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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.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Mohd Sheriff, Fatin Hani, and Pan Kok Chang. "Factors Influencing the Choice of Music Studies in Malaysian Public Universities." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 1 (January 10, 2022): 313–24. http://dx.doi.org/10.47405/mjssh.v7i1.1241.
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Introducing music in the early childhood can help influence students to have a positive attitude in pursuing music in a higher level of education. Examining the developmental aspects of the decision to continue music studies among undergraduate music students is necessary in order to determine which factors had the most influences. This study investigates factors influencing choice of music studies among undergraduate music students in Malaysian public universities namely institutional factors, academic factors, financial factors, and personal/social factors. A survey method was adopted, and 489 respondents were chosen using proportionate stratified random sampling to answer the questionnaire. Data were analysed using the Statistical Package for the Social Sciences (SPSS). The finding showed that academic factors was ranked as the most influential factor on choice of music studies among music students. The results on inferential statistical analysis using independent-samples t-test and the One-Way Analysis of Variance (ANOVA) test showed that there were significant differences on factors influencing choice of music studies between ethnicities, universities attended, and instruments played. It is hoped that the findings will be beneficial to students, educators, and the university music programmes. Educators will also have access to the most up-to-date information in order to come up with strategies in encouraging students to study music.
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Chen-Hafteck, Lily. "Pitch abilities in music and language of Cantonese-speaking children." International Journal of Music Education os-31, no. 1 (May 1998): 14–24. http://dx.doi.org/10.1177/025576149803100102.
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The relationship between musical and linguistic pitch abilities in young children was explored. Developmental research demonstrated that abilities in pitch perception and production in early music and language development are closely integrated. Cross-cultural evidence also illustrated the influence of language characteristics on music, children's songs and spontaneous singing. A close examination into the singing ability of the Cantonese-speaking children in Hong Kong showed that pitch abilities in language can possibly enhance pitch accuracy in singing. It was therefore suggested that musical and linguistic abilities should be encouraged in close connection during early childhood.
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Kurowski, Andrew. "JUSTIN CONNOLLY IN INTERVIEW." Tempo 77, no. 303 (January 2023): 43–57. http://dx.doi.org/10.1017/s0040298222000808.
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AbstractIn this transcription of an interview between the former Editor of New Music at BBC Radio 3 and the composer Justin Connolly, Connolly discusses his life as a composer. He traces his development from childhood to studies at the Royal College of Music and Yale University and the influence of the composer Roberto Gerhard. Connolly's Poems of Wallace Stevens IV, his most recent work at the time of the interview, is considered in particular detail. The interview took place at the former British Music Information Centre in Stratford Place, London on 14 April 1993. TEMPO gratefully acknowledges the work of the Estate of Justin Connolly in transcribing the interview and permitting its publication.
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이수진. "Early Childhood Music Education in US-based Korean Preschools: Influence of its Culture and Teachers' Beliefs and Attitudes Toward Music Education." Journal of Future Music Education 2, no. 2 (December 2017): 53–70. http://dx.doi.org/10.36223/jnafme.2017.2.2.004.
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Fleiner, Carey. "The Influence of Family and Childhood Experience on the Works of Ray and Dave Davies." Popular Music and Society 34, no. 3 (July 2011): 329–50. http://dx.doi.org/10.1080/03007766.2010.522808.
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Treewong, Pitchayapa. "MOVEMENT AND RHYTHM ACTIVITIES WITH CREATIVITY FOR EARLY CHILDHOOD." International Journal of Social Science and Economic Research 07, no. 12 (2022): 3881–91. http://dx.doi.org/10.46609/ijsser.2022.v07i12.001.
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The topic of “Movement and Rhythm Activities with Creativity for Early Childhood” will be discussed in this academic essay. Early infancy is characterized by the need to move the body in order to expend physical energy and transmit excess energy, but at the same time, the child's body and mind are complete as a result of the movement. Movement and rhythmic activities are therefore categorized as core activities for child development since they are crucial and essential for a kid to fully develop. Children have therefore learned how to use each portion of their bodies via the use of movement and rhythmic activities, which is important to them because it gives them the chance to evaluate their talents, make decisions, and choose which motions to do. Children may learn how to treat one another via meaningful activity with peers, which will boost their confidence and reduce their superego. Through the use of music, children will be taught how to use their gross motor abilities to influence their personality as well as their environment, music enables children to acquire rhythm and foster inventiveness. Movement and rhythmic activities are therefore fundamental activities in the schedule of daily activities that the child must be encouraged to undertake, according to the Ministry of Education.
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Kalinde, Bibian, and Dorette Vermeulen. "Fostering children’s music in the mother tongue in early childhood education: A case study in Zambia." South African Journal of Childhood Education 6, no. 1 (December 3, 2016): 9. http://dx.doi.org/10.4102/sajce.v6i1.493.
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The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.
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Yoon, Ji-Young. "The Influence of the Musical Fairytale Creation Program Upon the Formation of Pedagogical knowledge of Music and Early Childhood Music Education Concept Map for Pre-Service Early Childhood Teachers." Korean Music Education Society 46, no. 4 (December 31, 2017): 105–28. http://dx.doi.org/10.30775/kmes.46.4.05.
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Christiner, Markus, and Susanne Reiterer. "Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children." Brain Sciences 8, no. 9 (September 1, 2018): 169. http://dx.doi.org/10.3390/brainsci8090169.
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Musical aptitude and language talent are highly intertwined when it comes to phonetic language ability. Research on pre-school children’s musical abilities and foreign language abilities are rare but give further insights into the relationship between language and musical aptitude. We tested pre-school children’s abilities to imitate unknown languages, to remember strings of digits, to sing, to discriminate musical statements and their intrinsic (spontaneous) singing behavior (“singing-lovers versus singing nerds”). The findings revealed that having an ear for music is linked to phonetic language abilities. The results of this investigation show that a working memory capacity and phonetic aptitude are linked to high musical perception and production ability already at around the age of 5. This suggests that music and (foreign) language learning capacity may be linked from childhood on. Furthermore, the findings put emphasis on the possibility that early developed abilities may be responsible for individual differences in both linguistic and musical performances.
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Pastor, Rosa María Serrano. "Integrando La Música En La Educación Infantil A Través Del Equipo Docente Interdisciplinar." European Scientific Journal, ESJ 13, no. 7 (March 31, 2017): 347. http://dx.doi.org/10.19044/esj.2017.v13n7p347.
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School education is a complex process in which students and teachers interact in a context. In order to obtain an adequate and complete advance in the field of educational research, it is necessary to study in depth the different parts of this process. This article focuses on the study of the interdisciplinary teamwork of teachers in a project on the awareness of the linguistic discourse, verbal and musical, in early childhood education. In this project the generalist teachers carried out the music-verbal activities with their students. The objective of this study was to analyse the influence of the work in teaching team, composed by generalist teachers and music specialist, in this project; examining the parameters that influence its functioning and observing the benefits of its application. The analysis has been carried out from the qualitative methodology, finding that previous knowledge and experience of each teacher, positive interdependence between them, shared responsibility and the role of the music specialist and of the School influence the proper functioning of this group. The teamwork carried out in this project has reported benefits, among which are the production of linguistic knowledge, training and professional development of the teachers involved. It is valued that the project is not only beneficial for students but also for teachers.
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Petersen, Suse. "Talent development in Chinese and Swiss music students." International Journal of Music Education 36, no. 2 (September 23, 2017): 230–43. http://dx.doi.org/10.1177/0255761417729544.
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Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and external factors affecting talent development. The students had similar opinions regarding the role of their teachers, the roles of internal and external factors in talent development, and their career goals. However, the students from China and Switzerland differed in their experiences of making and discussing music with peers, in the difficulties experienced during their music education, and in their relationship with their families. The results are a starting point for further comparative research on the perception and development of musical talent, and offer material for a mutual understanding of music students’ backgrounds in countries with differing music education traditions.
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Kreutz, Gunter, and Michael Feldhaus. "The Influence of Parent–Child Relationships on Musical Activity in the Family: Findings from a Longitudinal Panel Study." Music & Science 6 (January 2023): 205920432211493. http://dx.doi.org/10.1177/20592043221149351.
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Singing and playing musical instruments is seen as beneficial for parent–child relationships. Using longitudinal data from the German Panel Analysis of Intimate Relationships and Family Dynamics (Pairfam) we investigate the role of specific facets of parent–child relationships as predictors of family musical activity, namely Intimacy, that is, the degree of mutual sharing of thoughts and feelings, Admiration, that is, positive affirmative attitudes, and Prosocial Behavior, that is, showing empathy and consideration for others. Study 1 included responses from a total of N = 1,339 parents (71% mothers) and N = 1,783 children (52% male), and Study 2 differentiates between specific subsamples of parent–child relations. Data were submitted to a series of regression models. Study 1 showed that higher values of Intimacy were associated with greater music activities for both parent and child even when general levels of music activities decreased over time. Study 2 addressed cases in which mothers and fathers independently assessed the same child. The results showed similar patterns of association for both parents and children across studies. In addition, mothers perceived higher levels of family music activities than did fathers. Finally, high levels of Intimacy were associated with increased family music activity against the general trend of decline. Taken together, a strong and consistent pattern of a positive relationship between, on the one hand, mutual parent–child perceptions of trust and confidence, that is, Intimacy, and on the other hand, music activity, was found. These results confirm and extend earlier work to suggest a certain role of the quality of family relationships in pursuing musical activities from childhood to adolescence.
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MAIEREAN, Anca Diana, Claudia TONCA, PERNE Mirela Georgiana, Gabriela DOGARU, Ruxandra RAJNOVEANU, Ana Florica CHIS, Nicoleta Stefania MOTOC, and Roxana Ioana BORDEA. "Music, A “Body-Mind Medicine” In Rehabilitation Programs of Patients with Chronic Obstructive Pulmonary Disease." Balneo Research Journal, Vol.11, no.4 (December 5, 2020): 435–43. http://dx.doi.org/10.12680/balneo.2020.375.
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Chronic obstructive pulmonary disease (COPD) is a progressive disease characterized by dyspnea and chronic cough. The main risk factor is cigarette smoking, but there are other ones implicated in the COPD etiology such as air pollution, childhood asthma, aging, chemical exposure, dietary factors, and genetic predisposition. Besides, COPD is associated with several comorbidities that influence prognostic and management, like asthma, lung cancer, obstructive sleep apnea, cardiovascular disease, metabolic syndrome, and depression or anxiety. The management is multidisciplinary and its role is to ease symptoms, prevent complications, slow disease progression, and improve the quality of life. In the last years, many alternative techniques have been implemented such as speleotherapy, halotherapy, muscular training, neuromuscular electrostimulation, acupuncture, thermotherapy, and music therapy. From those, music therapy has become a form of “mind-body medicine” indispensable in rehabilitation programs, whether used actively or passively, and has gained a lot of interest in alternative medicine. Keywords: COPD, music therapy, alternative medicine,
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Ananda, Rizky Fauzy, Helena Evelin Limbong, and Hery Budiawan. "Saru Pakareman: Refleksi Pengalaman Diri sebagai Practice-led Research." Resital: Jurnal Seni Pertunjukan 23, no. 2 (August 1, 2022): 75–87. http://dx.doi.org/10.24821/resital.v23i2.7328.
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ABSTRACT This research on the art creation of Saru Pakareman's work aims to find the importance of repetition in both musical and extra-musical. This work is a process of creating musical compositions that depart from the reflection of the researcher's self-experience. This art creation research activity is based on musical and extra-musical experiences in the researcher's life that have an influence on the researcher's music writing style or language. These experiences are mostly found by researchers from everyday life from childhood in the realm of family (social) phenomena where the influence of cultural teachings brought by mothers plays a major role in the process of self-introduction and the researcher's musical style. The art creation research methodology used is Practice-led Research artistic research which is also integrated with ethnographic and phenomenological approaches. The stages carried out a) the collection of data on phenomena, minimalist music, repetitions, Sundanese, and drum patterns, b) deepening of art creation: Repetition, Art creation Internship, Laboratory, and Curation. The results of this art creation research are in the form of program music works based on family socio-cultural phenomena and repetitions with simple development, interpretation of laras saléndro padantara into the whole tone scale in Western music, as well as the transition of traditional musical instruments kendang, karawitan degung laras madenda, and karawitan jaipong into the form of a string ensemble presentation. The results of such art creation research prove that the importance of repetition in music as well as in the context of life. Without repetitions in music a piece will not sound musical, while in the context of life repetition is something that always exists in everyday life such as worship activities and life patterns, in the context of education repetition is the easiest and most basic way of learning to learn and recall about understanding something. Reflection on life-experience through Practice-led Research is proven to be an idea of art creation research and is able to bridge the gap between subjectivity and objectivity in scientific writing.ABSTRAK Penelitian penciptaan karya Saru Pakareman ini bertujuan untuk menemukan arti pending repetisi baik dalam musikal maupun ekstra-musikal. Karya ini merupakan proses penciptaan komposisi musik yang berangkat dari refleksi pengalaman diri penulis. Kegiatan penelitian penciptaan ini didasari oleh pengalaman musikal dan ekstra-musikal dalam hidup penulis yang memiliki pengaruh terhadap gaya atau bahasa penulisan musik penulis. Pengalaman pengalaman tersebut sebagian besar didapati penulis dari kehidupan sehari-hari sedari kecil dalam ranah fenomena (sosial) keluarga di mana pengaruh ajaran kebudayaan yang dibawa oleh ibu berperan besar dalam proses pengenalan diri dan gaya musik penulis. Metodologi penelitian penciptaan yang digunakan adalah penelitian artistik Practice-led Research yang juga diintegrasikan dengan pendekatan etnografi dan fenomenologi. Tahapan yang dilakukan: a) Pengumpulan data mengenai fenomena, musik minimalis, repetisi, Sunda, dan pola kendang; b) Pendalaman penciptaan: repetisi, magang penciptaan, laboratorium, dan kurasi. Hasil penelitian penciptaan ini berupa karya musik program yang didasari oleh fenomena sosial budaya keluarga dan repetisi dengan pengembangan sederhana, penginterpretasian laras saléndro padantara ke dalam whole tone scale dalam musik barat, serta peralihan wahana instrumen musik tradisional kendang, karawitan degung laras madenda, dan karawitan jaipong ke dalam bentuk sajian ansambel gesek. Hasil dari penelitian penciptaan tersebut membuktikan bahwa pentingnya repetisi dalam musik maupun dalam konteks kehidupan. Tanpa adanya repetisi dalam musik suatu karya tidak akan terdengar musikal, sedangkan dalam konteks kehidupan repetisi adalah hal yang selalu ada dalam keseharian seperti kegiatan peribadatan maupun pola hidup, dalam konteks Pendidikan repetisi merupakan cara belajar termudah dan paling dasar untuk mempelajari dan mengingat kembali tentang pemahaman sesuatu. Refleksi atas pengalaman diri lewat Practice-led Research terbukti dapat dijadikan sebuah ide penelitian penciptaan dan mampu menjembatani antara subjektifitas dan objektifitas dalam penulisan ilmiah.
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Handayani, Sri Gusti, Sayuti Syahara, Tjung Hauw Sin, Anton Komaini, and Novadri Ayubi. "Development of cheerful creation gymnastics ‘Jalaleota’ for the improvement of early childhood motor skills." Cypriot Journal of Educational Sciences 17, no. 10 (October 31, 2022): 3766–77. http://dx.doi.org/10.18844/cjes.v17i10.7054.
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This study aims to describe the development of Jalaleota cheerful creative gymnastics to improve motor skills at an early age with the core movements of gymnastics, including running, throwing and catching. This type of research is research and development which consists of preliminary studies, development models and testing models. The subjects in this study were kindergarten schoolchildren evaluations, product evaluations, initial trials and product trials in early childhood. The data collection techniques were observation, questionnaires and tests of motor skills for early childhood. The data collected was then analysed qualitatively and quantitatively. Qualitative data analysis used the interactive model of Miles and Huberman and quantitative data analysis used paired sample t-test. The results showed that the development of the Jalaleota cheerful creative gymnastic product determined the indicators of motor skills, movement, appearance and early childhood music. The main field test obtained a value of 0.034 < 0.05, indicating that there is a significant influence on the use of creative gymnastics on motor skills at an early age. The motor skills of early childhood using Jalaleota, created by cheerful gymnastics, are better than before they were used. Currently, we have obtained cheerful gymnastics created by Jalaleota that are worthy of use according to the views of experts and users. Keywords: Creative gymnastics, improvement of motor skills, physical activity, early childhood.
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Cherney, Brian. "How I Might Have Become a Composer." Personal Views 37, no. 1 (May 17, 2019): 9–17. http://dx.doi.org/10.7202/1059883ar.
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Brian Cherney reflects on his childhood and youth in Peterborough, Ontario, in the 1940s and 1950s and his musical studies at the University of Toronto. He considers the varied influence that family, recordings, CBC broadcasts, attending live concerts, piano lessons, reading about music, and spending time in Europe in the late 1960s had in shaping his emerging interest in becoming a composer. Cherney considers that it was only in the mid-1970s, after his appointment to McGill in 1972, that he developed the self-awareness, critical insight, and confidence to become a mature composer … someone who dared, in T.S. Eliot’s words, to “disturb the universe.”
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Yetti, Elindra. "Moving to The Beats: The Effect of Dance Education on Early Self-Regulation." JPUD - Jurnal Pendidikan Usia Dini 15, no. 2 (November 30, 2021): 395–408. http://dx.doi.org/10.21009/jpud.152.11.
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Self-regulation in children is an important thing that needs to be prepared from an early age. Besides affecting children's school readiness, this also makes it easier for children to have good academic achievements. This study aims to determine the influence of moving to the beat of early childhood self-regulation. This research was conducted on kindergarten group B students in East Jakarta. The research method used is a quasi-experiment method with a sample of 20 students. The data collection technique uses observations by analysing paired t-test statistical data. The results of the study explained that there was a significant effect of moving to the beat of early childhood self-regulation. The significance level is 0.000 < 0.05, which means that H0 is rejected and H1 is accepted, this indicates a significant difference between the pre-test and post-test. For further research, it is recommended to look at the influence of other factors on early childhood self-regulation.
Keywords: Beats, Early childhood, Moving, Self-Regulation
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Kaczmarek, Stella. "MARIA MANTURZEWSKA AND HER STUDIES ON MUSICIANS’ PERSONALITIES." Notes Muzyczny 2, no. 18 (December 31, 2022): 129–44. http://dx.doi.org/10.5604/01.3001.0016.1109.
Full textAbstract:
The structure and nature of professional musicians’ personalities have been examined by numerous scholars. The issue of musicians’ personalities and the role of personality traits in their music activities is the subject of both reflective considerations and systematic research. The studies in the field of psychology of music analysed those personality traits that had a direct influence on the process of learning, creating, or performing music. When choosing a music profession, it is hard to be guided only by personality factors, without considering perception-related, technical, and intellectual aptitude. Being a musician is a combination of genetic and biological “package”, personality traits, as well as social and emotional support given during childhood and adolescence. Research on the personalities of professional musicians, conductors and composers started in the 19th century first attempted by Strumpf and then they were continued in the 20th century by Seashore, Teplov, Manturzewska, and later on by Bell and Cresswell, Kemp and Woody. It was conducted using musical aptitude tests, intelligence tests, and personality tests (by Castell, Eysenck, or the Big Five by Costa and McCrae). Maria Manturzewska’s research (also using the tests mentioned earlier) from 1960s and 1970s contributed to the popularization of knowledge about a professional musician’s personality. This article presents the most important results of these studies, which cast new light on the personality structure and the features (competencies, skills) which are necessary to become a successful musician.
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HERR, CHERYL. "Roll-over-Beethoven: Johnnie Ray in context." Popular Music 28, no. 3 (October 2009): 323–40. http://dx.doi.org/10.1017/s0261143009990092.
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AbstractThe American Johnnie Ray (1927–1990) is best known for his emotional rendition of Churchill Kohlman's song ‘Cry’, a tune that Ray recorded with Mitch Miller in 1951. This song, along with Ray's own composition, ‘The Little White Cloud That Cried’, earned Ray nicknames such as ‘The Nabob of Sob’ and ‘The Cry Guy’. Although wildly popular in the mid-1950s, Johnnie Ray was soon overshadowed by his contemporaries and has been virtually ignored by scholars.This essay situates Ray's music and his hearing impairment in the material and mediated conditions of his life. In addition to interpreting Ray's signature performances, the essay deals with Ray's childhood musicality, his appearances on The Ed Sullivan Show, the influence of televangelism on Ray, cinematic contexts for his life and art, and the hearing aid technology of the 1940s and 1950s.
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Herro, Danielle C., Lorraine Lin, and Michelle Fowler. "Meet the (media) producers: artists, composers, and gamemakers." Journal of Applied Research in Higher Education 9, no. 1 (February 6, 2017): 40–53. http://dx.doi.org/10.1108/jarhe-04-2015-0029.
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Purpose The purpose of this paper is to detail the perceived influence of early gaming habits toward media production from seven students enrolled at a university in the Southeastern US. Participants identified as heavily involved in creating media such as anime, videos, fanfiction, webcomics, games, and digital music. Design/methodology/approach This exploratory study used qualitative research, thus data collection and analysis included questionnaires, interviews, and artifacts identifying and categorizing six main themes: game play preferences, persistence, early connections between game play and media, support and feedback, creations inspired by games, and significance of games in current lives. Findings The study found that most participants believed game play in childhood influenced increasingly complex media production habits. Six of the seven believed game play influenced their career path. The paper concludes with implications for education including games as conduits to personalized learning and career paths. Originality/value Results from this study extend prior research on the value of games to promote media production and meet personal and professional goals. This is significant as prior research linking early game play to media production influencing career goals is sparse.
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Smilkova, Smilena. "DEVELOPMENT OF MILITARY SKILLS IN CHILDREN FROM NUV BY EDUCATIONAL NUCLEAR MUSICAL PRACTICE AND ELEMENTS OF MUSICAL EXPRESSION." Knowledge International Journal 28, no. 3 (December 10, 2018): 1031–34. http://dx.doi.org/10.35120/kij28031031s.
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The curiosity of the children is the driving force of their behavior, their impulse for action, their flight of fantasy, the "discovery" of the world, their proof and self-affirmation to others and to themselves.The pursuit of "discovery" has different manifestations in different children. It is manifested in the ways of perceiving and clarifying the reality of children's fantasy, its creativity, its courage, its ingenuity, its ingenuity.This article examines the problem of developing soft skills in primary school children through certain educational cohorts in music education: Musical practice including perception and reproduction and Elements of musical expression. A literary review of the problem has been carried out. An attempt is made to identify the intersections between the music education in elementary school and the development of soft skills in the students.Music is a serious "provocateur" in the expression of childhood. She, the music, educates, trains, stimulates, enthusiastically. "Invisible" as an image of time, the music introduces the children to the styles of different ages, to the thoughts and emotions of the people who lived "long ago" and "now," with the ways of expressing them both from the ethnos and from the personal creative vision of the composer. Music helps children walk around the world, worn by the wings of imagination and aided by the craftsmanship of the creators who have left behind the trail of personal and social understanding of the world and life.Through the music practice of Perception, children learn about the masterpieces of renowned masters. Through the second element of the musical practice - Reproduction, they become interpreters, "interpreters" of the vast universe of human dreams, sorrows, desires, gusts, hopes. The nature and essence of the Elements of Musical Expression leads them to a logical and reasoned explanation of the difficult and enigmatic musical language.How do the Educational Kernels Influence Musical Practice and Elements of Musical Expression on the Development of Soft Skills in Children of primary school? Comprehensive! They create listening and listening skills, feedback, flexibility and adaptability, thinking outside of the box, telling stories, personal and social organization, "seeing" and evaluating the positive.Of course, learning music, understanding and performing it, creating soft skills during the learning period takes place over time - a long, gradual, permanent, labor-intensive process. But resisting the time, embracing music with the interest, curiosity and purity of the child's soul, it is the time that is grateful for the knowledge and wisdom of the formed spiritual person.
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Chamakhud, Daryna. "Yakiv Yatsynevych: New Look at the Periodization of Life Creation." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 198–217. http://dx.doi.org/10.31318/2522-4190.2022.133.257342.
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Relevance of research. Reconstruction of life-creation of a little-investigated Ukrainian composer Yakiv Yatsynevych is a troublesome process that demands enormous efforts. The works of T. Filenko, O. Semirozum, L. Korniy, and other researchers do not propose a solution to the problem of periodization. In this regard, it’s necessary not only to continue the studying of bibliographical events, facts and even decennaries of Y. Yatsynevych life, that were ignored by scientists’ focus, including the compositor’s music heritage in different genres, but also to generalize already gained finds of musicologists aside with own elaborations in this monographic theme.
Objective of the research is to form the periodization if the artist’s life- creation on the bases of earlier unknown materials from archives in Kyiv, taking into account the external and internal factors. During the fulfillment of the mentioned tasks such methods of investigation were used: source study (search of documents in the archives of Kyiv), systematization (division and classification of founded materials), historical-chronological (streamlining and reconstruction of the compositor’s biographical way), analysis (music works studying), synthesis (joining of gained knowledges), generalization (periodization forming).
Scientific novelty consists in the fact that the periodization of Y. Yatsynevych life-creation is formed in the Ukrainian musicology for the first time. Periodization is based on the author’s investigations of bibliographical documents and composer’s music heritage materials in eight volumes in Kyiv archives collected over many years.
Research results and perspectives. Taking into consideration biological, chronological, social, psychological and creative age of Y. Yatsynevych, and also artist’s sociocultural, historicalpolitical peculiarities, geographical place of residence, genre diversity of his music, the universal periodization of Y. Yatsynevych life-creation is formed.
Early Period, up to 1905 (formation of the basis of composer’s creativeness, relatively uncomplicated music, narrow circle of genres):
First Phase, up to 1900 (childhood and youth years in Bila Tserkva, period of study in Kyiv, formation as conductor and composer, Kyiv artistic environment influence, music works are not preserved).
Second Phase, 1900–1904 (exercising piano music, active music work in Kyiv).
Crisis of Middle Age in Composer’s Art, 1905–1915 (absence of qualitative musical works, conducting activities, non-musical work at public offices).
Adult Period, 1915–1930 (complication of music language and genre system, exercising of chamber and amplitudinous forms, the top of composer’s creativity, embraces work in Kyiv and Odessa):
First Phase, 1915–1925 (fruitful activity in artistic and church life of Kyiv, collecting of folklore material, choir music domination, repertoire expansion of piano works and instrumental ensembles).
Second Phase, 1925–1930 (heading of the artistic life of Odessa, appearing of chambervocal compositions, activation of new art genres: oratorio, opera, symphony, cinema music).
Enforced Crisis, 1930–1940 (non-recognition of creativity, difficult social conditions, absolute efficiency to non-music work, creation of single music compositions).
Late Period, 1940–1945 (post-crisis condition, pause of silence, deportation to Adyheia АR, decreasing of artistic activity, a little number of music works in big magazines).
Suggested periodization depicts the entire picture of Y. Yatsynevych life and creation and is the basis for further investigations of his music heritage.
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Nery, Robert. "The Hero Takes a Walk: Two excerpts from a memoir on growing up in the Philippines in the sixties." Thesis Eleven 145, no. 1 (April 2018): 120–33. http://dx.doi.org/10.1177/0725513618766441.
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The Hero Takes a Walk is a philosophical memoir of a Philippine childhood and teenage years in the sixties and the first few years of the seventies. Two chapter extracts are presented here: the first on Beatlemania and what it meant to Filipinos, a cosmopolitanism they desired and sought to practice; the second, on the reception of Marxism in the Maoist version promulgated under the influence of Jose Maria Sison. The first raises its central question while telling the story of the Beatles’ visit in 1966, when they were chased out of the country, an account drawing on neglected local reports. The second remembers how Marxism-Maoism, like any theory, was interpreted against the background of pre-existing belief – in this case, Philippine Catholicism. In his memoir, the author looks back critically on the intellectual movements that deeply affected him, on certain books and writing and his reception of the films and popular music of the time. The Hero Takes a Walk diverges at various points into literary criticism and history, before coming to an end in present-day Greater Manila.
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Särg, Taive. "Elava rahvalaulu juurde jõudmine: Herbert Tampere teadlaseisiksuse kujunemine." Mäetagused 82 (April 2022): 81–130. http://dx.doi.org/10.7592/mt2022.82.sarg.
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The article analyses the life and activity of Estonian ethnomusicologist and folklorist Herbert Tampere (1909-1975), as well as the research history of Estonian folk songs until 1945, also paying attention to the influence of the Estonian Folklore Archives and its head Oskar Loorits. The historical background to Tampere’s activity is the establishment of independent statehood in Estonia (1919) after Estonians had existed as an ethic minority group subjected to the ruling classes of other nationalities for hundreds of years. The scientific and cultural background is constituted by the development of European folkloristics and ethnomusicology and the increasing prestige of folk music and non-western music in Europe, which contributed to the rise of the cultural self-awareness of Estonians as a nation with oral lore different from Indo-European culture. The approach is framed with the metaphor of life and death, which in Herderian way of thinking corresponded to the growth and fading of a nation and its creation. In the 1930s, Tampere brought into the discourse of the Estonian folk song, seemingly in opposition with the gradual fading of the living lore and complaining thereabout, a turn in writing about it, unexpectedly confirming that the folk song was alive. The older folk song started to disappear from public use in the 19th century, when people lost interest in its performance and the newer European folk music style spread more widely. At the same time, they tried to overcome the national inferiority complex that had developed due to existence as a lower class, as well as the oral culture considered as a sign of backwardness, creating on the basis of folklore a new national-language and valuable European literary culture. To accomplish this, the old, evolutionally lower traditional culture had to be abandoned. Writings about the dying folk song helped to encourage people to collect folklore and create distance with the past. In the 20th century, with the development of Estonian national self-awareness and literary culture and the rise of the nation’s self-esteem, and on the other hand the recession of Eurocentric and evolutionist way of thinking in the world of science, a new interest appeared in the structure and performance of the folk song, and it started to be increasingly appreciated and considered as living. Such changes in rhetoric indicate how reality is reflected subjectively, according to standpoints and circumstances. Considering the fact that in the 19th-century social evolution theory folklore and literary culture were attributed to different development stages of a nation, the nation with low self-esteem, striving for literary culture in the 19th century, could be satisfied with the dead folk song, yet in the 20th century, in the light of new culture concepts, it could be declared alive again. In summary it can be said that the following factors helped Tampere achieve a novel approach to folk songs in his research. 1. Tampere came from a talented and educated rural home, in which music and literature were appreciated and in whose neighbourhood different music styles were practised. His interests and skills were shaped by good education at schools with remarkable music teachers and an early contact with folklore collection at the Estonian Students’ Society. 2. Good philological education from the University of Tartu and work at the Estonian Folklore Archives, becoming familiar with folklore collections as well as other young folklorists and linguists, especially cooperation with Oskar Loorits, Karl Leichter, and Paul Ariste, added knowledge of newer research trends, such as ethnology and experimental phonetics. Maybe, paradoxically, the absence of higher music education, which would have directed the young man towards other music ideals, was positive in this respect. 3. The knowledge acquired of the methods and way of thinking in comparative music science provided a theoretical basis for understanding, valuing, and studying non-western music. Professional work was also supported by the development of sound recording and -analysis. 4. The immediate contact with living folk music already in his childhood and later on, when collecting folklore, elaboration of folk songs in the archives and compiling voluminous publications made this manner of expression more familiar. Tampere must have enjoyed the performance of at least some of the regilaul songs as he mentioned nice impressions and the need to delve deeper; also he recorded, studied, and introduced these songs to the public. 5. The heyday of national sciences and national ideals in the Republic of Estonia valued engagement in folklore as the basis of cultural identity. The first folk music reproductions appeared, such as folk dance movement and runic verse recitals at schools, which was why the issues of performance started to be noticed and studied. Oskar Loorits supervised the study and publication of the most Estonian-like (in his own opinion) folklore – folk songs – and it was probably also his influence that made Tampere study the problem of scansion, to systematize and study folk songs, and compile publications.
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Young, Susan. "The branded product and the funded project: the impact of economic rationality on the practices and pedagogy of music education in the early childhood sector." British Journal of Music Education 38, no. 2 (January 18, 2021): 107–18. http://dx.doi.org/10.1017/s0265051720000248.
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AbstractIn this article, I explore how neoliberal economic discourses and techniques have profoundly influenced the way that music education in early childhood has developed in recent years in the UK. I focus on two dominant models of practice that have been shaped by market thinking; the private music session (the ‘branded product’) and short term, stand-alone projects funded by charitable organisations (the ‘funded project’). The prevalence of these two models has resulted in highly fragmented and unequal provision accompanied by narrow conceptions of music in early childhood that give rise to impoverished practice. While I base my discussion on the early childhood sector in the UK, this discussion can nevertheless warn music educators beyond this one sector and one location of the negative consequences of abandoning music education to market forces.
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López Melgarejo, Alba María, and Norberto López Nuñez. "La Música en Educación Infantil: Análisis comparativo de los currículos autonómicos de España." Revista Española de Educación Comparada, no. 37 (December 27, 2020): 323. http://dx.doi.org/10.5944/reec.37.2021.27263.
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The transfer of the Spanish State to the Autonomous Communities with full competences in education during the last two decades of the 20th century, currently allows two different levels to be found where official curricula are developed: the national and the autonomous ones. This double conception is the starting point of this study where it is intended to delve into the differences and similarities of a specific curricular element, the contents. The purpose of this study is to establish the differences and similarities between the music content present in the curricula of the different Spanish autonomous communities and the Royal Decrees published that contain the minimum teachings for the second cycle of Early Childhood Education for the Spanish national framework. With its own methodological design within the field of Comparative Education and using the CARMEN questionnaire based on the comparative analysis of curricular elements as the main research instrument. The results reveal that the presence of the musical contents in the different blocks there are starting differences regarding the national documents taken as a reference. Changes in the contents of the regional documents with respect to their national documents were more frequent for the LOGSE period than in the LOE period. It has been verified that there is no influence of the political party present in order to establish a greater or lesser degree of similarity in the minimum teachings. Educational curricula are not used in Spain as an ideological tool at the service of the ideals of one political party or another.
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LARINA, I., M. DAVYDOVA, and Y. DOLIA. "PREPARETION OF FUTURE EDUCATORS FOR AND ETHICAL EDUCATION OF PRESCHOOLERS BY MEANS OF ART." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 29 (September 10, 2022): 146–50. http://dx.doi.org/10.33989/2075-146x.2022.29.264294.
Full textAbstract:
In the times of decline of many indicators of life quality, one of the key problems of our society is the issue of moral education of the younger generation. The state of society, where aggression, conflict, cruelty, war, crime are becoming commonplace, significantly reduces the chances of children for moral and ethical development. Ideals are disappearing, there is no clear idea of what ideals should be. Overcoming this crisis in the life of society and in the lives of individuals is possible only if the revival of the truly spiritual foundations of our society, its morality.
In the process of moral development during preschool childhood, under the influence of adults, the orientation of the individual is formed - the system of motives for behavior. An important role in solving the problem of moral and ethical education of preschoolers belongs to the educator, his professional competence.
One of the most important means of moral and ethical education is art, its varieties (musical, visual, theatrical). Art is an inexhaustible source of various emotions. It contributes to the emergence of children's emotional attitude to the events described in theatrical performances, to the images of music and fine arts, to their own manifestations in the performance of collective creative exercises.
The direct impact on the acquisition of moral values by preschoolers in the process of communicating with art depends entirely on the educator, on his professional competence. The content, methods of teaching, personality and knowledge of the educator, who passes his worldview, culture, moral experience to the next generation, are of decisive importance. All this is a system of influences that guides the personal development of children.
Preparation of future educators for the implementation of moral and ethical education of preschoolers is realized through the introduction into the educational process at the Faculty of Preschool Education of Kharkiv National Pedagogical University named after GS Skovoroda various types of children's creative activities (games, technical and artistic modeling, music); saturation of educational space with practice-oriented situations close to real life.
The use of technology of integration of arts plays an important role in teaching disciplines of aesthetic orientation. This technology provides students with mastery of the means of creative activity and helps to create a situation of success, which due to the real «living» of students in various arts provides a qualitatively new level of organization of interaction between teachers and students.
Preparation of future educators for moral and ethical education of preschoolers is a continuous managed process that should orient applicants to cultural values, formation of ideas about the culture of the Ukrainian people and ensure the implementation of the competence approach in future professional pedagogical activities.
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Andang’o, Elizabeth Achieng’. "The influences of teacher aspirations and practices for children’s inclusive music education: The case of Muziki Changa." International Journal of Music in Early Childhood 16, no. 1 (June 1, 2021): 51–69. http://dx.doi.org/10.1386/ijmec_00027_1.
Full textAbstract:
This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.
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Andang’o, Elizabeth Achieng’. "The influences of teacher aspirations and practices for children’s inclusive music education: The case of Muziki Changa." International Journal of Music in Early Childhood 16, no. 1 (June 1, 2021): 51–69. http://dx.doi.org/10.1386/ijmec_00027_1.
Full textAbstract:
This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.
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Eriksson, Helene, László Harmat, Töres Theorell, and Fredrik Ullén. "Similar but different: Interviewing monozygotic twins discordant for musical practice." Musicae Scientiae 21, no. 3 (May 23, 2016): 250–66. http://dx.doi.org/10.1177/1029864916649791.
Full textAbstract:
Musical engagement is influenced by both environmental and genetic factors. Here, we explored non-genetic influences on musical engagement by performing semi-structured interviews of 10 Swedish monozygotic twin pairs that were highly discordant for piano practicing. The interviews were organized into five sections – (i) perceived reasons for the discordance; (ii) childhood differences in specific music related variables; (iii) strong memories of music; (iv) the perceived meaning of music in life and for health; and (v) language interests – and analyzed using response categorization. The playing twins from an early age found music more interesting and enjoyable than their co-twins and also gave richer and more elaborate descriptions of the meaning of music in life, in several cases emphasizing that music was important for their personal identity. In line with this, an analysis of previously collected web questionnaire data showed that the playing twins had a significantly higher openness to experience and proneness to experience flow during musical activities. In contrast, the twins reported essentially no within-pair differences in the musical engagement of their peers, parental support, music teacher, ensemble playing, public performances, and their interest and aptitude for languages. The interviews gave no indication that the differences in musical engagement were caused by systematic environmental influences that were consistent across twin pairs. Rather, the respondents presented a wide range of different explanations for their discordance in musical activity, suggesting that the remaining influences on musical engagement, when genetics and family environment are controlled for, may be highly individual and idiosyncratic.
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Popova, Liudmyla, and Olha Protsenko. "Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 65–79. http://dx.doi.org/10.34064/khnum2-19.04.
Full textAbstract:
Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.
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Gaudette-Leblanc, Aimée, Hélène Boucher, Flavie Bédard-Bruyère, Jessica Pearson, Jonathan Bolduc, and George M. Tarabulsy. "Participation in an early childhood music programme and socioemotional development: A meta-analysis." International Journal of Music in Early Childhood 16, no. 2 (September 1, 2021): 131–53. http://dx.doi.org/10.1386/ijmec_00032_1.
Full textAbstract:
Music is increasingly recognized as having a social role, insofar as it is linked to emotional regulation and to early interactions in infancy and the preschool years. The goal of this meta-analysis was to examine the impact of participating in an early childhood music programme on indices of socioemotional development in children under 6 years of age. The overall result showed a moderate effect size (N = 681, k = 11, d = 0.57, p < 0.001). Moderation analyses revealed that the type of assessment (observational measure, reported measure or other types of assessment) significantly influenced effect size (Q′ = 25.26, p < 0.001). No other moderation analysis was significant. Although these findings are promising, suggesting that participation in an early childhood music programme contribute to children’s socioemotional development, more rigorous studies are needed to assess the impact of participating in a music programme on socioemotional development.
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Chong, Angela A. "Elusive Kodály, Part II: The Hungarian Foundations of the Baby-Toddler Music Industry in the US." Hungarian Cultural Studies 15 (July 19, 2022): 45–61. http://dx.doi.org/10.5195/ahea.2022.464.
Full textAbstract:
This article is the second part of a study investigating how Hungarians have influenced early childhood music education in the United States. In Part One, Chong documented the lesser-known histories of four Hungarian and American female scholar-educators who promoted the early childhood concepts at the heart of Zoltán Kodály's approach to music education. In this study, she traces Kodály’s footprints to private, stand-alone baby-toddler music classes in the US. In the 2000’s, baby-toddler music enrichment exploded in popularity as the children’s activity industry became one of the fastest growing sectors of the US market. Only a handful of local programs are explicitly Kodály-based, such as Sing, Play, Move!, at Holy Names University’s Kodály Center. Chong’s search in the Los Angeles area for quality Kodály instruction for her toddlers led to highly lucrative major US providers of baby-toddler music such as Music Together and Kindermusik. These programs share Kodály pedagogical practices, such as that of singing folk music in the children’s mother tongue, but map histories without reference to Hungary and attribute their approaches to American men not known as Kodály protégés. This paper explores whether the impressive profits and musical excellence of these programs can rightly be attributed to Kodály.
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Littleton, Danette. "Song lines and soundtracks: Autoethnographic narratives across four generations." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 101–16. http://dx.doi.org/10.1386/jpme_00077_1.
Full textAbstract:
Music is personal. While self-reflection is common to performers, composers, teachers and researchers, there exists a musical dimension ‐ the source of these experiences ‐ wanting recognition. These experiences, I suggest, are the personal memories of one’s deep involvement with music. Reported here are rich narratives across four generations of women in my family. Each one demonstrates separate cultural identities and influences according to her musical heritage, religious traditions, upbringing and access to music at a given time, place and environment. Each one’s story reveals a profound sense of self-knowing, the ‘me-ness’ of lived experience through music. The autoethnographic data were inspired by close relationships with the women in my family and interest in the significance of music memories from childhood, youth and early adulthood. I propose that knowledge of our students’ musical memories provides a baseline for understanding their musical development and influences our curricular decisions.
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Littleton, Danette. "Song lines and soundtracks: Autoethnographic narratives across four generations." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 101–16. http://dx.doi.org/10.1386/jpme_00077_1.
Full textAbstract:
Music is personal. While self-reflection is common to performers, composers, teachers and researchers, there exists a musical dimension ‐ the source of these experiences ‐ wanting recognition. These experiences, I suggest, are the personal memories of one’s deep involvement with music. Reported here are rich narratives across four generations of women in my family. Each one demonstrates separate cultural identities and influences according to her musical heritage, religious traditions, upbringing and access to music at a given time, place and environment. Each one’s story reveals a profound sense of self-knowing, the ‘me-ness’ of lived experience through music. The autoethnographic data were inspired by close relationships with the women in my family and interest in the significance of music memories from childhood, youth and early adulthood. I propose that knowledge of our students’ musical memories provides a baseline for understanding their musical development and influences our curricular decisions.
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Borshchenko, Nataliia. "USING ART-THERAPY FOR THE FORMATION OF EMOTIONAL STABILITY OF PRESCHOOL CHILDREN." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 159–63. http://dx.doi.org/10.36550/2415-7988-2021-1-195-159-163.
Full textAbstract:
Progress of science and technique, newest technologies, created in the world not only new possibilities, and also and new difficulties. The alarm level considerably increased yet and through a world pandemic to the coronaviruses. Last days in society spreads an idea about importance of forming the personal psychical and emotional health, beginning from preschool age, as bases of becoming of personality, the most valuable achievement of that is emotional prosperity, are mortgaged exactly in childhood. The purpose of the article consists in describing the problem of forming the emotional firmness of preschool children by art-therapy and maintenance the psychical health of children as a major factor of personality development. Art is the unique type of human activity that represents reality in certainly-perceptible offenses, combining two opposite worlds: the world of fantasy and reality. The first mentions about facilities of the art-therapy treatment was found, possibly, in the days of existence of primitive man. It is important to emphasize that a main task to the art-therapy is not developing creative flairs, but achievement of therapeutic purpose. Analysing potential using of art-therapy in preschool establishments of education with the aim of forming of emotional stability for children, the special attention displaces on the variety of forms of the realization, such as: music-therapy, fairy-tale-therapy, puppet-therapy, painting-therapy, photo-therapy, physical-therapy, drama-therapy. Application of methods of therapy by an art on employments provides development of creative potential of children, enriches the emotional sphere of preschool children, deepens their world view, activates imagination and thinking of children. Art-therapy helps children to find and understand itself, successfully to adapt oneself new environment, be able to influence relationships with children, teachers, parents. Using art-therapy methods in an educational process assists forming of the personality all-round developed and emotionally stability. The prospects for further researches in this area we see in determining the most effective art-therapeutic technologies for individual development and forming sustainable emotional well-being of preschool children.
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Nieuwmeijer, Christiane, Nigel Marshall, and Bert van Oers. "Where have I been all these years? A narrative case study on the impact of western (mis)conceptions of musicality on a generalist classroom teacher’s music teacher identity construction." International Journal of Music in Early Childhood 17, no. 1 (May 1, 2022): 7–24. http://dx.doi.org/10.1386/ijmec_00040_1.
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This article reports a narrative case study on Sanne, an experienced 46-year-old early childhood teacher who considered herself unmusical and therefore unable to teach music, caused by (1) few childhood musical experiences, (2) teacher training that focused on musical performance skills and (3) a professional context with minimal music education. These experiences reinforced her belief that musicality equates to musical performance skills, rendering her ‘unmusical’ ‐ a western conception of musicality which had prevented her from teaching music. Participating in a professional development (PD) programme on musical play, however, positively influenced her music teacher identity (MTI), resulting in confidence to teach music. This article explores what factors contributed to this identity shift. The PD programme was set up according to criteria for effective PD as argued by literature, such as collective participation, demand-driven content, long-term duration and a focus on pedagogical content knowledge (PCK). Data were collected by means of surveys, interviews and e-mails containing video images. Assisted by a three-dimensional space narrative structure, text excerpts were selected from the data and ‘re-storied’ into a narrative. Analysis revealed how a combination of newly acquired PCK and existing general play guidance skills enabled Sanne to facilitate musical play successfully, thereby neutralizing the obstacles raised by her self-perceived non-musicality, and positively affecting her MTI. In the discussion, we reflect on how our current western conception of musicality may negatively affect individuals’ musical identity and provide some further thoughts on the implications of our findings for music educational practice.
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Coulson, Susan. "Getting ‘Capital’ in the music world: musicians’ learning experiences and working lives." British Journal of Music Education 27, no. 3 (September 22, 2010): 255–70. http://dx.doi.org/10.1017/s0265051710000227.
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This paper discusses an exploration of the working lives of musicians working in a range of musical genres in the North East of England, revealing the factors that contribute to their ability to obtain a musical livelihood. These factors can be understood in terms of various forms of social, cultural and symbolic ‘capital’ (Bourdieu, 1986), which musicians amass throughout their lives, from early childhood and family influences to starting out in the music world and beyond. The accrual of such ‘musical capital’ is shown to be associated with the quality of musicians’ learning experiences and the findings are offered as having potential relevance to music education policy and practice. It is concluded that a wider range of teaching methods, including the recognition of different types of music and ability, could encourage more young people to remain involved in music learning and give musicians clearer signposts for embarking on a career in music.
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Kargapolova, Ekaterina V., Sofia A. Malkova, Yana I. Vershkova, and Oksana S. Glinko. "The popular song in the socio-cultural space of modern Russia: transformation of codes and meanings (based on content analysis materials)." Siberian Socium 6, no. 2 (2022): 42–53. http://dx.doi.org/10.21684/2587-8484-2022-6-2-42-53.
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Popular music is one of the instruments of influence on the masses, which raises the importance of tracking the direction of changes in the ideas, broadcast in popular songs. The relevance of this topic relates to the inclusion of Russia in global processes, when intercultural integration becomes one of the factors of transformation of the socio-cultural space under the influence of new rules and patterns of musical life. The purpose of this study is to analyze changes in the codes and meanings of popular songs of modern Russia. The novelty of the study is as follows. Based on the content analysis, general trends in the transformation of codes and meanings of popular songs in Russia from 1990 to 2021 are shown. The growth of listening to popular songs and comments on it was revealed, which indicates the scaling of the impact on the audience, especially on representatives of the younger generation. A decrease in the average age of performers was recorded. It is determined that the main theme of the songs is the theme of love, which is often presented in a tragic or vulgar context. Socially significant positive topics (patriotism, politics, childhood, youth, family) occur in fragments or in isolated cases. An increase in the number of lines of songs with a constant number of words since 2001 has been revealed with a drop in the share of disclosure of the theme of songs, which indicates the destruction of speech and general cultural norms, the desire of performers to “hype”, the growth of popularity, commercial benefits, and not to convey the meaning of the lyrics. The specifics of the song genre in Russia are shown for three periods: 1990-2000, 2001-2010, and 2011-2021. The “roaring”, “heavy-hearted” nineties with a sense of the breakdown of the social system, habitual personal relationships and social ties are replaced by pop “zero” with expectations of positive changes, freedom. The period since 2011 is characterized by a wide variety of stylistic trends and not just significant banality and mediocrity of the text, but also the glorification and justification of deviant behavior, the predominance of pessimistic and sexualized mood, aggression, turning into an insult. This leads to the fact that the song, as a “public singing” that unites and elevates people, becomes dysfunctional, destructive, destroying the personality (especially the emerging one), social ties, the social system, the socio-cultural space of the country as a space of norms and rules. The direction of further research is related to the development of methodological recommendations on the criteria for censoring the musical space in order to restore the speech norm and the traditional Russian system of values.
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Knysh, P. O. "Gender approach in the analysis of performing versions (on the example of F. Chopin’s Second Piano Concerto performed by E. Kissin, C. Arrau, Lang Lang, M. Argerich, B. Davidovich)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 189–99. http://dx.doi.org/10.34064/khnum1-56.12.
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Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 2006 et alt.). For instance, still in their childhood girls develop such features as a higher intensity emotionality, subtleness of feelings, whereas boys tend to be more rational while thinking over life situations or works of art. Such psychological peculiarities are revealed for various life periods and get more distinct in the process of age advancement. Research methodology. In this article the gender approach is combined with the comparative method while considering key features of different performance versions of the Second Piano Concerto by F. Chopin. Appealing to the performance versions of E. Kissin, С. Arrau, Lang Lang, M. Argerich, B. Davidovich, we emphasize their uniqueness with a simultaneous focus on performance tools used by these prominent musicians to reveal the essence of this masterpiece of the Romantic era. The purpose of this article is to generalize the tendencies of the performing concepts of Chopin’s Second Concerto by the famous masters of piano art of the XX – early XXI century in the light of gender approach. Research results. The Second piano concerto, created by F. Chopin at the turn of the 20s–30s of the XIX century, has become a model of the innovative approach both to interpreting the genre in general and to piano virtuosity. Firstly, it is expressed through the dominance of the pianoforte over the orchestra, while the former being characterized by the total melodization of the texture. Researchers of F. Chopin’s creativity point out the fact that in his concertos there are influence traces of W. Mozart, C. Weber, J. Hummel; however, despite the belonging of the concertos to early stage of creative activity, Chopin achieves unique artistic results. Maintaining, just like Mozart’s, the classical structured transparent form, enriching musical textures with passages, just like Hummel, Chopin, nevertheless, presents deeply individual images. If in the First part of the Second Concerto the dependence on classical traditions is still obvious, the Second part and the Final demonstrate broad horizons for the lyric component of the composer’s music. Before we turn to a number of outstanding samples of the Second Concerto performance, we recall the opinion of one of the best pianist-interpreters, E. Fisher, that the sound embodiment of a musical work consists of three elements: musical text, instrument and artist (Fisher, E. 1977: 201). He noted that the musical text is an unshakable material basis for the performer. Interpretation is possible only under the condition of accurate transmission of what is stated in the author’s text reflecting both the development of the playing technique and the improvement of musical instruments. At the same time, the end result – the sound image of the work – arises under the influence of the artist’s personality, reflecting its qualities, such as “the degree of development of intelligence, worldview, especially emotional life, belonging to one or another artistic type” (ibid.). So, performers who turn to the Second Concert, can accent certain elements, lines, forming its rich semantic complex. If we classify performing versions of the Chopin Concert by gender qualities, we can come to certain conclusions. In the male versions studied we have clearly revealed the constructivism in musical arrangements, an intellectual structure, rational forethought concerning all the stages of musical development. A special emphasis is laid on caesuras and differentiation between various types of musical material, clearly bespeaks pianists’ intention to reflect more comprehensively a philosophical content of the work. The peculiar predominant feature as for E. Kissin’s performance is his lyric-psychological interpretation of the image palette of the Concerto. Kissin’s main way of realizing the corresponding tasks is articulation that emphasizes the uniqueness of each episode. In the performance of С. Arrau we notice a characteristic brightness, emotionality, contrasting effect, thanks to the intensive exploitation of agogics; at the same time, the unity of the music form is reached through the exactness of the meter and rhythmic pulsation. Lang Lang’s version is a model of a supreme sound lyricism. The pianist plays in the style of Mozart with a clear texture, rationed pedalizing and agogics. At the same time, in his performance there is a philosophical generalization that can be perceived. In comparison with the male versions, the female ones, on the whole, are peculiar in terms of their subtler sound richness, touché softness. In the interpretation of the drama lines of the Concerto it is the image-emotional component that prevails but, together with this, a special emphasis is laid on lyric and psychological details. The analyzed interpretation by B. Davidovich is characterized by a specific style of its own as, while building up the performance dramaturgy of the Concerto, she prefers a through theme development, without dividing the sound stream into separate fragments the way many performers prefer to do. M. Argerich understands this music by F. Chopin in a different way. Her performance style is unique due to its high drama intensity, emotionality, passion, introducing elements of rationalism into the drama line of the Concerto.