Journal articles on the topic 'Music teachers – China'
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1
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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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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Yu, Zhuo, and Bo-Wah Leung. "Music teachers and their implementation of the new Music Curriculum Standards in China." International Journal of Music Education 37, no. 2 (January 22, 2019): 178–97. http://dx.doi.org/10.1177/0255761418820647.
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The Ministry of Education of China issued a new document of Music Curriculum Standards in 2011 substituting the old version of 2001. This study aims to investigate how music teachers in China implement and respond to the Curriculum Standards through a questionnaire survey and semi-structured interviews with voluntary teachers. A total of 2206 music teachers from 15 regions/provinces responded to the survey in 2015. Findings reveal that, after a few years of implementation, most teachers found different constraints in implementing the new curriculum. Trained teachers, younger teachers and experienced teachers are more receptive and capable in implementing the curriculum, while rural schools are still in a disadvantaged situation. Most teachers do not understand the concept of music education as aesthetic education. In-service training is found to be insufficient, especially in rural schools. In sum, the current ‘knowledge-centered curriculum’ might need to be redirected to the directions of society-centered and student-centered in order to make a balance.
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Ho, Wai-Chung. "Secondary school students’ preferences for popular music and perceptions of popular music learned in school music education in Mainland China." Research Studies in Music Education 39, no. 1 (April 5, 2017): 19–37. http://dx.doi.org/10.1177/1321103x17700688.
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This study examined popular music and school music education as cultural constructs of teenage students amid the shifting cultural and social dynamics of contemporary China. Data were drawn from questionnaires completed by 6,780 secondary students (mainly ages 12 through 17) from three cities—Beijing, Changsha, and Shanghai. The survey results revealed the extent of Chinese youths’ preferences for a variety of popular music styles in their daily lives, the relationship between their preference for popular idols and their music learning, and their views on learning popular music in school music education. The discussion in this article focuses on the dynamics of teaching popular music and learning other music styles (not limited to either popular or classical music) within the school environment in relation to teenage students’ daily music experiences and school music learning, school music teachers, and teacher education in contemporary China.
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Lasauskiene, Jolanta, and Youdi Sun. "Challenges and visions in school music education: Focusing on Chinese and Lithuanian realities." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 1 (May 10, 2019): 38–46. http://dx.doi.org/10.18844/prosoc.v6i1.4153.
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This article focuses on music education in Chinese and Lithuanian schools, especially on the latest reforms of the national music curriculum for basic and general education. Due to the original reasons and historical development in the east and west, the philosophies of educations are different, resulting in differences in concepts of education, goals of education, methods of education, roles of teachers and students. The process of collecting information for music education in Lithuania and China will be explained in order to gain insight into specific issues related to each country. The resulting similarities and differences between Chinese and Lithuanian school music education are reported, and suggestions for basic and teacher education improvement are discussed. Most importantly, the findings of this study have highlighted that the notions of school music education in Lithuania and China are insignificantly different.
Keywords: Chinese general music education, music curriculum, music activities, Lithuanian general music education.
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Liang, C. "VALUE POTENTIAL OF MUSIC TEACHERS’ ARTISTIC AND EDUCATIONAL ACTIVITY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 70–79. http://dx.doi.org/10.33989/2226-4051.2021.23.238256.
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The purpose of the article is to analyze the phenomenon of music teachers’ artistic and educational activity in the artistic and value context as well as projections for professional training. The integral content of such activity in the teaching profession is revealed in general, and its connection with the values of culture is considered. It is emphasized that art education covers all disciplines of professional music and pedagogical training. At the same time, the tasks of the particular discipline always are in the centre of the solution of problems of other disciplines. Moreover, the place of education in life and work of prominent artists and teachers of Ukraine, China, and other countries is indicated. The role of poly-artistic training of music teachers as a basis for the formation of artistic values is emphasized. The requirements of artistic and educational activity for professional training of music teachers are outlined as the following: attitude towards educational activity, self-development of cultural skills, mastery of information space, development of performing skills, mastering the techniques of verbal and nonverbal communication with the audience.
The article specifies the essence of music teacher’s artistic and educational activity as a purposeful permanent process that integrates various components of artistic cognition. The interdependent vectors of professional training of music students are formulated. They are the following: a directed influence on artistic values of others and conscious enrichment of one’s own artistic value sphere. The potential of music teacher’s artistic and educational activity as a foundation and reference point for acquiring personal artistic values is revealed, which includes motivation to expand general artistic erudition, the possibility of holistic practice-oriented immersion in art, presentation of the results of artistic search, and self-presentation.
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Mykhaskovа, Marina. "FOREIGN EXPERIENCE OF PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHERS." Continuing Professional Education: Theory and Practice, no. 1 (2020): 74–79. http://dx.doi.org/10.28925/1609-8595.2020.1.11.
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The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. The author of the article analyses the term of education in different countries; duration of stage education (Bachelor (Bc), Master (Mg), Doctor (Dr)); duration of study of the course; types of music activity; basic subjects; direction of educational subjects; music-pedagogical systems of outstanding musicians-pedagogues involved in the professional education process. It is analyzed that the common features for music education are: the orientation of education to the inner values associated with the development of musical skills, knowledge and abilities necessary for creativity and reaction to music; understanding and knowledge of the cultural environment and heritage; personal and community development through creativity, identity formation, personal development and social interaction. Music education systems abroad are characterized by the focus on the harmonious development of the personality, provide various forms of creative music playing on the material of folk, classical, contemporary music in their parallel comparison, develop perception and musical hearing through effective techniques.
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Золотухіна, С. Т., О. М. Іонова, and С. Є. Лупаренко. "МУЗИЧНА ОСВІТА ШКОЛЯРІВ У ЗАКЛАДАХ ЗАГАЛЬНОЇ СЕРЕДНЬОЇ ОСВІТИ КНР: ТЕНДЕНЦІЇ ТА ПЕРСПЕКТИВИ." Теорія та методика навчання та виховання, no. 47 (2019): 37–49. http://dx.doi.org/10.34142/23128046.2019.47.04.
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The relevance of the study is predetermined by insufficient development of the problem of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China and the significance of the use of educationally valuable Chinese experience in music education in Ukrainian educational practice. The aim of the study is to reveal the tendencies and prospects for schoolchildren’s music education in general secondary education institutions in the People’s Republic of China. Various methods have been used to carry out this research, namely: general scientific (analysis, synthesis, systematization, generalization, comparison, classification), historical, empirical and prognostic methods. The general tendencies of development of music education in general secondary education institutions in the People’s Republic of China in historical, content and organizational-methodical aspects have been revealed. The general trends of development of music education in general secondary education institutions in Ukraine and the People’s Republic of China have been determined. They are the progressiveness of the general strategy of music education, its focus on the development of spirituality of the nation, democratization of educational process, openness to the world and European experience, constant modernization of the content of education, forms and methods of mastering it, improvement of the conditions of educational process, increased attention to Music teachers’ professional training. The prospects for development of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China have been specified. They are the intensification of scientific research and intensifying the implementation of innovations into the practice of music education, the creation of a national concept of general music education taking into consideration the progressive world experience and national cultural traditions, development of curricula of general secondary music education taking into account the specificity and opportunities in the region, the combination of tradition and innovation in music pedagogy. The directions of the use of Chinese experience in modern schools in Ukraine have been determined. They are the development of a concept of schoolchildren’s music education taking into account the realities and prospects for the development of national education, universal and national cultural traditions, children’s assimilation of the most important values by means of musical art, providing pedagogically appropriate organization and improving the conditions of children’s music education, increasing the requirements for Music teachers’ professionalism
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Ho, Wai-Chung, and Wing-Wah Law. "Music education and cultural and national values." International Journal of Comparative Education and Development 22, no. 3 (July 7, 2020): 219–32. http://dx.doi.org/10.1108/ijced-10-2019-0053.
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PurposeThe purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.Design/methodology/approachWith specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.FindingsThe findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.Research limitations/implicationsThis study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.Practical implicationsThe implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.Originality/valueThe findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.
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Wanqi, Luo. "Training of Teachers at the Moscow Institute of Arts of Weinan Pedagogical University as a Form of International Cooperation between Russia and China." Prepodavatel XXI vek, no. 3, 2020 (2020): 76–83. http://dx.doi.org/10.31862/2073-9613-2020-3-76-83.
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The article presents some features of Russian-Chinese cooperation in the field of teacher training for China. Moscow Pedagogical State University together with Weinan Pedagogical University not only implements joint educational programs of pedagogical profile, but also forms a new system of educational process management in the joint structural educational division of the Chinese University. The implementation of joint educational programs in the field of preschool education, training of teachers of fine arts and music was the first project based on intergovernmental agreements between Russia and China on the creation of a joint structural educational unit in a Chinese University. The project is related to the development of modern approaches to teacher training for the People’s Republic of China based on the achievements of the Russian model of teacher training.
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Guo, Wei, and Leonard John Cosaitis. "A Cutting Edge Method in Chinese Piano Education: the Xindi Applied Piano Pedagogy." Higher Education Studies 10, no. 1 (November 27, 2019): 7. http://dx.doi.org/10.5539/hes.v10n1p7.
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The Xindi Applied Piano Pedagogy (XAPP) was self-formulated by Professor Xindi, the Dean of the Music Education Institute of Xinghai Conservatory of Music (MEIXHCM), in 2001. After a series of scaffolding developments over a decade, the single instrumental teaching method is now developing into a holistic music educational system for the preparation of graduate music teachers at both primary and secondary levels. In addition, this particular pedagogy seems to have created a competitive force in the market of community music education in mainland China. This article explores the XAPP in a narrative manner whilst investigating the advantages it has over three classical repertoire-oriented piano methods in mainland China in the modern era.
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Yunwenting, H. "The methodological aspect of music teaching in China on the example of the fifth secondary school in Songshan district." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 139–42. http://dx.doi.org/10.30725/2619-0303-2020-3-139-142.
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This article was created because of attending classes of seventh and eighth graders at the 5th Middle School in Chifeng City, Songshan District, PRC in 2018. After studying and analyzing the materials and experience of music teachers in this class, the article describes the music lessons that are being conducted and presents some recommendations for the development of music education in Chinese secondary schools. This work is the second in a series of articles on music education in China (the first was devoted to the methodology of teaching music lessons in elementary school).
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Ho, Wai-Chung, and Wing-Wah Law. "Sociopolitical culture and school music education in Hong Kong." British Journal of Music Education 26, no. 1 (March 2009): 71–84. http://dx.doi.org/10.1017/s0265051708008292.
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In the last two decades, educational and curricular reforms in Hong Kong have been designed to prepare students for the challenges of the return of Hong Kong's sovereignty from the UK to the People's Republic of China (PRC) in 1997. This paper focuses on students' and teachers' attitudes towards a multicultural music education, which includes Chinese music, in response to this socio-political change. A mixed method design, involving a content analysis of relevant official educational and music documents, a questionnaire survey to 3,243 school students, and semi-structured interviews with 20 music teachers have been employed to further understanding of the development of politics and culture in Hong Kong society, which was investigated between winter 2006 and spring 2007. This paper argues that access to various musical cultures is a necessary but not sufficient condition for the development of music education in Hong Kong. Questions of how to integrate both Chinese music and other musical cultures in music education will remain a challenge for the future.
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Tao, Xiangyi, and Robyn Ewing. "Images of the child in preschool music education: Case studies in Australia and China." International Journal of Music in Early Childhood 14, no. 2 (December 1, 2019): 147–65. http://dx.doi.org/10.1386/ijmec_00002_1.
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This article explores images of young children in preschool music curricula in an Australian and a Chinese preschool. The ‘images of the child’ relevant to each country are presented by including children’s voices, teachers’ perceptions of children’s personalities and their ways of learning, and children’s roles in learning as designated in official documents on early childhood education. Framed by a sociocultural perspective, this qualitative case study responds to the changing contexts of early childhood music education (ECME) in both countries. Crystallization as a methodological lens is applied to shed light on the variations and complexities from the teachers’ and the children’s perspectives. Data-gathering methods include document analysis, classroom observations, teachers’ interviews and conversations with children. This article particularly reflects the images and experiences of the children through their own lenses and enriches the scope of current ECME research.The main findings suggest the existence of both alignment and gaps, in varying degrees, between the official policy documents, the teachers’ perceptions, and the children’s understandings of their musical experiences. First, images of the child in the policy articles are interpreted differently in Australia and China, and there is a marked difference between the countries in their definitions of child-centred learning in specific contexts. Finally, implications and directions for future research are suggested to facilitate children’s musical exploration in preschools.
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Lei, Liu. "Research on Music Appreciation Teaching of Non-Music Majors in Normal Universities." International Journal for Innovation Education and Research 4, no. 1 (January 31, 2016): 46–50. http://dx.doi.org/10.31686/ijier.vol4.iss1.507.
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Schools in China pay more attention to quality-oriented education. Music, an essential part in quality-oriented education, has been an indispensable part in education policy making process for a long time. During the crucial period transforming from examination-oriented education to quality-oriented education, music plays an irreplaceably special role in learning and teaching. According to the recent data, all the normal universities have set up the music curriculum, whether it is music, or non-music majors. It stresses the importance of music class in the form of compulsory or optional courses in the teaching content. However, there are some problems which are bothering the teachers. To solve those problems, the author will combine theoretical knowledge and practical experience and make a preliminary study and research of music appreciation teaching of non-music majors in normal universities.
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Zhang, Tingting. "Training of music teachers in pedagogical universities of China in the expressive gestures." Искусство и образование, no. 4 (2021): 210–18. http://dx.doi.org/10.51631/2072-0432_2021_132_4_210.
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Osenneva, Marina, and Chen Ying. "Multiculturalism of the modern city as a necessary condition for the modification of music-pedagogical education." SHS Web of Conferences 98 (2021): 02015. http://dx.doi.org/10.1051/shsconf/20219802015.
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The article substantiates the need to integrate pedagogical communities in the context of multiculturalism as a social reality of contemporary urban life. The authors note the unity of the existence of such a phenomenon in the multicultural megacities of the polyethnic world in general, and in Russia and China, in particular. Nevertheless, training future teachers to multicultural music education is usually carried out locally based on the students’ country of residence, which today requires concerted efforts on the part of teachers-musicians of different countries, including Russia and China, of which each has its own view on the solution to this issue and a wealth of experience in the formation and development of students’ respect for different musical cultures within the country, in general, and metropolises, in particular. In this regard, the research aims to study the theoretical justification and testing of technologies for students to master the multicultural component of music education in the Russian Federation and China in the comparative context. To achieve this goal, the authors used theoretical and empirical methods. The scientific novelty of the research is based on a comparative analysis of the methodological foundations, the essence and content of the multicultural component of the music programs of the Russian Federation and China, as well as identification of common and characteristic features of pedagogical approaches, general and specific methods of multicultural education in the Russian Federation and China. The reliability and validity of the research results are proven by relying on the fundamental provisions of science, as well as consideration of the research problem from the standpoint of philosophical, general scientific, and specific scientific analysis.
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Ho, Wai-Chung, and Wing-Wah Law. "Challenges to globalisation, localisation and Sinophilia in music education: A comparative study of Hong Kong, Shanghai and Taipei." British Journal of Music Education 23, no. 2 (June 29, 2006): 217–37. http://dx.doi.org/10.1017/s0265051706006942.
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In the past, the music curricula of Hong Kong (HK), Mainland China and Taiwan have focused on Western music, but with the advent of music technology and the new tripartite paradigm of globalisation, localisation and Sinophilia this has begun to change. Hong Kong, Shanghai and Taipei share a common historical culture and their populations are mainly Chinese, but their recent socio-political experiences have been diverse. This paper aims to explore the secondary school cultures of Hong Kong, Shanghai and Taipei by examining the similarities and differences between their musical practices and the ways in which they have delineated this tripartite paradigm. Data are drawn from questionnaires completed by 5,133 students (1,750 from HK, 1,741 from Shanghai, and 1,642 from Taipei) attending grades 7 to 9 and interviews with their 46 music teachers between March and August 2004. The survey data show that students from the three communities much prefer Western classical and popular music to their respective forms of local traditional music and to traditional Chinese styles. Though most music teachers recognise the importance of teaching traditional Chinese music, local traditional music, and other world music in schools, they believe that it is difficult to teach different types of music in the classroom. This article argues that globalisation is leading to a common cosmopolitan culture of Western musical learning in school; the emergence of traditional Chinese music, local music, and socio-political movements challenge globalisation in school music education.
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Yao, Wei. "Implementation of the "flipped class" model in vocal education as one of the directions of reforming higher vocal education in China." KANT 36, no. 3 (September 2020): 418–28. http://dx.doi.org/10.24923/2222-243x.2020-36.79.
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The article describes the peculiarities of the implementation of the "flipped class" model in the process of training vocalists in musical universities of the People's Republic of China. The purpose of the article is to identify and characterize the possibilities and prospects of using the "flipped class" model in the context of modernizing the system of higher musical education in China. The novelty of the research results presented in the article lies in the determination of the general pedagogical and methodological features of the "flipped class" model in solving the most common problems that arise when solving the problems of training vocal art specialists and music teachers, identifying the features, possibilities and boundaries of using the inverted classroom model in the process study of vocal disciplines in music universities in China.
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Sharavtseren, Tserenjigmed. "Factors, obstacles, mechanism and development directions for the professional music education in Mongolia." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 4, 2020 (2020): 225–38. http://dx.doi.org/10.31862/2218-8711-2020-4-225-238.
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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education in Mongolia is the concept of the Mongolian State Conservatory. The concept includes goals, main and additional tasks, the scheme of interaction with the authorities and social partners, the model and scheme of education, the management system, financial basis and stages of organization of the conservatory.
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Dan, Wang. "TO THE HISTORY OF THE STATION OF THE OPERA BY PI TCHAIKOVSKY "EUGENE ONEGIN" IN CHINA." Arts education and science 1, no. 1 (2021): 108–12. http://dx.doi.org/10.36871/hon.202101012.
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The article provides evidence of eyewitnesses and performers about the history of performance in China of PI Tchaikovsky's opera "Eugene Onegin", the first acquaintance with which the Chinese audience took place back in the 20s of the last century. It is noted that the premiere of "Eugene Onegin" in Chinese was held in an abridged version at the Central Music Conservatory of Tianjin on May 26, 1956 by the efforts of teachers and students under the leadership of Huang Lifay. Professors and vocal teachers from the Soviet Union - PM Medvedev and NK Kuklina-Vrana - contributed to the first production. The historical significance of the first production of Eugene Onegin is that it was performed in Chinese. It was difficult to translate the literary text of the opera due to the need to correlate the Chinese verbal text with musically complex opera parts and at the same time preserve the charm of Pushkin's poetry. The production of the opera in Chinese made it more accessible to music lovers. It is noted that the opera "Eugene Onegin" without any cuts saw the light of the footlights of the Beijing Tian Qiao Theater in August 1962.
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Shalaeva, Anna. "On the integration of methodological principles of vocal schools in the practice of foreign vocal art teachers within the system of China’s higher music education." Культура и искусство, no. 1 (January 2020): 92–98. http://dx.doi.org/10.7256/2454-0625.2020.1.30508.
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The goal of this article consists in determination of the relevant problems in preparation of students majoring academic solo singing in the Institute of Art of Jinggangshan University in groups of the educators representing vocal schools of Russia. The article examines the key aspects of the problems of Chinese vocal education in the context of European representation on the fundamentals of vocal skills. The study is dedicated to comparison of academic programs in the two leading universities of Russia and China, as well as detailed analysis of the curricula. The curriculum of Herzen State Pedagogical University of Russia focuses on the development of general cultural and professional vocal cycle, while Jinggangshan University focuses on upbringing an ideologically faithful citizen of the People’s Republic of China. The conclusion is made that despite the major impact of PRC’s leader Mao Zedong upon the music and vocal education, as well as vocal-methodological conference held in Beijing in 1957, the development of the vocal-pedagogical process has stagnated. The educators and students of music education in PRC should pursue the following objectives: openness to the new as a condition for cultural development; balance between the national spiritual values and professional competences; fulfillment of the role of cultural dialogue as a way of existence of art in the modern Communist China; preservation and continuous improvement of the system of music and arts education.
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Yang, Ting, 구경호, 장재혁, and Suk-Woo Kim. "Analysis on the Stages of Chinese Music Teachers' Concern and Levels of Use For Chinese Music Education Curriculum Standards 2011 Edition, China." Journal of Educational Innovation Research 27, no. 4 (December 2017): 105–25. http://dx.doi.org/10.21024/pnuedi.27.4.201712.105.
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Petersen, Suse. "Talent development in Chinese and Swiss music students." International Journal of Music Education 36, no. 2 (September 23, 2017): 230–43. http://dx.doi.org/10.1177/0255761417729544.
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Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and external factors affecting talent development. The students had similar opinions regarding the role of their teachers, the roles of internal and external factors in talent development, and their career goals. However, the students from China and Switzerland differed in their experiences of making and discussing music with peers, in the difficulties experienced during their music education, and in their relationship with their families. The results are a starting point for further comparative research on the perception and development of musical talent, and offer material for a mutual understanding of music students’ backgrounds in countries with differing music education traditions.
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Bayley, Jonathan G., and Vanessa A. Mio. "An Investigation of Canadian Undergraduate Music Education Students’ Personal and Professional Experiences During a Three-Month Residency in China." Journal of Teaching and Learning 14, no. 2 (June 29, 2020): 1–17. http://dx.doi.org/10.22329/jtl.v14i2.6319.
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The present study investigated undergraduate Canadian music education students’ personal and professional experiences during a three-month residency in China. Participants (N=3), in this case study, were part of a SSHRC funded Canada-China Reciprocal Learning Program and were in the process of completing a Bachelor of Education degree. The participants observed classroom teaching, attended workshops/presentations at Southwest University in Chongqing, China, and gave presentations to Chinese teachers and students. They were asked a wide range of open-ended questions relating to their preconceptions of life in China, coping strategies (e.g., language, local customs, environmental context, etc.), curricular and pedagogical similarities/differences, relationships with their Chinese counterparts, and potential impact on their future educational and professional plans. The findings indicated intellectual, social, and personal growth over this three-month period. Students spoke of overcoming fear and acquiring increased personal/professional self-awareness. However, there was no solid assurance that the participants’ experiences would have a lasting positive effect on their future pedagogical practices.
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Vishnevskaia, Margarita, and Zhen Zhou. "The Impact of Using Music and Songs on Teaching EFL in China by Non-native English Teachers." Universal Journal of Educational Research 7, no. 8 (August 2019): 1808–13. http://dx.doi.org/10.13189/ujer.2019.070819.
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Zhou, Yu. "Discussion on the Integration of Musical Elements into the Classroom Teaching of “The Outline of Chinese Modern and Contemporary History”." Review of Educational Theory 3, no. 1 (March 30, 2020): 26. http://dx.doi.org/10.30564/ret.v3i1.1571.
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The modern and contemporary history of China is the history of exploration, struggle, entrepreneurship, and development of the “Chinese Dream” for the realization of the great rejuvenation of the Chinese nation by people of all ethnic groups. It contains rich cultural heritage, ideological nutrition and spiritual treasures. These main melody spirits are reflected in the fine arts programs of the mainstream media. They are valuable resources for colleges and universities to innovate the “Outline of Modern and Contemporary History of China” education and teaching, and are worthy of effective development and use by teachers. Teachers should introduce music elements into the classroom in accordance with the time sequence of historical development, and make full use of mainstream media’s excellent programs, taking the hard work and tortuous exploration of Chinese people for nearly 200 years as the context, the history of art and the art of history comprehensively show the great creation of the Chinese people, and answer “Four Choices” and “Four Self-confidences” in a pleasant way.
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Wen, Mai. "SOME ASPECTS OF PROFESSIONAL TRAINING FOR FUTURE MUSIC TEACHERS IN THE HIGH SCHOOL OF PEOPLE’S REPUBLIC OF CHINA." Pedagogy of the formation of a creative person in higher and secondary schools 66, no. 2 (2019): 38–42. http://dx.doi.org/10.32840/1992-5786.2019.66-2.7.
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Zhou, Yu. "Discussion on the Integration of Musical Elements into the Social Practice Teaching of “The Outline of Chinese Modern and Contemporary History”." Journal of Educational Theory and Management 4, no. 1 (May 20, 2020): 61. http://dx.doi.org/10.26549/jetm.v4i1.2900.
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Teachers of the ideological and political theory course should be confident in the ideological and political course, insist on the unity of explicit education and recessive education, be good at exploring the ideological and political education resources contained in other courses and teaching methods, and realize the full-time education of all employees. At present, there is still much room for improvement in the collaborative education of aesthetic education and moral education. Teachers of the ideological and political theory course should actively guide and explore the ideological and political education resources of music resources, and use the artistic discourse system to interpret the historical process of modern Chinese social development and revolution, construction, and reform, and its inherent regularity, which reflects the national history and national conditions, reflects the positive results of Marxism in China, the era, and the popularization, guiding students to profoundly understand the history and how the people chose Marxism, chose the Chinese Communist Party, chose the socialist road, and chose reform and opening up; strengthening the road self-confidence, theoretical self-confidence, institutional self-confidence, and cultural self-confidence of socialism with Chinese characteristics; earnestly establish the belief that “only socialism can save China, only socialism with Chinese characteristics can develop China.”
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Qiuyue, Chen. "Professional training of pianists in Chinese colleges: the specifics of work on a musical piece." Revista Tempos e Espaços em Educação 14, no. 33 (July 30, 2021): e16162. http://dx.doi.org/10.20952/revtee.v14i33.16162.
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The article reveals the methodological features of professional training of pianists in music colleges in China and identifies the specifics of the work of teachers and students on a musical piece. Work on a piece of music is associated with certain difficulties and involves several stages – from reciting from paper to completion in the form of an exam or a concert performance. The final stage can be considered endless; there are no limits to perfection especially when it comes to the learning process. In Chinese music colleges, great attention is paid to students’ mastery of not only rich basic knowledge about music but also solid musical performance skills in accordance with the practice-oriented approach. Work on a musical piece is necessarily divided into several stages at each of which the process of musical training is focused on the repetition of technical exercises and rote memorization. From the point of Western pedagogs, such an approach to training is considered unproductive. However, it corresponds to such national character traits of Chinese people as diligence, hard work, and perseverance. The article explores the effective methods of training ensuring high results in the professional training of pianists in Chinese colleges.
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Yunyu, Kang. "Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China." Musical Art and Education 7, no. 3 (2019): 126–37. http://dx.doi.org/10.31862/2309-1428-2019-7-3-126-137.
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The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.
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Han, Siuebin. "Sang Tong’s contribution to the development of the national theory of harmony." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 61–76. http://dx.doi.org/10.34064/khnum1-50.05.
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Background. The article is devoted to the study of the scientific works of Sang Tong in the field of the national theory of harmony. His studies has a leading role in the development theoretical thought in the area of Chinese musicology and composition. Sang Tong’s contribution to national music education is determined by clarity of presentation of his teaching materials supported by numerous examples that is motivation for students to comprehend the science of composition. Being an outstanding composer, Sang Tong talentedly integrated the dissonant and pentatonic writing, emphasizing in his writings the national specifics due to atonal organization of music. The works of Sang Tong sounds abroad, they are performed on a concert stage, occupies a worthy place in the educational process of students of conservatories from different countries. In this connection, seems to be relevant the purpose of this article is to identify the main provisions of the theoretical works of the outstanding Chinese composer in the field of the national science of harmony and their role in the development of Chinese musical art in the second half of the 20th century. The mastering of this information is extremely necessary for the performers of San Tong music, as well as for teachers who are studying this musical repertoire in a class with students. Finally, the information presented will provide an opportunity to comprehend the artistic value of the musical heritage of Sang Tong, as well as allow attract more wide circles of professional musicians and audiences to his works. The results of the study. The first theoretical work of Sang Tong was the article “Theory of chord application and their subordination” (1957), where the musician analyzes the views of various authors on the problem of harmonization in composer’s work, systematizes them, giving a personal assessment. He gives many examples of the use of one or another composition tool. The composer considers methods of textural complexity in the study “Parallels to historical evolution and its application in Chinese and foreign musical works combined with pentatonic melody” (1963). In searching for his own composer’s writing, Sang Tong wanted to find the perfect textural balance: on the one hand, not reaching the difficult to perceive linear polyphony, on the other – not simplifying the texture into primitive forms of contrasting polyphony (as a variation of heterophony). The research experience of the 1960s and the 70s Sang Tong summarized in the monograph “Discussion on the horizontal and acoustic structure of pentatonic” (1980), which became a quality-teaching tool in the field of secondary music education. University vocalists also study at lectures on harmony, which helps them to expand the horizons of knowledge about national music. In 1982, Sang Tong published the first comprehensive study of contemporary music in China entitled “Introduction to harmonic processing techniques” in the journal Musical Art. Since 1994, Sang Tong planned to write a fundamental work that sums up his research – the ontology of Chinese music, but from year to year, because of illness, postponed it. Finally, in 2004, the Shanghai Music Publishing House published a series of Sang Tong articles in the form of a monograph “The Historical Evolution of Semitones”. This work is a fundamental study of the history of the development of harmony in China, which provides answers to the questions of the evolution of Chinese semantics and, related to it, the theory of the acoustics of Chinese instruments. Thinking about the quality of secondary music education, Sang Tong decided to prepare a textbook for an initial five-year program of study. In 2001, he published the Harmony Course, submitting it to the state commission for consideration as a school textbook. The San Tong’s Course of Harmony has become a basic national textbook in China. To date, the level of this theoretical work is considered unsurpassed and attributed to masterpieces in the field of music education. It is distinguished by a solid theoretical foundation that allows the students to find any answers to questions concerning the principles of voce-leading, transport, rules of resolution of various intervals. Conclusions. The composer and theorist Sang Tong entered the history of Chinese music of the twentieth century as the founder in the field of the modern national theory of harmony. For more than fifty years of academic research, Sang Tong has made an outstanding contribution to the development of theory of harmony in China, was creating a number of musicological studies of harmony that demonstrate the highest theoretical level. He laid a solid foundation for the future development of the national school of harmony theory, bringing the younger generation of Chinese composers to a high professional level.
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Siti Syarah, Erie, Ilza Mayuni, and Nurbiana Dhieni. "Understanding Teacher's Perspectives in Media Literacy Education as an Empowerment Instrument of Blended Learning in Early Childhood Classroom." JPUD - Jurnal Pendidikan Usia Dini 14, no. 2 (November 30, 2020): 201–14. http://dx.doi.org/10.21009/jpud.142.01.
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Teacher's abilities to understand the benefits and use of media literacy play an important role in dealing with children as digital natives. Media literacy education can be an instrument through the use of blended-learning websites to address the challenges of education in the 21st century and learning solutions during and after the Covid-19 pandemic. This study aims to figure the teacher's perspective in understanding media literacy as an instrument for implementing blended-learning in early-childhood classes. Using a qualitative approach, this study combines two types of data. Data collection involved kindergarten teachers, six people as informants who attended the interviews and twenty-six participants who filled out questionnaires. Typological data analysis was used for qualitative data as well as simple statistical analysis to calculate the percentage of teacher perspectives on questionnaires collected the pandemic. The findings show five categories from the teacher's perspective. First, about the ability to carry out website-based blended-learning and the use of technology in classrooms and distance learning is still low. It must be transformed into more creative and innovative one. Encouraging teacher awareness of the importance of media literacy education for teachers as a more effective integrated learning approach, especially in rural or remote areas, to be the second finding. Third, national action is needed to change from traditional to blended-learning culture. Fourth, the high need for strong environmental support, such as related-party policies and competency training is the most important finding in this study. Finally, the need for an increase in the ease of access to technology use from all related parties, because the biggest impact of the Covid-19 pandemic is on ECE, which is closely related to the perspective of teachers on technology. The research implication demands increase in technology systems and connections between educators, parents, institutional managers, and education policy holders, for ECE services in urban areas for disadvantaged children, and all children in rural or remote areas.
Keywords: Blended Learning, Early Childhood Classroom, Media Literacy Education
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Law, Wing-Wah, and Wai-Chung Ho. "Music education in China: In search of social harmony and Chinese nationalism." British Journal of Music Education 28, no. 3 (October 14, 2011): 371–88. http://dx.doi.org/10.1017/s0265051711000258.
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This article critically examines how interactions between social changes, social harmony, and historical memory shape school music education in China. As a historical review and documentary analysis, it traces the historical development of music education and examines the Chinese government's role in such interactions over time. The article argues that the Chinese government uses music and music education as an influential nation-building system to enrich the politics of memory. In particular, it adapts the nation's past for political ends, and passes on state-prescribed values to its citizens with a view to legitimising its power. The dynamics and dilemmas that challenge school education result from two divergent aims: (1) to combine the functional education of Confucianism and nationalism so as to encourage social harmony and maintain national myths; and (2) to encourage popular and other world music with traditional Chinese music by using multicultural teaching strategies in music lessons. The question remains how to balance ideas of social harmony, musical cultures and nationalism in school music education in the contexts of current Chinese education policies, teacher education and the globally oriented economics of China today.
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Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.
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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range of folk music and culture, from Sardinia, Yugoslavia, Rumania, Bulgaria, the Kurdish people, Azerbaijan, the Vendan Africans, China, Japan, Java, Australia both Aboriginal and colonial, Native America and more recently Norway, Sweden, Denmark, India, Korea, Canada, Mexico and Chile.
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Benson, Cynthia, and C. Victor Fung. "Comparisons of teacher and student behaviors in private piano lessons in China and the United States." International Journal of Music Education 23, no. 1 (April 2005): 63–72. http://dx.doi.org/10.1177/0255761405050931.
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Takacs, Jeff. "A Case of Contagious Legitimacy: Kinship, Ritual and Manipulation in Chinese Martial Arts Societies." Modern Asian Studies 37, no. 4 (October 2003): 885–917. http://dx.doi.org/10.1017/s0026749x03004074.
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When he wrote his oft-cited work, Lineage Organization in Southeastern China (Freedman 1958), Maurice Freedman could say little about the nature of Chinese martial arts societies. ‘The boxing and music clubs were, as their names imply, groupings of recreation. The structural significance of these associations is not altogether clear’ (Freedman 1958:93). This paper aspires to make that situation somewhat less opaque. Chinese martial arts students under the same teacher are brothers. I don't mean this in a metaphorical sense, that they are ‘like’ brothers. They, at least in some Chinese martial arts groups, consider themselves to be kin.
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Xu, Peng. "The Music Teacher: The Professionalization of Singing and the Development of Erotic Vocal Style During Late Ming China." Harvard Journal of Asiatic Studies 75, no. 2 (2015): 259–97. http://dx.doi.org/10.1353/jas.2015.0016.
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Jacobson, Estelle, Jim Dreaver, Richard Miller, and Donna Martin. "*Wherever You Go There You Are: Mindfulness Meditation in Everyday Life – Jon Kabat-Zinn *How Yoga Works: An Introduction to Somatic Yoga – Elenor Criswell *Vanda Scaravelli on Yoga – Esther Meyers *Grace Unfolding: Psychotherapy in the Spirit of the Tao-Te Ching – Greg Johanson & Ron Kurtz *Interview with Ron Kurtz – Donna Martin *30 Scripts for Relaxation, Imagery and Inner Healing Volumes I & 2 – Julie T. Lusk." International Journal of Yoga Therapy 6, no. 1 (January 1, 1995): 46–59. http://dx.doi.org/10.17761/ijyt.6.1.3g081728271536v6.
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*Jon Kabat-Zinn whose latest book, 'Wherever You Go There You Are", has become a best seller and which teaches stress reduction through meditation and Yoga. *When I came across Eleanor Criswell's book I had already been a yoga devotee for many years, and more recently a student of somatic education, Naturally, I was interested in Dr. Criswell's "somatic" perspective on yoga, and how it was different from traditional yoga. *I always take great pleasure in witnessing people who are at the top of their art form, be it music, painting, dance, therapy, meditation, yoga-whatever. The important factor is that they are living their art form in a truly magnificent manner-when they are not only performing what they have mastered, but they have become it. *Ron Kurtz, who developed the Hakomi Method of body-centered psychotherapy, and Greg Johanson, senior trainer of the Hakomi Institute, have written this book to illustrate the connection between the ancient principles of the Tao-Te Ching, Lao Tzu's Chinese classic, and modem psychotherapy. Written for both therapists and clients, it addresses issues of non-violence, the use of the body in therapy, the importance of mindfulness, and the interrelatedness of all things. The introduction suggests that the reader approach the book in a meditative way and "explore whatever enters your awareness." *Julie Lusk, yoga teacher, counselor and wellness expert has pulled together in these two volumes a variety of scripts that are useful to anyone in a teaching or helping profession. Her experience and expertise come through strongly in the introductory comments when she talks about preparing people correctly to make the experience safe and comfortable, creating the right atmosphere, using the voice effectively, and using music properly.
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Shen, Tsуn. "THE ROLE OF EDUCATIONAL ENVIRONMENT TO THE FORMATION OF GENERAL CULTURE OF THE FUTURE MUSIC TEACHER IN UKRAINE AND CHINA." Pedagogy of the formation of a creative person in higher and secondary schools 1, no. 71 (2020): 181–84. http://dx.doi.org/10.32840/1992-5786.2020.71-1.32.
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Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.
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Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano music of various genres. Piano works by Zhang Zhao adorned the world culture with the introduction of Chinese national motives into it. The composer introduced listeners to the air melodic lines of original works and filled his works with a complex texture, making them attractive for acquaintance with the rich traditional culture of China. Developing national piano art, Zhang Zhao inscribes the Chinese chapter in the world culture with his inherent passion and love for life. In addition to studying composition, performing and teaching, Zhang Zhao, is active in public activities, being a music professor at the Central University for Nationalities. He pays great attention to the development of the artistic taste of students, shares his own musical ideas and aesthetic principles. The composer made great efforts and energy to create the “Chinese piano dream”. To popularize this work, they, together with Yundi Li and the Shanghai People’s Orchestra conducted nationwide tours, visited Taiwan, and outlined other projects. Despite the fact that Professor Zhang Zhao has a very tight work schedule, he nevertheless finds time to talk with his students about the place of national music and its prospects. In the “Chinese Piano Dream”, the composer sought to reflect the essence of the musical culture of the Chinese nation. He embodied the dreams of the older generation of pianist composers and performers about the perfection of the Chinese piano scene, set a high goal – to show the artistic value of the Chinese piano piece on the world stage, took on the mission to inherit the national culture and pass it on to the next generations. In the works of Zhang Zhao, the interests of the Chinese and global world level intersect. This is due to the amazing richness of the composer’s creative worldview, which is open to everything significant in life and art. On this basis, the composer came to important conclusions about the role of contemporary classical musical art in people’s lives in China and in the world. Conclusions. For more than twenty years, Zhang Zhao is in the creative search for his musical style. He carefully investigated the development of ethnic music, which enabled him to create his piano works, which are distinguished by a unique and mature language.
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Quan, Huiqi, and Li Jia. "INNOVATIVE MUSIC EDUCATION IN CHINA: THEORY AND PRACTICE." International Journal of Engineering Applied Sciences and Technology 6, no. 1 (June 1, 2021). http://dx.doi.org/10.33564/ijeast.2021.v06i01.008.
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Educational innovation is the method and method of implementing innovative education, and it is a dynamic process. This study uses questionnaires, interviews, and observation methods to investigate the current situation of primary school music teachers’ classroom teaching .The author selected 14 primary schools with a total of 56 music teachers; each school selected different classes in the 2nd and 5th grades, with 50 students in each grade as the survey subjects, in order to obtain the validity and comprehensiveness of the data.As an educational concept, innovative education is essentially to improve the innovative quality of students and teachers. The implementation of innovation education and music education innovation has become a new growth point for quality education. Innovative teachers are the driving force of music education innovation. Innovative teaching methods and methods are not only the external manifestation of music education innovation, but also the focus. To adapt to the requirements of the new era, music education innovation is a strategic choice facing the 21st century.
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Qin, Mingfu, and Da Tao. "Understanding preservice music teachers’ intention to remain in the profession: An integrated model of the theory of planned behaviour and motivation theory." International Journal of Music Education, October 3, 2020, 025576142096314. http://dx.doi.org/10.1177/0255761420963149.
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Music teacher attrition represents a serious educational concern, especially among preservice music teachers due to their lack of sufficient occupational identity and commitment. However, factors influencing their decisions on remaining in/leaving the profession are not well understood. This study proposed and empirically tested a psychological decision model by integrating the theory of planned behaviour and motivation theory to explain preservice music teachers’ intention to remain in the profession. Questionnaires were administrated to 218 preservice music teachers from vocational colleges in China. The results showed that the integrated model could explain 78% of the variance in behavioural intention. Attitude, subjective norm and intrinsic motivation were identified as significant antecedents for preservice music teachers’ intention to remain in the profession, while perceived behavioural control and extrinsic motivation exerted indirect impacts on behavioural intention through mediating roles of intrinsic motivation and attitude. The findings provide important implications for the design of effective policies and strategies to attract and keep preservice music teachers in the profession.
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Mei, Bing, and Shuxia Yang. "Chinese Pre-service Music Teachers’ Perceptions of Augmented Reality-Assisted Musical Instrument Learning." Frontiers in Psychology 12 (February 4, 2021). http://dx.doi.org/10.3389/fpsyg.2021.609028.
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Given the rapid growth of music technology, this study reports Chinese pre-service music teachers’ perceptions of musical instrument learning assisted by augmented reality (AR). In this study, we conducted a small-scale case study with six pre-service teachers enrolled in a music teacher training programme at a comprehensive university in China. Participants engaged in semi-structured, face-to-face interviews after hands-on experiences with an AR-based piano learning app. Thematic analysis revealed that the participants were generally aware of the potential of this instructional approach but doubted its efficacy and exhibited weak intention to adopt it in their future classrooms. Implications of the findings for music teacher training are discussed.
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Li, Yan. "Research on Music Theory in Music Textbooks of PMP." Journal of Global Humanities and Social Sciences, September 24, 2021. http://dx.doi.org/10.47852/bonviewghss2021020104.
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Music textbooks of PMP is a set of mature teaching materials widely used in music course of elementary education in China. The study of the music theory knowledge in this set of textbooks can not only help the music teachers in primary and secondary schools to more deeply understand the compiling spirit of the textbooks, but also have a great significance to the cultivation of music education talents in normal universities. Through combing the music theory knowledge involved, this paper makes a brief summary of the characteristics of PMP textbooks.
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Yang, Yang. "Professional identity development of preservice music teachers: A survey study of three Chinese universities." Research Studies in Music Education, July 6, 2021, 1321103X2110209. http://dx.doi.org/10.1177/1321103x211020960.
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By 2019, over 70,000 undergraduates had been awarded bachelor’s degrees in music education under the Free Education for Students in Teacher Education Programme in China. Although this helped to relieve a severe shortage of music teacher supply, recent studies reported serious concerns regarding the career readiness of this population. The purposes of this study were to (a) provide a role-identity profile of 4th-year undergraduate music education majors in China, (b) identify key elements in their professional identity development (PID), and (c) explore whether these elements were different from those identified in research findings in other education systems. Survey data were collected from 1,321 music education students in three Chinese universities for content analysis. The results suggest that occupation-oriented external factors are the most influential source in career decision-making. Most participants are struggling with multiple professional identity shifts that combine music trainee, teacher trainee, and preservice teacher roles across degree programs. These present the complexity of identity development in policy-reinforced professionalism in the Chinese education system.
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Du, Junge, and Bo-Wah Leung. "The sustainability of multicultural music education in Guizhou Province, China." International Journal of Music Education, June 26, 2021, 025576142110273. http://dx.doi.org/10.1177/02557614211027375.
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Sustainability has been incorporating multiculturalism in music education (MME) for decades, but the dialogs of MME in China has always focused on school education, neglecting community-based music education. The cultural-political context of this study is in Xijiang, southwest China, where is a Miao-dominated community integrating Miao, Han and other ethnic cultures. This study employed a mixed-method approach with a convergent parallel design that combined a survey with qualitative methods including casual conversation, semi-structured interview, and documentary analysis. Findings revealed that despite the promotion and inheritance of Miao’s music are highly valued, and the interest of minority ethnic communities in engaging in music learning and performance remains considerable, the sustainability of multicultural music education in Xijiang is in question. Problems are attributed to inadequate and unequal educational resources, devaluation of state institutes, shortage of teachers, and high illiterate rate. This article contributes to theorizing on sustainability in multicultural music education within a multicultural background in southwest China, by identifying the stakeholders in the education system and drawing on the empirical evidence on the truly needs of communities. The implications of the study include improvements in the development of multicultural music education.
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Gan, Lu. "Analysis on the Strategy of Stage Performance Training in Vocal Music Teaching in Colleges and Universities." Advances in Higher Education 4, no. 10 (November 19, 2020). http://dx.doi.org/10.18686/ahe.v4i10.2886.
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For the education of vocal music teaching major in colleges and universities, the cultivation of stage performance ability plays a very important role in the improvement of students' professional quality. Only by obtaining a good foundation of stage performance ability can we mobilize the atmosphere of the scene and arouse the emotional resonance of the audience through vocal performance. When the educational environment changes, a series of changes have taken place in the teaching system and standards of vocal music in colleges and universities. Teachers should fully improve students' stage performance ability and professional quality in vocal music teaching. Next, this paper will analyze the training strategy of stage performance ability in vocal music teaching, hoping to provide valuable reference for the teaching activities of vocal music teachers, and improve the ability and level of vocal music teaching in colleges and universities in China.
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Wei, Limin. "Vocal Culture of Music Art Teachers: integration of the experience of China and Ukraine." National Academy of Managerial Staff of Culture and Arts Herald, no. 1 (January 22, 2019). http://dx.doi.org/10.32461/2226-3209.1.2019.167013.
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Guo, Taozi. "Analysis on the Development Path of Music Education in Rural Areas under the Influence of COVID-19 Outbreak." CONVERTER, July 29, 2021, 169–75. http://dx.doi.org/10.17762/converter.276.
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In 2020, the sudden COVID-19 outbreak brought huge economic and life losses to the whole world, affecting all walks of life in China, including the education industry which suffered from many problems, such as students' learning needs for medical health knowledge, publicity needs for public health safety, psychological and mental health protection needs, and online learning needs based on internet accelerated speed .In rural China, some rural students have physical and mental health problems due to the problems of rural population structure, infrastructure construction, talent mobility, etc. In this period, schools should pay more attention to the psychological counseling and education of rural students, on which music education has a positive impact. During the epidemic period, rural education construction around cultural revitalization was gradually implemented under the background of China's full implementation of rural revitalization strategy. In the construction of rural education, music education is an important cornerstone to promote the all-round development of students, build a rural cultural atmosphere and inherit the excellent national culture. With the change of social environment, the country music education welcomes new opportunities, but also faces some practical problems to be solved.First of all, the literature on the COVID-19 outbreak and rural music education is studied and analyzed through on-the-spot visits and investigation on the current situation of music education in rural schools. Then, interviews and records are made with rural music teachers and students. Next, discussions are made on the construction of rural music teachers, information technology of music education, cultural life of the rural masses and other aspects. Finally, relevant strategies for the development of rural music education are put forward.The COVID-19 outbreak has narrowed the channels for rural music teachers' professional promotion, and caused some problems in rural students' mental health. In addition, rural schools have some shortcomings in online learning and information education based on internet plus, and the number of rural cultural performances and activities has decreased.Education managers should take corresponding management measures to innovate the music education model with the aid of modern teaching technology. At the same time, rural schools need to maintain long-term cooperation with all sectors of society and cooperate in public health, medical resources, education resources, curriculum innovation, rural cultural activities and other aspects to ensure the real implementation, promotion and development of music education, aesthetic education and art education in the countryside during the COVID-19 epidemic.