Academic literature on the topic 'School music – Instruction and study – Singapore'
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Journal articles on the topic "School music – Instruction and study – Singapore"
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Cai, Y. Y., B. F. Lu, Z. W. Fan, C. W. Chan, K. T. Lim, L. Qi, and L. Li. "Proteins, Immersive Games and Music." Leonardo 39, no. 2 (April 2006): 135–37. http://dx.doi.org/10.1162/leon.2006.39.2.135.
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The authors present their research on using virtual reality (VR) in the presentation of protein music and immersive games. They first describe the core components of VR technology for protein modeling, visualization and interaction. They then present their implementations of VR protein games and protein-derived computer music. Instruction in protein-structure learning is discussed in the context of the authors' trial project in the Chinese High School in Singapore and an exhibition at Singapore Art Museum.
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Yongbing, Liu, and Zhao Shouhui. "Chinese Language Instruction in Singapore Primary School Classrooms: A Comparative Study." Pedagogies: An International Journal 3, no. 3 (June 13, 2008): 168–86. http://dx.doi.org/10.1080/15544800802026629.
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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Lum, Chee-Hoo. "Musical behaviours of primary school children in Singapore." British Journal of Music Education 26, no. 1 (March 2009): 27–42. http://dx.doi.org/10.1017/s0265051708008255.
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In this ethnographic study, the musical behaviours of 28 primary school children in Singapore were examined for their meaning and diversity as they engaged in the school day. A large part of these children's musical behaviours stemmed from their exposure to the mass media. Children's musical inventions emerged in the context of play, occasionally using musical play as an aid to academic learning. Instances of rhythmic play were more prevalent compared with melodic utterances. The children tended to motivate and encourage each other in their daily activities through the use of rhythmic play while melodic utterances seemed more prominently tied to expression and communication.
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Buonviri, Nathan O., and Andrew S. Paney. "Technology use in high school aural skills instruction." International Journal of Music Education 38, no. 3 (March 1, 2020): 431–40. http://dx.doi.org/10.1177/0255761420909917.
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In this study, we investigated the use of digital technology for aural skills instruction in Advanced Placement Music Theory (APMT) classes in the United States. Our research questions focused on which technologies teachers use for aural skills, how they incorporate them, and what influences their decisions to use them. We created, piloted, and distributed a survey electronically to a stratified sample by state of 866 instructors. Participants who completed the survey ( N = 317, response rate = 36%) were current APMT teachers representing 48 states. Of the 91% of respondents who used digital technologies for teaching aural skills, 93% used websites, 47% used software programs, and 38% used mobile apps. Participants incorporated technology for student practice outside class (93%) and during class (78%), and to present new material during class (55%). Of those who did not use technologies ( n = 29), 41% cited lack of funds and 34% cited lack of class time. Participants noted that technology can provide extra practice for students and customization for their needs, but that students’ lack of access and limitations of the programs may temper these benefits. Implications for pedagogical practice and music teacher training are discussed.
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Smith, Camille M. "Access to String Instruction in American Public Schools." Journal of Research in Music Education 45, no. 4 (December 1997): 650–62. http://dx.doi.org/10.2307/3345429.
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This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.
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Miksza, Peter, and Brent M. Gault. "Classroom Music Experiences of U.S. Elementary School Children." Journal of Research in Music Education 62, no. 1 (March 5, 2014): 4–17. http://dx.doi.org/10.1177/0022429413519822.
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The primary purpose of this study was to describe the music experiences elementary school children in the United States receive in the academic classroom setting. The data were drawn from the Early Childhood Longitudinal Study of the Kindergarten Class of 1998–1999 (ECLS-K), a nationally representative study that followed kindergarteners through to their eighth-grade school year with the last data collection wave in 2006–2007. The variables pertaining to music experiences in the academic classroom that were available in the ECLS-K were (a) the frequency and duration with which children received music instruction, (b) the frequency that music was used to teach math, and (c) the percentage of children receiving formal music instruction outside of school. Each of these variables also was analyzed as a function of child urbanicity, socioeconomic status (SES), and race. Statistically significant ( p < .001) disparities among children based on urbanicity, SES, and race were found on each of the music experience variables. Overall, White suburban students of high levels of SES tended to receive significantly more music experiences than students of color from urban and rural settings and of low SES. The findings support the need to advocate for high-quality music programs for all students and particularly for those from traditionally underserved populations.
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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (March 19, 2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.
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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.
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Karuppiah, Nirmala. "Enhancing the quality of teacher-child interactions in Singapore pre-school classrooms." Journal of Childhood, Education & Society 2, no. 1 (February 19, 2021): 58–68. http://dx.doi.org/10.37291/2717638x.20212187.
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This exploratory study was aimed primarily at developing baseline data on the quality of teacher-child interactions in Singapore pre-school classrooms. Data were collected through observations of teacher-child interactions in 80 pre-schools, using the Classroom Assessment Scoring System (CLASS) in the three key domains which are 1) Emotional Support, 2) Classroom Organisation, and 3) Instructional Support (Pianta, La Paro, & Hamre, 2008). It was found that the overall quality of teacher-child interactions in the Singapore pre-school classrooms was low to moderate, with Instruction Support being the lowest. This finding is similar to that found in studies conducted in many other countries including China and the U.S. (Slot, 2017). Possible reasons and explanations will be presented, and suggestions to improve or enhance the quality of teacher-child interactions will be proposed. This study has implications on pre-school teacher education and professional development as well as government policies and regulations for the Singapore pre-school sector.
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Norgaard, Martin, Laura A. Stambaugh, and Heston McCranie. "The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students." Journal of Research in Music Education 67, no. 3 (August 9, 2019): 339–54. http://dx.doi.org/10.1177/0022429419863038.
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Research investigating links between academic achievement and active music instruction has not previously differentiated between different types of instruction. In the current study, 155 seventh- and eighth-grade middle school band students were divided into two groups. Both groups received 2 months of instruction in jazz phrasing, scales, and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on the Wisconsin Card Sorting Task (cognitive flexibility) and the classic Stroop task (inhibitory control). At posttest, eighth-grade students in the experimental group scored significantly better on cognitive flexibility with a smaller percentage of perseverative errors, whereas the treatment had no effect on seventh-grade students on this outcome. Seventh graders, but not eighth graders, in the experimental group increased their posttest scores for inhibitory control, though this result was only marginally significant. In relation to previous research, the current results strongly suggest that far-transfer effects of active music participation depend on the nature of the instruction. Results of prior and future studies should therefore be interpreted in light of the type of music-making engaged by participants.
Dissertations / Theses on the topic "School music – Instruction and study – Singapore"
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Tan, Penny Peng Leng. "Music education in the knowledge-based economy of Singapore : designing a music curriculum framework for neighbourhood secondary schools." University of Western Australia. Graduate School of Educationd%695 Electronic theses, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0240.
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Education in Singapore is seen as a key instrument to equip the next generation with resources to meet the needs of a Knowledge-Based Economy in a globalize world. The goal of this study is to develop a Music Education Curriculum Framework consistent with a Knowledge-Based Economy (KMCF) for Singapore neighborhood secondary schools. It provides the general context of music education in Singapore and conducts research to reveal the perspectives of key cross-sector stakeholders in music education, namely: The Ministry of Education (MOE) music and curriculum planning and development officers, National Institute of Education music academics, principals, general classroom music teachers and over 600 students. The curriculum framework will focus on the desirable qualities of Knowledge-Based Economy (KBE), particularly creativity, innovation, risk-taking, entrepreneurship and lifelong learning which have been strongly emphasized by the Singaporean government. In the light of their vision of thinking Schools, Learning Nation, the Ministry of Education is repositioning and reorienting the education system by implementing numerous initiatives and policies. The intention is to foster flexibility and diversity in a broad-based and holistic education, but the main focus to date has been on information technology, problem-solving and core subjects rather than on the creative aspects of the arts. By surveying students, this research aims to find out to what extent students find their music lessons satisfactory and whether their perspectives is compatible with those of other stakeholders. Students generally do not take music seriously, and the public perception is that a music career is limited to performing and teaching. The model curriculum framework will indicate further related careers, and the personal growth that comes through a genuine engagement with music. The Ministry of Education controls the school curriculum, structure of education, examinations, teacher qualifications and conditions of service. In 2005 it initiated a Teach Less, Learn More initiative which promoted student engagement. However, despite the rhetoric of classroom-based, teacher-owned and school-driven learning, it did not consult teachers or students and therefore failed as a vital learning organization which involved all participants in deciding future directions. For Senge (1994, p.13), a learning organization is a place where people are continually discovering how they create their reality. The curriculum design is an example of an example of an open system which this thesis addresses the issue of providing a structured programme flexible enough to adapt to contextual needs while providing the standards and outcomes needed in a competitive knowledge-based economy. This thesis makes its original contribution to knowledge by applying an open system model from organisational theory to a conventional music curriculum.
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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.
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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.
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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Walsh, Brenda 1956. "The effects of an alternative instrumental music program on elementary school children." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35225.
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Music education is an important element in the development of the whole child. The school is a place where children learn about and are directly influenced by things that make a lasting impression on their development. What better place for music to be taught? Music is a course of study that can have a direct influence on a child's lifetime tastes and values for the arts.This study investigates the effects of an Alternative Instrumental Music Program on grade three children, at an elementary school situated on the West Island of Montreal, Quebec. One of the two classes involved in the Study (Experimental Group) participated in an alternative instrumental music program and its applications; the other class (Control Group) followed a traditional music program. Each class consisted of twenty-eight students. Quantitative and qualitative data were collected from both groups of students, homeroom teachers, and parents over a period of ten consecutive weeks.
The findings revealed that the children in the Experimental Group enjoyed learning music in school more than those in the Control Group. The Experimental Group also indicated a greater increase in the enjoyment of activities experienced during music class than those in the Control Group. Moreover, there was a higher increase of musical knowledge in the Experimental Group.
The author suggests that further research on the effects of alternative music programs on elementary school children would be beneficial to the educational community.
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Cornacchio, Rachel Ann. "Effect of cooperative learning on music composition, interactions, and acceptance in elementary school music classrooms." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8156.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 60-67). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Lee, Angela Hao-Chun 1963. "The development of school music education in Taiwan (1895-1995)." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8696.
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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Coy, Christopher James. "The Use of Comprehensive Musicianship Instruction by a Middle School Band Director: A Case Study." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351202430.
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Turley, Philip William. "Activities and philosophical principles employed in selected Indiana high school choral departments." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535902.
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The purpose of this study was to investigate and compare the music education philosophy statements of high school choral directors and principals with the choral activities in which the students at their schools were involved. Additionally, the degree and type of evaluation used by the principals and directors were observed. The principals, choral directors, and choral departments of 12 high schools were studied.Statistical information including school and choral department enrollment, departmental structure, traditional and specialized choir performance schedules, rehearsal schedules, and repertoire performed was gathered and analyzed. A comparison of statements of choral directors and principals pertaining to desired choral department changes, justification of both traditional and specialized choirs, and perceived influences of specialized choirs is also presented.Main Conclusions1. Statistical information revealed five of the departments to be strong in swing/show choircharacteristics, three to be strong in traditional choir characteristics, three to be transitional and/or struggling, and one to be strong in both swing/show choir and traditional characteristics.2. The students in eight of the choral departments did not perform music from a wide variety of stylistic and historical sources. Two departments performed 95 percent or more traditional choral literature. The other six, which lacked repertoire balance, performed a high percentage of non-traditional literature (popular or popular style, etc.).3. The concurrent membership rule (specialized choir members must also be in a traditional choir) was in effect in five schools and was desired in two others. Exclusion of the rule allowed some students to miss the study of traditional choral literature, decreased the emphasis on traditional select choirs, and increased the likelihood that specialized choirs might be scheduled as credit courses.4. Neither musical nor utilitarian justifications for choirs in public schools were mentioned predominantly. The principals offered slightly more utilitarian than musical justifications, especially for specialized choirs.5. The principals and choral directors carefully evaluated the choral activities in terms of performance excellence. Little evidence was found of other evaluation criteria, such as development of more comprehensive musical experiences, student creative skills, musical appreciation, or aesthetic sensitivity.School of Music
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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.
Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
Books on the topic "School music – Instruction and study – Singapore"
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Music in the school. Oxford: Oxford University Press, 2005.
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Rexroad, Eileen F. Teaching elementary school music. Englewood Cliffs, N.J: Prentice Hall, 1992.
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Coordinating music across the primary school. London: Falmer Press, 1998.
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West, Bernard. The importance of school music. Slough: Music Industries Association, 1997.
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Upitis, Rena Brigit. This too is music. Portsmouth, N.H: Heinemann, 1990.
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1951-, Young Susan, ed. Primary music: Later years. London: Falmer Press, 1999.
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Music in the primary school. 3rd ed. New York: Oxford University Press, 2009.
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Janet, Mills. Music in the primary school. 3rd ed. Cambridge: Cambridge University Press, 1995.
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Nye, Robert Evans. Music inthe elementary school. 5th ed. Englewood Cliffs: Prentice-Hall, 1985.
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Clark County School District (Nev.). Dept. of Instructional Services. General music. Las Vegas, Nev: Clark County School District, 1986.
Find full textBook chapters on the topic "School music – Instruction and study – Singapore"
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Sutani, Shizuka, and Taichi Akutsu. "Japanese Special High School Students' Reflections on 9-11." In Advances in Early Childhood and K-12 Education, 36–48. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch003.
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In this study, the authors describe the reflective practices of a violin group instruction session that evolved into a mixed ensemble lesson in which the participants at a Japanese special high shared thoughts and feelings about the 9-11 terrorist attack in New York City. The lesson originally planned for a group violin instruction; however, the students and teacher co-created and arranged the lessons into a mixed ensemble practice in order to share their thoughts concerning the disaster victims. While students were learning the violins, T, by coincidence, found a lyric along with chord progression indicated on a sheet of paper set on a music stand in the corner of the classroom. The name of the song was “Hanamizuki,” the popular Japanese song by Yo Hitoto dedicated to the victims of 9-11. This chapter presents how the teacher's reflective practice and students' active involvement co-created the contents of the class and made an unexpected connection through a song they learned about 9-11.
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Schulenberg, David. "Bach the Teacher." In Bach, 284–331. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.
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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.