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Artículos de revistas sobre el tema "Music education"

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Publicado: 4 de junio de 2021
Última modificación: 26 de julio de 2024

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1

Volk, Terese M. "World Musics and Music Education". Update: Applications of Research in Music Education 17, n.º 1 (marzo de 1998): 9–13. http://dx.doi.org/10.1177/875512339801700103.

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2

Lepherd, Laurence. "Comparative Music Education: Bicultural Music Education". International Journal of Music Education os-7, n.º 1 (mayo de 1986): 23. http://dx.doi.org/10.1177/025576148600700105.

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3

Darma Putra, Irdhan Epria. "HUMANISTIC THOUGHT IN MUSIC ARTS EDUCATION". Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 25, n.º 1 (20 de junio de 2023): 63. http://dx.doi.org/10.26887/ekspresi.v25i1.3261.

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Research is the foundation of music education that has a humanistic mind. This research was conducted to determine the initial study of learning that could have been more optimal. Music education has not been able to express freedom and maturity. This research is due to a need to foster students' sense of awareness and responsibility. This awareness can expand students' experiences in music in the surrounding environment. The research used literature studies from ten articles published in national journals and then abstracted to compare the findings. The results showed that music education focuses on art elements, including expressing, appreciating, creating, and creating harmony in the environment. Music arts education can motivate students to discover the character and personality of students in knowledge, potential, and positive behavior in the surrounding environment.Keywords: Musical Art; Humanistic PerspectivePEMIKIRAN HUMANISTIK DALAM PENDIDIKAN SENI MUSIKAbstrak Riset merupakan landasan pendidikan musik yang berwawasan humanistik. Penelitian ini dilakukan untuk menentukan pembelajaran pembelajaran awal yang bisa lebih optimal. Pendidikan musik belum mampu mengekspresikan kebebasan dan kedewasaan. Penelitian ini dilakukan karena adanya kebutuhan untuk menumbuhkan rasa kesadaran dan tanggung jawab siswa. Kesadaran tersebut dapat memperluas pengalaman siswa dalam bermusik di lingkungan sekitarnya. Penelitian ini menggunakan studi literatur dari sepuluh artikel yang diterbitkan di jurnal nasional dan kemudian disarikan untuk membandingkan temuan tersebut. Hasil penelitian menunjukkan bahwa pendidikan musik menitikberatkan pada unsur seni yang meliputi mengungkapkan, mengapresiasi, berkreasi, dan menciptakan keselarasan dalam lingkungan. Pendidikan seni musik dapat memotivasi siswa untuk menemukan karakter dan kepribadian siswa dalam pengetahuan, potensi, dan perilaku positif di lingkungan sekitarnyaKata Kunci: Seni Musik; Perspektif Humanistik
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4

X., Shermatova. "A LOOK AT THE MUSIC EDUCATION IN SCHOOLS: FORMS AND METHODS OF MUSIC EDUCATION". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, n.º 10 (1 de octubre de 2021): 253–58. http://dx.doi.org/10.37547/pedagogics-crjp-02-10-45.

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5

Ibragimovich, Mustafoev Bakhtiyor. "Reforms of Music Culture Education". International Journal of Psychosocial Rehabilitation 24, n.º 4 (30 de abril de 2020): 7155–60. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020530.

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6

Makhammatov, Abdumannon. "Computerization Technology Of Music Education". American Journal of Social Science and Education Innovations 02, n.º 10 (31 de octubre de 2020): 418–21. http://dx.doi.org/10.37547/tajssei/volume02issue10-67.

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7

Müezzinoğlu, Alev y Başak Gorgoretti. "THE NEW MUSIC CURRICULUM WITH A NEW MUSIC EDUCATION CONCEPT". E-journal of New World Sciences Academy 14, n.º 3 (22 de julio de 2019): 247–53. http://dx.doi.org/10.12739/nwsa.2019.14.3.d0242.

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8

Kane, Jan. "Music Education". International Journal of the Humanities: Annual Review 5, n.º 10 (2008): 95–104. http://dx.doi.org/10.18848/1447-9508/cgp/v05i10/42250.

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9

Mackinlay, Elizabeth y Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System". Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.
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10

Sularso, Sularso. "Pendekatan literasi musik: Upaya mengetahui persepsi mahasiswa pendidikan guru sekolah dasar tentang keragaman budaya musik Indonesia". Wiyata Dharma: Jurnal Penelitian dan Evaluasi Pendidikan 10, n.º 1 (7 de agosto de 2022): 1–7. http://dx.doi.org/10.30738/wd.v10i1.12745.

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Bagi mahasiswa pendidikan guru sekolah dasar, pembelajaran musik menjadi matakuliah wajib yang harus dituntaskan. Dalam masyarakat multikultural, siswa pendidikan guru sekolah dasar harus memahami khasanah musik Indonesia secara baik. Persoalannya adalah mahasiswa pendidikan guru sekolah dasar tidak secara spesifik mengambil jurusan musik, sehingga rata-rata mereka tidak memiliki pengetahuan literasi musik secara memadai. Perspektif literasi musik tradisional ini dimaksudkan untuk membantu mahasiswa sekolah dasar dalam memahami hubungan antara musik tradisional dan pendidikan musik multikultural. Signifikansi penelitian ini terletak pada pentingnya perspektif literasi musik tradisional dalam membantu semua mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Berpijak pada persoalan tersebut, maka penelitian ini bertujuan untuk mengetahui persepsi mahasiswa pendidikan guru sekolah dasar dalam kaitannya dengan keragaman budaya musik Indonesia dengan pendekatan literasi musik. Data diperoleh melalui observasi, dan wawancara. Data yang dikumpulkan meliputi data-data pengetahuan musik tradisi, respon pengindraan musik, hingga perhatian mahasiswa terhadap fenomena musik tradisi disekitarnya. Hasil klasifikasi ketiga jenis data tersebut selanjutnya dianalisis dengan pendekatan literasi musik. Hasilnya adalah bahwa pendekatan literasi musik tradisional dapat membantu mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Kontribusi penelitian ini terletak pada pembentukan perspektif baru tentang pentingnya peningkatan literasi musik tradisional Indonesia sebagai upaya untuk melestarikan identitas dan semangat multikultural bagi calon guru sekolah dasar di Indonesia. Music literacy approach: An effort to find out the perceptions of elementary school teacher education students about the diversity of Indonesian music culture Abstract: For elementary school teacher education students, learning music is a compulsory subject that must be completed. In a multicultural society, elementary school teachers' education students must understand the repertoire of Indonesian music well. The problem is that elementary school teacher education students do not specifically major in music, so on average, they do not have adequate knowledge of musical literacy. This traditional music literacy perspective is intended to assist elementary school students in understanding the relationship between traditional music and multicultural music education. The significance of this research lies in the importance of the traditional music literacy perspective in helping all elementary school teacher education students in constructing knowledge about Indonesian traditional music. Based on these problems, this study aims to determine the perceptions of elementary school teacher education students in relation to the diversity of Indonesian music culture with a musical literacy approach. Data was obtained through observation and interviews. The data collected includes data on knowledge of traditional music, musical sense responses, and students' attention to the phenomenon of traditional music around them. The results of the classification of the three types of data are then analyzed using a musical literacy approach. The result is that the traditional music literacy approach can help elementary school teachers educate students in constructing knowledge about Indonesian traditional music. The contribution of this research lies in the formation of a new perspective on the importance of increasing literacy in traditional Indonesian music as an effort to preserve the identity and multicultural spirit of prospective elementary school teachers in Indonesia.
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11

Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916". Journal of Research in Music Education 42, n.º 4 (diciembre de 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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12

Kwami, Robert. "Non-Western Musics in Education: Problems and Possibilities". British Journal of Music Education 15, n.º 2 (julio de 1998): 161–70. http://dx.doi.org/10.1017/s0265051700009311.

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The recent explosion in ‘world musics’ can be seen as a positive element for music education; but a failure to adopt a well-grounded and consensual approach in British educational institutions may well signal problems for the future of music as a curriculum subject. This paper problematises the use of non- Western musics in schools and colleges, it recognises the need for a more thorough conceptual stance and a reappraisal of the music curriculum and, among a number of options, suggests an anti-racist and intercultural perspective as a possible way forward.
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13

Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music". International Journal of Social Science Studies 9, n.º 1 (28 de diciembre de 2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.

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This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.
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14

Tuinstra, Beth. "Embracing identity: An examination of non-Western music education practices in British Columbia". International Journal of Music Education 37, n.º 2 (21 de febrero de 2019): 286–97. http://dx.doi.org/10.1177/0255761419827359.

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Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.
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15

Rauduvaite, Asta. "Music education of the present: Does popular music develop learners’ values?" New Trends and Issues Proceedings on Humanities and Social Sciences 4, n.º 1 (26 de agosto de 2017): 139–47. http://dx.doi.org/10.18844/prosoc.v4i1.2245.

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16

Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa". British Journal of Music Education 15, n.º 2 (julio de 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.
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17

Kelly-McHale, Jacqueline. "Equity in Music Education: Exclusionary Practices in Music Education". Music Educators Journal 104, n.º 3 (marzo de 2018): 60–62. http://dx.doi.org/10.1177/0027432117744755.

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18

Mahammatov, Abdumannon, Azam Abdurakhimov y Mingjigit Kholbekov. "Combination Of Music And Physical Education". American Journal of Social Science and Education Innovations 03, n.º 03 (6 de marzo de 2021): 6–15. http://dx.doi.org/10.37547/volume03issue03-02.

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19

Oztug, Emine Kivanc y Burcu Karagoz. "Music Education Policies of Northern Cyprus". New Trends and Issues Proceedings on Humanities and Social Sciences 3, n.º 3 (22 de marzo de 2017): 442. http://dx.doi.org/10.18844/gjhss.v3i3.1613.

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20

Arslanova, Nafisa Jaxbaralievna y Kizlarhon Anvarovna Isamova. "THEORETICAL FUNDAMENTALS OF MUSIC EDUCATION METHODOLOGY". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, n.º 12 (1 de diciembre de 2021): 119–23. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-24.

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Any science consists of a conclusion, a summary, a system of reliable and generalized knowledge about the objective laws of nature, society and the development of thought. The existence of a special understanding is an indispensable condition for the separation and normative activity of any science. Upbringing, education and teaching are the basic concepts of pedagogy as a science.
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21

Kertz-Welzel, Alexandra. "Rethinking Music Education and Aesthetic Education". Beijing International Review of Education 4, n.º 3 (14 de noviembre de 2022): 347–50. http://dx.doi.org/10.1163/25902539-04030006.

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Abstract In recent years, there has been an emphasis on music education for social change in Anglo-American music education. This one-sided focus caused a marginalization of aesthetic aspects. This is problematic since Anglo-American music education is often seen as “international” even though it only represents one part of global thinking. In Northern Europe, aesthetic music education has been a longstanding paradigm, being based on the concept of Bildung. It emphasizes that education is about more than knowledge and skills. It is also about formation, self-actualization and contributing to the welfare of society. In view of the global crises we currently face, it might be time to rethink international music education’s focus on social change and to embrace again music education’s aesthetic dimensions. This could lead to a truly international music education approach, being based on concepts from various countries, including China.
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22

Hess, Juliet. "Troubling Whiteness: Music education and the “messiness” of equity work". International Journal of Music Education 36, n.º 2 (11 de abril de 2017): 128–44. http://dx.doi.org/10.1177/0255761417703781.

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At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music education to explore other possibilities with students. However, equity work is messy, and there were also moments that unsettled these teachers’ active equity agendas. This article describes both the subversions and the reinscriptions in a way that might be instructive to music education.
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23

Yoo, Hyesoo. "Toward a Decentered Music Education Using a Rhizomatic Approach". Music Educators Journal 110, n.º 1 (septiembre de 2023): 34–40. http://dx.doi.org/10.1177/00274321231195823.

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As we work to connect equity to our curriculum and pedagogy, a rhizomatic approach may provide a valuable lens for reconsidering traditional conventions. Such an approach underlines interconnected multiplicity with a noncentered, nonhierarchical emphasis. Applying a rhizomatic method, I offer music teachers some practical applications to challenge conventional curricular tendencies in subtle but important ways. Instead of using an additive approach to the Western classical canon, this approach helps to engage in music comparatively or relationally, which can enable teachers and students to think broadly across categories by recognizing the interconnections between musics. More important, lessons adopting a rhizomatic approach may help teachers and students consider all musics as bearers of equal status and honor many diverse forms of music.
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24

Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey". Africa 64, n.º 4 (octubre de 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.
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25

Coeyman, Barbara y Lucy Green. "Music, Gender, Education". Notes 55, n.º 1 (septiembre de 1998): 138. http://dx.doi.org/10.2307/900387.

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26

Humphreys, Jere T. "Education and Music". Music Educators Journal 74, n.º 5 (enero de 1988): 13–17. http://dx.doi.org/10.2307/3397974.

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27

Anderson, William M. "Multicultural Music Education". Music Educators Journal 78, n.º 9 (mayo de 1992): 25. http://dx.doi.org/10.2307/3398425.

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28

Reimer, Bennett. "Successful Music Education". Music Educators Journal 85, n.º 3 (noviembre de 1998): 10–11. http://dx.doi.org/10.2307/3399137.

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29

Koskie, JaNell. "Transforming Music Education". Music Educators Journal 90, n.º 2 (noviembre de 2003): 62–64. http://dx.doi.org/10.2307/3399938.

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30

Keil, Charles y Christopher Small. "Music-Society-Education". Ethnomusicology 29, n.º 2 (1985): 385. http://dx.doi.org/10.2307/852163.

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31

Richerme, Lauren Kapalka. "Measuring Music Education". Journal of Research in Music Education 64, n.º 3 (3 de agosto de 2016): 274–93. http://dx.doi.org/10.1177/0022429416659250.

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Despite substantial attention to measurement and assessment in contemporary education and music education policy and practice, the process of measurement has gone largely undiscussed in music education philosophy. Using the work of physicist and philosopher Karen Barad, in this philosophical inquiry, I investigated the nature of measurement in music education while concurrently exploring the assumptions underlying documents related to the proposed music Model Cornerstone Assessments. First, Barad’s concepts of reflection and diffraction reveal the false assumption that measurement captures rather than alters and produces musical experiences. Second, measurement apparatuses are explained as boundary-making practices. Third, the limits of measurement apparatuses are explored through Barad’s assertions about experimental inclusions and exclusions and Lyotard’s concept of the differend, and these limits are used to problematize the ambitious, value-laden discourse of documents related to the music Model Cornerstone Assessments. Finally, through Barad’s concept of intra-action, measurement is reinterpreted as a process through which “teacher” and “student” emerge. Music education policymakers, teachers, and students might adopt language emphasizing the intra-active nature of measurement and empower themselves to critique and reimagine existing measurement apparatuses and their measurement and assessment practices.
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32

Aristotle. "Education in Music". Arts Education Policy Review 103, n.º 5 (mayo de 2002): 31–34. http://dx.doi.org/10.1080/10632910209600302.

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33

Oates, Jennifer. "Music Librarianship Education". Music Reference Services Quarterly 8, n.º 3 (22 de marzo de 2004): 1–24. http://dx.doi.org/10.1300/j116v08n03_01.

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34

Gerrity, Kevin W. "Measuring Music Education". Music Educators Journal 99, n.º 4 (23 de mayo de 2013): 17–19. http://dx.doi.org/10.1177/0027432113486414.

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Emert, Dennis, Scott Sheehan y O. David Deitz. "Measuring Music Education". Music Educators Journal 100, n.º 1 (27 de agosto de 2013): 30–31. http://dx.doi.org/10.1177/0027432113495796.

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36

Cangro, Richard M. "Measuring Music Education". Music Educators Journal 100, n.º 3 (marzo de 2014): 20–21. http://dx.doi.org/10.1177/0027432113519929.

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37

Orzolek, Doug. "Measuring Music Education". Music Educators Journal 100, n.º 4 (30 de mayo de 2014): 22–24. http://dx.doi.org/10.1177/0027432114522387.

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38

Overland, Corin T. "Music Education, Inc." Music Educators Journal 104, n.º 1 (septiembre de 2017): 55–61. http://dx.doi.org/10.1177/0027432117719462.

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Today’s students live in the center of a rich, interconnected system of public, philanthropic, and for-profit entities that support the act of music teaching and learning. Students are not limited to the kinds of musical instruction available to them in their schools. Provided they have the means and the access, the musically curious can supplement or supplant their in-school musical lives with extracurricular and cocurricular activities, private studio lessons, community ensembles, or religious services. The for-profit music education industry in particular has grown in popularity and commercial success since the global recession, encouraged in part by what appears to be an increasing demand for instruction in popular genres that is not being met in the public schools. Corporate entities that sell music instruction have reached unprecedented levels of cultural saturation and student interest. With their successes have come a number of new teaching models, philosophies, and innovative ways for students to engage with music. However, these experiences may come at a cost, particularly to equal access by disadvantaged populations who might not be able to pay for said services. This article examines the popular music education (PME) franchise and its budding relationship with public school music education.
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39

Shevock, Daniel J. "Music education for social change: constructing an activist music education". Music Education Research 23, n.º 1 (1 de enero de 2021): 125–27. http://dx.doi.org/10.1080/14613808.2021.1885883.

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40

Aguilar, Carla E. y Christopher K. Dye. "Developing Music Education Policy Wonks: Preservice Music Education and Policy". Journal of Music Teacher Education 29, n.º 2 (1 de noviembre de 2019): 78–88. http://dx.doi.org/10.1177/1057083719885335.

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The typical undergraduate music education student is focused on developing their musicianship and leadership abilities, professional education competencies, and specific pedagogical expertise. While these are desirable outcomes of a music education degree, music teachers must learn how to effectively interact with a range of policies that will influence how they navigate their professional and private lives. The purpose of this article is to outline and explore mechanisms to engage preservice teachers with educational policies and policy-related practices. We discuss resources for learning about federal and state policies related to education and music education and strategies for interfacing with policymakers. We suggest models that integrate policy topics into existing coursework and new curricular structures that may facilitate the development of “scholar-musicians.” Implications of music teacher educators bringing their role as politically active citizens into the classroom and adding political knowledge to the expectations placed on new teachers are considered.
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41

Shuler, Scott C. "Music Education for Life: Five Guiding Principles for Music Education". Music Educators Journal 97, n.º 3 (marzo de 2011): 7–9. http://dx.doi.org/10.1177/0027432110395080.

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42

Weyrauch, Ilona. "Assessment in Music Education: Theory, Practice and Policy". Beiträge empirischer Musikpädagogik 12 (20 de octubre de 2021): 1–3. http://dx.doi.org/10.62563/bem.v2021208.

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Vom 14.05.2021 bis 24.05.2021 fand das internationale Symposium ISAME (International Symposium on Assessment in Music Education) zum 8. Mal statt. Organisiert wurde es diesmal von der University of Florida und der Hochschule für Musik, Theater und Medien Hannover mit dem Leitungsteam Timothy S. Brophy (University of Florida), Andreas Lehmann-Wermser (Hochschule für Musik, Theater und Medien Hannover) und Marshall Haning (University of Florida).
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Evelein, Frits. "Pop and world music in Dutch music education: two cases of authentic learning in music teacher education and secondary music education". International Journal of Music Education 24, n.º 2 (agosto de 2006): 178–87. http://dx.doi.org/10.1177/0255761406065479.

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Pratt, Rosalie Rebollo. "Music in Special Education, Music Therapy and Music Medicine". International Journal of Music Education os-16, n.º 1 (noviembre de 1990): 56–57. http://dx.doi.org/10.1177/025576149001600111.

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Pratt, Rosalie Rebollo. "Music in Special Education, Music Therapy and Music Medicine". International Journal of Music Education os-17, n.º 1 (mayo de 1991): 63–65. http://dx.doi.org/10.1177/025576149101700113.

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46

Harnish, David. "Music Education and Sustainability in Lombok, Indonesia". Celt: A Journal of Culture, English Language Teaching & Literature 19, n.º 1 (31 de julio de 2019): 1. http://dx.doi.org/10.24167/celt.v19i1.2076.

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This article discusses the challenges of teaching and sustaining music and other performing arts on the island of Lombok in Indonesia. It follows my field research trajectory on the island over a period of 34 years and analyzes the efforts of government interventions, non-government actors, and teachers and educational institutions in the transmission and sustainability of the arts. Interpretations indicate that a combination of globalization, urbanization, social media, everyday mediatization, and Islamization over recent decades negatively impacted traditional musics in specific ways, by problematizing sustainability. However, several agents–individuals inside and outside the government who understood the situation and had the foresight to take appropriate action–developed programs and organizations to maintain or aestheticize the performing arts, sustain musician livelihoods, and engage a new generation of male youth in music and dance. These efforts, supplemented by the formation of groups of leaders dedicated to the study of early culture on Lombok and fresh initiatives in music education, have ushered in new opportunities and visibility for traditional music and performing arts and performing artists.
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47

Fatmawati, Erna. "KEBIJAKAN SEKOLAH DALAM PENDIDIKAN KARAKTER DENGAN KEGIATAN SENI MUSIK ANGKLUNG DI SD ISLAM TERPADU AL – KHAIRAAT". Spektrum Analisis Kebijakan Pendidikan 9, n.º 1 (19 de enero de 2021): 92–102. http://dx.doi.org/10.21831/sakp.v9i1.17039.

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AbstrakPenelitian ini bertujuan untuk mendeskripsikan dan mengetahui kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung di SD Islam Terpadu Al–Khairaat, yang meliputi 1) kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung 2) nilai-nilai karakter yang dihasilkan dalam kegiatan seni musik angklung 3) dampak kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung. Penelitian ini merupakan penelitian kualitatif dengan pendekatan studi kasus. Teknik analisis data menggunakan model Miles dan Huberman yaitu dengan langkah reduksi data, penyajian data, verifikasi dan penegasan kesimpulan. Uji keabsahan data pada penelitian ini menggunakan triangulasi teknik dan triangulasi sumber.. Hasil penelitian menunjukkan bahwa. (1) Kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung diimplementasikan merujuk empat aspek yaitu: komunikasi, sumberdaya, sikap dan struktur birokrasi, (2) Nilai – nilai karakter yang dihasilkan dalam kegiatan seni musik angklung ada lima nilai yaitu disiplin, bersahabat, tanggungjawab, peduli sosial, dan cinta tanah air (3) Dampak kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung yaitu berdampak pada perubahan perilaku positif pada siswa. Kata kunci: kebijakan sekolah, pendidikan karakter, seni musik, dan angklung AbstractThis research aims to describe and understand the school's policy in character education with angklung music art in the SD Islam Terpadu Al – Khairaat, which includes 1) school policies in character education with art activities angklung music 2) character values are produced in the activity of angklung music art 3) The impact of school policy in character education with angklung music art activities. This research is a qualitative study with a case study approach. Data analysis techniques using the Miles and Huberman models are data reduction steps, data presentation, verification and conclusion confirmation. Test the legality of data on this study using triangulation techniques and triangulation resources. The results showed that. (1) The policy of school in character education with the activities of Angklung music is implemented to refer to four aspects namely: communication, resources, attitudes and bureaucracy structure, (2) value-the value of the character produced in the art of music activities angklung There are five values that are discipline, friendly, responsibility, social care, and love of Homeland (3) Impact of school policy in character education with the activities of Angklung music art that affects the change of positive behaviour in students.Keywords: school policy, character education, music art, and angklung
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48

Butler, Alison. "The judges’ decision is final: Judgement in music talent reality TV and school music education". Journal of Popular Music Education 3, n.º 3 (1 de diciembre de 2019): 399–415. http://dx.doi.org/10.1386/jpme_00003_1.

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This article explores music talent reality television (RTV) and conceptualizes it as a site of music education. It also considers whether music talent RTV might magnify sociocultural traits that are less easily detected in other sites of music education. A considerable body of research has developed around RTV, notably from the fields of sociology, media studies, cultural studies and women’s studies. These scholars frequently draw on Bourdieu’s concepts of habitus and capital to analyse participant and audience engagements with the genre. Judgement is central to these discussions, particularly in the subgenre of music talent RTV, with several authors showing how taste and distinction are influenced by habitus. Reviewing the RTV literature highlights how certain musics and musicking experiences are judged, and how such judgement can devalue the musical experiences of those young people who are least likely to access school music education. This raises questions for further study about music talent RTV’s relationship with school music education, and for the study of music talent RTV as a music education setting in its own right, but it also highlights themes that warrant consideration in school music education sites, where judgements and their impacts on access and participation are often disguised or unquestioned.
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Kirliauskienė, Rasa y Jolanta Abramauskienė. "Intuition in music education". Global Journal of Arts Education 10, n.º 2 (31 de agosto de 2020): 157–66. http://dx.doi.org/10.18844/gjae.v10i2.4734.

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This article analysed the role of intuition in music education. Since success needs insight and quick perception, otherwise called intuition, this article aimed to reveal how it is possible to achieve music teacher’s activity. Also, the content of the role of a contemporary music teacher was identified and five aspects were distinguished: significance as an educator and as an authority, the importance of teacher’s personality, creativity and value-based aspects. The research content of the role of a contemporary music teacher justifies the possibilities for intuition in music education and extends its boundaries. The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries. The analysis of the research results is meaningful for the improvement of music education. Keywords: Music education, the role of a contemporary music teacher, intuition.
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50

Sudarman, Yos y Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)". Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, n.º 1 (17 de marzo de 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.

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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu
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