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Academic literature on the topic 'Music – Examinations'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Music – Examinations"

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Salaman, William. "The Role of Graded Examinations in Music." British Journal of Music Education 11, no. 3 (November 1994): 209–21. http://dx.doi.org/10.1017/s0265051700002175.

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The perceived benefits of graded examinations are compared with the actual benefits that they bring and are then weighed against the more general and widely accepted desirable outcomes of musical education in Great Britain. The syllabus of a typical graded examination is analysed in some detail and the conclusions drawn suggest that the time-honoured format of graded examinations serves only some of the musical needs of pupils. Some radical suggestions for up-dating examinations are discussed.This article is based on some of the materials prepared for the certificate course: Music Teaching in Private Practice to be mounted by the University of Reading Department of Arts and Humanities in Education in collaboration with the Incorporated Society of Musicians.
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Preston, Hamish. "A New Approach to Music Examinations." International Journal of Music Education os-6, no. 1 (November 1985): 27–30. http://dx.doi.org/10.1177/025576148500600106.

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Kilic, Deniz Beste Cevik. "An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations." Journal of Education and Learning 7, no. 1 (January 19, 2018): 299. http://dx.doi.org/10.5539/jel.v7n1p299.

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Examination anxiety in piano education, one of the important courses in music education, can negatively affect both success in examinations and the education of students. This study aimed to determine the anxiety levels of students in the music education departments of universities in western Turkey regarding their piano examinations and their significance according to different variables. The study sample consisted of 174 female and 107 male students. The study found the students’ performance anxiety levels related to piano examinations to be moderate. There were no statistically significant differences in their anxiety levels by gender or age. Students with their own pianos were less likely to have performance concerns regarding piano examinations than those without. It was also found that the students’ year of study had a significant effect on their performance anxiety levels in piano examinations.
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Hampton, Amanda, Alexandra Ford, Roy E. Cox, Chin-chi Liu, and Ronald Koh. "Effects of music on behavior and physiological stress response of domestic cats in a veterinary clinic." Journal of Feline Medicine and Surgery 22, no. 2 (February 12, 2019): 122–28. http://dx.doi.org/10.1177/1098612x19828131.

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Objectives Our objective was to determine if feline-specific music played in a veterinary clinical setting would promote lower cat stress scores (CSSs), lower mean handling scale scores (HSs) and reduced neutrophil:lymphocyte ratios (NLRs) in cats during physical examinations. Methods Cats were exposed to one of three auditory stimuli tests – silence, classical music and cat-specific music – during three physical examinations 2 weeks apart. CSSs were recorded at pre- and post-auditory tests and during the examination period. The HSs were recorded at the physical examination period. The physiological stress was assessed via NLRs. Results The pre-auditory test showed no difference in CSS between cats listening to silence, classical music and cat music. CSSs for post-auditory tests and examination periods were not significantly different between silence and classical music; however, CSSs were significantly decreased in cats listening to cat music vs silence and in cats listening to cat music vs classical music. HSs were not different in cats listening to silence vs classical music, but were significantly lower in cats listening to cat music vs silence and classical music. No difference was found in NLRs among all three auditory stimuli tests. Conclusions and relevance Listening to cat-specific music prior to, and during, physical examination was associated with lower CSSs and lower HSs in cats, but had no effect on the physiological stress responses measured by NLRs. We conclude that cat-specific music may benefit cats by decreasing the stress levels and increasing the quality of care in veterinary clinical settings.
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McPherson, Gary E. "Factors and Abilities Influencing Sightreading Skill in Music." Journal of Research in Music Education 42, no. 3 (October 1994): 217–31. http://dx.doi.org/10.2307/3345701.

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This study was designed to replicate and extend existing literature by seeking to determine important factors and abilities that influence sightreading skill in music. The Watkins-Farnum Performance Scale (WFPS) was administered to 101 high school clarinet and trumpet students who were completing Australian Music Examinations Board (AMEB) performance examinations. Findings show that, in the beginning stages of training, sightreading skill is not significantly correlated with the ability to perform a repertoire of rehearsed music for a comprehensive performance examination as assessed on the AMEB examination. As instrumentalists mature, however, correlations between these two aspects of performance seem to strengthen markedly. Consistent with other studies, results show that rhythmic errors far outweigh all other types of errors. Differing strategies used by high-scoring and low-scoring subjects on the WFPS and by two groups of high school subjects in school years 7-9 and 10-12 were observed and discussed.
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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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Hanley, Betty. "Gender in Secondary Music Education in British Columbia." British Journal of Music Education 15, no. 1 (March 1998): 51–69. http://dx.doi.org/10.1017/s0265051700003764.

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This study is a replication of Dr Lucy Green's (1993) research using responses to an open-ended questionnaire to interpret music teachers' perceptions about boys' and girls' achievements in music classes compared to their results on the General Certificate of Secondary Education examinations (GCSE) in music. Using a revised questionnaire, the British Columbia study examined secondary music teachers' perceptions of gender issues and compared them with Grade 12 Examination results. The impact of gender beliefs was most evident in composition, where the provincial grades contradict teachers' perceptions of success and where the possible impact of technology on girls has not yet been acknowledged.
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Bray, David. "An examination of GCSE music uptake rates." British Journal of Music Education 17, no. 1 (March 2000): 79–89. http://dx.doi.org/10.1017/s0265051700000176.

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The GCSE music examination is the principal form of accredited study for students aged 15+. (More students take the examination than previously took GCE O-level and CSE examinations combined.) For this reason the examination is generally thought of as a success. An analysis is made of uptake rates during the period 1994-8 and comparisons are made with uptake rates in other optional subjects. Based on this evidence, a suggestion is made that GCSE music is not as successful or attractive to students as is commonly thought. An assumption is made that there are factors that make this situation surprising and worth further research. Some possible reasons for the current situation are explored.
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Maugars, Cédricia. "Attitudes of music teachers towards final examinations in the French music conservatoires." International Journal of Music Education 24, no. 1 (April 2006): 43–55. http://dx.doi.org/10.1177/0255761406063106.

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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (May 12, 2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.

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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and TCL continued examining for many years and this article discusses the work of four examiners appointed by the ABRSM to travel throughout the Empire, with a particular focus on Australia. The year selected is 1923. This is for several reasons. By 1923 the system of traveling expert examiners undertaking examinations across the country was well established; the vicissitudes and hardships of World War I and the influenza pandemic had passed; the practice of examiners traveling long distances by boat and train had resumed. At this time the British examinations were at their height despite the establishment of a rival Australian system, the Australian Music Examinations Board. The examiners not only undertook all the examinations across the country but also were influential public figures who spoke about music education and modern music in Britain. They gave concerts and public lectures and their activities were influential because of repeated reporting in the popular press. As a historian I am interested in the history of the commonplace—those well-established and pervasive activities that are taken for granted. Learning a musical instrument and taking annual graded practical and theoretical examinations was and continues to be a commonplace occurrence in Australia.
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Dissertations / Theses on the topic "Music – Examinations"

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Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface." James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.

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The research focuses on quality issues within the private music teaching industry and the public music examination system (PMES). It is clear that there is a schism between the formalized structures and accountabilities of music in the school system and the lack of such structures and accountabilities with the private studio music teaching industry. The Thesis traces the literature documenting the rise of the private music teacher and the accountability rationale implicit in the development of the public music examination system. The dual aims of the research focus on the need to profile the private music teaching industry in Australia and to probe the extent to which the public music examination system might, in practice, afford a window of accountability on to this industry. The literature foregrounding this study derives from three areas: the historical development of the private music teaching industry; the concomitant need for certification - and the resultant development of the public music examination system; finally the issue of performance assessment across the relevant disciplines is explored to provide research direction for music. A limited profile of the private music teacher emerged from the first phase of the study. While the respondent sample was smaller than was originally envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the findings from the current study were consistent. The second phase focussed specifically on the public music examination system and its tangible outcomes in the form of the examination report. Five examiners were male and three female. Reports were analyzed in terms of the relevant examination sections with a primary focus on the Technical and Performance lists sections. In each section reports were segmented into idea units as the basic unit for analysis. Categories were derived from the data and each idea unit was categorized accordingly. Examiners’ use of categories was analyzed in each section and comparisons made between examiners. Considerable examiner variability was identified. A discussion of gender differences in accessing categories generates hypotheses for further research. Discussion of marks awarded by examiners leads to hypotheses about the implications of exposure to one examiner rather than another. While this is but a small scale study and possibly the first in the music genre, its implications for further research are far-reaching. Implications for the discipline are also explored.
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Cleary, Theresa Mary. "Music performance anxiety in children within the context of practical music examinations." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646844.

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As part of their musical training, young musicians are often entered for practical music examinations. Many are anxious about performing in front of an examiner, sometimes to the extent that they do not perform to the best of their ability, which can result in a lower mark than anticipated. The present research was designed to explore Music Performance Anxiety (MPA) and possible interrelationships among gender, practice, self- esteem, music self-efficacy, perceived criticism (from family), music negative perfectionism, and performance (marks attained). Overall the thesis comprises of three studies. All employed quantitative research methods throughout. Study 1 included 194 participants and was designed to develop a new measure of Musical Performance Anxiety for young musicians. Principal component analyses revealed two components. The first component had 20 items and appeared to measure cognitive/somatic sensations. It was shortened to a 13 item scale (MPAI-C) to ensure that the measure was not too long for the young participants in this study. The new measure showed satisfactory reliability and provided evidence of good convergent and divergent validity with other measures employed in the study. The second component was labelled 'Negative Affect' (NA) and comprised of 9 items. Study 2 was designed to develop a new Music Perfectionism measure. Data from 186 participants were analysed. Principal component analyses identified three components. The first component had 10 items and appeared to measure "negative perfectionism". The second component had 6 items and appeared to measure "teacher pressure". The third component had 6 items and appeared to measure "parental pressure". The negative perfectionism subscale (MPI-C) showed a satisfactory reliability and provided evidence of good convergent and divergent validity. The purpose of study 3 was to test a proposed model of MPA and possible interrelationships between music negative perfectionism, perceived criticism (from family), music self-efficacy, self-esteem, practice, gender and performance. A revised model was established using path analyses with Mplus software. The data from 304 participants indicated that males were more affected by perceived criticism from family and did more practise than females. Practice and music self-efficacy revealed a positive direct association with performance, while MPA showed a negative direct association with performance. A direct positive relationship was found between music negative perfectionism and MPA, while a negative relationship was shown between music negative perfectionism and self-esteem. A positive association was found between self-esteem and music self-efficacy, which in turn had a direct negative association with MP A. The final model provided an insight into the effects of MPA and the associations between other factors in relation to performance in young musicians in practical music exams. The findings from the present study have implications for students, parents, music teacher training, and future policies regarding curriculum development within music education worldwide.
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Olsen, Patrick Garrett. "Assessing improvisation in graded music examinations : conflicting practices and perceptions." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290079.

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For a practice that has influenced the development of most of the musical techniques and compositional forms of Western music (Ferand, 1965, p.5), 'improvisation' is challenging to define. Recently, the graded music examinations offered by the two largest UK-based music examination boards, the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL), have added options to assess improvisation within their instrumental curricula without clearly defining what they mean by 'improvisation' or how they assess it. This thesis argues that the lack of consistent definitions by the two leading examination boards results in a lack validity and meaning since it is unclear to examination stakeholders (music teachers, students, examiners and syllabus authors) exactly what is being assessed and how. This thesis investigates how 'improvisation' is defined, practiced, assessed and perceived within instrumental graded musical examinations. Evidence addressing the perspectives of the teaching-and-learning stakeholders is drawn from case-study observations and interviews of instrumental music lessons while candidates prepared for and completed an examination requiring improvisation. The perspectives of the examination board stakeholders are investigated through document analysis of the syllabuses, curricula and institutional websites of the examination boards in addition to interviews with examination board executives. The findings provide an initial investigation into an unexplored intersection of music education, improvisation and the business of graded examination boards. A clearer understanding emerges of the cultural and social practices of improvisation both inside and outside of the hegemony of graded examinations and the teaching-and- learning communities that support them. The findings of this thesis challenge the examination boards and bring more clarity to their assessment practices. and can help guide music teachers and students through the currently unclear landscape of improvisation in the ABRSM and TCL examinations.
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Ang, Kathryn. "Teaching Western classical piano music effectively in West Malaysia." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41371.

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The existing curriculum for piano lessons in West Malaysia is over-reliant on the syllabi of foreign examination boards resulting in a fragmentary curriculum which denies the student access to a wider range of musical experiences. The aim of the study was to identify and suggest solutions to problems by analysing the teaching approaches of piano teachers and to determine if there are elements which are lacking in the lessons. It also aimed to provide solutions by establishing a theoretical framework for effective piano teaching with optimal lesson plans. This study made use of mixed methods research design. A cross-sectional survey was conducted and data collection was by self-structured questionnaires. In addition, interviews were conducted for the qualitative component of this study. Twenty-five piano teachers with between one to twenty years of teaching experience were randomly selected to participate in the survey. A further fifteen interviews were conducted with teachers who were selected from the participants of the survey by purposive sampling. Interpretative phenomenology analysis was used to analyse the interviews in an effort to gain a better understanding of the nature and quality of the piano teaching in West Malaysia. The study finds that having piano examinations with regularity, usually on a yearly basis, has largely dominated the curriculum with examination requirements and has resulted in several elements being missing or absent in a typical lesson. Hence the situation is clearly not ideal as lessons are too examination oriented. Furthermore, students are generally not exposed to sufficient opportunities to display their skills and musical achievements. These findings suggest that Western classical piano music can be taught more effectively in West Malaysia if teachers re-think their approach to teaching in terms of planning for an optimal lesson. This would involve having both long-term and short–term goals in which a variety of strategies and important elements are incorporated seamlessly using the “simultaneous learning” approach advocated by Harris, Crozier and Ley.
Dissertation (MMus)--University of Pretoria, 2013.
gm2014
Music
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Ross, Valerie, and kimg@deakin edu au. "EXTERNAL PUBLIC PIANO EXAMINATIONS IN MALAYSIA: SOCIAL AND SYMBOLIC SIGNIFICANCE." Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20031028.140256.

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The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-rausicological phenomena.
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Ross, Valerie, and mikewood@deakin edu au. "External public piano examinations in Malaysia: Social and symbolic significance." Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050808.135747.

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The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-musicological phenomena.
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Naude, Anna Catharina. "'n Ondersoek na die geskiktheid van sillabi vir gehoortoetse in gegradeerde musiekeksamens." Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65806.

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Thesis (MMus) -- Stellenbosch University, 1987.
VOORWOORD: Gedurende my tydperk as musiekonderwyseres het ek toenemend bewus geword van die belangrikheid van gehooropleiding in die musiekopleidingsprogram enersyds, en die gebrek aan motivering en 'n voldoende metodiek andersyds. Hierdie lewendige belangstelling in gehooropleiding en die probleme wat die vakgebied omring, het aanleiding gegee tot 'n ondersoek na die geskiktheid van die gehoortoetse soos dit voorkom in gegradeerde musiekeksamens. Die hoë standaard van gehooropleiding wat Dr. P.E.O.F. Loeb van Zuilenburg aan die Universiteit van Stellenbosch daargestel het, en die groot hoeveelheid bronne oor die onderwerp wat in die Musiekbiblioteek beskikbaar was, was die hoofredes vir my keuse van hierdie Universiteit vir nagraadse studiedoeleindes.
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Charles, James L. Jr. "Evaluating the effects of tenth grade students' music ensemble participation in relationship to the Graduation Exit Examinations mathematics and reading scores." Thesis, Capella University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596099.

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The purpose of this study was to examine whether there is significant evidence suggesting that participants benefit more in their learning when musical art education is included in the curriculum. This nonexperimental correlational design was selected in anticipation that participation in the music program would lead to a greater increase in academic achievement, as measured by the Graduate Exit Examination. This study examined English Language Arts and mathematics test scores of 10th grade participants who received instrumental music instruction and those participants who received no instrumental music instruction during the 2010-2011 academic school year. Three school districts located in southeast Louisiana participated in this study. School district 1 presented a total of 89 participants (N=89) who were administered the GEE during the 2010-2011 school year. There were 13 participants (n=13) who were members in an instrumental music ensemble during the same school year. There were 76 participants ( n=76) who were recognized as not being enrolled in an instrumental music ensemble. School district 2 presented a total of 225 participants ( N=225) who were administered the GEE during the 2010-2011 school year. Of 225 test takers, 16 participants (n=16) who were members in an instrumental music ensemble. There were 209 participants ( n=209) who were recognized as not being enrolled in an instrumental music ensemble. School district 3 presented a total of 317 participants ( N=317) who were administered the GEE during the 2010-2011 school year. Of the 317 test takers, 31 participants (n=31) were identified as members in an instrumental music ensemble. There were 286 participants (n=286) who were recognized as not be enrolled in an instrumental music ensemble. The methodology of this study consisted of comparing the mean scores of participants receiving instrumental music instruction at their school with the mean scores of participants who did not receive instrumental music instruction. Although findings of this study indicated the mean scores of instrumental music students were higher than non-instrumental music participants, results displayed no significant differences between mean scores of instrumental music participants and non-instrumental music participants where ( p< .05).

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Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.

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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.
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Zenker, Renate Andrea Ruth. "Understanding music cross-culturally : philosophical examination." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://hdl.handle.net/2429/12395.

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This dissertation presents a philosophical examination of an important question in music education: What does it mean to understand the music of our own culture or the music of another culture? It begins with a conceptual analysis of understanding, an analysis that reveals understanding has many different senses and that it involves a multidimensional range of considerations. The work presents an overview, summary, and analysis of various arguments, from both the Western and cross-cultural perspective, concerning what understanding music means. The literature and the arguments from the cross-cultural perspective are situated in the important debate of whether there are generic musical characteristics that can help us understand the music of non- Western cultures, characteristics shared by Western music, or if we can only understand the music of each culture based in the study of that culture. I argue that there has been an artificial "gap" created between understanding Western art music and understanding the music of other cultures. Based on my analysis of understanding, and the issues raised by the literature, I present a multidimensional and interrelated set of factors involved in understanding music cross-culturally. These factors are: elements (including expressive elements), concepts, terminology, internal/external musical context/structure, culture, listening, hearing, performing, and personal experiences, among others. This range of considerations is supported by philosophical literature on the general nature of understanding and attempts to resolve the tension between understanding music through generic concepts and understanding music through culture. The important point of the multidimensional nature of understanding for music education is that levels of sophistication of understanding are suggested and that moving from a less sophisticated to a more sophisticated level of understanding music should be a major aim of music education. Finally, I consider the educational implications of my range of considerations. Teaching for understanding music crossculturally involves both "top down" (teaching music through concepts) and "bottom up" (teaching music through culture) approaches. It also includes all the ways in which we engage ourselves with music: listening, performing, composing, improvising, and reading.
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Books on the topic "Music – Examinations"

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1993.

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Music, Associated Board of the Royal Schools of. Theory of music examinations. London: Associated Board, 1993.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1994.

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Music, Associated Board of the Royal Schools of. Theory of music examinations. London: Associated Board, 1994.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1994.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1994.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1994.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1994.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1994.

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Associated Board of the Royal Schools of Music. Theory of music examinations. London: Associated Board, 1993.

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Book chapters on the topic "Music – Examinations"

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Pálmason, Haukur, Björn Þór Jónsson, Markus Schedl, and Peter Knees. "Music Genre Classification Revisited: An In-Depth Examination Guided by Music Experts." In Music Technology with Swing, 49–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01692-0_4.

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Sallis, Friedemann. "A spectral examination of Luigi Nono’s A Pierre. Dell’azzurro silenzio, inquietum (1985) 1." In Live Electronic Music, 275–89. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-14.

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Kenny, Ailbhe. "Body Politics: Positioning the Pregnant Researcher Amongst Asylum Seekers." In The Politics of Diversity in Music Education, 29–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_3.

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AbstractResearcher positionality has gained increased attention in recent years, and music education is following suit. Carrying out research that addresses diversity in music education demands a high level of reflexivity and a problematising of one’s own position as researcher. This chapter offers critical insights into the complexity of such a positioning and how research practices might reflect, confirm and/or disrupt the existing ‘body politic’ that our bodies signify. Researcher positionality is here examined in terms of pregnancy within a research project based at an asylum seeker accommodation centre. Applying a Butlerian lens to the examination, the chapter uncovers how the researcher’s pregnant body was ‘performed’ and became the main focus of ‘recognition’ amongst the people encountered at the centre. These processes of ‘performing’ and being ‘recognised’ as a ‘pregnant researcher’ manifested in various ways such as gaining access, credibility, trust, relationships, ethical considerations and power. Thus, the chapter opens a space to reflect critically on researcher positionality and specifically its influence on the research process in sites that seek to understand diversity in music education.
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Koskela, Minja, Anna Kuoppamäki, Sidsel Karlsen, and Heidi Westerlund. "The Paradox of Democracy in Popular Music Education: Intersectionalizing “Youth” Through Curriculum Analysis." In The Politics of Diversity in Music Education, 135–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_10.

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AbstractIn this chapter, we unpack the complex politics of popular music education (PME) in schools through an examination of the ways in which youth and youth culture are represented in the Finnish National Core Curricula (2004 and 2014). Interrogating commonly held conceptualizations of diversity in music education, we identify a paradox in school-based PME which, on the one hand, aims toward democratic classroom practice yet, on the other, neglects diversity by approaching youth as a homogenous group. Challenging common analytical points of departure in PME research, we argue that scholars and educators need to recognize the multiple and intersecting identities of students if PME is to afford them equal opportunities for participation. Overall, we suggest that through the analytical lens of intersectionality, PME may be better positioned to take into account students’ own experiences of inequalities, providing new perspectives on diversity at the policy level. Thus, intersectionality could provide a useful analytical frame in the process of furthering further democratic practice in the classroom.
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Acharyya, Arnav, Arpan Losalka, Pravir Singh Gupta, and Ganapati Panda. "Development of an Automated Examination Seating Arrangement Generation System Using Music Inspired Harmony Search Algorithm." In Advances in Intelligent and Soft Computing, 301–9. India: Springer India, 2012. http://dx.doi.org/10.1007/978-81-322-0487-9_29.

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Whitley, Ran. "Examination of the Cross-Disciplinary Connection and Cross-Disciplinary Integration of ESL and Music Pedagogies." In Empowering 21st Century Learners Through Holistic and Enterprising Learning, 189–96. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4241-6_19.

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Ho, Wai-Chung. "The Challenges of Implementing Diverse Political Directives in Contemporary China: Between Creativity and Confucianism." In The Politics of Diversity in Music Education, 103–17. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_8.

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AbstractThe People’s Republic of China (PRC) was founded as a communist state in 1949 within the framework of the collective leadership model under the Communist Party of China (the single-party system in China). After experiencing sociopolitical and economic changes, the PRC has moved to the free market economy of globalisation in the global age. The evolution of Chinese politics and the economic system has resulted in more diversity and changes in school education, along with struggles to adjust to these changes. Along this line, this chapter will examine the complex relationship between the politics of diversity, Confucianism, and creativity education, particularly in response to the views of Chinese teachers from Beijing via in-depth, semi-structured individual interviews on the implementation of a creativity policy in school music education. Based on current education policies and the interview data collected for this study on the examination of the nature of creativity, this chapter will conclude with a discussion of how school music education may help initiate a dialogue on the politics and nature of creativity and cultural identity in response to the challenges of contemporary political and cultural values between creativity and Confucianism that prevail in the global age of China.
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"Public examinations 1." In Learning to Teach Music in the Secondary School, 166–85. Routledge, 2005. http://dx.doi.org/10.4324/9780203977439-20.

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"Public examinations 2." In Learning to Teach Music in the Secondary School, 186–203. Routledge, 2005. http://dx.doi.org/10.4324/9780203977439-21.

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LeMoine, Rebecca. "The Panharmonic Music of the Piraeus." In Plato's Caves, 91–132. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936983.003.0003.

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This chapter examines the treatment of foreigners in Plato’s Republic. It argues that by giving the dialogue a diverse setting and cast of characters, Plato indicates the importance of cross-cultural engagement in provoking examinations of justice. As the drama unfolds, Plato demonstrates this by depicting foreigners and metics helping the dialogue’s Athenian characters recognize the discordance within the Athenian belief that one should seem just, but be unjust. Although this philosophy was initially the backbone of Athenian imperialism, eventually citizens came to use it on each other, with the help of the sophists’ teachings. As the dialogue proceeds, the incongruity between Socrates’ deeds (visiting a diverse place, worshipping a non-Greek goddess, applauding a non-Greek procession, and engaging in an all-night discussion with foreigners) and the city he and his interlocutors develop in speech (which excludes the foreign and treats non-Greeks as enemies) serves to prompt reflection on the tension found in Greek attitudes toward barbarians.
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Conference papers on the topic "Music – Examinations"

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Xiong, Xiaoyu. "The Goal of College Entrance Examinations and Its Implications for School Music Education: A Bourdieusian Perspective." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.063.

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Link, Martin. "Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.62.

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The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.
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Kogler, Susanne, Julia Mair, Juliane Oberegger, and Johanna Trummer. "Erich Marckhl – Musikausbildung in der Steiermark nach 1945. Brüche und Kontinuitäten." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.58.

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Nowadays, a detailed examination of the structure and development of music education in Styria after 1945 seems absolutely necessary, considering an overall lack of research on that topic and a predominant thematization of Vienna. The composer, music pedagogue and cultural politician Erich Marckhl played a pivotal role in music education before and after 1945. His network reached far beyond Styria. This article shall illustrate the development and interaction of all institutions connected to music education after 1945.the reorganization of the music school system, the reopening of the State Conservatory and its transformation into the Academy of Music and Performing Arts.
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Kállai, Viktória, Gábor L. Szepesi, and Péter Mizsey. "Propylene-Propane Rectification Column's Examination." In MultiScience - XXXIII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2019. http://dx.doi.org/10.26649/musci.2019.044.

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Zorn, Magdalena. "Musik mit dem Radio hören: Über den Begriff der musikalischen Aufführung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.77.

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This article focuses on the phenomenon of listening to music via radio transmission. In an examination of linguistic findings and media archaeological observations, the specific performance characteristics of mediatized music are worked out using the example of a radio broadcast of a Beethoven symphony. The music-aesthetic and sociological essay “The Radio Symphony: An Experiment in Theory” (1941), written by Theodor W. Adorno during his stay in New York, is subjected to a re-reading. Although Adorno showed the full scope of his cultural conservatism in this essay, his thoughts nevertheless exemplify a function of technically mediated music reception that seems to be constitutive for the concept of musical performance as a whole.
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Kállai, Viktória, and L. Gábor Szepesi. "Propane/Propylen separation's examination with simulation." In MultiScience - XXXII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2018. http://dx.doi.org/10.26649/musci.2018.037.

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Udvardi, Bella, Róbert Géber, and László A. Gömze. "Examination of the Properties of Dental Ceramics." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.032.

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Pan, Xunyu, Timothy J. Cross, Liangliang Xiao, and Xiali Hei. "Musical examination to bridge audio data and sheet music." In IS&T/SPIE Electronic Imaging, edited by Qian Lin, Jan P. Allebach, and Zhigang Fan. SPIE, 2015. http://dx.doi.org/10.1117/12.2083407.

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Dargai, Viktória, and László Varga. "The Examination of the Mechanical Properties of Inorganic Core Sands." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.039.

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Ferencsik, Viktoria, and Gyula Varga. "Examination of the Change in Surface Micro-Hardness of Burnished Aluminium Alloy Components." In MultiScience - XXXIII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2019. http://dx.doi.org/10.26649/musci.2019.087.

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