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Journal articles on the topic 'Music programmers'
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1
Temkin, Daniel. "Entropy and FatFinger: Challenging the Compulsiveness of Code with Programmatic Anti-Styles." Leonardo 51, no. 4 (August 2018): 405–12. http://dx.doi.org/10.1162/leon_a_01651.
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Coding, the translating of human intent into logical steps, reinforces a compulsive way of thinking, as described in Joseph Weitzenbaum’s “Science and the Compulsive Programmer” (1976). Two projects by the author, Entropy (2010) and FatFinger (2017), challenge this by encouraging gestural approaches to code. In the Entropy programming language, data becomes slightly more approximate each time it is used, drifting from its original values, forcing programmers to be less precise. FatFinger, a Javascript dialect, allows the programmer to misspell code and interprets it as the closest runnable variation, strategically guessing at the programmer’s intent.
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Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (March 6, 2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.
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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers, gender diversity strategies in tertiary music education and the positive impacts of content targets in programming. Together these articles offer a wide range of perspectives on changing creation and performance practices, listening practices and audience attitudes to music in the twenty-first century. Contributors include leading scholar-performers active at the forefront of contemporary music in Australia, artists from the UK and USA, as well as national radio programmers and not-for-profit arts organisations.
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Wang, Ge, Perry R. Cook, and Spencer Salazar. "ChucK: A Strongly Timed Computer Music Language." Computer Music Journal 39, no. 4 (December 2015): 10–29. http://dx.doi.org/10.1162/comj_a_00324.
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ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.
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Szepanski, Achim. "A Mille Plateaux manifesto." Organised Sound 6, no. 3 (December 2001): 225–28. http://dx.doi.org/10.1017/s1355771801003089.
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The label Mille Plateaux focuses on concepts like virtuality, noise, machinism and digitality. In the most simple case, digital music simulates something that does not exist as a reality; it generates something new. It is the result of the teamwork of numerous authorities such as the 'musician', the programmer and the authority of the software program. Today, computer digital music can be seen as screen-based music, i.e. sounds become visible and images audible, but one can often forget that there is no mutual correspondence; and that this is simply a mechanism whereby a given program secretly directs the programmer towards significant ways of performing, creating apparently absolute relationships between image and sound. On the other hand, with the increasing complexity of software, the programmer loses insight into internal communication structures. Such complex programs are full of errors and can even act on their own initiative. Programmers and musicians who navigate through today's systems function as designers. But this is less a question of the design of a program's operation surfaces but of the programming of software and the navigation by its logic. One has to discuss the medial conditions of digital music, the more user-friendly the software, the less transparent is the medium itself; i.e. the more transparent the functions of a computer or a synthesizer (say, with the use of preset sounds), the stronger the medium proves to be non-transparent. Digital music is more about opening up given program structures; internal ramifications and program hierarchies are to be discovered.
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Rubinstein, Yair. "Uneasy Listening." Resonance 1, no. 1 (2020): 77–93. http://dx.doi.org/10.1525/res.2020.1.1.77.
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This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock and classical music. Consequently, listeners often report AI music sounds unnervingly familiar rather than aesthetically inaccessible. I argue that it is precisely AI music’s devotion to uncannily approximating its human forebears that makes it such an interesting object of contemporary sonic production. It also provides a useful historical parallel to a short-lived musical movement from the 2000s known as sonic hauntology. Much like AI programmers, producers of sonic hauntology applied digital technology to the sonic past. However, they confronted it in more deliberately political and subversive ways. Sampling sonic artifacts and cultural marginalia from the mid-20th century, sonic hauntologists created eerie soundscapes designed to challenge mass culture’s erasure of history’s political depth, or what Fredric Jameson famously referred to as late capitalism’s cultural logic of postmodernism. While AI music has yet to be exploited in this way, I argue its inherently “uneasy listening” carries the potential to further sonic hauntology’s project of repurposing the sonic past to estrange listeners from the present moment.
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Tarasau, Herman, and Ananga Thapaliya. "Influence of listening to music on emotional state of programmers: Preliminary study." Journal of Physics: Conference Series 1694 (December 2020): 012013. http://dx.doi.org/10.1088/1742-6596/1694/1/012013.
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Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (May 2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.
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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists to radio programmers. The success of this programme is based upon state agents developing an institutional isomorphism with existing music industry practices. Even so, popular music makers contest New Zealand on Air’s sympathetic policy settings by citing forms of institutional exclusion.
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Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.
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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.
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Bonini, Tiziano, and Alessandro Gandini. "“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation." Social Media + Society 5, no. 4 (October 2019): 205630511988000. http://dx.doi.org/10.1177/2056305119880006.
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This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by human intermediaries such as radio programmers, journalists, and other experts. The article suggests understanding this gatekeeping activity as a form of “algo-torial power” that has the ability to set the “listening agendas” of global music consumers. While the power of traditional gatekeepers was mainly of an editorial nature, albeit data had some relevance in orienting their choices, the power of platform gatekepeers is an editorial power “augmented” and enhanced by algorithms and big data. Platform gatekeepers have more data, more tools to manage and to make sense of these data, and thus more power than their predecessors. Platformization of music curation then consists of a data-intense gatekeeping activity, based on different mixes of algo-torial logics, that produces new regimes of visibility. This makes the platform capitalistic model potentially more efficient than industrial capitalism in transforming audience attention into data and data into commodities.
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Li, Wenhao, Zhengmo Ma, and Zijian Zou. "Synthetic Music Random Generation Based on Nyquist." Highlights in Science, Engineering and Technology 85 (March 13, 2024): 591–96. http://dx.doi.org/10.54097/750ga766.
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The idea of composing music based on programs has a long history, from some pioneers who first tried to fulfill this idea, to now, the variety of software and workshops that allow people to generate music in different approaches. On this basis, this study will briefly discuss the main idea and some methods used to compose the music in this paper. We aimed to randomly generate a piece of music using only Nyquist. Thus, each time when listen to this, there is a slight difference. With this in mind, this paper has used two ways: the first one is to use several functions in Nyquist, which would randomly choose numbers in a given list or range. The second way is a method based on the functions mentioned earlier, called the random walk, which lets the program stochastically choose one item in a given list of a range of numbers every time to add or subtract to the origin number given by programmers. By using these two techniques, one can generate random sounds and random rhythmic patterns, and when we put these sounds and patterns into scores to generate various melodies, we can stochastically increase or decrease the overall pitch of that score. Finally, the scores are combined to create the whole piece of music. Although there are limitations, this study has provided some methods that can be useful for generating stochastic music.
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CODDINGTON, AMY. "A “Fresh New Music Mix” for the 1980s: Broadcasting Multiculturalism on Crossover Radio." Journal of the Society for American Music 15, no. 1 (February 2021): 30–59. http://dx.doi.org/10.1017/s1752196320000462.
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AbstractThis article examines the racial politics of radio programming in the United States by focusing on the development of a new radio format in the late 1980s. This new format, which the radio industry referred to as Crossover, attracted a coalition audience of Black, white, and Latinx listeners by playing up-tempo dance, R&B, and pop music. In so doing, this format challenged the segregated structure of the radio industry, acknowledging the presence and tastes of Latinx audiences and commodifying young multicultural audiences. The success of this format influenced programming on Top 40 radio stations, bringing the sounds of multicultural publics into the US popular music mainstream. Among these sounds was hip hop, which Crossover programmers embraced for its ability to appeal across diverse audiences; these stations helped facilitate the growth of this burgeoning genre. But like many forms of liberal multiculturalism in the 1980s and 1990s, the racial politics of these stations were complex, as they decentered individual minority groups’ interests in the name of colorblindness and inclusion.
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Sen, Arnaja, Dhaval Popat, Hardik Shah, Priyanka Kuwor, and Era Johri. "Music Playlist Generation using Facial Expression Analysis and Task Extraction." Annales Universitatis Mariae Curie-Sklodowska, sectio AI – Informatica 16, no. 2 (December 22, 2017): 1. http://dx.doi.org/10.17951/ai.2016.16.2.1.
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<p>In day to day stressful environment of IT Industry, there is a truancy for the appropriate relaxation time for all working professionals. To keep a person stress free, various technical or non-technical stress releasing methods are now being adopted. We can categorize the people working on computers as administrators, programmers, etc. each of whom require varied ways in order to ease themselves. The work pressure and the vexation of any kind for a person can be depicted by their emotions. Facial expressions are the key to analyze the current psychology of the person. In this paper, we discuss a user intuitive smart music player. This player will capture the facial expressions of a person working on the computer and identify the current emotion. Intuitively the music will be played for the user to relax them. The music player will take into account the foreground processes which the person is executing on the computer. Since various sort of music is available to boost one's enthusiasm, taking into consideration the tasks executed on the system by the user and the current emotions they carry, an ideal playlist of songs will be created and played for the person. The person can browse the playlist and modify it to make the system more flexible. This music player will thus allow the working professionals to stay relaxed in spite of their workloads.</p>
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Werb, Bret Charles, and Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction." Observatory of Culture 17, no. 5 (November 12, 2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.
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Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that his fellow Poles and an international cadre of musicians, authors, and artistes created and performed while captives of the Germans. The collection he amassed during his final decades consists of hundreds of songs, choral works and instrumental pieces gathered from survivor memoirs, manuscripts, and multiple recorded interviews with former inmates. Approximately 70,000 pages of documentation encompass music-related artworks, biographical details of camp poets and composers, and copious additional corroborating material. Apart from providing an overview of the collection, the paper will discuss Kulisiewicz’s cultural and intellectual background in interwar Poland, and postwar career as a performer, activist and author. Music illustrations will be drawn from Kulisiewicz’s archive of sound recordings, including selections from his own series of autobiographical songs written in Sachsenhausen. A final set of musical examples demonstrates the collection’s utility as a resource for musicians and programmers seeking overlooked, yet revivable repertoire, and for composers inspired to create new works based on “rescued” music preserved in the Museum’s archive.
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Fields, Deborah, Veena Vasudevan, and Yasmin B. Kafai. "The programmers’ collective: fostering participatory culture by making music videos in a high school Scratch coding workshop." Interactive Learning Environments 23, no. 5 (July 29, 2015): 613–33. http://dx.doi.org/10.1080/10494820.2015.1065892.
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Fourmentraux, Jean-Paul. "Internet Artworks, Artists and Computer Programmers: Sharing the Creative Process." Leonardo 39, no. 1 (February 2006): 44–50. http://dx.doi.org/10.1162/002409406775452177.
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Internet artwork no longer refers to the concept of a finalized object, but rather to a dynamic process, a collective, open and interactive device. Due to the increasing sophistication of tools, the design of an Internet artwork now requires hybrid skills. The necessary cooperation with computer specialists in order to create suitable programs thus changes the status of the artwork and its author. This paper presents an ethnographic case study of cooperation between a computer programmer and an artist. It examines the processes of shared design, negotiated authorship and artwork appropriation. From an analysis of the means of communication, various technical media and “intermediary tools,” the author focuses on role allocation, task sharing and artwork appropriation as the artwork is modified throughout the creative process.
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Norilo, Vesa, and Alejandro Olarte. "A Visual Programming Interface for Digital Luthiery: Implementing Circuits with Veneer." Computer Music Journal 44, no. 4 (2020): 8–25. http://dx.doi.org/10.1162/comj_a_00578.
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Abstract This article presents a method for programming musical signal-processing circuits visually, using expressive idioms and abstractions from functional programming. Special attention is paid to the creative workflow, framing the education in a constructionist context. Our aim is to empower musicians in signal processing: The claim was tested in a university workshop for relatively inexperienced programmers. The participants were able to study and implement signal-processing algorithms from literature and integrate them into their preexisting workflow, and appeared to gain self-confidence while doing so.
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Fraietta, Angelo, Oliver Bown, Sam Ferguson, Sam Gillespie, and Liam Bray. "Rapid Composition for Networked Devices: HappyBrackets." Computer Music Journal 43, no. 2-3 (June 2020): 89–108. http://dx.doi.org/10.1162/comj_a_00520.
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This article introduces an open-source Java-based programming environment for creative coding of agglomerative systems using Internet-of-Things (IoT) technologies. Our software originally focused on digital signal processing of audio—including synthesis, sampling, granular sample playback, and a suite of basic effects—but composers now use it to interface with sensors and peripherals through general-purpose input/output and external networked systems. This article examines and addresses the strategies required to integrate novel embedded musical interfaces and creative coding paradigms through an IoT infrastructure. These include: the use of advanced tooling features of a professional integrated development environment as a composition or performance interface rather than just as a compiler; techniques to create media works using features such as autodetection of sensors; seamless and serverless communication among devices on the network; and uploading, updating, and running of new compositions to the device without interruption. Furthermore, we examined the difficulties many novice programmers experience when learning to write code, and we developed strategies to address these difficulties without restricting the potential available in the coding environment. We also examined and developed methods to monitor and debug devices over the network, allowing artists and programmers to set and retrieve current variable values to or from these devices during the performance and composition stages. Finally, we describe three types of art work that demonstrate how the software, called HappyBrackets, is being used in live-coding and dance performances, in interactive sound installations, and as an advanced composition and performance tool for multimedia works.
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Collins, Nick. "Live Coding of Consequence." Leonardo 44, no. 3 (June 2011): 207–11. http://dx.doi.org/10.1162/leon_a_00164.
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A live coding movement has arisen from everyday use of interpreted programming environments, where the results of new code can be immediately established. Running algorithms can be modified as they progress. In the context of arts computing, live coding has become an intriguing movement in the field of real-time performance. It directly confronts the role of computer programmers in new media work by placing their actions, and the consequences of their actions, centrally within a work's setting. This article covers historical precedents, theoretical perspectives and recent practice. Although the contemporary exploration of live coding is associated with the rise of laptop music and visuals, there are many further links to uncover throughout rule-based art. A central issue is the role of a human being within computable structures; it is possible to find examples of live coding that do not require the use of a (digital) computer at all.
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De Pra, Yuri, and Federico Fontana. "Programming Real-Time Sound in Python." Applied Sciences 10, no. 12 (June 19, 2020): 4214. http://dx.doi.org/10.3390/app10124214.
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For its versatility, Python has become one of the most popular programming languages. In spite of its possibility to straightforwardly link native code with powerful libraries for scientific computing, the use of Python for real-time sound applications development is often neglected in favor of alternative programming languages, which are tailored to the digital music domain. This article introduces Python as a real-time software programming tool to interested readers, including Python developers who are new to the real time or, conversely, sound programmers who have not yet taken this language into consideration. Cython and Numba are proposed as libraries supporting agile development of efficient software running at machine level. Moreover, it is shown that refactoring few critical parts of the program under these libraries can dramatically improve the performances of a sound algorithm. Such improvements can be directly benchmarked within Python, thanks to the existence of appropriate code parsing resources. After introducing a simple sound processing example, two algorithms that are known from the literature are coded to show how Python can be effectively employed to program sound software. Finally, issues of efficiency are mainly discussed in terms of latency of the resulting applications. Overall, such issues suggest that the use of real-time Python should be limited to the prototyping phase, where the benefits of language flexibility prevail on low latency requirements, for instance, needed during computer music live performances.
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Randerson, Janine, Jennifer Salmond, and Chris Manford. "Weather as Medium: Art and Meteorological Science." Leonardo 48, no. 1 (February 2015): 16–24. http://dx.doi.org/10.1162/leon_a_00933.
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The recent artworks Albedo of Clouds and Neighbourhood Air adopt weather as primary material for sensory experiences. The art installations included the contributions of scientists, programmers, instrument technicians, social online networks and the vagaries of the weather itself. The projects suggest that creative engagement with meteorological science can activate eco-political “networks” in Latour’s sense, productive of knowledge and potentially transformative. In such “meteorological art,” digital networks not only distribute facts about atmospheric data; they also generate affective forms. Multi-directional flows between weather instrumentation, digital data, media art and meteorological science are enacted in the pursuit of a creative outcome.
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Petchauer, Emery, Tia Harvey, and Rolando Ybarra. "Sonic play: on the B-side of literacy and songwriting." English Teaching: Practice & Critique 22, no. 4 (November 22, 2023): 462–81. http://dx.doi.org/10.1108/etpc-08-2023-0091.
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Purpose This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth’s sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship. Design/methodology/approach The authors’ team consisted of three community-based teaching artists who situated this inquiry around their own practice with youth. The authors conducted this inquiry through a qualitative, participatory and community-engaged research approach. As such, the authors codeveloped and carried out research questions and sense-making protocols that balance the power of interpretation and epistemologies among us. Findings The findings address how the joy, laughter and play of one young musician, Malik, moved across different conceptions of time while learning to make beats in proximity to peers writing lyrics for songs. Specifically, the authors unpack how Malik’s play with mobile sound-making technologies moved across linear and nonlinear time that characterize sonic space and sound art, not music and lyric writing. In doing so, the loops and durations of his sonic play were sometimes unbound by narrative structures that often code literacy and songwriting initiatives. Originality/value The authors’ inquiry speaks into literacy and songwriting initiatives that privilege spoken, written and performed word over sound. The authors ask what kind of participating structures, collaborations, ontologies and youth epistemologies open up if we think of youth in these spaces not only as performers but as programmers tinkering with time in the machine. In addition, the authors ask what literacy and songwriting spaces might look like when the duration, loops and drones of sonic space and not music are the structuring codes over narratives and linearity.
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Schwartz, Oscar. "Competing Visions for AI." Digital Culture & Society 4, no. 1 (March 1, 2018): 87–106. http://dx.doi.org/10.14361/dcs-2018-0107.
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Abstract In this paper, I will investigate how two competing visions of machine intelligence put forward by Alan Turing and J. C. R Licklider - one that emphasized automation and another that emphasized augmentation - have informed experiments in computational creativity, from early attempts at computer-generated art and poetry in the 1960s, up to recent experiments that utilise Machine Learning to generate paintings and music. I argue that while our technological capacities have changed, the foundational conflict between Turing’s vision and Licklider’s vision plays itself out in generations of programmers and artists who explore the computer’s creative potential. Moreover, I will demonstrate that this conflict does not only inform technical/artistic practice, but speaks to a deeper philosophical and ideological divide concerning the narrative of a post-human future. While Turing’s conception of human-equivalent AI informs a transhumanist imaginary of super-intelligent, conscious, anthropomorphic machines, Licklider’s vision of symbiosis underpins formulations of the cyborg as human-machine hybrid, aligning more closely with a critical post-human imaginary in which boundaries between the human and technological become mutable and up for re-negotiation. In this article, I will explore how one of the functions of computational creativity is to highlight, emphasise and sometimes thematise these conflicting post-human imaginaries.
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Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.
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Graham, Stephen. "Kammer Klang, Café Oto, London: 3 November and 1 December 2015." Tempo 70, no. 276 (April 2016): 76–78. http://dx.doi.org/10.1017/s0040298215001059.
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Kammer Klang is enjoying a purple patch. Based in East London's Café Oto, the series sits in a sweet spot between the rougher-edged music usually played at Oto and the more conventionally white cubed silence of new music. Audiences are generally relaxed in the setting, despite creaking chairs. The series' mixed programmes gel, with the distance between various featured musics growing ever smaller as cultural demographics continue to shift.
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Hamilton, Sandra, and Jennifer Vannatta-Hall. "Popular music in preservice music education: Preparedness, confidence and implementation." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 41–60. http://dx.doi.org/10.1386/jpme_00013_1.
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This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.
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Marcoll, Maximilian. "ECLAT 2017, Stuttgart, Germany." Tempo 71, no. 281 (June 21, 2017): 95–96. http://dx.doi.org/10.1017/s0040298217000389.
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Unlike many other New Music festivals, Eclat has so far resisted the temptation to build the festival programmes around central themes. The Eclat festival is one of the major annual gatherings of the German and international scene for contemporary music, taking place in Stuttgart and organised by ‘Musik der Jahrhunderte’ (Christine Fischer) in collaboration with the SWR (Lydia Jeschke). The lack of a central theme doesn't indicate a pragmatic or vague approach to curation, but the festival organisers’ aim to assemble a selection of artists, ensembles and pieces that are either directly asking or indirectly raising questions considered relevant and at the forefront of the scene's discourse at the time of the event.
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Rauduvaite, Asta, and Yadian Du. "The analysis of music teacher education programmes in Lithuania and China." International Journal of Learning and Teaching 10, no. 1 (January 31, 2018): 38. http://dx.doi.org/10.18844/ijlt.v10i1.3144.
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Study programmes that aim to educate music teachers have been undergoing a constant process of renewal, which is predetermined by various factors. The study programmes of music teacher education implemented in Lithuania have never been broadly analysed and compared to similar study programmes of music teacher education in China. Therefore, this study aimed to carry out an analysis of bachelor and master study programmes of music teacher education in Lithuania and China revealing their similarities and differences. The research study disclosed that the goals, intended learning outcomes, structure and curriculum of the two countries have similarities and differences, which are predetermined by philosophical aspects, humanistic ideas and national context of educational policies in both the countries. The study programmes aim to respond to needs of contemporary society, to develop competencies of music teachers, to establish conditions for successful implementation of the goals of study programmes and attainment of learning outcomes.
Keywords: Music teacher education, teacher education curriculum, study programme.
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Thomason, Geoffrey. "Concert Programmes." Musical Times 128, no. 1737 (November 1987): 614. http://dx.doi.org/10.2307/965516.
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Messerschmidt, Edward D. "‘Nowhere else in the prison was that possible!’: Directors’ perspectives on instrumental music programmes in US prisons." International Journal of Community Music 16, no. 3 (September 1, 2023): 317–36. http://dx.doi.org/10.1386/ijcm_00090_1.
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This study sought to gain an understanding of: (a) the formation and operation of four instrumental music programmes active in prisons between 1973 and 2020 and (b) the meanings ascribed to those programmes by their directors and their perceptions of the meanings that incarcerated instrumentalists ascribed to their participation in those groups, focusing on aspects of the programming that might contribute to desistance. Four retired music educators completed an online, open-ended questionnaire, describing their experiences teaching instrumental music in prisons. Using inductive thematic analysis, the following themes in participants’ responses were identified: (a) the importance of support from those in power in starting and running prison-based music programmes; (b) the potential for participation in prison-based instrumental music programmes to help people overcome prejudice and establish community connections; and (c) satisfaction through the development of new abilities among incarcerated musicians. From these findings, I argue that prison-based instrumental music programmes can potentially foster activities and relationships that contribute to social rehabilitation and desistance. Furthermore, the finding that incarcerated musicians reportedly enjoyed a wide array of musical genres and pedagogical approaches invites further discussion about the potential inclusion of different kinds of instrumental music programmes in prison contexts.
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Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (October 7, 2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.
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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades, church concerts, and inter-churches music festivals. This strengthens the need for church worship ministers with music and leadership training. Universities in Kenya are, therefore, obligated to offer church music programmes that will enable these worship ministers to fit in the current job market. The discourse on church music, though, is rare in Kenya hence limited literature on the same. The study had an objective of establishing the relevance of university music curricula to the requirements of church music job market in Kenya. Elliot's Praxial theory underpinned the study. The study found out that universities are not keen to include music programmes that are relevant to the music job market. The Simple Matching Coefficient (SMC) of university X and Y music curricula to the requirements of church music job market was 0.00. Both universities did not have a church music program hence missing all the requirements of the given job market. The study recommends that there is a need to develop church music programmes in universities in Kenya, and this can be done in collaboration with the Schools of Theology at the university.
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Madden, Amanda. "Mardikes, Catherine M., and Elissa B. Weaver, general eds.; Courtney K. Quintance, biography ed.; and Charles M. Cooney and Mark Olsen, programmers. Italian Women Writers. Database." Renaissance and Reformation 45, no. 2 (December 1, 2022): 279–81. http://dx.doi.org/10.33137/rr.v45i2.39771.
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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (March 19, 2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.
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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.
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Ballora, Mark, and Curtis Craig. "Consilient Spheres of Influence in a Land Grant Setting." Organised Sound 18, no. 2 (July 11, 2013): 201–6. http://dx.doi.org/10.1017/s1355771813000113.
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At Penn State, music technology is something of a stranger in a strange land. As a programme, it began in the early twenty-first century, when the necessity of the moment was an anticipated revision to the guidelines from the National Association of Schools of Music (NASM), the North American accrediting body. Music schools were charged with ensuring that music majors were exposed to ‘relevant technologies’. It was left largely to individual institutions to interpret what this meant. At Penn State, a course was created to address this guideline, and it generated interest among students. This course then spawned a series of related courses. These courses eventually created enough of a curricular presence to warrant creating an undergraduate minor. We now expect that the minor will spawn an undergraduate major. The music technology programme's locus lies not solely within the School of Music; rather, it overlaps as an interdisciplinary area with a variety of programmes throughout the university's offerings. These overlaps are a unique feature of the programme. It is an unusual arrangement, but it is a product of its time and place. Three populations of students have coalesced, and the pedagogical challenge has been to create a curriculum that can serve all of them. The programme might be thought of as series of concentric spheres; each is centred around the same general concept structure, but with expanding breadth for different levels of student involvement.
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García Sedano, Marcelino. "Arte y videojuegos. Reflexiones sobre lo lúdico, el arte y la tecnología en Asturias." Liño 23, no. 23 (June 30, 2017): 175. http://dx.doi.org/10.17811/li.23.2017.175-184.
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RESUMEN:La apertura de LABoral Centro de Arte y Creación Industrial y el lanzamiento del primer festival sobre música electrónica experimental y artes visuales LEV Festival en el año 2007, coloca a Gijón y al Principado de Asturias en los puestos de cabeza de la reflexión y exhibición de las cuestiones relacionadas con la tecnocreatividad. Semejante despliegue institucional, arranca con fuerza y con propuestas arriesgadas, entre ellas, la programación de varias grandes exposiciones sobre la relación del videojuego y la cultura en el corto periodo de dos años. Lo que podría considerarse un debate pertinente aunque arriesgado, devino en muestras históricas, discusiones importantes y la presencia no sólo de grandes artistas, programadores y diseñadores de videojuegos, sino también de grandes teóricos del medio. Este artículo pretende ahondar en la profundidad compleja del videojuego como manifestación artística y cómo esta disciplina se relacionó con los sucesos artísticos de la región asturiana.PALABRAS CLAVE:Nuevos Medios, videojuegos, Asturias, interactividad, arte digital.ABSTRACT:The opening of LABoral Centro de Arte y Creación Industrial and the launching of the first experimental electronic music festival and visual arts, LEV festival, in the year 2007, places Gijon and the Principado de Asturias in the top of the rankings in exhibition and reflexion about techno-creativity. This huge display of institutional efforts, begins with a bang and innovative proposals; among them, the programming of a couple of big exhibitions on the relationship between video games and culture in just a short two-year period. What could be considered a pertinent but risky debate, turned into historical exhibitions, important discussions and the presence of not only important artists, programmers, videogame designers, but key theorist specialized in the field, placing this way, Asturias and LABoral in the top of the world rankings on the debates about artgame. This article aims to explore the complexity of the videogame as an artistic manifestation and the ways in which it got linked to artistic events in Asturias.KEYWORDS:New media, videogames, Asturias, interactivity, digital art.
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Žaimis, Uldis, Ilva Magazeina, and Anita Jansone. "GOLD - SECTION IN INTERACTIVE USER INTERFACE DEVELOPMENT." Environment. Technology. Resources. Proceedings of the International Scientific and Practical Conference 2 (June 15, 2017): 180. http://dx.doi.org/10.17770/etr2017vol2.2565.
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The days when only specialists worked with programs and the functionality was the most important have long passed. In today's competitive environment, an important marketing component is reliability in which the only tangible part of the program, the interface, plays a large role. Purely psychological, it is important for the users' visibility, correctness and can even be argued, friendliness. This is determined by the elements of visibility and components' location in intuitively expected places, design integrity, tone and choice of characteristic elements which, together, create a feeling of sympathy or antipathy from the software user. Regularities, which ultimately determine the user's subconscious reactions, are found in natural formations - from the most basic proportions of plants to more sophisticated self-arranged compositions.
The harmony of the structures of natural systems, that is, their internal organization, is subject to certain mathematical laws. Objective world stable stationary states corresponding to particular figures, called generalized Golen Ratios. These figures are all the structure of the invariant, which are embodied by the dialectic structure of the world and the different variations that can be observed at every step of nature. It is important to note that with the generalized Golden Ratio, not only is the well-known ratio of 1:1,618 understood, but a whole line of relationships, where like in music, a single major or minor note can be played, and another can stand out from the whole ensemble.
The main applications of the Goden Ratio in interface design are space division, caption-font size ratios, restrictive areas (buttons), title queue length, color tone saturation ratio, and cell location coordinates.
In this paper, we propose certain recomendations for the development of a user - friendly interface. These recommendations suggest uses in the software developer training process for non-design specialty students; target group - programmers, computer specialists, and IT project managers. The article does not address the development of graphic design tools and their functionality.
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Bartleet, Brydie-Leigh, Catherine Grant, Charulatha Mani, and Vanessa Tomlinson. "Global mobility in music higher education: Reflections on how intercultural music-making can enhance students’ musical practices and identities." International Journal of Music Education 38, no. 2 (January 5, 2020): 161–76. http://dx.doi.org/10.1177/0255761419890943.
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Music higher education institutions are increasingly recognising the educational value of intercultural learning experiences. Delivering such learning experiences in a way that provides music students with a rich cultural and musical learning experience, rather than a superficial one, can be a challenging task, particularly in the case of short-term ‘mobility’ or ‘study-abroad’ programmes. This article explores ways to address this challenge by reflecting on student learnings from a suite of international study experiences, or ‘global mobility programmes’, at one Australian tertiary music institution, run in collaboration with community partners, universities and nongovernmental organisations in the Asia Pacific. Focusing on how intercultural music-making in the context can enhance students’ musical practices and identities, we first outline the sociocultural contexts of our music global mobility programmes in Cambodia, China and India, and explore the different modes of music-making these experiences afforded. We then draw on Coessens’ ‘web of artistic practice’ to explore site-specific examples of the ways in which global mobility programmes can enhance students’ musical practices and identities. These findings hold particular relevance for music educators and higher education institutions in justifying, designing and carrying out such intercultural experiences to maximise student learning and success.
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Corcoran, Sean. "Teaching creative music in El Sistema and after-school music contexts." International Journal of Music Education 39, no. 3 (February 2, 2021): 313–26. http://dx.doi.org/10.1177/0255761421990820.
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El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I used a multiple qualitative case study to examine eight teachers’ perspectives of creative music making within El Sistema and after-school music programmes in Canada and the United Kingdom. Findings revealed that teachers conceptualized creative music making as activities that develop agency through collaborative music creation, that have the benefit of creating a sense of belonging and that give students the opportunity to contribute to their community. Successful nurturing of creative music making seems to rely on connecting students to their wider community, which is achieved in part through incorporating students’ own musical tastes. Teachers’ experiences with creative music making in their own music education played a crucial role in preparing them to teach creative music.
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Simoni, Mary. "Project Lovelace: unprecedented opportunities for music education." Organised Sound 8, no. 1 (April 2003): 57–60. http://dx.doi.org/10.1017/s1355771803001067.
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Project Lovelace is a school-based programme for students aged twelve to eighteen years interested in learning about making music by using technology. The programme is designed to encourage equal and equitable participation by male and female students through instruction in technology-enhanced music performance, improvisation, composition, analysis and notation. Project Lovelace is named in honour of the contributions of the female mathematician Ada Augusta, Countess of Lovelace, who in 1842 predicted that computers could be used for musical composition (Roads 1996).The goals of Project Lovelace are to develop collaborative-based methods for gender-balanced school music technology programmes, amass a gender-balanced repertoire suitable for school music technology programmes, nurture creativity and analytical skills in music technology, and conduct a longitudinal study that documents the changing attitudes and perceived competencies of participating students and teachers.The motivation to initiate Project Lovelace was the timely convergence of two vexing issues perennially facing music technology programmes in higher education, specifically at the University of Michigan: the proportionally small number of female applicants to university music technology programmes and the need to continually upgrade or replace laboratory equipment. Why not allocate second-generation university laboratory equipment to the schools with the intent of building school-based music technology curricula that lead to a gender-balanced university applicant pool?
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Madyar-Novak, Vira. "Fields of Activity of Volodymyr Goshovskyi (Dedicated to the Centenary of the Scientist)." Problems of music ethnology 17 (November 17, 2022): 16–26. http://dx.doi.org/10.31318/2522-4212.2022.17.270895.
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In the conditions of the Russian occupation, when Ukraine is fighting for independence, the commemoration of the centennial anniversary of one of the “titans” of Ukrainian ethnomusicology, Volodymyr Hoshovsky (1922–1996), acquires special national significance.
The article reviews the spheres of activity of the scientist throughout his life starting from his childhood. The diverse upbringing and education of the European level formed V. Hoshovsky’s interest in the exact sciences and humanities, as well as in art, even in his childhood. This diversity of interests allows you to respond to changing life circumstances and master a new profession.
After receiving a doctorate in philology and ethnography at the Charles University in Prague (1944), V. Hoshovsky prepared to become a scientist and became a polyglot. His main linguistic studies fell on the Prague period: work at the Institute of Slavic Studies, teaching at the Modern Languages Club, brilliant proposals and scientific prospects for the future.
Ethnographic studies took place in Uzhhorod in 1946–1948. V. Hoshovsky headed the ethnographic department of the Uzhhorod Historical and Ethnographic Museum, began an in-depth survey of the folk culture and lifestyle of the villages of the Transcarpathian region, and organized a number of large exhibitions.
The strengthening of ideological pressure and the closing of the ethnographic department led to the search for a new field of activity and realization as a professional musician. V. Hoshovsky obtained a second higher education – this time – in music. He graduated from the Lviv State Conservatory named after M.V. Lysenko (1953), as in Prague, having chosen two specialties. As a result, he became the first professional guitarist and the first professional conductor of an orchestra of folk instruments in Transcarpathia. A passion for musical aesthetics and musicology was added to the performances. His musical activity was very intense.
Since 1955, V. Hoshovsky entered the field of ethnomusicology, which turned into his life’s work. His research on folk music evolved, delineating three periods. In the early period (Uzhhorod, 1955–1961), the scientist focused on regional studies: he carried out numerous field surveys of Transcarpathian villages, began the study of the history of musical folklore of Transcarpathia, studied the kolomyika in the context of Slavic studies, and engaged in the discovery of the musical dialects of Transcarpathia.
In the mature period (Lviv, Yerevan, 1962–1986) V. Hoshovsky significantly expanded the range of scientific interests, reached the level of Carpathian studies, Slavic studies and cybernetic ethnomusicology, completed studies in the field of musical dialectology, significantly updated the research methodology by involving the methods of linguistics, semiotics, genetics, cybernetics, etc. The main his works were the anthology “Ukrainian Songs of Transcarpathia” (1968), the monograph “On the Origins of Folk Music of the Slavs” (1971), the two-volume collection of Klyment Kvitka’s works “K.V. Kvitka. Selected Works” (1971, 1973), development of UNSACAT (on the basis of Lviv analytical maps, and in cooperation with Armenian programmers), computer research of Ukrainian, Slovak, Armenian and Azerbaijani folk music. In the later period (Lviv, Uzhhorod, 1986–1996) he focused on the coverage of certain ethnomusicological issues and memories.
The review made it possible to come to the conclusion that the realization of V. Hoshovsky in the field of linguistics and ethnography laid an interest in scientific work. The switch to the musical sphere made it possible to wait out the ideological pressure. Fascination with ethnomusicology marked a return to the bosom of science, but at a new level: with the unification of all previously acquired knowledge and experience. The breadth of scientific interests, familiarity with modern methods of research in various fields of science, the possibility of studying the latest European specialized literature in the original language distinguished this scientist among contemporary ethnomusicologists and provided space for bold experiments.
As for pedagogical and social work, they formed a supporting line to the philological, musical, and ethnomusicological spheres of V. Hoshovsky’s activities. On the one hand, they stimulated public interest in certain issues, and on the other hand, they contributed to the education of followers who formed the musical, performing and ethnomusicological future of Ukraine.
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Cain, Melissa Anne. "Singapore International Schools: Best practice in culturally diverse music education." British Journal of Music Education 27, no. 2 (June 2, 2010): 111–25. http://dx.doi.org/10.1017/s0265051710000033.
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This paper explores the preliminary outcomes of research into the place and role of cultural diversity in primary music classes at five International Schools in Singapore. It highlights the ways in which school philosophy, policy, curriculum and in-service training influence teacher practice. The research provides insights into the challenges teachers face when diversifying their music programmes in addition to the areas of support that allow a programme based on cultural diversity to flourish and remain successful. The results of interviews with music specialists at these schools suggest that music programmes at International Schools in Singapore provide examples of best practice in culturally diverse music education. The success of these programmes is due to several identifiable factors such as strong philosophical and curricula foundations, quality in-service training and the regular involvement of culture bearers and visiting artists.
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Wish, Dave. "Popular music education and American democracy: Why I coined the term ‘modern band’ and the road ahead." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 117–25. http://dx.doi.org/10.1386/jpme_00017_1.
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In this article, the author, the founder and CEO of Little Kids Rock, describes how his early work as an elementary school teacher providing an extracurricular guitar club, evolved into him founding a music education non-profit organization. By inventing the term ‘modern band’ and joining nationwide leading efforts for systemic change in US American music education, the author tries to place popular music conceptually and pedagogically at the core of school music programmes. The author briefly describes the causes of the exclusion of popular music from school music programmes before arguing that modern band can help to democratize school music education by making it culturally relevant, student-centred and inclusive. The article concludes with the author’s hopes for the future of music education in the United States.
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Hughes, Alayna. "Maker music: Incorporating the maker and hacker community into music technology education." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 287–300. http://dx.doi.org/10.1386/jmte.11.3.287_1.
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Music Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out on learning other technologies and career paths that could benefit them. I would argue that by not updating the topics in music technology education that this has contributed to the stale output of the music industry within changing times. By incorporating topics such as microcontrollers, interaction and programming, students could discover new ways to work with music and learn skills that will give them more career opportunities. This article will discuss the ideals of the maker and music hacking movement, current pedagogy in Music Production and Technology degree programmes in the United States and United Kingdom and European Union, and the advantages of merging invention and DIY education into the current music technology and music production pedagogy.
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Miettinen, Laura, Claudia Gluschankof, Sidsel Karlsen, and Heidi Westerlund. "Initiating mobilizing networks: Mapping intercultural competences in two music teacher programmes in Israel and Finland." Research Studies in Music Education 40, no. 1 (April 9, 2018): 67–88. http://dx.doi.org/10.1177/1321103x18757713.
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Societies worldwide are becoming more aware of the educational challenges that come with increased cultural diversity derived from ethnic, linguistic, religious, socioeconomic and educational differences and their intersections. In many countries, teacher education programmes are expected to prepare teachers for this reality and develop their intercultural competences. This instrumental case study is based on a project that aims to initiate mobilizing networks between two music teacher programmes to explore intercultural music teacher education. In this study, we map the intercultural competences that are required of music teacher educators and that are provided in the music education programmes at two higher music education institutions in Israel and Finland. The data consists of 11 focus group interviews with music teacher educators at the Levinsky College of Education in Tel Aviv and the Sibelius Academy of the University of the Arts Helsinki, conducted by a multinational research team. The data was analysed abductively, using content analysis as a method. While the interviewed teacher educators could articulate many aspects of their own intercultural competences or the lack of them, the findings indicate that in musical diversity and teaching students from different musical backgrounds the teacher educators found it difficult to explain what kinds of intercultural competences their respective programmes provided for the students. Based on the findings, there is a need for a more holistic understanding of intercultural competences in music teacher education as well as how our institutions produce power. There is also a need for the teacher educators in the programmes to collaborate and discuss among each other in order to create “knowledge communities” and to move towards addressing intercultural issues.
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Temmerman, Nita. "An investigation of undergraduate music education curriculum content in primary teacher education programmes in Australia." International Journal of Music Education os-30, no. 1 (November 1997): 26–34. http://dx.doi.org/10.1177/025576149703000104.
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Primary school music experiences have been shown to impact not only on future adult attitudes to, but also interest and participation in music. Unfortunately, the current policy and practice of music in primary schools is still perceived to be unsatisfactory. According to teachers this can be attributed in the main to their undergraduate university training in music education. Music educators have a key role to play in breaking the apparent current cycle of unsatisfactory (or no) music practice at the primary school level. This paper investigates what curriculum content is currently included in compulsory undergraduate university music education programmes. It asks teacher educators, in light of recent research, to reflect critically on the adequacy of their current curriculum to prepare beginning teachers to teach primary school music.
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Cuesta, José. "Music to my ears: the (many) socioeconomic benefits of music training programmes." Applied Economics Letters 18, no. 10 (July 2011): 915–18. http://dx.doi.org/10.1080/13504851.2010.517187.
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Rauduvaite, Asta. "Music Teacher Education in China." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 6, 2018): 74–83. http://dx.doi.org/10.18844/prosoc.v4i8.2978.
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The content of music teacher education study programmes is conditioned by the needs of the market economy and information society, higher education as a mass phenomenon, penetration of humanist ideas into the curricula and many other factors. The aim of these study programmes is to respond to the needs of society, develop the competencies of teacher education and establish the right conditions for successful implementation and to achieve the intended learning outcomes. The training of music teachers in China requires overall improvement in the level of music teacher training. The Ministry of National Education provides the curriculum for music teacher education as well as the guidelines for teaching compulsory courses for music teachers at general institutions and prestigious universities in China. This profession is important in professional courses and in the field of pedagogy; therefore, integrating the content of elective courses into professional courses could be more prolific and comprehensive. Keywords: Music teacher education, study programme, music education.
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Lasauskiene, Jolanta. "(RE)CONSTRUCTION OF STUDENT MUSIC TEACHER IDENTITY." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 25, 2018): 306–16. http://dx.doi.org/10.17770/sie2018vol1.3180.
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The professional identity of music teacher represents the essence of this profession. Improving the programmes of music teacher education and deciding how to (re)construct the professional identity of prospective music teachers, it is important to discuss what contextual factors can have an impact on the development of music teacher identity and what possibilities of its (self-) development are available at university. A better understanding of the role-identity of teachers at various stages of their careers could enhance the conceptions of study programmes in music teacher education. The article analyses and discusses the conception of music teacher identities, substantiates its peculiarities during pre-service training, points out the most important characteristics for the successful professional activity of the music teacher. The research presented in the article focuses on professional identity development of 30 university music students (15 Lithuanian and 15 foreign) at Lithuanian University of Educational Sciences (Music Education). The method of focus group interview was used in this study.The research results show that the student music teachers have developed a distinctive attitude towards the professional education in universities and their own expectations. Suggestions for practice and further research are also provided.
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Nysæther, Eyolf Thovsen, Catharina Christophersen, and Jon Helge Sætre. "Who are the music student teachers in Norwegian generalist teacher education?" Nordic Research in Music Education 2, no. 2 (December 17, 2021): 28–57. http://dx.doi.org/10.23865/nrme.v2.2988.
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This study is based on data from a national survey of generalist student teachers specialising in music in the new five-year primary and lower secondary school teacher education programme in Norway. The study aims to map students’ backgrounds, experiences of the educational programme and visions for their future practice as generalist music teachers in schools. The theoretical perspective is cultural-historical activity theory (CHAT). The findings suggest that generalist teacher education music programmes reproduce patterns of inequality. These patterns should be addressed in the future development of the programmes; however, the current lack of diversity may inhibit conditions for transformation and change.
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Walzer, Daniel A. "Critical listening assessment in undergraduate music technology programmes." Journal of Music, Technology and Education 8, no. 1 (May 1, 2015): 41–53. http://dx.doi.org/10.1386/jmte.8.1.41_1.
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Lasauskiene, Jolanta, and Yuqing Yang. "Educating music teachers in the new millennium: Current models and new developments." Contemporary Educational Researches Journal 8, no. 3 (August 24, 2018): 101–14. http://dx.doi.org/10.18844/cerj.v8i3.3009.
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The main aim of every teacher education programme is to educate competent teachers and to develop necessary professional qualities to ensure lifelong teaching careers for teachers. In various countries different traditions of educating teachers of music have been established following the traditions and needs of each country. The aim of this study is to present and generalise an overview of the most common models of music teacher education in Lithuania (with a focus on Lithuanian University of Educational Sciences) and other countries, so as to highlight the main features that might initiate discussion of critical issues in the context of music teacher education nationally and internationally. The article focuses on pedagogical study programmes of Music Education as well as on similarities and differences in their curricular. The research on models for teacher education in the best foreign higher education institutions creates conditions for adoption of the most successful international teacher education practices.
Keywords: Initial music teacher education, teacher education curriculum, teacher education models, study programmes;