Relevant bibliographies by topics / Music Instruction and study Victoria

Academic literature on the topic 'Music Instruction and study Victoria'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Music Instruction and study Victoria"

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Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (March 28, 2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.

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The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
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Buonviri, Nathan O. "Successful AP Music Theory Instruction: A Case Study." Update: Applications of Research in Music Education 36, no. 2 (August 2, 2017): 53–61. http://dx.doi.org/10.1177/8755123317724326.

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The purpose of this case study was to examine the instructional approach of a highly successful Advanced Placement Music Theory teacher. I visited the participant’s class twice a week for 14 weeks, taking field notes, conducting interviews, and collecting instructional artifacts. Analysis of qualitative data revealed three main themes: classroom atmosphere, instructional strategies, and the Advanced Placement exam. The participant’s classroom atmosphere was built on effective pacing, student rapport, and an active, open learning environment. His instructional strategies included offering individual attention to students, asking questions to model thinking, and connecting sight to sound. He used the Advanced Placement exam as both an instructional guidepost and motivational tool. Implications for music educators include the need to focus on specific approaches conducive to successful theory teaching, which may share both similarities and differences with approaches they use when directing ensembles.
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신지혜. "A Study of Verbal Instruction and Modeling in Music Teaching." Journal of Future Music Education 1, no. 2 (December 2016): 39–56. http://dx.doi.org/10.36223/jnafme.2016.1.2.003.

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Salvador, Karen. "Assessment and individualized instruction in elementary general music: A case study." Research Studies in Music Education 41, no. 1 (May 3, 2018): 18–42. http://dx.doi.org/10.1177/1321103x18773092.

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Elementary general music teachers have differing perspectives on the meaning and value of assessment, and few studies have examined how the results of assessment are applied in the classroom. In this case study, I investigated how one elementary general music teacher used information from assessments to individualize instruction. Over the course of seven weeks of observation, think-alouds, interviews, and reading the teacher’s journals, I discovered that my guiding questions had implied a simplistic, linear relationship of assessment and differentiation of instruction—that assessment led to individualization. Rather than the direct relationship my questions anticipated, Ms. Stevens’ music teaching was more like a tapestry that included nearly omnipresent threads of assessment and individualized instruction—threads that were often so interwoven as to be somewhat indistinguishable. This article describes the reciprocal, spiraling, intertwined nature of individualized assessment, teaching, and learning in Ms. Stevens’ classroom. I also discuss the related emergent themes of normalizing independent musicking and structuring open-response activities, which were impacted and undergirded by Ms. Stevens’ beliefs regarding the musicality of all children and the purpose of music education.
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Harding, Catherine. "University of Victoria." Florilegium 20, no. 1 (January 2003): 51–53. http://dx.doi.org/10.3138/flor.20.012.

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The Medieval Studies program at the University of Victoria is an interdisciplinary unit whose members come from the Faculty of Humanities and the Faculty of Fine Arts. The idea of creating an undergraduate program in Medieval Studies was developed in 1986-87; since that date faculty members teaching in the Departments of English, French, Hispanic and Italian Studies, Greek and Roman Studies, History, Philosophy, Music, and History in Art have offered courses leading to a Major in Medieval Studies (The program began as a Minor and changed to a Major in 1994). Undergraduates are introduced to key concepts in the study of medieval culture and society in Europe, as well as the medieval Islamic world.
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Chesky, Kris, and Karendra Devroop. "The Effects of College Music Instruction, Gender, and Musician Type on Income from Performing Music." Medical Problems of Performing Artists 18, no. 2 (June 1, 2003): 72–77. http://dx.doi.org/10.21091/mppa.2003.2014.

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Studies in the social sciences imply a relationship between levels of employment and potential adverse effects on health. The lack of information regarding musicians makes it difficult to describe and prepare for the potential adverse relationships between musicians’ economic patterns and health. The purpose of this study was to characterize economic patterns of musicians and to investigate the relationships between income from performing music and college music instruction, age, and gender. A total of 4,017 subjects participated in an Internet-based musician survey. Data analysis included the use of descriptive statistics, analysis of covariance, and multiple regression analysis. Results support the view that many musicians hold multiple jobs and that income from music performance is often a secondary source of income. Musicians with ≥4 years of college music instruction earned higher levels of income from performing music compared with musicians with less college music instruction. This study recognizes the need to consider the economic patterns of musicians and how these patterns may affect health adversely.
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Bulgren, Christopher W. "Jail Guitar Doors: A case study of guitar and songwriting instruction in Cook County Jail." International Journal of Community Music 13, no. 3 (December 1, 2020): 299–318. http://dx.doi.org/10.1386/ijcm_00026_1.

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Jail Guitar Doors USA (JGD USA) is an initiative that provides guitars and songwriting instruction in correctional facilities. Founded in 2009, JGD USA is currently in 100 jails, prisons and youth facilities with a waiting list of 50. This study examined the phenomenon of JGD USA in Cook County Jail (Chicago, Illinois) and was guided by the following research question: How do participants describe their experiences in the case of JGD USA in Cook County Jail? Participants consisted of six adult male residents. Other data sources included interviews with the class teacher, the jail administrator who implemented JGD USA, Billy Bragg (founder of the original JGD) and Wayne Kramer (founder of JGD USA). This study employed instrumental case study methodology in order to explore a real-world phenomenon of guitar instruction in jail. Data sources included observation, a focus group interview, four semi-structured phone interviews and examination of lyrics and chord structure. Data were coded for emergent themes. Analysis of data sources revealed themes of group dynamics, expression, flow and intrinsic motivation. Other findings included insights related to the benefits of guitar and songwriting instruction in correctional settings.
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McGinnis, Emily J. "Developing the Emotional Intelligence of Undergraduate Music Education Majors: An Exploratory Study Using Bradberry and Greaves’ (2009) Emotional Intelligence 2.0." Journal of Music Teacher Education 27, no. 2 (August 8, 2017): 11–22. http://dx.doi.org/10.1177/1057083717723919.

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Research focused on the relationship of emotional intelligence (EI) to academic and professional success in education, and whether and how it might be taught and learned, is inconclusive. The purpose of this study was to examine the degree to which undergraduate music education majors experienced a change in EI after implementing strategies from Emotional Intelligence 2.0. Participants included 10 junior-year music education majors enrolled in a semester-long music teaching foundations course. Participants predicted their EI scores, completed the Emotional Intelligence Appraisal pretest, and, following instruction, completed the Emotional Intelligence Appraisal posttest. Results indicate a significant difference between predicted and pretest scores, as well as between pretest and posttest scores. While undergraduate music education majors overestimated their EI prior to instruction, EI was improved by using the Emotional Intelligence 2.0 model in combination with classroom instruction.
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Flowers, Patricia J. "The Match between Music Excerpts and Written Descriptions by Fifth and Sixth Graders." Journal of Research in Music Education 48, no. 3 (October 2000): 262–77. http://dx.doi.org/10.2307/3345398.

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The purpose of this study was to examine the effect of instruction in writing about music on descriptions of music excerpts. Fifth and sixth graders received 4 days of instruction in music description focusing on metaphor and emotion, analytic music elements, and temporal language. Then, they wrote brief descriptions of six excerpts that were counterbalanced for instrumentation and style. Their descriptions were compared to those of students who did not receive instruction. There were no significant differences between children receiving and not receiving instruction within each grade level, except that the taught fifth graders mentioned significantly more musical elements than did fifth graders who did not receive instruction. There were no significant differences within grade levels in the rate at which expert readers matched descriptions to the original music excerpt, but sixth graders significantly outperformed the fifth graders. When excerpts were not correctly matched, they were usually misassigned to the excerpt with the same instrumentation, corroborating the priority of naming instruments in music description tasks.
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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.

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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Dissertations / Theses on the topic "Music Instruction and study Victoria"

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Ferris, Alison Jill 1949. "Classroom music in Victorian state primary schools 1934 to 1981 : curriculum support." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8472.

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Blyth, Andrew, and mikewood@deakin edu au. "Using the Victorian curriculum and standards framework in music education." Deakin University. School of Social and Cultural Studies in Education, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050815.114322.

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This research examines the usefulness of the Curriculum and Standards Framework as the basis for school music education in Victoria. The thesis consists of a folio of four short research tasks and a Dissertation that examine the question in different ways. The first of the short research tasks uses document and discourse analysis to examine and critique the philosophies of music education and aesthetic education that inform the Curriculum and Standards Framework. The same techniques are used in the second research task to trace the adoption and dissemination of the philosophy of music education as aesthetic education in a range of curriculum documents from around Australia. These two tasks show how centralised curriculum development often produces abstract and impractical goals and strategies. Research tasks three and four use interview and participant observation with teachers based in one Melbourne secondary school to illuminate the highly contextual nature of teaching practice. The theoretical formulations of learning presented in Victorian curriculum materials and policy documents is contrasted with the practical approaches that teachers take in developing educational programmes. These tasks show how school education is always developed in relation to students and resources and not according to abstract standards. The Dissertation reports on a major research project with thirty-two experienced music teachers working in the northern metropolitan region of Melbourne. Interviews with both primary and secondary teachers sought to determine the extent to which the Curriculum and Standards Framework had impacted upon their classroom teaching practice. The research was guided by Grounded Theory (Glaser and Strauss 1967) principles and it showed that the Framework and the associated process of centralising curriculum production failed to deliver any measurable gains or changes in music education in schools.
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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.

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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.
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Garth, Alan, and edu au jillj@deakin edu au mikewood@deakin edu au kimg@deakin. "A Study of an Australian Rural Music Festival." Deakin University. School of Australian and International Studies, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040617.152028.

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A social and cultural study of the development of the Port Fairy Folk Festival within the context of the current revival of folk music in Australia. The folk music movement is a social and cultural phenomenon, as well as a musical event.
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Jones, Jason David. "Elementary music teacher perception and instruction of subdivision| A mixed methods study." Thesis, The University of Texas at San Antonio, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10151305.

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The purpose of this mixed methods study was to explore elementary music teacher perspectives of subdivision and its instructional value in the general music classroom. This study aims to answer the questions: (a) How does the perceived definition of subdivision influence instruction? (b) How do elementary music teachers relate subdivision to other concepts? (e) How does training and professional development influence teacher perception? Elementary general music teachers (N=26) from an inner-city Title 1 school district in Central Texas participated in a descriptive survey. Results indicated that while participants explained that important relationship between subdivision and other concepts and marked it as extremely significant (88%), they ranked it seventh out of eight and allotted less than five minutes for instruction during lessons. In addition, the greatest influence on teacher perception of subdivision was the amount of training in Dalcroze Eurhythmics, Kodály and Orff Schulwerk, While Kodály teachers primarily related subdivision to rhythm, and thought that it was too complicated for young students, Orff and Dalcroze teachers were more likely to teach it in every concept. This study along with previously conducted studies suggest that elementary music teachers believe that subdivision aids in student learning. However, elementary music teachers appear to be hesitant to utilize subdivision during instruction.

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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.

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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Kertz, Marjorie I. "A gift of music." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/766.

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McMillan, James F. "The curricular dysfunction between the administration of instrumental music and suitability of teaching materials in English secondary schools /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65402.

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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.

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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Montocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.

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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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Books on the topic "Music Instruction and study Victoria"

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Symposium, on Music Education (1989 Victoria B. C. ). Re-thinking music education in British Columbia: Proceedings of the Symposium on Music Education held at the University of Victoria, November 10-11, 1989. [Victoria, B.C.]: Dept. of Arts in Education, University of Victoria, 1989.

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João, Hermida, and Ferreo Mariana, eds. Music education. Hauppauge, N.Y: Nova Science, 2009.

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Music. 6th ed. London: Hodder & Stoughton, 1992.

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Making music special: Practical ways to create music. London: D. Fulton, 1996.

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Music. Lincolnwood, Ill: NTC Publishing Group, 1992.

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Transforming music education. Bloomington: Indiana University Press, 2003.

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Swanwick, Keith. Teaching music musically. New York: Routledge, 2012.

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Xavier, Rodriguez Carlos, and MENC, the National Association for Music Education (U.S.), eds. Bridging the gap: Popular music and music education. Reston: MENC, 2004.

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Teaching music globally: Experiencing music, expressing culture. New York: Oxford University Press, 2004.

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1947-, Wing Lizabeth Ann, ed. An orientation to music education: Structural knowledge for music teaching. Upper Saddle River, NJ: Pearson/Prentice Hall, 2004.

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Book chapters on the topic "Music Instruction and study Victoria"

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Bowman, Judith. "Applied Music." In The Music Professor Online, 85–111. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0005.

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This chapter describes issues related to teaching applied music online and presents experiences with online applied music instruction in narratives provided by professors engaged in this practice. It provides background on the challenges of online applied music teaching and the nature of applied music study, and it explains the signature pedagogy of applied music, a master–apprentice model. It reviews the state of the practice of online applied music instruction at various levels and asks how instructors might teach applied music effectively online. It features three professors who describe their online teaching experiences: applied piano using specialized equipment at various levels and in various contexts, wind instrument instruction via desktop videoconferencing, and iPad-based instrumental music instruction in a music education methods course. Each professor offers suggestions for prospective online teachers of applied music, and the chapter concludes with some lessons drawn from the field.
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Bowman, Judith. "Music Theory." In The Music Professor Online, 112–44. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0006.

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This chapter describes issues related to teaching music theory online and presents experiences with online music theory instruction in narratives provided by professors teaching music theory online. It provides background on music theory pedagogy and the nature of music theory study. It lists accreditation standards for the study of music theory and explains its signature pedagogy. It reviews the state of the practice, including the status of music theory curricula and online music theory instruction as reported in several surveys. It features four professors who describe their online teaching experiences: development, evolution, and teaching of a fully online music fundamentals course; asynchronous music theory courses; and music theory pedagogy in flipped classrooms. Each professor offers suggestions for prospective online music theory teachers, and the chapter concludes with some lessons drawn from the field.
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Bowman, Judith. "Music Appreciation." In The Music Professor Online, 175–99. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0008.

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This chapter describes issues related to teaching music appreciation online and presents experiences with online music appreciation instruction in narratives provided by professors teaching music appreciation online. It provides background on music appreciation pedagogy, including significant conferences on music in general studies. It describes the nature of music appreciation study as rooted in the disciplines of music theory and musicology, lists accreditation standards for music in general studies, and explains its signature pedagogy. It reviews the state of the practice, including pedagogical innovations as reported in the literature and the status of online music appreciation instruction as reported in a national survey. It features two professors who describe their online teaching experiences: music appreciation online for a diverse audience and music appreciation online for adult learners. Each professor offers suggestions for prospective online music appreciation teachers, and the chapter concludes with some lessons drawn from the field.
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Bowman, Judith. "Music History/Musicology." In The Music Professor Online, 145–74. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0007.

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This chapter describes issues related to teaching music history/musicology online and presents experiences with online music history instruction in narratives provided by professors teaching music history online. It provides background on music history pedagogy and the nature of music history study. It lists accreditation standards for the study of music history and explains its signature pedagogy. It reviews the state of the practice, including the status of online music history instruction as reported in several surveys, and asks how instructors might teach music history effectively online. It features four professors who describe their online teaching experiences: music history online, a constructivist approach to teaching music history online, a flipped music history classroom, and a digital mapping project. Each professor offers suggestions for prospective online music history teachers, and the chapter concludes with some lessons drawn from the field.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.

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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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Christensen, Thomas. "Music Theory in the Nineteenth Century." In Between Chopin and Tellefsen. European Music Treatises Universality and National Identity. Narodowy Instytut Fryderyka Chopina, 2022. http://dx.doi.org/10.56693/mt.2022.01.02.

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The nineteenth century was a burgeoning time for music theory in the West. One need only peruse a bibliography of musical writings concerning music theory and pedagogy to see that the quantity and variety of works multiplied exponentially when compared to the previous century.1 The nature of these writings varied and crossed a number of disciplinary boundaries, from elementary manuals on the fundamentals of music, through practical works of harmony, form and counterpoint, to learned studies of musical acoustics, tuning, aesthetics and psychology, among many others. The quantity and diversity of these publications pressures us to reflect on what we might properly consider to be ‘music theory’ in the nineteenth century. While this is a question that has been answered in different ways over the past century,2 in this essay we will consider a more circumscribed literature and pedagogy that deals directly with questions related to the teaching and learning of compositional skills – usually in institutional settings. This is not to say that the aim of music theory in the nineteenth century was simply to teach a young student how to become a good composer (although there are pedagogies and pedagogues who promised precisely that). More accurately, compositional music theory could be a means offered to musicians from all ranks by which they would gain an ‘inside’ understanding of the ways the vocabulary, grammar and forms of music worked in practice. Along with historical knowledge of the most important composers, genres and styles of music, music theory had become in the nineteenth century a kind of practical knowledge available for a growing community of middle-class educated musicians. So how could one gain entry to such inside compositional knowledge? In the nineteenth century, it was done in two basic ways. One could begin from ‘below’, so to speak, with a student learning the rudiments and skills of music at a very basic level and gradually ascending through a pedagogy of graded study and exercise. This is the ‘practical’ or ‘propaedeutic’ tradition of music theory. The second approach was from ‘above’, whereby one would begin by studying masterpieces of musical repertoire to gain an appreciation and understanding of canonical works and thereby see their governing principles displayed, and perhaps even gain inspiration for one’s own musical compositions. Both approaches can be found in music theory texts published in the nineteenth century – often by the same author. Whether they actually led to the same place, however, is another question altogether. Still, neither the reading of music theory textbooks nor the study of scores alone would be sufficient for learning to compose. The most important transmitters of theoretical and compositional knowledge were actually the many institutions of learning that were established in the nineteenth century for the teaching of music. The founding of the French Conservatoire national de musique et de déclamation in 1795, shortly after the revolution, marks the beginning of this important chapter of musical instruction in Europe. It is important to keep in mind that during the ancien régime of the eighteenth century, musical instruction usually took place as guild knowledge passed on by a master composer to a small number of apprentices, whether in the church, the court or – somewhat uniquely – a number of orphanages in Naples. These Neapolitan orphanages that passed on a remarkable tradition of partimenti-based training were called conservatori thus inaugurating the term as a descriptor for an institution of musical instruction.3 With the establishment of the French Conservatoire, though, musical instruction began to be more institutionalised and standardised. It became the model for many other countries which soon adopted the structure – if not necessarily the specific curriculum – of the Conservatoire for their own national institutions of musical instruction (Milan – 1807, Prague – 1808, Warsaw – 1810, Vienna – 1817, London – 1822, Leipzig – 1843, Moscow – 1866). Music theory (though not under that name) was taught in the French Conservatoire by means of three basic, though overlapping, subdivisions: harmony, counterpoint and composition.4 These divisions were often porous and fungible, with individual instructors charged with teaching two or even all three of those subjects. Yet even as all of these subjects were traditional ones found in many eighteenth-century texts of musical instruction, important changes were being introduced.
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Korngold, Erich Wolfgang, and David Brodbeck. "Recollections of Zemlinsky from My Years of Study." In Korngold and His World, translated by Elisabeth Staak and David Brodbeck, 193–200. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.003.0008.

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This chapter contains Erich Korngold's personal reflections on his former teacher, Alexander Zemlinsky. Zemlinksy was an Austrian composer and conductor who enjoyed an outstanding reputation as a private music teacher in late Habsburg Vienna. He is perhaps best remembered in this capacity for the counterpoint instruction he gave to his future brother-in-law Arnold Schoenberg. For a brief time, beginning in 1900, Zemlinsky taught Alma Schindler, with whom he had a love affair in the period before she began the relationship that would lead, in March 1902, to her marriage to Gustav Mahler. Among the last—and certainly the most precocious—of Zemlinsky's Viennese students was Erich Wolfgang Korngold, whose lessons were initiated in 1908 and continued for upward of two years until Zemlinsky departed Vienna to become the music director of Prague's New German Theater.
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Akutsu, Taichi, Kazuya Amano, Kimie Hirahara, Kumiko Kishi, Eriko Osuga, Hirotaka Terada, and Machiko Yoda. "Bring the Power of Music Into Education." In Research Anthology on Music Education in the Digital Era, 12–24. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-5356-8.ch002.

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This study aims to utilize music to improve learners' motivation, communication, as well as all subject matters other than music, and to nurture human resources that will contribute to the creation of “symbiosis” society. By creating a new teaching learning model for recurrent education for in-service P-12 teachers in Japan, the study specifically presents several model classes to let the participating teachers plan the “Utilizing Music.” For training, they use active learning methods such as PBL with core communication among students. The data were gathered by asking all of the participants to answer an open-ended questionnaire after each session and to analyze their sample lesson plans after they received the instruction. Findings suggests that there were certain resistances in teachers to change their teaching to be more interdisciplinary and shifted to kyosei-based; however, most of the participants absorbed the proposed idea and created lessons in a new direction.
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Akutsu, Taichi, Kazuya Amano, Kimie Hirahara, Kumiko Kishi, Eriko Osuga, Hirotaka Terada, and Machiko Yoda. "Bring the Power of Music Into Education." In Advances in Early Childhood and K-12 Education, 19–35. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch002.

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This study aims to utilize music to improve learners' motivation, communication, as well as all subject matters other than music, and to nurture human resources that will contribute to the creation of “symbiosis” society. By creating a new teaching learning model for recurrent education for in-service P-12 teachers in Japan, the study specifically presents several model classes to let the participating teachers plan the “Utilizing Music.” For training, they use active learning methods such as PBL with core communication among students. The data were gathered by asking all of the participants to answer an open-ended questionnaire after each session and to analyze their sample lesson plans after they received the instruction. Findings suggests that there were certain resistances in teachers to change their teaching to be more interdisciplinary and shifted to kyosei-based; however, most of the participants absorbed the proposed idea and created lessons in a new direction.
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Hammel, Alice M., and Ryan M. Hourigan. "Preparing to Teach." In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0009.

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There are varying degrees of undergraduate and graduate preparation for students with special needs. Music educators may have had a general special education class or the opportunity to study topics regarding students with special needs embedded within a music methods course. The topic of students with special needs may have been included in an educational psychology course, or a teaching music to students with special needs course that was part of the curriculum (Heller, 1994, York & Reynolds, 1996). More often than not, music educators have little or no background or instruction in this area (Wilson & McCrary, 1996). Therefore, music educators must be resourceful in gaining insight into the skills, strategies, and understandings that accompany the experience of teaching a student with special needs. Music teacher educators often have little or no preparation as to how to educate future music educators regarding the inclusion of music students with disabilities or how to plan, implement, and assess lessons in self-contained and inclusive music classrooms. Oftentimes, this lack of understanding results in either glossing over the topic or ignoring it altogether. Licensure requirements can leave little room for “special” topics in the methods classroom. Fieldwork and engagement with special education faculty and staff in a variety of environments can assist music educators in finding ways to reach students with special needs. This chapter may appear to be designed for the music teacher educator. However, practicing music educators are encouraged to utilize the observation protocols and other strategies to obtain on-the-job and authentic experience through self-imposed fieldwork, observation, and discussion within the special education framework. This may be beneficial to music educators in understanding the subculture of students, parents, educators, and administrators that surround a student with special needs. This fieldwork may need to be conducted during preparation/planning time or through permission from an administrator. For music teacher educators, this chapter is designed as a guide to develop fieldwork opportunities for pre-service music educators. Included in this chapter will be strategies for engagement in self-contained classrooms, resource rooms, inclusive settings, and summer enrichment programs.
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Conference papers on the topic "Music Instruction and study Victoria"

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Lou, Shi-Jer, Yi-Zhen Zhu, Kuo-Hung Tseng, Yuan-Chang Guo, and Ru-Chu Shih. "A Study of Computer-Assisted Instruction on Music Appreciation: An Example of Chinese Musical Instruments." In 2009 Ninth IEEE International Conference on Advanced Learning Technologies (ICALT). IEEE, 2009. http://dx.doi.org/10.1109/icalt.2009.62.

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Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.

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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
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