Academic literature on the topic 'Musical instrument instruction'
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Journal articles on the topic "Musical instrument instruction"
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Owen, Randall L. "Interactive musical instrument instruction system." Journal of the Acoustical Society of America 102, no. 4 (October 1997): 1927. http://dx.doi.org/10.1121/1.419678.
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Nurhasanah, Ayu, and Erfan Erfan. "PELAKSANAAN PEMBELAJARAN DARING SENI BUDAYA DI SMP NEGERI 17 PADANG." Jurnal Sendratasik 9, no. 2 (September 25, 2020): 35. http://dx.doi.org/10.24036/jsu.v9i1.109504.
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This study aims to describe online instruction of Culture and Arts especially in Music subject matter in class VII.5 at SMP Negeri 17 Padang. This is a qualitative research using a descriptive analytic approach. The research instrument used was the researcher itself and was assisted by supporting instruments such as writing tools, cameras, and cellphones. The data were collected through literature study, interviews, and documentation.Based on the results of the study, it can be concluded that the implementation ofonline instructionin the subject matter of simple musical instruments in class VII.5 at SMP Negeri 17 Padang is using the Whatsapp Group media recommended by the Principal of SMP Negeri 17 Padang. This is a way to deal with online learning so that learning activities can be continued even though it is conducted in distance. The planning step for learning simple musical instrument is not optimally conducteddue to the fact that the teacher does not create lesson plans for online instruction.The implementation of online learning in the subject matter of simple musical instrumentcontinues to run smoothly even though the learning process faces various obstacles. The learning outcomes of Culture and Arts for grade VIIin the subject matter of simple musical instruments are less effective and less optimal. This is due to the fact that learning activities conducted do not pay attention to standards of preparing online learning materials.Key word: Instruction, Online, Simple musical instruments
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Driscoll, Virginia D., Jacob Oleson, Dingfeng Jiang, and Kate Gfeller. "Effects of Training on Recognition of Musical Instruments Presented through Cochlear Implant Simulations." Journal of the American Academy of Audiology 20, no. 01 (January 2009): 071–82. http://dx.doi.org/10.3766/jaaa.20.1.7.
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Background: The simulation of the CI (cochlear implant) signal presents a degraded representation of each musical instrument, which makes recognition difficult. Purpose: To examine the efficiency and effectiveness of three types of training on recognition of musical instruments as presented through simulations of the sounds transmitted through a CI. Research Design: Participants were randomly assigned to one of three training conditions: repeated exposure, feedback, and direct instruction. Study Sample: Sixty-six adults with normal hearing. Intervention: Each participant completed three training sessions per week, over a five-week time period, in which they listened to the CI simulations of eight different musical instruments. Data Collection and Analysis: Analyses on percent of instruments identified correctly showed statistically significant differences between recognition accuracy of the three training conditions (p< .01). Results: those assigned to the direct instruction group showed the greatest improvement over the five-week training period as well as sustained improvement after training. The feedback group achieved the next highest level of recognition accuracy. The repeated exposure group showed modest improvement during the first three-week time period, but no subsequent improvements. Conclusions: These results indicate that different types of training are differentially effective with regard to improving recognition of musical instruments presented through a degraded signal, which has practical implications for the auditory rehabilitation of persons who use cochlear implants.
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Hash, Phillip M. "The Universal Teacher, by J. E. Maddy and T. P. Giddings (1923)." Journal of Research in Music Education 58, no. 4 (November 2, 2010): 384–410. http://dx.doi.org/10.1177/0022429410385869.
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The Universal Teacher for Orchestra and Band Instruments ( UT), a class method by Joseph E. Maddy and Thaddeus P. Giddings published by the Conn Musical Instrument Company in 1923, was the subject of this study. Research questions focused on (1) details surrounding the writing and publishing of the UT; (2) philosophical, psychological, and pedagogical principles behind the method; (3) the influence of the UT on class teaching and subsequent books; and (4) implications of this research for modern practice. Maddy and Giddings wrote the UT from 1920 to 1922 while teaching summer methods courses together at Chautauqua, New York, and at the University of Southern California. The authors designed the book to appeal to children by applying the song method from elementary vocal music to instrumental instruction. This pedagogy differed from previous instrumental methods in that instructional material consisted entirely of melodies rather than scales and exercises. The UT also employed a detailed, systematic series of procedures intended to maximize the use of class time, hold students accountable for their progress, and allow independent learning with as little teacher intervention as possible.
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Lei, Sum Yi, Dickson K. W. Chiu, Mavis Man-wai Lung, and Cheuk Ting Chan. "Exploring the aids of social media for musical instrument education." International Journal of Music Education 39, no. 2 (January 5, 2021): 187–201. http://dx.doi.org/10.1177/0255761420986217.
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With the rapid development of information communication technology, social media has become a necessary part of people’s daily life. Recently, many music teachers have applied social media to augment their classes and enhance their teaching. This article explores the use of social media for musical instrument education, with a focus on the violin and piano. A qualitative semi-structured interview was conducted with eight music teachers from music centers and studios. Our participants revealed that social media creates a virtual environment to extend (but not to replace) face-to-face instruction, which facilities knowledge sharing, arouses students’ interest, and supports communication. For pedagogy, social media helps students improve musical instrument playing techniques (e.g., posture, fingering, and rhythm) and musical styles. Drawbacks of applying social media are mainly the quality of content, difficulties in differentiating subtle differences (e.g., intonation), and inadequate talent of some students. Therefore, teachers need to pay attention to these issues and use social media to develop a better educating environment for individual learners.
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Moscardini, Lio, David S. Barron, and Alastair Wilson. "Who gets to play? Investigating equity in musical instrument instruction in Scottish primary schools." International Journal of Inclusive Education 17, no. 6 (June 2013): 646–62. http://dx.doi.org/10.1080/13603116.2012.705338.
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Stevanovic, Melisa, and Arniika Kuusisto. "Teacher Directives in Children’s Musical Instrument Instruction: Activity Context, Student Cooperation, and Institutional Priority." Scandinavian Journal of Educational Research 63, no. 7 (June 12, 2018): 1022–40. http://dx.doi.org/10.1080/00313831.2018.1476405.
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Rubinoff, Kailan R. "Toward a Revolutionary Model of Music Pedagogy." Journal of Musicology 34, no. 4 (2017): 473–514. http://dx.doi.org/10.1525/jm.2017.34.4.473.
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Established in 1795 in the aftermath of the French Revolution, the Paris Conservatoire emerged from a training school for National Guard musicians. Aligned with the French Republic’s broader educational reforms, the Conservatoire was marked by its secularization, standardized curriculum, military-style discipline, and hierarchical organization. Among its most ambitious achievements was the publication of new instruction treatises from 1799 to 1814. Covering elementary theory, solfège, harmony, and all the major instruments, these methods articulated the Conservatoire’s pedagogy and circulated widely in nineteenth-century Europe. Hugot and Wunderlich’s Méthode de flûte (1804) exemplifies the Conservatoire’s approach, making a distinct break from methods published only a few years earlier: abstract technical drills predominate, evenness of tone quality in all key areas is emphasized, and the instruction of improvisation is curtailed. Airs, brunettes, and other pieces typical of ancien régime tutors are replaced with exercises demanding repetitive practicing. Meticulous instructions for the mastery of the flute’s four-key mechanism bear a striking resemblance to rifle-handling directions in contemporary military training and combat manuals by Jacques-Antoine-Hippolyte, Comte de Guibert, and others. The Conservatoire instruction manuals serve not only as guidebooks to historical fingerings and period performance style; they also can be read as social and political texts. Meant to advance a more rational music pedagogy, these treatises show the extent to which the military model permeated everyday life in post-revolutionary France. Further, they demonstrate a new conception of musical training beyond personal development toward the creation of professional musicians serving a patriotic, republican function. The treatise thus becomes what Michel Foucault calls a “simple instrument,” disciplining musicians’ bodies for the political goals of the state.
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Del Rio-Guerra, Marta Sylvia, Jorge Martin-Gutierrez, Vicente A. Lopez-Chao, Rodolfo Flores Parra, and Mario A. Ramirez Sosa. "AR Graphic Representation of Musical Notes for Self-Learning on Guitar." Applied Sciences 9, no. 21 (October 25, 2019): 4527. http://dx.doi.org/10.3390/app9214527.
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Despite being one of the most commonly self-taught instruments, and despite the ready availability of significant amounts of didactic material, the guitar is a challenging instrument to learn. This paper proposes an application based on augmented reality (AR) that is designed to teach beginner students basic musical chords on the guitar, and provides details of the experimental study performed to determine whether the AR methodology produced faster results than traditional one-on-one training with a music teacher. Participants were divided into two groups of the same size. Group 1 consisted of 32 participants who used the AR app to teach themselves guitar, while Group 2, with a further 32 participants, received formal instruction from a music teacher. Results found no differences in learning times between the two groups based on the variables of method and gender. However, participant feedback suggested that there are advantages to the self-taught approach using AR that are worth considering. A system usability scale (SUS) questionnaire was used to measure the usability of the application, obtaining a score of 82.5, which was higher than the average of 68 that indicates an application to be good from a user experience point of view, and satisfied the purpose for which the application was created.
Dissertations / Theses on the topic "Musical instrument instruction"
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Laporte, Jean-Francois. "Feedback : iterative research-creation processes between instrument-building, composition and performance." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34777/.
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This text is a commentary on my preoccupations over the course of my doctoral research from 2013 to 2017. It accompanies a portfolio of works realized and submitted as part of this doctoral thesis, which looks more specifically at feedback as an iterative process between myself as instrument-builder, composer and performer. This approach, which puts sound center stage as the primary material, emphasizes the organic and bidirectional internal influences among these three creative poles. This thesis is devoted to the main subject of my doctoral research: the notion of creative feedback among instrument-builder, composer and performer. It is in five parts: 1. A definition of my principal influences and aesthetic biases; 2. A portrait outlining the connections of influence among the instrument-builder, composer and performer; 3. A discussion of relationships outside the creative process itself, that is to say the influence of other artists (composers, musicians, other instruments) in my approach to research creation; 4. A demonstration of how I use the influences of other composers, other musicians and even other artists whose works speak to and inspire me; and 5. A presentation of three concrete examples from the portfolio realized during my doctoral research The body of work submitted includes: three new instruments, two sound installations,four compositions and three comprovisations.
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Dorothy, Wayne F. "Relationships between ensemble placement, musical independence, gender, and instrument family, among band students at three regional universities." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019475.
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Little is known about post-secondary band students' growth in musical independence, nor have the relationships between ensemble placement, year in school, gender, and instrument family been documented. Little research is available regarding the effects of instrument family (on which the student performs) or gender on the development of musical independence among music majors. Additionally, previous studies have identified a drop in music achievement test scores for college music majors as they progress from their freshman to sophomore or sophomore to junior years. This study attempts to address and evaluate these issues.The introduction presents a brief overview of the purpose and importance of the study. The review of related literature explores musical independence and the assessment of musical independence, as well as relationships between musical independence, ensemble placement, related listening skills, gender, and instrument family.Richard Colwell's Music Achievement Test 3 and Music Achievement Test 4 were administered to 354 band students at Ball State University, Florida State University, and Wichita State University. Test scores and demographic data including school, student identification number (usually a social security number), top ensemble in which the student participated (1st, 2nd, or 3rd), college major (music major or non-music major), year in school (freshman through graduate student), gender (male or female), and instrument family (woodwind, brass, or percussion) were collected. Data was entered into Statview II, a statistical analysis program for the Macintosh computer. Data was analyzed using ANOVA, Scheffe, and permutation analysis. Conclusions were drawn and recommendations for additional research were made.School of Music
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Farnsley, Stephen H. "Gunther Schuller, his influence on the French horn." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/469339.
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Gunther Schuller is presently one of America's most influential music personalities. As one colleague of Schuller's at the New England Conservatory has written, "In many ways, Gunther Schuller is a modern incarnation of the renaissance man, with his interests and abilities flowing from him like ripples in a pond."1 Schuller, in his six decades, has been one of the nation's first-rate orchestral horn players and has participated in the instrument's introduction into the jazz medium; his interest in musicological research has encompassed the study of various types of music and resulted in Early Jazz: Its Roots and Musical Development, 2 considered by some to be "the definitive musicological treatment of jazz history . . ..”3 Schuller is also recognized as a leading contemporary composer and conductor, former composition instructor and long-time artistic co-director of the annual summer Tanglewood Festival, and teacher, authority, and author on horn playing.The dissertation traces Schuller's varied career, giving particular attention to his phenomenal success as a virtuoso of the French horn by age seventeen. The study also details his development as a composer, concentrating primarily on his compositional style as revealed in the works for horn as a solo and chamber music instrument. Among the works discussed are the horn concertos, the woodwind suite and brass quintet, Lines and Contrasts for sixteen horns, and Five Pieces for Five Horns. Included in the discussion is his unpublished and virtually unknown first Horn Concerto, which was written (and performed only once) by the composer while he was first horn in the Cincinnati Symphony. For the research, a copy of the manuscript was provided by the composer. (To date, the only published remnant is an arrangement of the second movement entitled Nocturne for horn and piano.)The dissertation examines Schuller's ideas concerning the "art" of modern horn playing through a discussion of his writings (Horn Technique), his musical studies (Studies for Unaccompanied Horn and Duets for Unaccompanied Horns), and through the observations of colleagues and former students. Fortunately, some of Schuller's well-articulated thoughts on musicianship in general and horn playing specifically have been retained in the tapes of the Sixth Annual International Horn Workshop, held at Ball State University in 1974. These are transcribed and included in the Appendix.In summary, the research is in three major sections. The first deals with biographical information-- Schuller's various careers, a survey of his compositions and writings, and a discussion and evaluation of his playing career based on information from his colleagues, recordings, and reviews. Section two examines the composer’s style and his influence on the instrument’s technique through a detailed study of the solo and chamber works for horn. Part three concerns his pedagogical and philosophical ideas regarding music education, with particular attention to the horn and horn playing.1. Frank Battisti, "Gunther Schuller and His Many Worlds of Music," The Instrumentalist, XXXII (June, 1978), p. 39.2. Gunther Schuller, Early Jazz: Its Roots and Musical Development, (New York: Oxford University Press), 1968.3. Robert Palmer, "Gunther Schuller: On the American Musical Melting Pot," Downbeat, XLIII (Feb. 12, 1976), 12.
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Wootton, Joan Elizabeth. "Teaching braille music notation to blind learners using the recorder as an instrument." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50461.
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Thesis (PhD) -- University of Stellenbosch, 2005.ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation to blind learners at the Pioneer School in Worcester: • Young learners learning to read braille IWSic notation with the piano as mediwn appeared to struggle technically. For example, blind children experienced difficulty finding the correct keys over seven octaves; they had generally weak posture; they had to learn to play one part with one hand while the other hand would read; they had to memorise the music for each clef individually and then combine them cognitively; they had to memorise the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement because of the very slow progress they made compared with their sighted peers. • Although learners seemed to find the recorder technically more manageable, currently available braille recorder tutors proved to be inadequate. This inadequacy was a result of the tutors having been designed for the sighted child. The researcher thus set out to design a more appropriate approach than is currently available for teaching braille music notation to the blind, with the recorder as medium. The research method was qualitative and included a literature survey which covered the following unique needs of the blind learner: • psychological • emotional and social • concept development • motor skills (orientation, laterality, posture, coordination) • tactile perception • creativity and self expression The qualitative research also included video observation of a series ofiodividual and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel. together with the researcher, evaluated the lessons on predetenDned coded assessment criteria 'The lessons and progrannne were adapted according to feedback from the lessons. The qualitative research includes interviews with five blind learners and six teachers of braille music notation. The interviews were designed to gather information on how blind learners can more appropriately be taught the braille music code. The unique needs of blind learners, in particular those concerning orientation and perceptual awareness, are considered in this alternative approach for teaching braille music notation to blind learners. 'The alternative programme is skills based and can be used convElliently in conlunetion with the Outcomes- Based Education (OBE) modeL
AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille musieknotasie aan blinde leerders by Pionierskool in Worcester: • Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van 'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in vergelyking met hulle siende portuurgroep. • A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het, blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp IS. Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die bioldIuit as medium. Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het: • siellnmdig • emosioneel en sosiaal • konsep ontwikkeling • motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie) • gevoelswaarneming
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MCDONALD, JUNE CLARKSON. "THE APPLICATION OF EDWIN GORDON'S EMPIRICAL MODEL OF LEARNING SEQUENCE TO TEACHING THE RECORDER." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184116.
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A study was conducted with third-grade children in a university laboratory school to determine the relative effectiveness of a method for teaching recorder in which the sequential objectives are logically ordered by Edwin Gordon's empirical model of learning sequence and a traditional method which stresses note reading. The criteria used for comparison were change in the level of developmental music aptitude and performance achievement on the recorder. A review of the literature supported Edwin Gordon's theory of developmental music aptitude which proposes that until about age nine, environmental factors can affect the level of music aptitude, and, at about age nine, music aptitude stabilizes. The review of the literature also supported the use of singing activities with instrumental instruction, and the application of verbal association systems to tonal and rhythmic patterns as pedagogical techniques. Treatment for the control group involved a teaching-learning procedure in which individual fingerings, pitches, and rhythm symbols were presented in isolation and assembled in playing songs from notation. The method used with the experimental group involved a teaching-learning sequence in which children first learned to sing the song by rote. In learning to play the song on the recorder, each melodic and rhythmic pattern was isolated and initially sung or chanted. A verbal association system was then associated with the tonal and rhythmic pattern. The notation representing the pattern was introduced after extensive aural and verbal association experience, and after learning several songs. Primary sources of data included: pretest/posttest using Gordon's PMMA to measure developmental music aptitude change, and a rating scale test to measure recorder performance achievement. Results of the PMMA supported the alternative hypotheses that the experimental group had significantly higher mean composite and rhythmic increases than the control group. The mean increase in the tonal scores was greater for the experimental group, but not significantly higher at the .05 level. Results of the investigator-designed performance achievement tests supported the alternative hypotheses that the experimental method of teaching recorder was more effective in all dimensions--melodic, rhythmic, executive skills, and composite--than the traditional method.
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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.
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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.
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Boonzaaier, Devandre. "A theoretical study on the Alexander technique for the organ." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1015727.
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The aim of this research is to provide a theoretical framework of the Alexander Technique for organists. Frederick Matthias Alexander was an Australian actor who developed a technique to enable and enhance his own performance. This innovative technique is now used across the world, including South Africa. In this study the researcher provides a Literature Study of the Alexander Technique. Furthermore, he investigates and reports on the practises of a number of organists. A multiple case study approach was adapted and data was collected by means of questionnaires, personal observations and informal interviews. The data gathered in this study is described and analysed. The study culminates with a description of a theoretical framework for the application of the Alexander Technique for organists.
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Brown, Mary Janet. "Student attitude toward instrumental music education during the first year of instruction." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120586967.
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Garcia, Daniele Munhoz [UNESP]. "Som e vida após a lata: construção de instrumentos musicais com material alternativo." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/108809.
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000772246.pdf: 1651312 bytes, checksum: 694d4e1049c63a00daa7cecc14f0275e (MD5)Este trabalho buscou verificar a interferência da construção de instrumentos musicais com material alternativo como solução para a crença dos estudantes na impossibilidade de praticar música e na ideia de que o ato de tocar esteja condicionado à aquisição de um instrumento musical, modificando o que pensam sobre a ideia de tocar instrumentos e fortalecendo, dessa forma, a sua crença na própria capacidade. Os resultados foram obtidos por meio de pesquisa de campo com entrevistas, observação de oficinas de construção de instrumentos musicais com material alternativo e análise de documentos sobre o assunto, além da triangulação dessas fontes pelo método qualitativo. Concluiu-se que para se obter um resultado positivo é necessário ter uma pré-conscientização ou ao menos a não instalação de um pensamento limitador em relação à pratica musical, em primeira instância uma experiência fácil e exitosa com instrumentos de simples execução, além da rede social que a incentive e o tempo como fator importante para mudança. Foram verificadas quatro oficinas que apresentaram resultados que confirmaram a hipótese, duas de forma mais expressiva, o que corrobora a construção de instrumentos musicais com material alternativo como uma ferramenta possível para o ensino de música voltado a necessidades dos estudantes, como elemento facilitador da prática musical e como oportunidade de desenvolvimento pessoal além da música
This paper aimed to verify the interference of the construction of musical instruments with alternative material as a solution to students’ belief in the inability to practice music, and in the idea that the act of playing is conditioned on acquisition of a musical instrument, changing what they think about playing instruments and empowering this way their belief of their own capacity. The results were obtained through field research with interviews, observation workshops of musical instruments with alternative material and analysis of documents about the subject, and the triangulation of these sources by the qualitative method. It was concluded that to obtain a positive result it is necessary to have a pre-consciousness or at least not to install a limiting thought in relation to musical practice, in first instance an easy and successful experience with tools simple to perform, as well as social network that encourages and time as an important factor for changing. It was verified that four workshops presented results confirming the hypothesis, two in a more significant, which supports the construction of musical instruments with alternative material as a possible tool for teaching music geared to the needs of students, as a facilitator of musical practice to them, and as an opportunity for personal development beyond the music
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Garcia, Daniele Munhoz. "Som e vida após a lata : construção de instrumentos musicais com material alternativo /." São Paulo, 2013. http://hdl.handle.net/11449/108809.
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Orientador: Paulo Augusto CastagnaCoorientador: Lia Tomás
Banca: Paulo Roxo Barja
Banca: Sonia Regina Albano de Lima
Resumo: Este trabalho buscou verificar a interferência da construção de instrumentos musicais com material alternativo como solução para a crença dos estudantes na impossibilidade de praticar música e na ideia de que o ato de tocar esteja condicionado à aquisição de um instrumento musical, modificando o que pensam sobre a ideia de tocar instrumentos e fortalecendo, dessa forma, a sua crença na própria capacidade. Os resultados foram obtidos por meio de pesquisa de campo com entrevistas, observação de oficinas de construção de instrumentos musicais com material alternativo e análise de documentos sobre o assunto, além da triangulação dessas fontes pelo método qualitativo. Concluiu-se que para se obter um resultado positivo é necessário ter uma pré-conscientização ou ao menos a não instalação de um pensamento limitador em relação à pratica musical, em primeira instância uma experiência fácil e exitosa com instrumentos de simples execução, além da rede social que a incentive e o tempo como fator importante para mudança. Foram verificadas quatro oficinas que apresentaram resultados que confirmaram a hipótese, duas de forma mais expressiva, o que corrobora a construção de instrumentos musicais com material alternativo como uma ferramenta possível para o ensino de música voltado a necessidades dos estudantes, como elemento facilitador da prática musical e como oportunidade de desenvolvimento pessoal além da música
Abstract: This paper aimed to verify the interference of the construction of musical instruments with alternative material as a solution to students' belief in the inability to practice music, and in the idea that the act of playing is conditioned on acquisition of a musical instrument, changing what they think about playing instruments and empowering this way their belief of their own capacity. The results were obtained through field research with interviews, observation workshops of musical instruments with alternative material and analysis of documents about the subject, and the triangulation of these sources by the qualitative method. It was concluded that to obtain a positive result it is necessary to have a pre-consciousness or at least not to install a limiting thought in relation to musical practice, in first instance an easy and successful experience with tools simple to perform, as well as social network that encourages and time as an important factor for changing. It was verified that four workshops presented results confirming the hypothesis, two in a more significant, which supports the construction of musical instruments with alternative material as a possible tool for teaching music geared to the needs of students, as a facilitator of musical practice to them, and as an opportunity for personal development beyond the music
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Books on the topic "Musical instrument instruction"
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Bastian, Hans Günther. Jugend am Instrument: Eine Repräsentativstudie. Mainz: Schott, 1991.
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How to master any musical instrument: A complete and practical guide. North Canton, Ohio: PAZ Pub., 1987.
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Doyle, Robert C. Instruction book on how to play the bones. Dublin: Robert C. Doyle, 1990.
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Seodi, Ruth. Time to play a musical instrument: How to take up an instrument later in life. Oxford: Howtobooks, 2009.
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Gerardo, Garibay Morales Luis, ed. La biblia del tecladista: Acordes ilustrados para cualquier género musical. México, D.F: Grupo Editorial Tomo, 2011.
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Synthesizers in the elementary music classroom: An integrated approach. Reston, Va: Music Educators National Conference, 1991.
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Douglas, Boyd, ed. The right instrument for your child: The key to understanding musical potential. 5th ed. London: Orion Books, 2012.
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Ben-Tovim, Atarah. The right instrument for your child: The key to unlocking musical talent. London: Gollancz, 1995.
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Ben-Tovim, Atarah. The right instrument for your child: A practical guide for parents and teachers. New York: Quill, 1985.
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Ben-Tovim, Atarah. The right instrument for your child: A practical guide for parents and teachers. London: Gollancz, 1985.
Find full textBook chapters on the topic "Musical instrument instruction"
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Feldman, Evan, and Ari Contzius. "Special TopicsConstructivism, Concept Attainment, and Direct Instruction." In Instrumental Music Education, 81–87. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-7.
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Dwinal, Catherine. "Streaming Media Players." In Interactive Visual Ideas for Musical Classroom Activities, 138–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.003.0006.
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Streaming media players are newer devices in the music teacher’s toolbox but are becoming more commonly found in the classroom. Being one of the more modern kids on the block, there are even more opportunities to create activities and resources specifically for these devices. Use your devices as a tool for your instruction. Such as a remote for your computer or as your recording device for assessments. Students can use interactive instrument apps to perform together, create VR and AR experiences on their own, or use their devices to interact with their recorders to practice. Mobile devices are perfect for allowing students to have more independence in their learning and create their own musical works of art.
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Chapman, Con. "Young Man With a Sax." In Rabbit's Blues, 11–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0003.
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The chapter describes Hodges’s musical household, along with his limited instruction on the piano and saxophone. He received instruction on the saxophone formally, from (among others) a student at the New England Conservatory of Music in Boston, and informally, from other young men in his neighborhood, which came to be known as “Saxophonist Ghetto” because of the large number of musicians who played the instrument living there. Hodges’s youthful introduction to Sidney Bechet at a Boston burlesque show, at which he played a soprano sax, is described. The chapter recounts the saxophone’s history and its development in the jazz genre, as well as Hodges’s early public performances in the Boston area at a very young age. Hodges begins to develop a reputation both in Boston and throughout New England, and he eventually comes to the attention of Duke Ellington in a Boston nightclub.
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Goodman, Glenda. "Learning Music." In Cultivated by Hand, 61–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190884901.003.0003.
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As the eighteenth century witnessed an expansion of educational opportunities, learning to read and write music imbued amateurs with erudition and discipline. Printed instructional volumes utilized archaic abstract visualizations that encouraged a cerebral approach to learning music, and singing school classes relied on rote memorization of the “rules of music.” The potential drudgery of this approach was mitigated by the sociability of the schools. By the end of the century, volumes of instruction for instruments were increasingly available to American amateurs; these, too, relied on charts that abstracted musical knowledge. The expansion of secular instrumental instruction shifted the emphasis of education from piety (for sacred singing) to refinement. Even as printed instructions pushed toward standardized “rules,” manuscript music books reveal that amateurs embraced a wide range of literate practices, from quite rudimentary to highly advanced. Manuscripts also reveal individuals’ gradual improvement in the technical ability, aural skill, and knowledge of musical vocabulary.
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Haroutounian, Joanne. "From Spark to Flame: Nurturing Musical Talent." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0021.
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The minute you open the studio door and make eye contact with the eager I child on the front steps, you are hooked. There is something about this child that captures your attention. This child has potential talent. You know even before you have heard a note of music. Seasoned teachers have this intuitive feeling and can sense the energy and enthusiasm of these youngsters. They may be quiet and shy, yet their eyes give them away. You are eager to check out your “hunch.” After a few minutes of musical tasks in the studio, with parents sizing up the teacher-pupil possibilities, you realize you were correct. So let’s get started! Anyone who has taken music lessons remembers that very first lesson, when books are slick and new and every maneuver learned on the instrument is an adventure. The talented youngster literally takes off full speed ahead in this adventure. The journey can be exciting and rewarding, if the match of teacher and student “clicks.” In previous chapters we have described the importance of training in the lives of young, talented children, but we have not examined how this training nurtures talent. In this chapter I attempt to answer some important questions concerning training and talent development. What must we know about musical learning to match training with student reasoning abilities at different ages? Where do we begin? How can we keep a talented student comfortably challenged in the studio or classroom? This chapter will answer some of the basic questions regarding musical learning, beginning private instruction, the private studio, suitable curriculum for the young talented student, and creative opportunities that will nurture a young musician. When last we left our creative preschooler, lots of imaginative singing was taking place, with a growing sense of tonality to the “real” songs in the culture. By the age of four, the entire song is imitated. At five or six, a young singer has emerged who is comfortably learning new songs by rote. The next few years are critical in the development of musical talent. Understanding the cognitive and musical development of children at this age will help gauge musical expectations.
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Longo, Shawna. "Instructional Plans: Grades 3–5." In Integrating STEM with Music, 81–110. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.003.0006.
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Chapter 6 presents three instructional plans that are geared toward grades 3–5. Instructional plans consist of planning necessities, standard alignment, alignment to philosophies approached in earlier chapters, as well as instructional procedures and assessments. Adaptations for other grade-level bands as well as potential extensions are available for each plan. This chapter includes the following instructional plans: Invent an Instrument Using Recycled Materials, Composing Using Light: Musical Automata, and Performing Music Using Light: Theremins and Oscillators. During Invent an Instrument Using Recycled Materials, students will design and build an instrument that they can use in performance. In Composing Using Light: Musical Automata, students will use the concepts of transferring energy and photosensitive circuits to compose a piece of music. In Performing Music Using Light: Theremins and Oscillators, students will use concepts such as voltage, resistance, and oscillation, to create their own electronic musical instruments that change pitch depending on exposure to light.
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Haroutounian, Joanne. "The Flame: Teenage Years." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0022.
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Close to a dozen years have gone by and we find ourselves seated on folding chairs enjoying the final recital of a private studio of talented piano students. Each year there are a few new eager faces as the younger students deftly work through pieces that seem very complex for such little fingers to play so quickly. We notice the students who have been seasoned through training, now in those tenuous intermediate years. Their intense desire for precision shows maturing musical ideas, but often arrives at awkward adolescence when being on stage has an added gravity of meaning. We search for the advanced teenagers—those students we have seen truly blossom through the long process of talent development. Numbers have dwindled in this studio. One has decided to move out of state and is now studying at a conservatory. Another has decided to concentrate efforts on the oboe, begun in elementary school band, with time restraints easing piano lessons out of her schedule. Academic and parental pressures have caused last year’s shining star, a junior seeking an Ivy League college education, to quit as well. There remains one teenager who ends the program with a flourish, receiving many hugs from young admirers and awards galore following the program. This is our tiny, eager student from the front steps. A senior, having completed a full twelve years of instruction with many competitions and solo recitals under his belt, he bids farewell to this comfortable, nurturing studio. He enters college as a math major. Many private teachers, parents, and music students may recognize this scene as a very realistic portrayal of possibilities in musical talent development. The first years of training are “romance,” with parents aglow when hearing their talented youngster perform with such confidence and flair. The middle years consist of flux and flow, a phase when students search for the “whys” and “hows” beneath the notes that were so easily played in prior years. Musical training now presents persistent challenges. Late-starters may speed into these years with determination. Others may begin a second instrument or composition classes to broaden musical experiences.
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Longo, Shawna. "Instructional Plans: Grades 9–12." In Integrating STEM with Music, 158–98. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.003.0008.
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Instructional plans consist of planning necessities, standard alignment, alignment to philosophies approached in earlier chapters, as well as instructional procedures and assessments. Adaptations for other grade-level bands as well as potential extensions are available for each plan. This chapter includes the following instructional plans: Audio Engineering: Ratios in Recording, Designing a Chromatic PVC Instrument, Controlled Voltage: Composing, Performing, and Improvising with Subtractive Electronic Synthesis, and Sound Pollution and Its Effects on Local Bird Ecology. In Audio Engineering: Ratios in Recording, students will use a method of measuring and experimentation to maximize the sound quality of a given recording environment. In Designing a Chromatic PVC Instrument, students will design a one octave chromatic instrument using mathematical calculations and representations to create initial expressive statements and explain the relationships among the frequency, wavelength, and speed of waves traveling in the PVC pipes. In Controlled Voltage: Composing, Performing, and Improvising with Subtractive Electronic Synthesis, students will interface with the subtractive architecture of electronic instruments, the concept of controlled voltage, and the function of an electronic sequencer. In Sound Pollution and Its Effects on Local Bird Ecology, students will learn about modern sound pollution and the effect it has on many different forms of ecology. Students will determine at the end of their own study whether or not there were any observed correlations between these datas captured, and if other data could be used to claim causation.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.
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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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"Special Topics: Two Models of Instructional Design." In Instrumental Music Education, 89–92. Routledge, 2010. http://dx.doi.org/10.4324/9780203848920-13.
Full textConference papers on the topic "Musical instrument instruction"
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.
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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.
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Lou, Shi-Jer, Yi-Zhen Zhu, Kuo-Hung Tseng, Yuan-Chang Guo, and Ru-Chu Shih. "A Study of Computer-Assisted Instruction on Music Appreciation: An Example of Chinese Musical Instruments." In 2009 Ninth IEEE International Conference on Advanced Learning Technologies (ICALT). IEEE, 2009. http://dx.doi.org/10.1109/icalt.2009.62.
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