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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.
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Peterman, Lewis. "Kotekan in the Traditional Shona Mbira Music of Zimbabwe." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 235–45. http://dx.doi.org/10.31091/mudra.v25i3.1560.
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This article documents musical interlocking as it is traditionally practiced among the Shona people of Zimbabwe. Its focus is on the music of the mbira dzavadzimu, a traditional musicial instrument that consists of 22-25 or more keys distributed over three manuals(keyboards) played with both thumbs and one index finger. Numerous musical examples,using notational symbols developed for this study, are used throughout to clarify all technicaldetails. Most of the notational symbols are the same or similar to those used by Paul Berliner in his classic study The Soul of Mbira (Berliner: 1978). Six complete traditional mbira dzavadzimu pieces are presented in easy-to-read notated form: “Nhemamusasa,” “Chakwi,” “Nhemamusasa Variation,” “Nyamaropa,” “Shumba,” and “Taireva.” Four different categories ofinterlocking procedures form the core of the article: 1) Interlocking in Solo Mbira Music; 2) Interlocking in Two-Part Mbira Music; 3) Interlocking in Three-Part Mbira Music; and 4) Interlocking in Multiple-Part Mbira Music. Three supporting categories are also presented: 1) Interlocking in Mbira “High-Line” Parts; 2) Interlocking in Accompanying Vocal Parts; and 3) Interlocking in Miscellaneous Accompanying Parts. Much of the data in this article was gathered by the author through his private instruction with the following distinguished Shona mbira players: Irene Chigamba, Tute Chigamba, Musekiwa Chingodza, Stella Chiweshe, Michael Kamunda, Forward Kwenda, Ephat Mujuru, and Luken Kwari Pasipamire.
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Haryono, Slamet, Victorius Ganap, Totok Sumaryanto, and Tjetjep Rohendi Rohidi. "Integrating Parent’s Contribution into Music Class to Achieve Learning Purpose of Musical Expression." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 28–38. http://dx.doi.org/10.15294/harmonia.v18i1.12288.
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Qualitative research has been carried out with the aim of exploring synergy between parents and school in elementary school music education in an urban area. The focus of the research is the synergy pattern of parents and school related to students’ music education. In order to derive the findings, one major attention of the research is parent’s contribution integrated into music class to gain a successful learning goal of musical expression. This paper discusses characteristic of the contribution processes in supporting the successful of music learning related to education components of learning material, facility and supporting the budget, with the topic of playing an ensemble of a particular music instrument. The school’s samples chosen were those which are located in a particular urban area in Central Java. The data were gathered using observation, interview and documentation methods and analyzed descriptively. Based on the data analysis, it was concluded that parent’s contribution is an important element for attaining a qualified students’ achievement of musical expression. It is integrated into learning sessions fulfilling the criteria stated in the used curriculum implemented by the teacher, by three major ways, those are communication, collaboration and cooperation. This becomes a significant reason for its integration into elementary school music instruction to achieve the expected students’ competence.
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Schroeder, Scott R., Viorica Marian, Anthony Shook, and James Bartolotti. "Bilingualism and Musicianship Enhance Cognitive Control." Neural Plasticity 2016 (2016): 1–11. http://dx.doi.org/10.1155/2016/4058620.
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Learning how to speak a second language (i.e., becoming a bilingual) and learning how to play a musical instrument (i.e., becoming a musician) are both thought to increase executive control through experience-dependent plasticity. However, evidence supporting this effect is mixed for bilingualism and limited for musicianship. In addition, the combined effects of bilingualism and musicianship on executive control are unknown. To determine whether bilingualism, musicianship, and combined bilingualism and musicianship improve executive control, we tested 219 young adults belonging to one of four groups (bilinguals, musicians, bilingual musicians, and controls) on a nonlinguistic, nonmusical, visual-spatial Simon task that measured the ability to ignore an irrelevant and misinformative cue. Results revealed that bilinguals, musicians, and bilingual musicians showed an enhanced ability to ignore a distracting cue relative to controls, with similar levels of superior performance among bilinguals, musicians, and bilingual musicians. These results indicate that bilingualism and musicianship improve executive control and have implications for educational and rehabilitation programs that use music and foreign language instruction to boost cognitive performance.
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Arif Puji Putra, Al, and Syeilendra Syeilendra. "BELAJAR PIANIKA PADA PEMBELAJARAN SENI MUSIK DI KELAS VIII SMP NEGERI 12 KABUPATEN SOLOK SELATAN." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 223. http://dx.doi.org/10.24036/jsu.v9i1.109637.
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This study aims to describe efforts to improve the learning of playing melodica for students at SMP Negeri 12 in South Solok Regency. The research uses a descriptive qualitative approach. The object of this research was the Efforts to Improve melodica Learning, at SMP Negeri 12 South Solok Regency, which is contained in the implementation of melodica playing instruction. The data sourced from observations and interviews. The interviews used to collect the data were planned interviews and unplanned interviews. After the data were collected through data collection techniques, the next step done was classifying the data based on their importance.Based on the results of research conducted at SMP Negeri 12 in South Solok Regency, in the subject of Music Arts, there is one of the subjects related to playing Nusantara ethnic songs using a melodica. Melodica is a musical instrument which has an important role in learning music in Junior High Schools. Melodica is not only found in learning but in extracurricular activities such as marching band, and melodica also plays an important role in playing song melodies.Keywords: arts, music, pianica, student
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Hellman, Daniel S. "The Effect of Instructor's Major/Instrument on Student Melodic Imitation Scores and Tone Quality." Journal of Research in Music Education 50, no. 1 (April 2002): 51–62. http://dx.doi.org/10.2307/3345692.
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Scores obtained from the Intermediate Ear to Hand Test (Dickey & Froseth, 1991) were used to compare melodic-imitation and tone-quality scores between students who played the major instrument of their classroom instrumental music instructor and students who played a different instrument. Data were collected from 20 instrumental music classrooms that included eighth-grade students in the third year of instrumental music instruction. Students who played the major instrument of their instructor obtained statistically significant higher scores on overall performance quality when compared with students who did not, but the effect size was quite small, and there were no effects for the melodic-imitation or tone-quality components of overall performance quality.
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Smid, Deanna. "Broken Lutes and Passionate Bodies in A Woman Killed with Kindness." Renaissance and Reformation 38, no. 2 (October 5, 2015): 93–120. http://dx.doi.org/10.33137/rr.v38i2.25621.
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Thomas Heywood’s 1607 play, A Woman Killed with Kindness, ends with the protagonist, Frankford, discovering the lute of Anne, the wife he has just banished for adultery. Grieved by the sight of the instrument that he conflates with his marriage and with Anne herself, Frankford exiles the lute along with his wife. When she receives the instrument, Anne plays a lament, then directs her coachman to “go break this lute upon my coach’s wheel, / As the last music that I e’er shall make” (16.69–70). Shortly following the destruction of the lute, Anne dies. Anne’s body and memory, clearly, are inextricably linked to the lute: in the drama, her body is a musical instrument that she can play, that can be played upon, and that can be destroyed. The lute as body metaphor is a common image in early modern English literature, and Heywood both uses and complicates the metaphor. The lute, first, demonstrates Anne’s impossible and paradoxical identity as a chaste wife, noblewoman, and possible prostitute. Moreover, the lute emphasizes Anne’s powerlessness over her own body, particularly her humours. Like other characters in the play, Anne had let her bodily passions control her, but when she breaks the lute, she breaks also her passions’ power over herself and others. Yet when she destroys the lute, she does not abandon music altogether, for music can bring about powerful social harmony. Instead, she plays her own body as a musical instrument, which makes her self-slaughter instructive rather than destructive. Her death is didactic for the audience—both onstage and in the theatre—that gathers around her deathbed, and suggests a variety of means of controlling the passions, some of them more deadly than others. In A Woman Killed with Kindness, Anne’s music is an exemplar of the extraordinary efforts necessary to quell the unruly passions that cause so much of the conflict in the play.
La pièce de Thomas Heywood, A Woman Killed with Kindness (1607), se termine lorsque le personnage principal, Frankford, découvre le luth d’Anne, l’épouse qu’il vient de bannir pour cause d’adultère. Attristé par la vue de cet instrument qu’il associe à son mariage et à Anne elle-même, Frankford exile le luth en compagnie de sa femme. Lorsqu’elle reçoit l’instrument, Anne joue une complainte, puis fait écraser son luth sous les roues d’une diligence, renonçant ainsi à sa musique. Elle meurt peu après. Son corps et sa mémoire sont manifestement liés, de façon intime, au luth : dans le drame, son corps est un instrument de musique dont elle peut jouer, sur lequel autrui peut jouer, et qui peut être détruit. Le luth est une métaphore du corps courante dans la littérature anglaise de l’époque; Heywood utilise cette métaphore tout en la compliquant. En premier lieu, le luth figure l’impossible et paradoxale identité d’Anne : chaste épouse, noble dame et, virtuellement, prostituée. Qui plus est, le luth souligne l’incapacité d’Anne à contrôler son propre corps, surtout ses humeurs. Comme d’autres personnages de la pièce, Anne a perdu la maîtrise de ses passions charnelles, mais en détruisant le luth elle détruit aussi l’emprise de ses passions sur elle-même et sur les autres. Cependant, lorsqu’elle détruit le luth, elle ne renonce pas totalement à la musique, car la musique peut engendrer une forte harmonie sociale. Elle joue plutôt de son propre corps comme d’un instrument de musique, faisant de son suicide davantage une instruction qu’une destruction. Sa mort a une valeur didactique pour ceux qui le regardent (tant de la scène que des gradins du théâtre), assemblés autour de son lit de mort; il laisse entendre que plusieurs méthodes permettent de maîtriser les passions, certaines étant plus mortelles que d’autres. Dans A Woman Killed with Kindness, la musique d’Anne symbolise la peine extraordinaires pour imposér une discipline aux passions sans règle, à la source de tant de conflits dans la pièce.
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Probst, Stephanie. "From Machine to Musical Instrument." Journal of Musicology 38, no. 3 (2021): 329–63. http://dx.doi.org/10.1525/jm.2021.38.3.329.
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Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players.
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Baadjou, VAE, MDF van Eijsden-Besseling, JAMCF Verbunt, RA de Bie, RPJ Geers, RJEM Smeets, and HAM Seelen. "Playing the Clarinet: Influence of Body Posture on Muscle Activity and Sound Quality." Medical Problems of Performing Artists 32, no. 3 (September 1, 2017): 125–31. http://dx.doi.org/10.21091/mppa.2017.3021.
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Musculoskeletal complaints are highly prevalent in clarinetists and are related to high arm load while playing. It is hypothesized that postural exercise therapy may be used to adapt muscle activity patterns while playing and thus contribute to better sound quality. The goal of the present study was to investigate the relationship between body posture, muscle activity, and sound quality in clarinetists while playing the instrument in two different postures, their habitual sitting posture (control, CO) vs an experimental sitting posture (EXP) based on Mensendieck postural exercise therapy, method Samama. Twenty healthy professional and student clarinet players, aged 18–60 years, were included in this cross-sectional study. Participants played a 60-second musical excerpt in CO, followed by instruction on the EXP body posture, and then played in the EXP condition. Two-dimensional goniometric analysis was used to calculate body posture; muscle activity was measured bilaterally using surface electromyography. In EXP, a significantly smaller low thoracic angle, smaller high thoracic angle, and larger pelvic tilt angle (all p<0.001) were found. EMG results indicated that the left and right erector spinae L3 and left and right lower trapezius were more active in EXP compared to CO, whereas left upper trapezius and right brachioradialis were less active in EXP than CO. Most participants experienced better sound quality in EXP, whereas blinded experts found no consistent pattern between body posture and sound quality. To conclude, it seems that postural exercise therapy may change muscle activity patterns. By increasing stability, a decrease in activity of the upper extremity muscles can be induced.
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Hromchenko, Valerii. "The compositions of wind solo by E.V. Denisov in the context of the contemporary educational process." Музикознавча думка Дніпропетровщини, no. 18 (November 16, 2020): 133–46. http://dx.doi.org/10.33287/222024.
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The purpose of this submitted scientific article is disclosing the musically pedagogical distinctiveness, the series of crucial and the most significant training educational criterions of compositions for wind instruments solo by E.V. Denisov. The row of methods for this scientifically investigative process is formed by applying the axiological, comparative as well as functional approaches concerning the studying research theme. The using of methods such as musically performing analysis and synthesis are specifically important in the development of delineated question. Researcher for structuring of scientifically investigative material as well as for analytical handing information and making general conclusions utilizes structurally functional method. Scientific newness of the represented article is stipulated by revealing the most characteristic, value-productive, musically pedagogical criterions of masterpieces for wind professional instruments solo by E.V. Denisov, which were written by celebrated composer as for wood and for brass academic wind instruments. Conclusions. There are the next essential indications, maximally significant training-educational criterions of musically instructional particularity concerning the compositions for wind academic instruments solo by E.V. Denisova. These are the formation of holistic, complete instructive process, the modernization of traditional artistically expressive means in relation to wind professional instrumentations, the utilization contemporary nontraditional musically performing language (performing manners, effects and composer technics). We also emphasize the accentuation of understanding the specialized process by student for the communicative essence of musical art (outside, inside dialogism). We also underline the activation of artistically imaginative thinking of student as into the vector of discovering the characterization one or another wind composition solo and into the direction for comprehension of an imagination, artistic content touching to E.V. Denisovʼs works for stage-single performing.
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Heil, Leila. "Synergy in the composition classroom: Powerful learning through technology and instructional design." Journal of Music, Technology & Education 12, no. 2 (September 1, 2019): 165–78. http://dx.doi.org/10.1386/jmte_00004_1.
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To provide insight into structural, technological and environmental factors that contribute to powerful learning experiences in composition tasks, this instrumental case study offers an examination of the interactions of various elements evident in a music composition class. Data were collected via classroom observations, participant interviews and miscellaneous documents. The synergistic relationship between instructional design components and classroom supports, mediated through the use of technology, served to transform the human–computer interface from problem-solving to possibility-driven action. Instructional design elements that contributed to student engagement were choice in assignment completion, a self-paced work environment and musical preference. Instructional supports facilitated a core student learning process that expanded foundational knowledge and skill through active engagement in exploration, identification of musical elements and decision-making; and through interaction with an expert instructor, reflection through peer engagement, technology affordances and autonomy.
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Smith, Tawnya D., Karin S. Hendricks, Ronald P. Kos, and Andrew Goodrich. "Balancing String Instruction in an Instrumental Lab Setting: An Intrinsic Evaluative Case Study." String Research Journal 11, no. 1 (July 2021): 19–38. http://dx.doi.org/10.1177/19484992211020735.
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There is an expected increase in the need to provide adequate string-specific training for non-string specialists in the future and for preservice music teachers to develop the requisite pedagogical content knowledge to teach a variety of instruments. A multiyear instrumental lab ensemble university course was designed to help preservice music teachers integrate knowledge and skills in various instrument- and ensemble-specific areas. The purpose of this intrinsic evaluative study was to determine the extent to which the new course was successful toward these aims. Data included interviews of students and instructors, observations of lab classes, and reflective journals of teaching faculty and two external observers. Data were coded and then analyzed using the program goal statements found in the course syllabus. Findings indicated that students considered the lab format more authentic to their teacher preparation than their previous coursework, and that performance and pedagogy skills on secondary instruments elevated more rapidly than anticipated. Recommendations include the need for more explicit connection between course readings and lab activities, and improved guidelines for course teaching assistants.
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Taylor, Donald M. "Refining Learned Repertoire for Percussion Instruments in an Elementary Setting." Journal of Research in Music Education 54, no. 3 (October 2006): 231–43. http://dx.doi.org/10.1177/002242940605400306.
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The purpose of this study was to examine teaching effectiveness in an elementary music setting using student achievement as a dependent measure. Because Orff Schulwerk instruction is one of the most prevalent pedagogies in elementary music education, this study examined the rehearsal strategies of recognized Orff Schulwerk teachers as they worked to refine learned repertoire for percussion instruments. Eight instructors and their upper elementary students were videotaped in four regular rehearsals each. Systematic analyses of rehearsal frames in which teachers were working to improve student performance revealed fast teacher pacing and a predominance of instructional directives that were procedural (e.g., where to begin playing) rather than musical (e.g., how to perform more accurately or expressively). The majority of students' performance problems were related to precision, often caused by rushing the underlying pulse. Instructional targets were most often related to technique. Students successfully accomplished proximal goals in 63 % of the performance trials in which the targets were verbalized by the teacher prior to performance and in 74 % of the performance trials when the targets were verbalized by the teachers while students were playing. Students were most successful when teachers used clear, explicit directives and positive modeling.
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Yarbrough, Cornelia, Brant Karrick, and Steven J. Morrison. "Effect of Knowledge of Directional Mistunings on the Tuning Accuracy of Beginning and Intermediate Wind Players." Journal of Research in Music Education 43, no. 3 (October 1995): 232–41. http://dx.doi.org/10.2307/3345638.
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The purpose of this research was to study the effect of knowledge of directional mis-tunings on the tuning accuracy of beginning and intermediate wind players. Subjects (N = 197) were instrumental wind players who tuned to either an For a B-flat with both their own instrument—a performance task—and the tuning knob of a variable-pitch keyboard—a perception task. The subjects were randomly assigned to one of three treatment groups: Group 1 knew that their instruments and the tuning knob were mis-tuned in the sharp direction; Group 2 knew that their instruments and the tuning knob were mistuned in the flat direction; and Group 3 had no information regarding direction of mistunings. Data demonstrated that only years of instruction significantly affected subjects' tuning accuracy. There were no significant differences due to treatment, instrument type, or tuning pitch. There were only 6 in-tune performance responses and 12 in-tune perception responses. Approaching the target pitch from above resulted in more sharp responses; approaching it from below resulted in more flat responses; and having no knowledge of direction of mistuning resulted in an equal number of sharp and flat responses. There were a greater number of flat responses in the first year of instruction and a greater number of sharp responses in the fourth year. Finally, there was consistent improvement from the first to the fourth year in both perception and performance tuning tasks.
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Ninin, Retno Hanggarani, and Roswita Amelinda. "Bisakah Angklung menjadi Instrumen Psikoedukatif? Studi Eksploratif pada Pemain Angklung." Jurnal Psikologi Islam dan Budaya 2, no. 2 (October 23, 2019): 11–22. http://dx.doi.org/10.15575/jpib.v2i2.5574.
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Angklung is a unique traditional Sundanese music instrument involving a number of people to play it to produce a musical appearance. This uniqueness may indicate that angklung is not only an instrument of art, but also a psychoeducation instrument. This study explores the experience of angklung players in playing angklung and proves the use of angklung as a psychoeducation instrument. This study used explorative qualitative approach on seven angklung players. The results identify types of angklung player experience: audio-emotional, interactional (fellow players or coaches), and personal (interest, awareness, failure). Prerequisites of the use of psychoeducation instruments including the conversion of the role of the trainer to the educator, identifying specific behaviors in playing angklung as a simulation of the reality of social interaction, and providing instructions on how to play angklung optimally based on their parts. Angklung has psychoeducation potential to develop psychosocial skills (hablumminannaas) and servitude to God (hablumminnallah).
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Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (October 2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.
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The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities. Participants engaged in three 70-minute instructional treatment sessions over 4 days and completed pre- and postinstruction improvisation performances that were evaluated by four expert judges using the researcher-constructed Jazz Improvisation Performance Achievement Measure. Self-efficacy was measured using the researcher-constructed Jazz Improvisation Self-Efficacy Scale. Results indicated a significant ( p < .05) interaction effect for pre- to postinstruction and instructional method, with the aural instruction group demonstrating significantly greater gains than the notation group. Posttreatment achievement scores indicated nonsignificant correlations with experience variables. Participants’ self-efficacy for jazz improvisation increased significantly ( p < .001) following exposure to improvisation instruction; however, no interaction effect was found for instruction and mode of instruction.
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Silvey, Brian A., D. Gregory Springer, Christian M. Noon, Christopher M. Baumgartner, Alec D. Scherer, and Mark Montemayor. "Band Directors’ Perceptions of Instrumental Conducting Curricula." Journal of Music Teacher Education 30, no. 1 (June 18, 2020): 65–78. http://dx.doi.org/10.1177/1057083720933218.
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The purpose of this study was to examine inservice band directors’ perceptions of their undergraduate instrumental conducting curricula. Members ( N = 141) of the Facebook Band Directors Group who had completed undergraduate conducting and rehearsal techniques coursework responded to an online survey. Respondents felt more confident demonstrating technical conducting behaviors versus expressive ones, perceived their instruction in conducting skills superior to their rehearsal skill instruction, and desired additional conducting and rehearsal experiences that were more representative of what they encountered once they began teaching. Respondents’ most desired curricular change was for additional instruction in rehearsal planning, error detection and correction, and instrument-specific pedagogy. The three most frequently used score study behaviors were “initial, casual read-through of the score,” “define all unfamiliar terms,” and “marking important cues.” Based on our findings, we discuss ways in which music teacher educators can improve their instrumental conducting courses.
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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (December 10, 2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.
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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).
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Johnson, Daniel C. "The Effect of Critical Thinking Instruction on Verbal Descriptions of Music." Journal of Research in Music Education 59, no. 3 (August 12, 2011): 257–72. http://dx.doi.org/10.1177/0022429411415860.
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The purpose of this study was to determine the effect of critical thinking instruction on music listening skills of fifth-grade students as measured by written responses to music listening. The researcher compared instruction that included opportunities for critical thinking (Critical Thinking Instruction, CTI) with parallel instruction without critical thinking opportunities (Activity-Based Instruction, ABI). The same music teacher delivered both instructional treatments concurrently in a series of sixteen 45-minute classroom lessons. Two randomly assigned, intact classes of participants ( n = 41 and 40) made up the CTI and ABI treatment groups, respectively. Three independent judges scored participants’ pretest and posttest responses using a researcher-designed instrument. Using a multivariate analysis of variance (MANOVA), the researcher found a significant test by treatment interaction. The post hoc analysis indicated that while the CTI participants scored higher on the posttest as compared with the pretest, ABI participants demonstrated no significant differences by test. Readers should note the larger than expected standard deviations when considering the positive effects of the CTI treatment. Implications include recommendations for future research and for designing music listening lessons to incorporate critical thinking skills in classroom music instruction.
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Whalley, J. Harry, Panagiotis Mavros, and Peter Furniss. "Clasp Together: Composing for Mind and Machine." Empirical Musicology Review 9, no. 3-4 (February 1, 2015): 263. http://dx.doi.org/10.18061/emr.v9i3-4.4348.
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This paper will explore questions of agency, control and interaction and the embodied nature of musical performance in relation to the use of human-computer interaction (HCI), through the experimental work <em>Clasp Together (beta)</em> [1] for small ensemble and live electronics by J. Harry Whalley. This practice-led research is situated at the intersection of music neurotechnology for sound synthesis and brain-computer interfaces (BCI, a subdomain of HCI), and explores the use of neural patterns from Electroencephalography (EEG) as a control instrument. The composition departed from the traditional composer/performer paradigm by using both non-instrumental physical gestures and cognitive or emotive instructions integrated into the score.
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Alexeyeva, Irina V., and Olga Yu Kirsanova. "The “Notebooks” of Leopold Mozart (“Die Notenbücher der Geschwister Mozart”) As a Specimen of Instructive Compositions." ICONI, no. 1 (2019): 92–101. http://dx.doi.org/10.33779/2658-4824.2019.1.092-101.
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One of the interesting realms of contemporary musicology is the issue of study and evaluation of the historical musical text of the early classical period, remote from us in terms of time. No less significant is the comprehension of its didactic potential, as well as the adaptation of scholarly results of research and their application in pedagogical practice. More relevant is the study of the techniques of interaction on the part of the performer with this musical text. The article acquaints the readers with the unique album for clavier, absent in Russian performing and instructive practice — “Die Notenbücher der Geschwister Mozart” in its original version. Its study presents the possibility to immerse into the specificity of the artistic content and pedagogical “secrets” of one of the opuses of the instructive direction reflecting the specificity of 18th century instrumental music-making. Analytical immersion into the musical text of the “Notebooks” (such is the version of the translation of the title of the analogous albums of J.S. Bach, according to Russian publishers) as a historical document of the epoch is aided by turning to its “intonational-lexical vocabulary” stipulated by culturological context. The album discloses the practical secrets of adaptation of the musical score form of notation in its transcription into two-lined form and demonstrated signs of the reduction of the musical text in correspondence with the peculiarities of keyboard instruments. For a present-day beginning performer, the creative potential of the pieces in the collection consists in the possibility of reverse unfolding of two-line keyboard music into an ensemble score the means of which have been fixated into the musical text.
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Silaban, Eben Ezer. "FUNGSI DAN TEKNIK PERMAINAN ALAT MUSIK TRADISIONAL MANDAILING UYUP-UYUP DI DESA PARGARUTAN JAE TAPANULI SELATAN." Grenek Music Journal 7, no. 2 (October 11, 2018): 153. http://dx.doi.org/10.24114/grenek.v7i2.10896.
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This study aims to determine Function, Game Techniques and Organic Uyup-Uyup In PargarutanVillage Jae Tapanuli Selatan. The purpose of this research is to know the function, game techniqueand organology of mandailing uyup-uyup instrument in Pargarutan Jae Tapanuli Selatan Villagecommunity. The theory used is function, game technique and organology. The function of music isto express the taste and simultaneously as an activity of various types of human communication.Organology is the study of the structure of musical instruments based on sound sources, how toproduce sounds and system of alignment. Game technique is a way or technique of touch on amusical instrument over a particular tone according to the instructions or notation. The methodused in this research is qualitative descriptive method. The sample in this research is one artist andfive people of Pargarutan Jae Village. Data collection was done by observation, interview, anddocumentation. This research was taken in Pargarutan Jae Village, and this research was carriedout from October 2017. The function of Uyup-uyup music instrument in South Tapanuli there arethree of the first is the function of emotional disclosure is a medium for someone to express feelingsand emotional through the game of uyup-uyup instruments that use systematic way of presentingthe sound. The second is the entertainment function in which the South Tapanuli also needentertainment that is the entertainment of playing a uyup-uyup instrument at rest in the rice fields.Third is the Communication Function where when calling the opposite sex across the paddy fieldthe man repeatedly played uyup-uyup. Organic musical instrument Uyup-uyup consists of fiveparts, namely rice stalks, coconut leaves and lidi as a binder of coconut leaves. The game techniquein the uyup-uyup instrument is divided into the first three sections that are played in a sitting /standing position, the second way of blowing uyup-uyup is by way of the mouth is placed at thebase of the top of the uyup-uyup instrument, the third position of the finger finger, first startingfrom the left hand with the beginning of the index finger and the second hole of the middle fingerand then on the right hand begins with the index finger and the hole of both middle fingers.
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Guzzetta, Christine A. "Learning method preferences in a steel drum classroom: Exploring a learner-centered pedagogy through composition, peer teaching, and student-led Modern Band projects in a middle school setting." International Journal of Music Education 38, no. 2 (October 21, 2019): 267–82. http://dx.doi.org/10.1177/0255761419877575.
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This action research discovers the learning preferences of middle school students enrolled in an advanced steel drum class in central Florida, specifically their attitudes toward the learner-centered approach while composing and learning music. Sixteen participants compare the traditional teacher-led formal instruction to student-led informal learning across three projects: composition, peer teaching, and student-led small group with the introduction of Modern Band instruments. Students are given creative freedom to choose their own friendship groups, instruments, and songs. Ease, enjoyment, and success rates are measured through questionnaires, video recording, field notes, and interviews. Student preferences toward teacher-directed and peer-directed learning change throughout the study, from student-led learning to teacher-led instruction as the tasks become more difficult. In addition, preferred learning techniques of the steel drum are found to be reading notation, listening to the music, and demonstrating how to play the instrument through kinesthetic means. Music teachers can successfully implement a more learner-centered classroom by planning lessons that are in line with student ability and background knowledge, while incrementally increasing challenges.
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Yokoo, Yoshinori, and Keizo Nagaoka. "Computerized methods for evaluating musical performances and for providing instruction techniques for keyboard instruments." Computers & Education 9, no. 2 (January 1985): 111–26. http://dx.doi.org/10.1016/0360-1315(85)90033-8.
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Fahnøe, Preben. "Book and Tape." British Journal of Music Education 4, no. 3 (November 1987): 267–72. http://dx.doi.org/10.1017/s0265051700006124.
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The author writes about his development of the ‘play along’ principle for instruction in instrumental skills (in this case, Blues Guitar). He sees this as an extension of the earlier ‘Music Minus One’ publications, and describes the musical and educational reasoning behind the format of his ‘Book and Tape’.
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Gruenhagen, Lisa M., and Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms." Journal of Research in Music Education 61, no. 4 (November 25, 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Prichard, Stephanie. "The Impact of Music Practice Instruction on Middle School Band Students’ Independent Practice Behaviors." Journal of Research in Music Education 68, no. 4 (August 24, 2020): 419–35. http://dx.doi.org/10.1177/0022429420947132.
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The purpose of this study was to investigate the impact of music practice instruction on middle school band students’ ability to articulate and incorporate practice strategies. Participants were middle school band students at a large suburban middle school ( N = 105). Using a pretest–posttest quasi-experimental design, participants were divided into control ( n = 53) and experimental ( n = 52) groups. Participants in the experimental group received 3 weeks of practice strategy instruction during ensemble warm-up time, and the control group continued with their typical warm-up routine. Pretest and posttest data included self-reported practice strategy lists ( N = 105) and video of individual practice sessions ( n = 20). Both self-reported and video data were coded and analyzed using descriptive statistics as well as pretest–posttest within-groups comparisons. Thirteen hours of video data were further analyzed using an observational measure of self-regulation. Analyses revealed that experimental group participants identified and utilized significantly more practice strategies following the instructional intervention. Posttest experimental group practice sessions also revealed a more mature approach to practicing, including more strategic behaviors, greater variety in musical objectives, and longer periods spent focused on short excerpts of music. Implications for future research and middle school instrumental classroom practice are discussed.
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Flowers, Patricia J. "The Match between Music Excerpts and Written Descriptions by Fifth and Sixth Graders." Journal of Research in Music Education 48, no. 3 (October 2000): 262–77. http://dx.doi.org/10.2307/3345398.
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The purpose of this study was to examine the effect of instruction in writing about music on descriptions of music excerpts. Fifth and sixth graders received 4 days of instruction in music description focusing on metaphor and emotion, analytic music elements, and temporal language. Then, they wrote brief descriptions of six excerpts that were counterbalanced for instrumentation and style. Their descriptions were compared to those of students who did not receive instruction. There were no significant differences between children receiving and not receiving instruction within each grade level, except that the taught fifth graders mentioned significantly more musical elements than did fifth graders who did not receive instruction. There were no significant differences within grade levels in the rate at which expert readers matched descriptions to the original music excerpt, but sixth graders significantly outperformed the fifth graders. When excerpts were not correctly matched, they were usually misassigned to the excerpt with the same instrumentation, corroborating the priority of naming instruments in music description tasks.
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Shaw, Ryan D. "Instructional Expertise and Micropolitics: The Social Networks of Instrumental Music Teachers." Journal of Research in Music Education 68, no. 3 (May 27, 2020): 328–50. http://dx.doi.org/10.1177/0022429420920634.
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The purpose of this study was to understand the social networks of three instrumental music teachers in a midwestern school district. Research questions were (1) How do instrumental music teachers describe their formal/instructional networks? and (2) How do instrumental music teachers’ social networks differ by career stage? I used a qualitative ego network design to map social networks of information sharing with a focus on the flow of social capital. Data sources included a name-generating questionnaire to construct networks and two semistructured interviews focusing on the nature and significance of teachers’ ties. Findings suggest that social networks showed particularities in terms of number of ties and tie strength. On matters of instruction, participants sought out music teachers whom they respected or who possessed specialized knowledge. Participants spoke of the importance of forging micropolitical ties to secure needs related to resources and scheduling, using ties strategically. Finally, participants felt that networks differed by career stage with advice seeking decreasing over time and networks becoming more close-knit. Implications are offered for music teachers and music teacher educators.
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Galvao, Afonso, and Anthony Kemp. "Kinaesthesia and Instrumental Music Instruction: Some Implications." Psychology of Music 27, no. 2 (October 1999): 129–37. http://dx.doi.org/10.1177/0305735699272004.
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Hopkins, Michael T. "Teachers’ Practices and Beliefs Regarding Teaching Tuning in Elementary and Middle School Group String Classes." Journal of Research in Music Education 61, no. 1 (February 28, 2013): 97–114. http://dx.doi.org/10.1177/0022429412473607.
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The purpose of this study was to examine teachers’ practices and beliefs related to the teaching of stringed instrument tuning in elementary and middle school group classes. The aspects examined included the following: (a) teachers’ beliefs about teaching tuning in their string classes, (b) activities teachers used when teaching tuning in string classes, (c) methods for assessing students’ tuning skills, (d) the grade level that tuning instruction begins, (e) the amount of instructional time used for teaching tuning, (f) teachers’ goals for students’ tuning independence, and (g) teacher, program, or school characteristics that affect how and when tuning is taught. Participants ( N = 139) reported that the average time required to develop tuning independence is 4.5 years. The amount of instructional time available and the level of students’ aural skills were the greatest perceived obstacles to developing tuning independence. Significant differences were found in tuning activities, beliefs about students’ tuning abilities, and assessment procedures and were based on participants’ age, teaching experience, and grade levels taught. The findings indicate a need for further development of tuning pedagogy and greater use of formal assessment to determine if students have developed the prerequisite skills for tuning.
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Sehmann, Karin Harfst. "The Effects of Breath Management Instruction on the Performance of Elementary Brass Players." Journal of Research in Music Education 48, no. 2 (July 2000): 136–50. http://dx.doi.org/10.2307/3345572.
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The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables included group (experimental and control), instrument (trumpet, horn, and trombone), and grade level (fourth, fifth, and sixth). Main effects for group showed that the experimental group had significantly higher scores on measures of abdominal displacement, range, and duration ( p < .05). There were no treatment-by-instrument or treatment-by-grade-level interactions. Breathing instruction in group lessons was effective in improving the breathing and performance of elementary brass players.
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Goolsby, Thomas W. "Verbal Instruction in Instrumental Rehearsals: A Comparison of Three Career Levels and Preservice Teachers." Journal of Research in Music Education 45, no. 1 (April 1997): 21–40. http://dx.doi.org/10.2307/3345463.
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Part 1 of this study was an investigation of the verbal instruction used during 60 rehearsals by expert, novice, and student teachers. Frequency distributions were established for 15 performance variables and 10 rehearsal variables and comments as well as for the number of complete sequential patterns of instruction. Part 2 was a pre-experimental study to determine changes in instruction evidenced by preservice teachers (22 rehearsals) exposed to guided observation as part of an instrumental methods course. Evidence suggests that all three groups of teachers address rhythm/tempo the most frequently. Expert teachers devoted more time to overall ensemble sound (including more demonstrations, instruction/explanations on intonation, and guided listening); of their rehearsal segments, 23% were complete sequential patterns. Novice teachers spent the most time tuning individual notes, whereas student teachers spent the most time correcting wrong notes. Gains for the undergraduates included less emphasis on wrong notes and greater emphasis on rhythm/tempo and style. The percentage of complete sequential patterns of instruction used by undergraduates nearly tripled with minimal training.
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Demorest, Steven M., and William V. May. "Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance." Journal of Research in Music Education 43, no. 2 (July 1995): 156–67. http://dx.doi.org/10.2307/3345676.
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In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N= 414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the number of years of school choir experience was the strongest predictor of individual success, followed by years of piano, instrumental, and vocal lessons, respectively. Scores for the more challenging Melody Condition B were significantly lower than those for Melody A. An analysis of covariance revealed that students in the movable-do groups scored significantly higher than did those in the fixed-do groups. However, this finding was tempered by the existence of other differences between the groups regarding private lessons, the consistency of method in the students' early solfege training, and the sight-singing assessment procedures used in each school district.
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Miranda, Eduardo Reck. "Genetic Music System with Synthetic Biology." Artificial Life 26, no. 3 (September 2020): 366–90. http://dx.doi.org/10.1162/artl_a_00325.
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This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strands, which are subsequently translated into rhythms. GeMS represents the musical equivalent of amino acids in terms of rhythms, referred to as rhythmic codons. This enables the rhythmator to convert DNA sequences into rhythmic sequences. The pitch processor generates pitches for such rhythmic sequences. It is inspired by the phenomenon of protein folding. The pitch processor considers orientation information of DNA instructions yielded by the Miranda machine in order to activate algorithms for generating pitches. A musical composition, entitled Artibiotics, for percussion ensemble and electronic instruments, is presented to demonstrate the system.
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Miller, Farley. "Co-consuming a “fun addiction”." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (January 22, 2020): 5–19. http://dx.doi.org/10.7146/se.v9i1.112699.
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Once considered an obsolete technology, modular synthesizers have experienced an unanticipated renaissance since the 1990s. While the reemergence of interest in modular synthesizers is attributable to a variety of factors, the internet has played an especially important role in facilitating the growth of a distributed, virtual scene around these instruments. Though several formats exist, Eurorack’s commercial and cultural growth has been the most dramatic. Once the province solely of specialists, Eurorack modules are now manufactured by large firms like Roland and Behringer and sold by mainstream music retailers like Guitar Center and Sweetwater.
For many users, a Eurorack system is a physical manifestation of their musical tastes and aspirations. The planning, purchasing, and realization of a system is thus a constitutive element of self-identification and belonging within the scene. But while Eurorack users privilege customization to an intense degree, the modality of their choice is strongly mediated by communal wisdom and the personal testimony of distant others. How do scene members negotiate these tensions? In order to explicate these dynamics, I analyze two interrelated phenomena that are characteristic of the milieu: (1) personal narratives of an individual’s journey through modular synthesis and Eurorack; and (2) the instructional and promotional roles played by user-made demonstration videos of Eurorack modules. Both reveal a gap between the imagined and actual affordances of a system and its user, a discrepancy that I address by introducing the notion of “drift.”
The marked heterogeneity of Eurorack and the potential of a system for future modification strongly distinguishes it from other formats, and I conclude by discussing Eurorack as an instrument that is never “finished.” As such, Eurorack invites us to consider a musical instrument not just as a bounded object or assemblage, but as an ongoing process of individuation rooted in practices of co-consumption.
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Topaloğlu, Taner, and Şebnem Yıldırım Orhan. "Instructor Opinions on the Use of Turkish Folk Music of Syncopated Style in Cello Training." Journal of Education and Learning 7, no. 6 (October 23, 2018): 165. http://dx.doi.org/10.5539/jel.v7n6p165.
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The ability of the music teacher to provide a more qualified education in the professional life and to express himself musically is directly proportional to the quality of the previous instrument training. Studies revealed that the Turkish music products are not used sufficiently in the instrument training given by the institutions of music education and the inadequacy of the customized Turkish music products for use in education.
From this point of view, the aim of this study is to determine the usage status of works and studies of Turkish folk music of syncopated style arranged for cello training and the effects of theoretical knowledge, technical and musical readiness on performing works with syncopated method and to determine the effects of their level and to reveal the problems experienced by the students and to offer solutions for these problems in the direction of the opinions of the instructors who give cello training to music teacher education undergraduates.
The data were collected through a semi-structured interview form developed by the researcher. In the analysis of the collected data, descriptive analysis method was used from qualitative research methods.
When the data were analyzed, it can be concluded that Turkish folk music works and studies of syncopated style used in cello education are numerically inadequate, that the limited available resources are higher than the levels of the students, and that the students have a good theoretical knowledge level about the subject but the levels of readiness in terms of cello techniques in practice are insufficient to perform these tunes. The most important problems experienced by students in performing these melodies are level difficulty, sight-reading, left hand position shifts and use of bows.
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Smith, Jeffrey. "Playing basketball." Teaching Children Mathematics 19, no. 7 (March 2013): 408–10. http://dx.doi.org/10.5951/teacchilmath.19.7.0408.
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Along with suggested instructional notes each month, teachers are given a problem and asked to use it in their own classrooms and report solutions, strategies, reflections, and misconceptions to the journal audience. The winter months often keep students involved in such extracurricular activities as competing in sports, dancing, or playing a musical instrument. This set of problems involves a real-life scenario about scheduling basketball games for the local gym and offers students the opportunity to show their creativity in using elapsed time.
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Arnold, James A. "Effects of Competency-Based Methods of Instruction and Self-Observation on Ensemble Directors' Use of Sequential Patterns." Journal of Research in Music Education 43, no. 2 (July 1995): 127–38. http://dx.doi.org/10.2307/3345674.
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The purpose of this study was to determine the effects of competency-based self-analysis of videotape rehearsals by practicing music teachers on the use of complete and correct sequential patterns of instruction and their components. Complete patterns follow the cyclical pattern of task presentation, student response, and immediate teacher feedback. Correct patterns require that task presentation include academic material and that feedback be specific and related to the task. Twelve teachers of sixth-grade choral and instrumental classes were matched in pairs, placed in experimental or contact-control groups, and videotaped during four rehearsals of the same class at 2-week intervals. Subjects reviewed Tapes 2 and 3 of their own rehearsals, with experimental teachers using operational definitions and self-analysis of typed transcripts, and contact-control teachers using unfocused observation instructions. Results indicate that research-based teaching techniques were effective in significantly increasing experimental teachers' use of complete sequential patterns and percentages of time spent in music activities.
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Vercelli, Michael B. "CONSTRUCTING DAGARA GYIL PEDAGOGY: THE LEGACY OF BERNARD WOMA." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 60–67. http://dx.doi.org/10.21504/amj.v11i2.2314.
Full textAbstract:
Bernard Woma (1966–2018) was a virtuoso musician and global ambassador of Dagara music. From his extensive outreach, workshops, and touring, Bernard’s work teaching the Dagara gyil (xylophone) around the world is recognisable through his detailed compositions emphasising the use of Dagara musical forms. His founding of the Dagara Music Center in Medie, Ghana in 2000, provides instruction on Ghanaian music and dance to hundreds of non-Ghanaian students. Bernard’s pedagogical pieces for gyil introduce Dagara music systematically, building students’ technique and facility on the instruments in addition to ensuring student comprehension of Dagara musical practice. Based on sixteen years of apprenticeship with Bernard, this article investigates his pedagogy, detailing his methodical process through his use of cultural and educational scaffolding techniques theorised as “deliberate practice” by Ericsson and Pool (2016) and underscores the importance of recognising the individual African musician in academic and educational settings.
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Klavan, Spencer A. "Martem Accendere Cantu: The Meaning of Music on the Battlefield." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 213–34. http://dx.doi.org/10.1163/22129758-12341347.
Full textAbstract:
Abstract This paper examines in detail an under-appreciated passage from Philodemus of Gadara’s On Music in order to elucidate several important controversies in Hellenistic musical philosophy. The Stoic Diogenes of Babylon claimed that the emotional impact of trumpet tunes can inspire soldiers to fight. But the Epicurean Philodemus believed that the meaningful words (λόγοι) which stimulate our actions are utterly distinct from meaningless musical sound (µουσική). Philodemus therefore framed an alternative theory in which trumpet calls on the battlefield function not as music but as a kind of makeshift language, using conventional signifiers to communicate instructions. I show how both philosophers’ views arise logically out of doctrines from their respective schools. I then argue that the trumpet’s dual status as both performance instrument and communications device makes it a natural philosophical flashpoint: it raises central questions about what music is, how it affects listeners, and whether it can convey meaning.