Journal articles: 'Music educaton'

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Volk, Terese M. "World Musics and Music Education." Update: Applications of Research in Music Education 17, no. 1 (March 1998): 9–13. http://dx.doi.org/10.1177/875512339801700103.

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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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Tuinstra, Beth. "Embracing identity: An examination of non-Western music education practices in British Columbia." International Journal of Music Education 37, no. 2 (February 21, 2019): 286–97. http://dx.doi.org/10.1177/0255761419827359.

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Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

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Kwami, Robert. "Non-Western Musics in Education: Problems and Possibilities." British Journal of Music Education 15, no. 2 (July 1998): 161–70. http://dx.doi.org/10.1017/s0265051700009311.

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The recent explosion in ‘world musics’ can be seen as a positive element for music education; but a failure to adopt a well-grounded and consensual approach in British educational institutions may well signal problems for the future of music as a curriculum subject. This paper problematises the use of non- Western musics in schools and colleges, it recognises the need for a more thorough conceptual stance and a reappraisal of the music curriculum and, among a number of options, suggests an anti-racist and intercultural perspective as a possible way forward.

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Müezzinoğlu, Alev, and Başak Gorgoretti. "THE NEW MUSIC CURRICULUM WITH A NEW MUSIC EDUCATION CONCEPT." E-journal of New World Sciences Academy 14, no. 3 (July 22, 2019): 247–53. http://dx.doi.org/10.12739/nwsa.2019.14.3.d0242.

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Ibragimovich, Mustafoev Bakhtiyor. "Reforms of Music Culture Education." International Journal of Psychosocial Rehabilitation 24, no. 4 (April 30, 2020): 7155–60. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020530.

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Makhammatov, Abdumannon. "Computerization Technology Of Music Education." American Journal of Social Science and Education Innovations 02, no. 10 (October 31, 2020): 418–21. http://dx.doi.org/10.37547/tajssei/volume02issue10-67.

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AKYOL, YAHYA. "II. Meşrutiyet Dönemi Eğitimcilerinin Değerler Eğitiminde Edebî Ürünlerin ve Müziğin Kullanımına İlişkin Görüşleri." KIRŞEHİR EĞİTİM FAKÜLTESİ DERGİSİ 18, no. 3 (December 30, 2017): 376–93. http://dx.doi.org/10.29299/kefad.2017.18.3.020.

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Rauduvaite, Asta. "Music education of the present: Does popular music develop learners’ values?" New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 1 (August 26, 2017): 139–47. http://dx.doi.org/10.18844/prosoc.v4i1.2245.

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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.

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Oztug, Emine Kivanc, and Burcu Karagoz. "Music Education Policies of Northern Cyprus." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 3 (March 22, 2017): 442. http://dx.doi.org/10.18844/gjhss.v3i3.1613.

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Mahammatov, Abdumannon, Azam Abdurakhimov, and Mingjigit Kholbekov. "Combination Of Music And Physical Education." American Journal of Social Science and Education Innovations 03, no. 03 (March 6, 2021): 6–15. http://dx.doi.org/10.37547/volume03issue03-02.

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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.

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Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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Hess, Juliet. "Troubling Whiteness: Music education and the “messiness” of equity work." International Journal of Music Education 36, no. 2 (April 11, 2017): 128–44. http://dx.doi.org/10.1177/0255761417703781.

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At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music education to explore other possibilities with students. However, equity work is messy, and there were also moments that unsettled these teachers’ active equity agendas. This article describes both the subversions and the reinscriptions in a way that might be instructive to music education.

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Sudarman, Yos, and Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, no. 1 (March 17, 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.

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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu

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Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (February 23, 2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.

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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.

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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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Butler, Alison. "The judges’ decision is final: Judgement in music talent reality TV and school music education." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 399–415. http://dx.doi.org/10.1386/jpme_00003_1.

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This article explores music talent reality television (RTV) and conceptualizes it as a site of music education. It also considers whether music talent RTV might magnify sociocultural traits that are less easily detected in other sites of music education. A considerable body of research has developed around RTV, notably from the fields of sociology, media studies, cultural studies and women’s studies. These scholars frequently draw on Bourdieu’s concepts of habitus and capital to analyse participant and audience engagements with the genre. Judgement is central to these discussions, particularly in the subgenre of music talent RTV, with several authors showing how taste and distinction are influenced by habitus. Reviewing the RTV literature highlights how certain musics and musicking experiences are judged, and how such judgement can devalue the musical experiences of those young people who are least likely to access school music education. This raises questions for further study about music talent RTV’s relationship with school music education, and for the study of music talent RTV as a music education setting in its own right, but it also highlights themes that warrant consideration in school music education sites, where judgements and their impacts on access and participation are often disguised or unquestioned.

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Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (August 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.

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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.

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Fitriani, Yulianti. "Model Pembelajaran Seni Musik melalui Lesson Study: Studi Kasus di SDN Jawilan, Serang." Resital: Jurnal Seni Pertunjukan 15, no. 2 (March 15, 2015): 126–38. http://dx.doi.org/10.24821/resital.v15i2.847.

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Artikel ini dilatar-belakangi persoalan pembelajaran seni musik di SDN Jawilan Kab. Serang. Di SD ini penyelenggaraan pendidikan seni belum memperoleh perhatian yang cukup baik dari guru. Hal ini dapat dilihat dari pembagian alokasi waktu pembelajaran dan keterlibatan guru kelas yang tidak memiliki latar belakang pendidikan seni (musik). Dampak yang muncul, rata-rata siswa belum memiliki kemandirian dalam berkreativitas dan kurang berpartisipasi aktif dalam kegiatan musik baik di sekolah maupun di luar sekolah. Untuk memperbaiki persoalan tersebut dirasa perlu meminjam Lesson Study yang di dalamnya terdapat metode, pendekatan dan strategi pembelajaran sebagai pola untuk membelajarkan seni musik agar dapat memberikan alternatif sudut pandang terhadap persoalan metode yang tepat guna dan terencana dalam pengajaran pendidikan musik di SD, termasuk paradigma membelajarkan musik secara hakiki. Hasil yang diperoleh dapat memberikan alternatif sebagai dasar pengembangan pembelajaran seni musik. The Model of Music Learning through a Lesson Study: A Case Study in Jawilan Elementary School, Serang. The learning problems of music lessons at Jawilan Elementary School in Serang becomes the mainly source of the research background in this article. The implementation of art education in this school has not gained enough attention from teachers. It can be seen from the distribution of the allocated time of learning and the involvement of classroom teachers who do not have sufficient background in art education (music). The appearing impact shows that the average of students do not have any independence in creativity and have less-active participation in the activities of musical arts either in school or outside the school. However, solving the problem is necessary to do by using a Lesson Study as a pattern (approaches, strategies, and methods of learning) to teach music that can be used as an alternative point of view in developing methods and organizing the appropriate ones, including the paradigm of teaching music at school essentially. The results obtained from the activity may provide the alternative method as a basis for the development of learning music at school.

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Saputra, Wahyu Eka, and Agusti Efi. "GAYA BELAJAR AURAL PLAY DI YAMAHA MUSIK PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (November 22, 2019): 378. http://dx.doi.org/10.24114/gr.v8i2.15420.

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AbstrakPenelitian ini bertujuan untuk mengetahui pelaksanaan pembelajaran gaya belajar aural play di Yamaha musik Padang. Metode yang digunakan dalam mengetahui pelaksanaan pembelajaran aural play di Yamaha musik Padang ini adalah metode kualitatif natural observasi, dimana peneliti sebagai instrument utama penelitian. Siswa Yamaha musik padang memiliki kecendrungan menggunakan indra pendengaran untuk belajar dan mempraktekkan alat musik dengan menirukan kembali apa saja yang dilakukan oleh guru mereka. Walaupun telah adanya buku penunjang berisi notasi musik yang dipelajari dengan cara membaca, siswa lebih senang mendengarkan dan menirukan cara guru mereka mempraktekan materi musik yang sedang dipelajarinya. Oleh sebab itu perlu untuk dicari tahu kenapa siswa Yamaha musik padang sangat cendrung menggunakan gaya belajar aural play dalam mempelajari dan mempraktekkan instrument musik mereka. Penelitian ini diharapkan dapat menambah wawasan kajian pembelajaran musik tentang penerapan gaya belajar aural kepada siswa di lembaga pendidikan musik, mampu memperkaya teori tentang gaya belajar aural dan terhadap pengembangan ilmu pengetahuan yang berkaitan dengan gaya belajar aural. Kata Kunci: gaya belajar, musik, aural, play.AbstractThis research study is to study the implementation of aural play style learning in Yamaha Padang music. The method used in studying the implementation of learning to play in Yamaha Padang music is a qualitative method of natural observation, where the researcher as the main research instrument. Yamaha Padang students have a tendency to use the sense of hearing to learn and practice musical instruments by imitating whatever their teacher does. Although there are supporting books containing music notation that are learned by reading, students prefer to listen and imitate the way their teacher practices the music material that they are learning. Therefore it is necessary to know why Yamaha Padang students are so inclined to use aural learning learning styles in discussions and practice their musical instruments. This research is expected to add insight into music learning about the application of aural learning styles to students in music education institutions, able to enrich theories about aural learning styles and to the development of knowledge related to aural learning styles. Keywords: learning style, music, aural, play.

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Jähnichen, Gisa. "Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 97–99. http://dx.doi.org/10.30819/aemr.7-8.

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This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a part of cultural exchange.

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Özalp, Uğur, and Gökhan Özdemir. "GÜZEL SANATLAR FAKÜLTESİ MÜZİK BÖLÜMÜ ÖĞRENCİLERİ İLE EĞİTİM FAKÜLTESİ MÜZİK EĞİTİMİ ANABİLİM DALI ÖĞRENCİLERİNİN GELECEK BEKLENTİLERİNİN KARŞILAŞTIRILMASI." e-Journal of New World Sciences Academy 13, no. 4 (October 17, 2018): 48–56. http://dx.doi.org/10.12739/nwsa.2018.13.4.d0214.

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Hess, Juliet. "Becoming an Anti-Racist Music Educator: Resisting Whiteness in Music Education." Music Educators Journal 107, no. 4 (June 2021): 14–20. http://dx.doi.org/10.1177/00274321211004695.

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In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.

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Nettl, Bruno. "What Are the Great Discoveries of Your Field? Informal Comments on the Contributions of Ethnomusicology." Musicological Annual 51, no. 2 (June 17, 2015): 163–74. http://dx.doi.org/10.4312/mz.51.2.163-174.

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This is an attempt to sketch some of the principal discoveries or contributions of the field of ethnomusicology since 1885. These include consideration of the world of music as comprised of musics, the origin of music, universals, the study of music in culture, the relationship of composition and improvisation, the issue of authenticity, and the practical contributions of ethnomusicology to education and social life.

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Sökezoğlu Atılgan, Duygu, and Ümit Gürman. "Material Design in Music Education Using Arduino Platform." Journal of Qualitative Research in Education 8, no. 4 (September 30, 2020): 1–26. http://dx.doi.org/10.14689/issn.2148-2624.8c.4s.14m.

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Demenescu, Laura, and Ion-Alexandru Ardereanu. "Autoeducația muzicală - provocare sau certitudine?" Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field XI, no. 1 (November 1, 2020): 17–21. http://dx.doi.org/10.47809/ictmf.2020.01.02.

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Saarikallio, Suvi. "Access-Awareness-Agency (AAA) Model of Music-Based Social-Emotional Competence (MuSEC)." Music & Science 2 (January 1, 2019): 205920431881542. http://dx.doi.org/10.1177/2059204318815421.

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Social–emotional competence (SEC) is a set of psychological resources, highly relevant for adaptive growth and wellbeing. Music has been argued to support social–emotional skills, yet there is little theoretical consensus about the underlying impact mechanisms and the special nature of music as a medium for SEC. This article presents a theoretical model of music-based SEC that combines research from general SEC models with music-specific literature from music psychology, music education, music therapy, and music for health and wellbeing. The proposed access-awareness-agency (AAA) model defines music-based social–emotional competence (MuSEC) as interplay of embodied access, reflective awareness, and sense of agency. These three components are defined as the core competencies that music in particular facilitates; competencies that underlie and explain further competence in behaviors ranging from affective self-regulation to social interaction. The article elaborates these MuSEC components and their potential connections to particular equivalents in general SEC and proposes hypotheses for empirically testing the model. The model offers a novel, integrative SEC-based perspective for advancing theoretical coherence in the growing field of music as social–emotional wellbeing and growth.

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Lum, Chee-Hoo. "My country, my music: Imagined nostalgia and the crisis of identity in a time of globalization." International Journal of Music Education 35, no. 1 (June 23, 2016): 47–59. http://dx.doi.org/10.1177/0255761415619425.

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This qualitative research study seeks to examine definitions of Singapore music, music by Singapore composers and musics of/in Singapore through the eyes of tertiary music educators in a local institute of teacher education, and to determine pedagogical implications of such definitions in the space of the music classroom. Extensive informal interviews with seven tertiary music educators (key informants) serve as the methodological base for this phenomenological study. Findings suggest that music educators should give focus to the historical, socio-cultural and musical characteristics of the lived and living musical practices that comprise Singapore while being cognizant of contradictions brought forth by recent migratory flows and the emergence of a global city identity.

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Supiarza, Hery, Deni Setiawan, and Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta." Resital: Jurnal Seni Pertunjukan 20, no. 2 (August 26, 2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.

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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya. The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords: Orff-Schulwerk; music education; kindergarten teachers

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Shiraishi, Fumiko. "Calvin Brainerd Cady: Thought and Feeling in the Study of Music." Journal of Research in Music Education 47, no. 2 (July 1999): 150–62. http://dx.doi.org/10.2307/3345720.

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Calvin Brainerd Cady (1851-1928) was an influential American music educator who developed a theory of music education that emphasized the unification of children's thoughts and feelings. Focusing on the development of artistic music-conception (the ability to hear music in the mind), Cady taught music's intellectual and emotional aspects simultaneously. Cady demonstrated the effectiveness of his theory through successful music education practices at John Dewey's laboratory school and at his own Music-Education School. Cady was a significant reformer who pioneered several new activities and principles that became standard practices. His practical theories and effective practice influenced many music educators and the course of American music education history. His unification of thought and feeling in the music curriculum is still relevant to current and future music education practices.

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Harnish, David. "Music Education and Sustainability in Lombok, Indonesia." Celt: A Journal of Culture, English Language Teaching & Literature 19, no. 1 (July 31, 2019): 1. http://dx.doi.org/10.24167/celt.v19i1.2076.

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This article discusses the challenges of teaching and sustaining music and other performing arts on the island of Lombok in Indonesia. It follows my field research trajectory on the island over a period of 34 years and analyzes the efforts of government interventions, non-government actors, and teachers and educational institutions in the transmission and sustainability of the arts. Interpretations indicate that a combination of globalization, urbanization, social media, everyday mediatization, and Islamization over recent decades negatively impacted traditional musics in specific ways, by problematizing sustainability. However, several agents–individuals inside and outside the government who understood the situation and had the foresight to take appropriate action–developed programs and organizations to maintain or aestheticize the performing arts, sustain musician livelihoods, and engage a new generation of male youth in music and dance. These efforts, supplemented by the formation of groups of leaders dedicated to the study of early culture on Lombok and fresh initiatives in music education, have ushered in new opportunities and visibility for traditional music and performing arts and performing artists.

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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (April 30, 2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.

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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.

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Kirliauskienė, Rasa, and Jolanta Abramauskienė. "Intuition in music education." Global Journal of Arts Education 10, no. 2 (August 31, 2020): 157–66. http://dx.doi.org/10.18844/gjae.v10i2.4734.

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This article analysed the role of intuition in music education. Since success needs insight and quick perception, otherwise called intuition, this article aimed to reveal how it is possible to achieve music teacher’s activity. Also, the content of the role of a contemporary music teacher was identified and five aspects were distinguished: significance as an educator and as an authority, the importance of teacher’s personality, creativity and value-based aspects. The research content of the role of a contemporary music teacher justifies the possibilities for intuition in music education and extends its boundaries. The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries. The analysis of the research results is meaningful for the improvement of music education. Keywords: Music education, the role of a contemporary music teacher, intuition.

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Mellizo, Jennifer M. "Demystifying World Music Education: From Guiding Principles to Meaningful Practice." General Music Today 32, no. 2 (October 17, 2018): 18–23. http://dx.doi.org/10.1177/1048371318805237.

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Over the past several decades, music education scholars have put forth a variety of convincing rationales for world music education. Yet the gap between theory and practice in this area persists. In theoretical ways, practicing music educators acknowledge the value of world music learning experiences, but many remain reluctant to fully embrace and embody this approach in practice. Through this article, one practicing general music educator shares her personal experience of writing, implementing, and subsequently observing another music educator use a new world music curriculum resource, inspired by the music traditions of the Fon people in southern Benin. As our understanding of world music pedagogy continues to evolve, more practicing music educators should share their unique perspectives and experiences. These “snapshots” from the field can help other (perhaps more hesitant) music educators envision what this pedagogical approach might look like in their own classrooms.

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Palmer, Anthony J. "World Musics in Music Education: The Matter of Authenticity." International Journal of Music Education os-19, no. 1 (May 1992): 32–40. http://dx.doi.org/10.1177/025576149201900105.

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Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.

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The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.

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Walkusz, Marta. "Funkcja warszawskich druków muzycznych wydanych w latach 1875- 1918, na przykładzie czterech największych kolekcji przechowywanych w Bibliotece Głównej Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (March 24, 2020): 41–62. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.181.

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The article presents a fragment of provenance researches conducted on the largest musical legacies stored in the Main Library of the Stanisław Moniuszko Music Academy in Gdańsk, containing music prints published in Warsaw in the years 1875-1918. These legacies belonged primarily to the musicians who, after World War II, moved to the Coast, mainly from Warsaw. The purpose of the discussion is to prove that the music prints they brought were a canon of music literature for promoting Polish culture and music education both in Warsaw in 1875-1918 and in post-war Gdańsk. Due to the weak publishing situation in Tricity, the musicians were forced to use their own collections, which properties prove that these prints were used primarily by artists to promote Polish music, to train new generations of professional musicians, and thus to develop Polish higher music education.

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Locke, Terry, and Lauren Prentice. "Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education." Australian Journal of Indigenous Education 45, no. 2 (May 5, 2016): 139–51. http://dx.doi.org/10.1017/jie.2016.1.

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This narrative article is based on an analysis of 61 documents, mostly articles, of which 37 were peer-reviewed, including research studies, reviews, conceptual research and narratives of practice. Review findings are reported with specific reference to the Australian and New Zealand contexts in relation to the following topic categories: the presence of indigenous music in the curriculums of selected ‘new world’ countries, teacher education in indigenous performing arts, questions of curriculum design and programming, resource selection, activity design, and school and community relationships. Certain key themes emerged across these topics: the need for a greater emphasis on more culturally nuanced music teacher education in relation to indigenous musics; the critical importance of teaching indigenous music/arts contexts; song ownership; and the need for music educators and researchers to develop a critical stance towards their subject and discipline.

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KABATAŞ, Mustafa. "OKUL ÖNCESİ DÖNEMDE MÜZİK EĞİTİMİNİN ÖNEMİ." Akademik Müzik Araştırmaları Dergisi 3, no. 6 (June 5, 2017): 1–16. http://dx.doi.org/10.5578/amrj.57441.

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Smyrnova, Tetiana A. "Axiology of Music and Pedagogical Education at the University." Revista Gestão Inovação e Tecnologias 11, no. 4 (July 10, 2021): 2076–87. http://dx.doi.org/10.47059/revistageintec.v11i4.2255.

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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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Royston, Natalie Steele, and D. Gregory Springer. "Beliefs of Applied Studio Faculty on Desirable Traits of Prospective Music Education Majors." Journal of Research in Music Education 65, no. 2 (June 13, 2017): 219–36. http://dx.doi.org/10.1177/0022429417714470.

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The purpose of this study was to examine the beliefs of applied music faculty on desirable traits of prospective music education majors. Respondents ( N = 326), who were sampled from 73 National Association of Schools of Music–accredited institutions in the United States, completed a survey instrument developed to determine the characteristics of the admissions process at their institutions, their perceptions of various professional dispositions for entering music education majors, and their perceptions of various selection criteria for entering music education majors. Results indicated that music education faculty hold little or no responsibility for admissions decisions and that admissions decisions are primarily made by applied music faculty at many institutions. They also reported that “demonstrates a passion for music” and “is responsible and dependable” are the most desirable professional dispositions for entering freshmen music education majors and that “desire to be a music educator” and “teachability” are the most important selection criteria used when admitting freshmen music education majors. Free-response data suggest that applied faculty members consider various facets during the admissions process, including a prospective music education major’s personal characteristics, musical characteristics, academic characteristics, and prior teaching/leadership experience. Implications for music educators are discussed, and suggestions for future research are proposed.

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Floyd, Malcolm. "Music Makers: cultural perspectives in textbook development in Kenya, 1985–1995." British Journal of Music Education 20, no. 3 (October 29, 2003): 291–306. http://dx.doi.org/10.1017/s026505170300545x.

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This article draws on my other writings about developments in the teaching of music in Kenya, and on the decision to promote traditional musics and to make music one of the compulsory examinable subjects at the end of primary school. It considers two textbooks published by Oxford University Press in Nairobi: Music Makers for Standards 7 and 8, by Brian Hocking and me, was issued in 1985, and Music Makers for Standards 5 and 6, this time with George Mutura as co-author, was published in 1989. The music education syllabus was revised in 1993, and both books were adapted to adjust the placing and progression of the material. This case study sets out the background of developments in Kenyan educational policy, notes the changes in curricular music, explores how the adaptation happened in practice, tracks the process, comments on its implications and considers responses to the completed project.

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Akyurek, Riza. "Training Organizations Music Educator Orchestra/Chamber Music Education Problems and Solution Proposals." Procedia - Social and Behavioral Sciences 47 (2012): 185–89. http://dx.doi.org/10.1016/j.sbspro.2012.06.636.

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Meske, Eunice Boardman. "Teacher Education Reform and the College Music Educator." Music Educators Journal 73, no. 6 (February 1987): 22–26. http://dx.doi.org/10.2307/3400257.

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Золотухіна, С. Т., О. М. Іонова, and С. Є. Лупаренко. "МУЗИЧНА ОСВІТА ШКОЛЯРІВ У ЗАКЛАДАХ ЗАГАЛЬНОЇ СЕРЕДНЬОЇ ОСВІТИ КНР: ТЕНДЕНЦІЇ ТА ПЕРСПЕКТИВИ." Теорія та методика навчання та виховання, no. 47 (2019): 37–49. http://dx.doi.org/10.34142/23128046.2019.47.04.

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The relevance of the study is predetermined by insufficient development of the problem of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China and the significance of the use of educationally valuable Chinese experience in music education in Ukrainian educational practice. The aim of the study is to reveal the tendencies and prospects for schoolchildren’s music education in general secondary education institutions in the People’s Republic of China. Various methods have been used to carry out this research, namely: general scientific (analysis, synthesis, systematization, generalization, comparison, classification), historical, empirical and prognostic methods. The general tendencies of development of music education in general secondary education institutions in the People’s Republic of China in historical, content and organizational-methodical aspects have been revealed. The general trends of development of music education in general secondary education institutions in Ukraine and the People’s Republic of China have been determined. They are the progressiveness of the general strategy of music education, its focus on the development of spirituality of the nation, democratization of educational process, openness to the world and European experience, constant modernization of the content of education, forms and methods of mastering it, improvement of the conditions of educational process, increased attention to Music teachers’ professional training. The prospects for development of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China have been specified. They are the intensification of scientific research and intensifying the implementation of innovations into the practice of music education, the creation of a national concept of general music education taking into consideration the progressive world experience and national cultural traditions, development of curricula of general secondary music education taking into account the specificity and opportunities in the region, the combination of tradition and innovation in music pedagogy. The directions of the use of Chinese experience in modern schools in Ukraine have been determined. They are the development of a concept of schoolchildren’s music education taking into account the realities and prospects for the development of national education, universal and national cultural traditions, children’s assimilation of the most important values by means of musical art, providing pedagogically appropriate organization and improving the conditions of children’s music education, increasing the requirements for Music teachers’ professionalism

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Lepherd, Laurence. "Comparative Music Education: Bicultural Music Education." International Journal of Music Education os-7, no. 1 (May 1986): 23. http://dx.doi.org/10.1177/025576148600700105.

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Journal articles on the topic 'Music educaton'

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