Academic literature on the topic 'Music Influence Childhood'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Music Influence Childhood.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Music Influence Childhood"
1
Chong, Angela A. "Elusive Kodály Part I: Searching for Hungarian Influences in US Preschool Music Education." Hungarian Cultural Studies 15 (July 19, 2022): 33–44. http://dx.doi.org/10.5195/ahea.2022.463.
Full textAbstract:
This paper is the first part of two articles exploring whether and how Hungarian music pedagogues have influenced early childhood music education in the United States. Using less-known publications and archived materials, this study moves beyond the well-documented history of the Hungarian pedagogue, Zoltán Kodály’s influence upon American general music education to focus on Kodály’s early childhood concepts, which form the backbone of the Hungarian philosophy of music education. Through the lives and work of the Hungarian and American music educators, Katinka Dániel, Katalin Forrai, Sister Lorna Zemke and Betsy Moll, I delineate a pedigree of distinguished female Kodály protégés professing a passion for Hungarian early childhood music pedagogy that did not mainstream into US preschools. In words spoken by and about these scholar-educators, my research locates the systemic and cultural factors contributing to the challenge of implementing Hungarian musical ideas in US preschools. To round out a description of the elusive Kodály influence on US early childhood music, this analysis also draws upon my own Los Angeles experience in searching for a quality Kodály education for my young toddlers.
2
Andang’o, Elizabeth Achieng’. "The role of music in shaping children’s self-knowledge and identity: Perspectives from an African setting1." International Journal of Music in Early Childhood 17, no. 1 (May 1, 2022): 65–75. http://dx.doi.org/10.1386/ijmec_00043_1.
Full textAbstract:
Music-making is a natural childhood activity. This is evidenced by the increase in research and scholarship covering diverse aspects of children’s interaction with music. This keynote address invites us to reflect on the ways in which music shapes young children’s self-knowledge and identity by considering their musical needs, their interactions with music, what they and their adult caregivers experience as they participate in musicking and how this entire encounter may nurture their growing musicality. Acknowledging the influence of context in nurturing musical childhoods, four settings of home, school, church and the community activity of Isukuti performing arts are examined through lenses of social and cultural psychology and African Indigenous knowledge systems. The discussion ends with a call for educators, researchers and practitioners to consolidate ongoing and future efforts in nurturing musical childhoods, particularly by adding the sub-Saharan Africa perspective to the kaleidoscope of global activities that constitute children’s musical journeys
3
Lamont, Alexandra, and Jessica Crich. "Where do our music preferences come from? Family influences on music across childhood, adolescence and early adulthood." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 25–43. http://dx.doi.org/10.1386/jpme_00073_1.
Full textAbstract:
While much is known about the influence of peers and parents in developing musical memories and preferences, the wider family context has not yet been considered. We present novel empirical evidence from surveys (N = 100) with young adults and interviews (N = 15) and surveys (N = 24) with young adults and their influencers, which sheds light on how family dynamics influence the development of music listening, habits and preferences. Close family relationships were associated with more shared musical experiences, positive musical memories and greater tolerance for different musical styles, with little evidence for conflict between parents and adolescents. Many memorable experiences in early adolescence were shared with parents, and parents’ own preferences were passed on. Other family members also played important roles, sometimes substituting for parents, and friends were also influential as surrogate siblings. Family in a broader sense thus influences enculturation and provides a supportive shared context for musical development.
4
Lamont, Alexandra, and Jessica Crich. "Where do our music preferences come from? Family influences on music across childhood, adolescence and early adulthood." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 25–43. http://dx.doi.org/10.1386/jpme_00073_1.
Full textAbstract:
While much is known about the influence of peers and parents in developing musical memories and preferences, the wider family context has not yet been considered. We present novel empirical evidence from surveys (N = 100) with young adults and interviews (N = 15) and surveys (N = 24) with young adults and their influencers, which sheds light on how family dynamics influence the development of music listening, habits and preferences. Close family relationships were associated with more shared musical experiences, positive musical memories and greater tolerance for different musical styles, with little evidence for conflict between parents and adolescents. Many memorable experiences in early adolescence were shared with parents, and parents’ own preferences were passed on. Other family members also played important roles, sometimes substituting for parents, and friends were also influential as surrogate siblings. Family in a broader sense thus influences enculturation and provides a supportive shared context for musical development.
5
Lamont, Alexandra, and Jessica Crich. "Where do our music preferences come from? Family influences on music across childhood, adolescence and early adulthood." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 25–43. http://dx.doi.org/10.1386/jpme_00073_1.
Full textAbstract:
While much is known about the influence of peers and parents in developing musical memories and preferences, the wider family context has not yet been considered. We present novel empirical evidence from surveys (N = 100) with young adults and interviews (N = 15) and surveys (N = 24) with young adults and their influencers, which sheds light on how family dynamics influence the development of music listening, habits and preferences. Close family relationships were associated with more shared musical experiences, positive musical memories and greater tolerance for different musical styles, with little evidence for conflict between parents and adolescents. Many memorable experiences in early adolescence were shared with parents, and parents’ own preferences were passed on. Other family members also played important roles, sometimes substituting for parents, and friends were also influential as surrogate siblings. Family in a broader sense thus influences enculturation and provides a supportive shared context for musical development.
6
Valerio, Wendy H., and Nancy K. Freeman. "Pre-Service Teachers’ Perceptions of Early Childhood Music Teaching Experiences." Bulletin of the Council for Research in Music Education, no. 181 (July 1, 2009): 51–69. http://dx.doi.org/10.2307/40319227.
Full textAbstract:
Abstract The purpose of this case study was to examine the reflections of pre-service early childhood and elementary education majors on their music teaching experiences that were a part of their undergraduate early childhood music methods course. The research questions guiding this investigation were: (a) How did participants perceive themselves and young children while they engaged in a series of early childhood pre-service music teaching experiences and (b) how did the participants perceive those experiences to influence teacher preparation and other life experiences? Participants were 6female undergraduates who completed a series of music teaching experiences and reflections during an early childhood music methods course. Each participant also agreed to be interviewed three semesters following the completion of the course. Three themes emerged with regard to the first research question: (a) developing confidence, (b) recognizing children’s music responses and development, and (c) adapting while teaching. Two themes emerged with regard to the second research question: (a) transferring music skills, content, and activities and connecting to community; and (b) using reflection for understanding child development and self-development. Participants gained experience at reflection-in-action, appreciated reflection on reflection, and valued repeated authentic music teaching experiences and developing reflective practices early in their academic careers.
7
Christiner, Markus, Valdis Bernhofs, and Christine Groß. "Individual Differences in Singing Behavior during Childhood Predicts Language Performance during Adulthood." Languages 7, no. 2 (March 24, 2022): 72. http://dx.doi.org/10.3390/languages7020072.
Full textAbstract:
Research on singing and language abilities has gained considerable interest in the past decade. While several studies about singing ability and language capacity have been published, investigations on individual differences in singing behavior during childhood and its relationship to language capacity in adulthood have largely been neglected. We wanted to focus our study on whether individuals who had sung more often during childhood than their peers were also better in language and music capacity during adulthood. We used questionnaires to assess singing behavior of adults during childhood and tested them for their singing ability, their music perception skills, and their ability to perceive and pronounce unfamiliar languages. The results have revealed that the more often individuals had sung during childhood, the better their singing ability and language pronunciation skills were, while the amount of childhood singing was less predictive on music and language perception skills. We suggest that the amount of singing during childhood seems to influence the ability to sing and the ability to acquire foreign language pronunciation later in adulthood.
8
Ahn, Hyoun-Jin, and Hae-Lyun Moon. "The Influence of Temperament of Early Childhood Teachers on Music Teaching Efficacy." Korean Music Education Society 47, no. 4 (November 30, 2018): 69–84. http://dx.doi.org/10.30775/kmes.47.4.04.
Full text
9
Cogo-Moreira, Hugo, and Alexandra Lamont. "Multidimensional measurement of exposure to music in childhood: Beyond the musician/non-musician dichotomy." Psychology of Music 46, no. 4 (June 3, 2017): 459–72. http://dx.doi.org/10.1177/0305735617710322.
Full textAbstract:
Much research in music psychology characterizes the music background of its participants in a dichotomous manner, labeling participants as “musicians” and “non-musicians” or professionals and non-professionals. However, this terminology is inconsistent from study to study, and even more sophisticated measures fail to accurately represent music experiences; moreover, there is no standardized measure suitable for use with younger participants. This article presents a new measure, the Exposure to Music in Childhood Inventory, for capturing the amount and type of exposure to music activities suitable for use with children. Children from public and private school, aged 5 to 13 years old ( N = 1006; M = 8.36 years old, SD = 1.5 years) completed the inventory, and through a combination of exploratory and confirmatory factor analysis a two-factor solution was obtained. The first factor includes personal music listening activities, home musical environment and the influence of television and the internet; the second reflects more social, active and public elements of music-making, playing an instrument and performing. This scale is suitable for use in a wide range of future research to more accurately assess the kinds of music activities children have access to in a dimensional way, which can have a bearing on their understanding of music.
10
Foster, E. Michael, and Jade V. Marcus Jenkins. "Does Participation in Music and Performing Arts Influence Child Development?" American Educational Research Journal 54, no. 3 (June 2017): 399–443. http://dx.doi.org/10.3102/0002831217701830.
Full textAbstract:
This article reconsiders the association between childhood arts participation and cognitive and developmental outcomes. Using data from a large, nationally representative sample with extensive covariates, we employ propensity score weighting to adjust comparisons of children who do and do not participate in arts education (music and performing arts lessons) to address potential confounding from selection into arts education. We examine a broad range of outcomes in adolescence and early adulthood (e.g., GPA, self-esteem, college attendance). Our results show that selection into arts education is at least as strong as any direct effect on outcomes, providing no support for the causal associations between arts participation and cognitive outcomes. We do find that arts education increases arts engagement during young adulthood.
Dissertations / Theses on the topic "Music Influence Childhood"
1
Rognini, Antonella. "L'influenza della formazione musicale nell'infanzia. Ricerca quali-quantitativa delle esperienze musicali infantili orientative degli adolescenti in uscita dai licei musicali della Toscana." Doctoral thesis, 2022. http://hdl.handle.net/2158/1271388.
Full textAbstract:
Abstract. A partire da una ricognizione delle teorie relative ai molteplici aspetti formativi ed educativi della musica nell'infanzia, il presente contributo ha lo scopo di mettere in evidenza gli elementi che concorrono nell'orientamento verso questa forma d'arte.
Uno studio di caso, che ha comparato un campione di studenti e studentesse in uscita da licei Musicali, Artistici e ad indirizzo Scienze Umane in Toscana, ha rilevato l'incidenza delle esperienze musicali infantili scolastiche ed extrascolastiche nel direzionare le scelte successive. L'approccio narrativo della ricerca ha catturato spaccati di una realtà, pur circoscritta ad un contesto limitato, dalla cui interpretazione si offrono significativi spunti di riflessione sul tema, tasselli di partenza per estendere una consapevolezza educativa in direzione di una crescita personale sempre più completa.
Starting from a review of the theories relating to the multiple formative and educational aspects of music in childhood, this contribution aims to highlight the elements that contribute to the orientation towards this art form.
A case study, comparing a sample of male and female students coming out of high schools of Music, Art and Human Sciences in Tuscany, revealed the incidence of school and extracurricular musical experiences in childhood. The research's narrative approach captured flashes of a reality, despite circumscribed to a limited context, the interpretation of which offers significant food for thought on the subject, starting points for extending an educational awareness in the direction of increasingly complete personal growth.
Books on the topic "Music Influence Childhood"
1
Wachter, C., and Theresa Rieger. ... als Paul McCartney mich anrief: Mein erstes Musikerlebnis. Leipzig: E. A. Seemann, 2014.
Find full text
2
The Modfather: My Life with Paul Weller. Arrow, 2007.
Find full text
3
Lines, David. The Modfather: My Life with Paul Weller. Arrow, 2007.
Find full text
4
Hicks, Michael, and Christian Asplund. Orpheus in Tennis Sneakers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0001.
Full textAbstract:
This chapter describes Wolff's childhood and formative years in the world of music. Born to cellist Kurt Wolff and his wife Helen in 1934, Christian Wolff grew up during an era of political unrest, which later culminated in the Second World War. Though born in France to German parents, Wolff would spend a significant part of his life in the United States, where he had begun an informal education in music, and where he would eventually study under his mentor John Cage, from whom Wolff would draw the fundamental ideas, habits, and relationships that would guide the rest of his compositional career. Here, the chapter shows how Wolff's early opus—which set the pattern for all his subsequent compositional periods—were formed and influenced through Cage's instruction. Yet the chapter shows that this influence proved reciprocal, with Wolff likewise leaving his own lasting impacts upon Cage's compositional career.
5
Bickford, Tyler. Schooling New Media. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.001.0001.
Full textAbstract:
Schooling New Media is an ethnography of children’s music and media consumption practices at a small elementary and middle school in Vermont. It examines how transformations in music technologies influence the way children, their peers, and adults relate to one another in school. Focusing especially on digital music devices—MP3 players—it reveals the key role of intimate, face-to-face relationships in structuring children’s uses of music technologies. It explores how headphones mediate face-to-face peer relationships, as children share earbuds and listen to music with friends while participating in their peer groups’ dense overlap of talk, touch, and gesture. It argues that kids treat MP3 players less like “technology” and more like “toys,” domesticating them within traditional childhood material cultures already characterized by playful physical interaction and portable objects such as toys, trading cards, and dolls that can be shared, manipulated, and held close. Kids use digital music devices to expand their repertoires of communicative practices—like passing notes or whispering—that allow them to maintain intimate connections with friends beyond the reach of adults. Kids position the connections afforded by digital music listening as a direct challenge to the overarching language and literacy goals of classroom education. Schooling New Media is unique in its intensive ethnographic attention to everyday sites of musical consumption and performance. And it is uniquely interdisciplinary, bringing together approaches from music education, ethnomusicology, technology studies, literacy studies, and linguistic anthropology to make integrative arguments about the relationship between consumer technologies, childhood identities, and educational institutions.
6
Pinzino, Mary Ellen. Giving Voice to Children's Artistry. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197606520.001.0001.
Full textAbstract:
This book addresses the development of children’s artistry in the music classroom and children’s chorus. It unveils children’s artistry, identifying its characteristic behaviors, its progression of development and necessary components for growth, and guides the practical application of principles addressed. The book addresses the development of children’s artistry from the perspective of both the choral art and the process of music learning, with each informing the other, rooting artistry in music learning and developing artistry in an ongoing manner throughout childhood. It presents the musical mind as the gateway to children’s artistry. It discusses the power of movement in the embodiment of children’s artistry. It examines song and its role in the development of children’s artistry, demonstrating how rhythm, melody, and text—independently and together—influence children’s developing artistry musically, expressively, and vocally, at all ages and stages. Musical examples throughout demonstrate principles presented, provide professional development with tonalities, meters, movement, and songs, and offer a multitude of songs of increasing difficulty for the music classroom and children’s chorus that compel the musical mind, prompt artistic expression, and enable vocal technique. Practices and techniques that facilitate the development of children’s artistry are included, and the book can be used with any methodology. This book leads teachers to draw artistry out of every child and draw every child into the choral art. Content is intended for application with children from kindergarten through seventh grade, though it is also appropriate with older singers in the process of developing artistry.
7
Berry, Michael. Jia Zhangke on Jia Zhangke. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022732.
Full textAbstract:
Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia’s life, art, and approach to filmmaking. Jia and Berry’s conversations range from Jia’s childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director’s candid thoughts on the art and challenges of filmmaking.
8
van der Schyff, Dylan, Andrea Schiavio, and David J. Elliott. Musical Bodies, Musical Minds. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/12117.001.0001.
Full textAbstract:
An enactive account of musicality that proposes new ways of thinking about musical experience, musical development in infancy, music and evolution, and more.Musical Bodies, Musical Minds offers an innovative account of human musicality that draws on recent developments in embodied cognitive science. The authors explore musical cognition as a form of sense-making that unfolds across the embodied, environmentally embedded, and sociomaterially extended dimensions that compose the enactment of human worlds of meaning. This perspective enables new ways of understanding musical experience, the development of musicality in infancy and childhood, music's emergence in human evolution, and the nature of musical emotions, empathy, and creativity. Developing their account, the authors link a diverse array of ideas from fields including neuroscience, theoretical biology, psychology, developmental studies, social cognition, and education. Drawing on these insights, they show how dynamic processes of adaptive body-brain-environment interactivity drive musical cognition across a range of contexts, extending it beyond the personal (inner) domain of musical agents and out into the material and social worlds they inhabit and influence. An enactive approach to musicality, they argue, can reveal important aspects of human being and knowing that are often lost or obscured in the modern technologically driven world.
9
Calonne, David Stephen. R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496831859.001.0001.
Full textAbstract:
Robert Crumb: Literature, Autobiography, and the Quest for Self is the first monograph to explore the intersection between Crumb’s love of literature, his search for the meaning of life and the ways he connects his own autobiography with the themes of the writers he has admired. Crumb’s comics from the beginning reflected the fact that he was a voracious reader from childhood and perused a variety of authors including Charles Dickens, J.D. Salinger, and, during his adolescence, Beat writers like Jack Kerouac. He was profoundly influenced by music, especially the blues, and the ecstatic power of music appears in his artwork throughout his career. The first chapter explores the ways Robert Crumb illustrates works by William S. Burroughs, Jack Kerouac, Allen Ginsberg, Gary Snyder, and Charles Bukowski. The book continues with individual chapters devoted to Crumb’s illustrations of biographies of blues musicians Jelly Roll Morton and Charley Patton; Philip K. Dick; Jean-Paul Sartre; Franz Kafka; and concludes with an exploration of Crumb’s illustrations to the book of Genesis. In all his drawings accompanying literary texts, Crumb returns to a number of key themes regarding his personal spiritual quest such as suffering and existential solitude; the search for romantic and sexual love; the impact of entheogens such as LSD on his quest for answers to his cosmic questions. We discover that Crumb gradually embraces a mysticism rooted in his studies of Gnosticism. In the final chapter on the book of Genesis, readers may observe the ways Crumb continues his critique of monotheistic religion in a variety of subtle ways. Robert Crumb: Literature, Autobiography, and the Quest for Self concludes with an Epilogue which discusses Crumb’s present-day life in France and the ways he has continued to engage with spiritual and philosophical themes in his later work.
10
Harker, Brian. Sportin' Life. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197514511.001.0001.
Full textAbstract:
This book is the first published biography of the tap dancer, singer, actor, and comedian John W. Bubbles. From an impoverished childhood in Nashville, Bubbles rose to prominence in the world of entertainment, fashioning a long and varied career in vaudeville, Broadway, movies, and television. Along the way he invented a new style of tap dancing (now called rhythm tap) and created the role of Sportin’ Life for George Gershwin’s classic opera Porgy and Bess. With pianist Buck Washington he formed the team Buck and Bubbles, one of the greatest acts in the history of vaudeville. As a tap dancer in the 1920s and 1930s, Bubbles not only inspired a generation of dancers but also probably influenced the development of jazz music as well. Through it all he had to contend with the soul-crushing barriers of a country built on white supremacy. Although his dancing innovations provided a model for white movie stars such as Fred Astaire and Eleanor Powell, Bubbles himself was denied success in Hollywood because of his skin color. Even in vaudeville, his natural element, the powers-that-be artificially restricted his advancement so as not to overwhelm his white competitors. These injustices were the greatest sorrows of a heady and tumultuous life, one marked by dazzling professional achievements as well as corrosive personal addictions. Drawing from a wealth of newly discovered primary sources, this book places that life in the context of its time.
Book chapters on the topic "Music Influence Childhood"
1
Farrant, Camilla, Tal-Chen Rabinowitch, and Nicola Dunbar. "Musical care in childhood." In Collaborative Insights, 44–69. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197535011.003.0003.
Full textAbstract:
Musical care has multiple roles in the nurturing of a child. Music can have a powerful influence on children’s emotions, behaviour, and cognition. The chapter focuses on the ages 5 to 12 years: a period of childhood that typically encompasses rapid and vast developmental change. Drawing together research and clinical perspectives from the authors’ disciplines of music psychology, music education, and music therapy, the chapter frames itself around the three main areas of childhood development: cognitive, physiological/physical, and social-emotional. Research on the cognitive outcomes of musical care for children range from improved spatial abilities and IQ to enhanced memory and verbal intelligence. The physiological outcomes include pain reduction, relaxation, and reduced secretion of the stress hormone cortisol. The physical outcomes include improved gross and fine motor skills, temporal coordination, strength, and greater ability to synchronize with others. Social-emotional outcomes ranges from changes in intrapersonal capacities such as self-esteem, confidence, emotional regulation, and stability to changes in interpersonal capacities, including empathy, social relationships and bonding, shared attention, and communication skills. The chapter discusses the various methodologies used in research studies on music and children and suggests ways towards interdisciplinary collaboration. Then further research directions for musical care in childhood are presented. In conclusion, the authors argue that music is an act of caregiving that can influence the quality of a child’s development and therefore offers one way to nurture children’s cognitive, physical, and social-emotional capacities in preparation for the next stage of life.
2
Yetti, E., and V. Anggraini. "Influence of playing motion and songs on the social skills of children in early childhood." In 21st Century Innovation in Music Education, 497–505. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-66.
Full text
3
Deutsch, Diana. "Speech and Music Intertwined." In Musical Illusions and Phantom Words, 170–86. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0012.
Full textAbstract:
Chapter 11 explores relationships between speech and music. The history of thought about these relationships is reviewed. The importance of prosody in speech—musical qualities such as variations in pitch, tempo, timing, loudness, and sound quality—is discussed. There follow reviews of the emotional response of infants to the musical qualities of their mothers’ speech, and how such qualities help children acquire language. Further studies are discussed indicating that musical training aids children in processing the prosodic qualities of speech. Other studies show an influence of language on music perception. The tritone paradox, discussed in Chapter 5, shows that how people hear a pattern of tones can vary with the language or dialect to which they were exposed in childhood. Also, as discussed in Chapter 6, speakers of tone language, such as Mandarin, Cantonese, and Vietnamese, have a far higher prevalence of absolute pitch in music than do speakers of non-tone languages such as English. Other work has shown an influence of language on the perception of timing in music perception, and on musical composition. Yet music and language generally differ in their physical characteristics and functions. Whereas speech serves primarily to inform the listener about the world, music modulates feelings and emotions. Last, the question of how music and speech evolved is discussed, and it is argued that they may both have their origins in a vocal generative system called musical protolanguage.
4
Evans, Paul. "Motivation and Self-Regulation in Music, Musicians, and Music Education." In The Oxford Handbook of Self-Determination Theory, 638—C31P168. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197600047.013.32.
Full textAbstract:
Abstract When self-determination theory (SDT) researchers study musicians, they find psychological needs-satisfying experiences and intrinsic motivation in abundance. But learning music is difficult and poses unique challenges to needs-satisfying experiences, including long, slow learning curves, performance anxieties, and pressure from parents and teachers. At more advanced levels of training, stress, competitiveness, perfectionism, high-stakes evaluations, and financial pressures can all influence intrinsic motivation and persistence. Pervading all music learning contexts is the need to practice, which itself requires considerable motivational resources to sustain regularly and with attention and engagement. This chapter discusses music as both an evolved means for the satisfaction of basic psychological needs and a medium for the expression of self and social identity. It reviews research studies in music education, showing the importance of basic psychological needs and autonomous motivation for practice, self-regulated learning, enjoyment, and long-term persistence in music learning across a range of contexts, including childhood music experiences, lessons in music studios, school music education experiences, and advanced training in higher education. Across these levels of experience with music SDT research reveals the intrinsic benefits of music and helps explain the varied outcomes observed in music education.
5
Bradley, Ian. "1842‒1852." In Arthur Sullivan, 12–24. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0002.
Full textAbstract:
Three of Arthur Sullivan’s grandparents were Irish and probably Roman Catholic. This chapter explores his ancestry and the Irish and Roman Catholic influences on his character, his faith, and his music. It considers and dismisses the suggestions made during his lifetime that he had Jewish and negroid antecedents. It covers his childhood in Sandhurst, where his father was military bandmaster, the influence of the parish church there, his early schooling, and his entrance into the Chapel Royal as a chorister.
6
Bradley, Ian. "1852‒1861." In Arthur Sullivan, 25–51. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0003.
Full textAbstract:
Arthur Sullivan’s musical formation was effected during his teenage years in three institutions: the Chapel Royal, where he was a chorister between the ages of 12 and 15, the Royal Academy of Music, where he studied from 14 to 16 as the first Mendelssohn scholar, and the Conservatory of Music in Leipzig which he attended from the age of 16 until just before his 19th birthday. Each of these places had a considerable impact on him, deepening his childhood love of church music and laying the foundations of his later career as a composer and conductor of sacred works. His time at the Chapel Royal also played a significant role in his spiritual development, owing partly to the strong influence of Thomas Helmore, the master of the choristers. In his teens, Sullivan composed several anthems and got to know many of the leading church musicians of the day. His training in church music is compared to the similar grounding in church and religious music experienced by several of the most prominent Continental European composers of operetta in the mid-nineteenth century.
7
Hale, Grace Elizabeth. "Local Color." In Cool Town, 182–230. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654874.003.0006.
Full textAbstract:
On Saturdays, students enrolled in the Aspects of Folk Culture class at UGA visited tiny Georgia town to meet “folk” artists. Visiting folk artists became a bohemian rite of passage in Athens. For UGA students from the suburbs, folk artists suggested a rootedness in place and connection to older ways of living that seemed racial and interesting. For UGA students from small towns, folk artists provided a way to link childhood experiences with current interests in art and music as well as alternative ways of seeing the world. The work of folk artists, like the indie scene, seemed like a secret as most Americans ignored it. In these exchanges, Athens bohemians travelled in the well-worn paths of earlier waves of folk revivalism. By the mid-1980s, the folk aesthetic had become a profound influence in the Athens scene. Beyond art and music-making, going to folk artists’ and musicians’ houses and studios exposed Athens residents to alternative ways of living. As they began to pay attention to rural vernacular culture, these scene participants gradually developed their own bohemian version of southern pride. But Athens bohemians never quite solved the problem of creating an alternative culture that people of color wanted to join.
8
Mungons, Kevin, and Douglas Yeo. "Southern Roots and Early Years." In Homer Rodeheaver and the Rise of the Gospel Music Industry, 38–57. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043840.003.0003.
Full textAbstract:
Homer Rodeheaver’s life-long work in song-leading and revivalism started with his family’s roots in West Virginia, Ohio, and Tennessee after the Civil War. His attitudes about gospel music and race were deeply influenced by formative events from his childhood, including family attendance in Methodist churches, racism and lynching near his home, early experiences playing the trombone, and a close relationship with his brothers. While studying at Ohio Wesleyan University he led football cheers and blackface minstrel shows, then led congregational singing at local revival meetings. In 1905 he began traveling as music director for the W. E. Biederwolf revivals, a position that led to national notice
9
Gupta, Dipankar, and Ramin Jahanbegloo. "From Bihar to Delhi." In Talking Sociology, 1–36. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199489374.003.0001.
Full textAbstract:
This section provides a biography of Dipankar Gupta starting from his early childhood to his college life at the Delhi School of Economics and JNU. It informs the readers about the several influences—migration and metropolises, orthodox and apolitical family, Western Pop music, philosophers and professors—Gupta had, which helped him shape his own opinion and ideology. From Partition to the Nehruvian era, Emergency to the war with China, many significant historical events and their impact on Gupta’s ideology, have been discussed here. He also discusses his perspective on religion and how Marx and Durheim’s views on religion impacted him. A great admirer of Tagore’s work—particularly his views on humanism, aesthetics, religion, and politics—he became aware of them in his twenties and was tremendously overwhelmed by the perspicacity and insight with which he propounded these issues.