and support systems for pre-service music teachers, enhancing learning outcomes and teacher education programs.
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Banua, Yubal Johan Sebastian, Glenie Latuni, and Meyny Kaunang. "IMPLEMENTATION OF PROJECT-BASED LEARNING ON KOLINTANG MUSIC LEARNING." SoCul: International Journal of Research in Social Cultural Issues 2, no. 6 (July 31, 2023): 725–33. http://dx.doi.org/10.53682/soculijrccsscli.v2i6.7316.
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This study aims to describe the use of Project Based Learning (PjBL) in teaching Kolintang music at the junior high school level, with a focus on SMP Negeri 4 Tondano. Qualitative approach and musicological study were used by the researcher in this study, with data collection techniques through observations, interviews, and written notes. The results showed that cultural arts teachers at SMP Negeri 4 consistently apply learning models to improve students' academic achievement. Learning is conducted in three stages: preparation, core activities, and closing. In teaching Kolintang music, teachers use a project-based learning model with the following steps: 1) setting important questions; 2) planning project action steps; 3) making plans; 4) conducting evaluations; and 5) reflecting on past events. Students are guided towards higher order thinking through the Project Based Learning approach, and they are able to create 21st century learning products with positive results.
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Haddon, Elizabeth. "Observational learning in the music masterclass." British Journal of Music Education 31, no. 1 (August 28, 2013): 55–68. http://dx.doi.org/10.1017/s0265051713000223.
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This article contributes to research on music masterclasses through examining learning through observation. It investigates how students are learning as observers in this context; whether and how they will transfer their masterclass learning to their own instrumental/vocal development, and whether they have discussed learning through observation. Data were gathered from higher education students observing two masterclasses. Their responses indicate observation of technical, musical, performative and pedagogic elements. However, they also suggest limited discussion of observation and of the processes involved in implementing observational learning within their own work. The findings suggest that there is scope for enhanced learning in the masterclass, including developing perception through facilitated engagement with systematic observation and consideration of processes of transferable learning. These may have positive implications for extending learning in other contexts.
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Upadhyay, Dwijesh, and Nirmala Joshi. "A critical analysis of teaching of Indian classical music through distance learning system in higher education." International Journal of Research -GRANTHAALAYAH 5, no. 2 (February 28, 2017): 225–32. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1727.
Full textAbstract:
The relation of any fine art expresses the elixir of human, physical, and physical world. As civilization grows more and more civilized and cultured, the development of fine arts reaches its peak. Music is a major part of the fine arts. The place of music in Indian civilization is paramount in the fine arts. The great Indian civilization has been underlining the importance of music education since its height. From ancient Vedic and medieval to modern times, the Indian educational system has been concentrating on the education of music; all its parts such as singing, playing and dancing. In the present era, radical changes in the teaching system can be reflected. Divisions like traditional and distance education can also be reflected in the teaching system. Today, the importance of a flexible and alternative system of remote education system cannot be denied. Needless to say that through remote learning, changes in the importance of traditional teaching of music, guruship relations, internal learning method of music and music in life; the importance of all its organs. In the present era, while on the one hand there has been a remarkable change in social and personal life, changes in the teaching method of all subjects can also be targeted. The importance of many new dimensions developed in music education through remote means can be understood. State-of-the-art mediums such as audio, audio, video via Internet, sophisticated equipment of communication, television and radio etc. can be used successfully in music teaching by remote media.The objective of the paper presented is to find a way to solve the problems arising out of it and the benefits of acquiring higher education of Indian classical music through a distance learning system.
किसी भी ललित कला का संबंध मानव के दैहिकए दैविक और भौतिक जगत के उत्कर्ष को व्यक्त करता है। सभ्यता ज्यों.ज्यों अधिकाधिक सभ्य एवं सुसंस्कृत होती जाती है त्योंदृत्यों ललित कलाओं का विकास अपने चरम पर पहुंचता जाता है। संगीतए ललित कला का एक प्रमुख अंग है। भारतीय सभ्यता में संगीत का स्थान ललित कला में सर्वोपरि है। महान भारतीय सभ्यता अपने उत्कर्ष काल से ही संगीत की शिक्षा के महत्व को रेखांकित करती आई है। प्राचीनए वैदिक एवं मध्यकाल से आधुनिक काल तक भारतीय शिक्षण प्रणाली संगीत ;उसके सभी अंगों यथा गायनए वादन एवं नृत्यद्ध की शिक्षा पर अपना ध्यान केन्द्रित करती रही है। वर्तमान युग में शिक्षण प्रणाली में आमूल चूल परिवर्तन को परिलक्षित किया जा सकता है। शिक्षण प्रणाली में पारम्परिक एवं दूरस्थ शिक्षा जैसे विभाजनों को भी परिलक्षित किया जा सकता है। आज दूरस्थ शिक्षा प्रणाली की लचीली तथा वैकल्पिक व्यवस्था के महत्व को नकारा नहीं जा सकता। कहना न होगा कि दूरस्थ शिक्षण माध्यम से संगीत की पारम्परिक शिक्षाए गुरूदृशिष्य संबंधोंए संगीत की आंतरिक शिक्षण पद्धति तथा जीवन में संगीत;उसके सभी अंगोंद्ध के महत्व में आए बदलावों को अनुभव किया जा सकता है। वर्तमान युग में जहां एक ओर सामाजिक एवं व्यक्तिगत जीवन में आश्चर्यजनक परिवर्तन आया है वहीं सभी विषयों की शिक्षण पद्धति में भी परिवर्तन को लक्षित किया जा सकता है। दूरस्थ माध्यम से संगीत शिक्षा में विकसित कई नए आयामों का महत्व समझा जा सकता है। तकनीकी के अत्याधुनिक माध्यमों दृ जैसे ऑडियोदृविडियो माध्यमए इंटरनेटए संचार के अत्याधुनिक उपकरणए टेलीविजन एवं रेडियो आदि का उपयोग दूरस्थ माध्यम द्वारा संगीत शिक्षण में सफलतापूर्वक किया जा सकता है । प्रस्तुत शोधपत्र का उद्देश्य दूरस्थ शिक्षण प्रणाली के माध्यम से भारतीय शास्त्रीय संगीत की उच्च शिक्षा ग्रहण करने के लाभए इससे उत्पन्न समस्याओं एवं उनके निराकरण का मार्ग खोजना है ।
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Sun, Bo. "Using Machine Learning Algorithm to Describe the Connection between the Types and Characteristics of Music Signal." Complexity 2021 (March 25, 2021): 1–10. http://dx.doi.org/10.1155/2021/5577486.
Full textAbstract:
Music classification is conducive to online music retrieval, but the current music classification model finds it difficult to accurately identify various types of music, which makes the classification effect of the current music classification model poor. In order to improve the accuracy of music classification, a music classification model based on multifeature fusion and machine learning algorithm is proposed. First, we obtain the music signal, and then extract various features from the classification of the music signal, and use machine learning algorithms to describe the type of music signal and the relationship between the features. The music classifier and deep belief network machine learning models in shallow logistic regression are established, respectively. Experiments were designed for these two models to verify the applicability of the model for music classification. By comparing the experimental results, it is found that the classification accuracy of the deep confidence network model is higher than that of the logistic regression model, but the number of iterations needed for its accuracy to converge is also higher than that of the logistic regression model. Compared with other current music classification models, this model reduces the time of constructing music classifier, speeds up the speed of music classification, and can identify various types of music with high precision. The accuracy of music classification is obviously improved, which verifies the superiority of this music classification model.
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Du, Qiusheng. "A Systematic Approach to Innovative Strategies for Vocal Instruction in Higher Education: Enhancing Student Performance." Pacific International Journal 7, no. 5 (October 20, 2024): 68–73. http://dx.doi.org/10.55014/pij.v7i5.696.
Full textAbstract:
This study presents a systematic approach to developing innovative strategies for vocal instruction in higher education, focusing on enhancing student performance. Using Huaiyin Normal University as a case study, the research examines current vocal instruction practices within its Music Department, identifying both strengths and areas needing improvement. The study first provides an overview of traditional and contemporary pedagogical approaches, highlighting the importance of student-centered learning and the integration of technology in music education. Data were collected through interviews with vocal instructors and surveys with students to analyze the effectiveness of existing methods and the feedback from those directly involved. Key findings reveal a need for greater incorporation of collaborative learning, multicultural repertoires, and personalized vocal techniques to foster a more engaging and comprehensive learning environment. The study discusses the implications of these findings for higher education in music and compares them with practices at other institutions. It also addresses the challenges faced in implementing innovative strategies and provides practical recommendations for curriculum development. This research contributes to the broader discourse on enhancing vocal education through adaptive, inclusive, and modernized teaching practices.