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Bibliografías temáticas / Music training / Artículos de revistas

Artículos de revistas sobre el tema "Music training"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 21 de febrero de 2023

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1

Okay, H. Hakan. "The views of music teachers and music teacher candidates about value training". International Journal of Academic Research 6, n.º 2 (30 de marzo de 2014): 92–102. http://dx.doi.org/10.7813/2075-4124.2014/6-2/b.15.

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2

Watanabe, Kouji. "Music training apparatus". Journal of the Acoustical Society of America 99, n.º 1 (1996): 20. http://dx.doi.org/10.1121/1.414527.

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3

Schellenberg, E. Glenn. "Music training, music aptitude, and speech perception". Proceedings of the National Academy of Sciences 116, n.º 8 (29 de enero de 2019): 2783–84. http://dx.doi.org/10.1073/pnas.1821109116.

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4

Suggs, Julian S. "Music Training for Volunteer Church Music Leaders". Review & Expositor 93, n.º 1 (febrero de 1996): 41–49. http://dx.doi.org/10.1177/003463739609300105.

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5

Chermak, Gail D. "Music and auditory training". Hearing Journal 63, n.º 4 (abril de 2010): 58. http://dx.doi.org/10.1097/01.hj.0000370863.67892.0d.

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6

Tsang, Christine D. y Nicole J. Conrad. "Music Training and Reading Readiness". Music Perception 29, n.º 2 (1 de diciembre de 2011): 157–63. http://dx.doi.org/10.1525/mp.2011.29.2.157.

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several reports have noted significant associations among phonological awareness, early reading skills, and music perception skills in young children. We examined whether music processing skills differentially predicted reading performance in a broad age range of 69 children with and without formal music training. Pitch perception was correlated with phonological awareness, a finding consistent with the hypothesis that basic auditory processing skills underlie the association between music and reading abilities. Nevertheless, the correlation between music skills and reading skills was affected by the presence of formal music training: pitch discrimination predicted reading ability only in children without formal music training. Studies examining the association between music perception and reading (and perhaps other cognitive domains as well) should not ignore the factor of music training.

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7

Cohrdes, Caroline, Lorenz Grolig y Sascha Schroeder. "The development of music competencies in preschool children: Effects of a training program and the role of environmental factors". Psychology of Music 47, n.º 3 (23 de febrero de 2018): 358–75. http://dx.doi.org/10.1177/0305735618756764.

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The present study investigated the development and training of music competencies in children in transition from kindergarten to school. In an intervention study with three experimental groups (music training, language training, no training) we investigated music performances of N = 202 5-year-old children before and after a period of 6 months. Results indicate substantial improvement in several low- and high-level musical competencies independent of children’s participation in one of the training groups. In addition, the music training group improved significantly more in their tonal discrimination, rhythm repetition, and synchronization skills compared to the no-training group. Results show that children in the language training group also improved in their music skills, which indicates noticeable overlap between these two domains. By contrast, interindividual differences in potentially relevant environmental factors, such as home musical environment and their socioeconomic status, did not affect children’s musical skills. By disentangling music training effects from musical experience based on informal exposure, the present findings contribute to the understanding of the development of various music competencies and to the effects of musical trainings in preschool.

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8

Decuir, A. A. "Musicianship and Music Skills Training for Music Therapists". Music Therapy Perspectives 7, n.º 1 (1 de enero de 1989): 88–90. http://dx.doi.org/10.1093/mtp/7.1.88.

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9

Wolffenbüttel, Cristina Rolim. "Music Education Training for Teachers". Creative Education 10, n.º 10 (2019): 2101–10. http://dx.doi.org/10.4236/ce.2019.1010152.

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10

Chan, Agnes S., Yim-Chi Ho y Mei-Chun Cheung. "Music training improves verbal memory". Nature 396, n.º 6707 (noviembre de 1998): 128. http://dx.doi.org/10.1038/24075.

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11

Berdiyevich, Panjiyev Qurbonniyoz. "COMPONENTS FOR IMPROVING THE PROFESSIONAL TRAINING OF FUTURE MUSIC TEACHERS". International Journal of Pedagogics 02, n.º 04 (1 de abril de 2022): 28–35. http://dx.doi.org/10.37547/ijp/volume02issue04-07.

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This article provides a motivational-value, cognitive-intellectual, practical-activity, reflexive-creative and emotional-volitional analysis, which are the main components of improving the professional training of future music teachers through Uzbek folk songs.

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12

Glenn Schellenberg, E. y Ellen Winner. "Music Training and Nonmusical Abilities: Introduction". Music Perception 29, n.º 2 (1 de diciembre de 2011): 129–32. http://dx.doi.org/10.1525/mp.2011.29.2.129.

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the objective of this special issue of Music Perception, which includes contributions from researchers based in Canada, Germany, New Zealand, and the US, is to present the best new research on associations between music training and nonmusical abilities. Scholarly interest in associations between music training and nonmusical cognitive functioning has sparked much research over the past 15–20 years. The study of how far associations between music training and cognitive abilities extend, and whether such associations are more likely for some domains of cognition than for others, has theoretical relevance for issues of transfer, modularity, and plasticity. Unlike most other areas of scientific inquiry, there is parallel interest on the part of the public, the media, and educators who want to know if nonmusical intellectual and academic benefits are a welcome by-product of sending children to music lessons. Indeed, some educators and arts advocates justify music training in schools precisely because of these presumed and desired nonmusical associations.

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13

Ginocchio, John. "The Effects of Different Amounts and Types of Music Training on Music Style Preference". Bulletin of the Council for Research in Music Education, n.º 182 (1 de octubre de 2009): 7–18. http://dx.doi.org/10.2307/27861458.

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Abstract The purpose of this study was to determine the influence of three different amounts of music training and specific types of music training on the style preferences of college non-music majors. 176 college non-music majors recorded their preference for 19 musical examples in varying popular and non-popular styles. Subjects completed a Personal Information Form to determine their years of music training and specific types of music training. Results showed that subjects with five years or more of music training gave significantly greater overall music preference ratings than subjects with fewer years of training. Differences were also found between subjects with three differing amounts of training for instrumental jazz, orchestral classical, vocal classical, and classical piano music. Responses showed differences in preference ratings between subjects who had been in choir, band, and piano lessons. Participation in band appeared to have the greatest impact on preference for non-popular styles of music.

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14

Tso, Ivor T. H., James C. L. Law y Thomson W. L. Wong. "Music-Assisted Training for Dart Throwing Novices: Post-Training Effects on Heart Rate and Performance Accuracy". Perceptual and Motor Skills 129, n.º 1 (20 de octubre de 2021): 120–33. http://dx.doi.org/10.1177/00315125211050629.

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While previous research has suggested that lowering athletes’ heart rates can enhance sports performance, it is unknown whether slow-paced music might induce a lower heart rate and thereby improve some types of motor performance. In this study, we investigated the effects of different types of music during dart-throw training on both heart rate and dart-throwing performance in 45 ( M age = 19.7, SD = 0.31 years) novice dart throwers who were randomly assigned to either a Slow Music Group (SMG), a Fast Music Group (FMG), or a Control Group (CG). All participants completed three dart-throwing blocks - Pre-Test, Practice, and Post-Test. During the Practice block, participants practiced dart-throwing with either slow-paced, fast-paced or no music according to their assigned group. We recorded the participants’ heart rates and total dart-throwing accuracy scores during Pre-Test and Post-Test. Music-assisted dart-throw training with slow-paced music was effective in significantly inhibiting a performance-related increase in heart rate and was associated with the greatest dart throwing improvement after training.

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15

Demirbatır, R. Erol. "Aural Training in Institutions Training Music Teachers in Turkey". Procedia - Social and Behavioral Sciences 116 (febrero de 2014): 3049–53. http://dx.doi.org/10.1016/j.sbspro.2014.01.705.

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16

Madrimov, Bahram Khudoinazarovich. "Professional Training Is An Incentive For Moral And Aesthetic Education". American Journal of Social Science and Education Innovations 03, n.º 02 (27 de febrero de 2021): 109–13. http://dx.doi.org/10.37547/tajssei/volume03issue02-17.

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Each profession has its own characteristics, and the profession of a music teacher has its own secrets and requirements. The uniqueness of the professional competencies of the future teacher is reflected in the fact that they are aimed at enriching the inner world of students in the music sphere with spiritual values and content that are reflected in the works of musical art. Professional spiritual competences reflect the specificity and spiritual nature of the practice of musical pedagogy. Their formation is one of the most pressing problems inherent in the modern system of music education, and is a prerequisite for determining the effectiveness of the professional activity of a music teacher and his educational work with children.

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17

Webster, Judith. "Music Therapy Training: A Personal Experience". Journal of British Music Therapy 2, n.º 2 (diciembre de 1988): 18–20. http://dx.doi.org/10.1177/135945758800200205.

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This article explores a personal experience of a music therapy training course. It attempts to identify that which constitutes the change from a musician to a music therapist, looking specifically at the personal challenge of self-discovery which is involved in that process.

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18

Boebinger, Dana, Sam V. Norman-Haignere, Josh H. McDermott y Nancy Kanwisher. "Music-selective neural populations arise without musical training". Journal of Neurophysiology 125, n.º 6 (1 de junio de 2021): 2237–63. http://dx.doi.org/10.1152/jn.00588.2020.

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We show that music-selective neural populations are clearly present in people without musical training, demonstrating that they are a fundamental and widespread property of the human brain. Additionally, we show music-selective neural populations respond strongly to music from unfamiliar genres as well as music with rhythm but little pitch information, suggesting that they are broadly responsive to music as a whole.

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19

Komarovska, Oksana y Xia Gaoyang. "Polyartistic Potential of Music Theory Subjects in Training Music Teachers". Intellectual Archive 7, n.º 6 (20 de diciembre de 2018): 82–89. http://dx.doi.org/10.32370/2018_11_10.

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20

Scheiby, Benedikte B. y Inge Nygaard Pedersen. "Inter Music Therapy in the Training of Music Therapy Students". Norsk Tidsskrift for Musikkterapi 8, n.º 1 (enero de 1999): 58–71. http://dx.doi.org/10.1080/08098139909477954.

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21

Baker, Vicki D. y Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists". Update: Applications of Research in Music Education 35, n.º 3 (15 de marzo de 2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.

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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.

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22

Lo, Chi Yhun, Valerie Looi, William Forde Thompson y Catherine M. McMahon. "Music Training for Children With Sensorineural Hearing Loss Improves Speech-in-Noise Perception". Journal of Speech, Language, and Hearing Research 63, n.º 6 (22 de junio de 2020): 1990–2015. http://dx.doi.org/10.1044/2020_jslhr-19-00391.

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Purpose A growing body of evidence suggests that long-term music training provides benefits to auditory abilities for typical-hearing adults and children. The purpose of this study was to evaluate how music training may provide perceptual benefits (such as speech-in-noise, spectral resolution, and prosody) for children with hearing loss. Method Fourteen children aged 6–9 years with prelingual sensorineural hearing loss using bilateral cochlear implants, bilateral hearing aids, or bimodal configuration participated in a 12-week music training program, with nine participants completing the full testing requirements of the music training. Activities included weekly group-based music therapy and take-home music apps three times a week. The design was a pseudorandomized, longitudinal study (half the cohort was wait-listed, initially serving as a passive control group prior to music training). The test battery consisted of tasks related to music perception, music appreciation, and speech perception. As a comparison, 16 age-matched children with typical hearing also completed this test battery, but without participation in the music training. Results There were no changes for any outcomes for the passive control group. After music training, perception of speech-in-noise, question/statement prosody, musical timbre, and spectral resolution improved significantly, as did measures of music appreciation. There were no benefits for emotional prosody or pitch perception. Conclusion The findings suggest even a modest amount of music training has benefits for music and speech outcomes. These preliminary results provide further evidence that music training is a suitable complementary means of habilitation to improve the outcomes for children with hearing loss.

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23

Lokareva, Yuliya. "METHODICAL ASPECTS OF MUSIC AND THEORETICAL TRAINING IN HIGHER ART EDUCATIONAL INSTITUTIONS". Academic Notes Series Pedagogical Science 1, n.º 192 (marzo de 2021): 102–6. http://dx.doi.org/10.36550/2415-7988-2021-1-192-102-106.

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The article actualizes the problem of music-theoretical training in higher educational institutions, reveals the pedagogical potential of music-theoretical disciplines, explores the methodological aspects of optimizing the process of music-theoretical training on the basis of an integrated approach. research analysis revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted opportunities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its focus on music -creative activity, which consists of various types (instrumental-performing, conductor-choral, improvisational-creative, research, lecture-educational, compositional and others) and affects the comprehensive disclosure and practical implementation of the creative potential of students of higher art educational institutions. The current stage of development of national education is characterized by the actualization of the role of art disciplines during the professional development of the personality of the future teacher of music art. Music-theoretical training is the basis of the process of formation of professional competencies of future music teachers. The problem of raising the level of professionalism of future music teachers largely depends on music-theoretical training aimed at various types of music-creative activities that are important for the training of students of higher art schools. Thus, the analysis of research revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted possibilities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its direction on musical and creative activity, which consists of different types (instrumental-performing, conducting-choral, improvisational-creative, research, lecture-educational, compositional and others) and influences the comprehensive disclosure and practical implementation of the creative potential of students of higher art education institutions.

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24

Yunita, Ayu Tresna, Ayub Prasetiyo y Aditya Tri Anggara Astanta. "Implementasi Materi Musik Berdasarkan Kurikulum Tematik 2013 Sekolah Dasar di Kecamatan Sewon Bantul Yogyakarta". PROMUSIKA 9, n.º 1 (7 de septiembre de 2021): 39–50. http://dx.doi.org/10.24821/promusika.v9i1.5774.

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Berdasarkan Peraturan Menteri Pendidikan dan Kebudayaan Republik Indonesia No. 81A Tahun 2013 tentang Implementasi Kurikulum 2013, maka sekolah dari tingkat Sekolah Dasar hingga Sekolah Menengah Tingkat Atas mulai memberlakukan kurikulum 2013. Kurikulum tematik 2013 untuk Sekolah Dasar terdiri dari kompetensi inti dan kompetensi dasar. Pembelajaran seni khususnya seni musik termasuk dalam mata pelajaran Seni Budaya dan Prakarya (SBDP). Penelitian tentang implementasi pelajaran seni musik berdasarkan kurikulum tematik 2013 di sekolah dasar yang berada di kecamatan Sewon Bantul Yogyakarta bertujuan untuk mengetahui bagaimana pelaksanaan pengajaran pendidikan SBDP khususnya seni musik dan apakah hasil kompetensinya bisa tercapai. Penelitian ini menggunakan metode penelitian kuantitatif. Tujuh Sekolah Dasar diambil sebagai sampel populasi dari total duapuluh tiga Sekolah Dasar di Kecamatan Sewon, Bantul, Yogyakarta. Informasi informasi dikumpulkan dengan menggunakan kuesioner dan wawancara. Pengajaran SBDP seni musik yang diajarkan oleh guru kelas, hasilnya belum sesuai dengan capaian kompetensi pada kurikulum 2013. Hal ini antara lain disebabkan karena kurang adanya pelatihan atau diklat tentang pengajaran seni musik sekolah dasar bagi guru kelas dan guru pengampu SBDP tidak memiliki latar belakang pendidikan seni khususnya seni musik. Kendala dan kesulitan bisa diatasi antara lain dengan membuat metode atau modul pengajaran music untuk sekolah dasar, mengadakan workshop, seminar dan pelatihan seni musik.AbstractImplementation of Music Material Teaching Based on Thematic Curriculum 2013 in Elementary School in Sewon Bantul District, Yogyakarta. Based on the Regulation of the Minister of Education and Culture of the Republic of Indonesia No. 81A of 2013 concerning the Implementation of the 2013 Curriculum, schools from Elementary to Senior High level began to apply the 2013 Curriculum. The 2013 thematic curriculum for Elementary School consists of core competencies and essential competencies. Learning art, especially music, is included in Cultural Arts and Crafts (SBDP). Research on the implementation of music lessons based on the 2013 thematic curriculum in several elementary schools in the Sewon district of Bantul Yogyakarta aimed to find out how SBDP education teaching, especially the art of music, and whether the competency result by achieved. This study used quantitative research methods. Seven out of twenty-three elementary schools were chosen as population samples in Sewon District, Bantul, Yogyakarta. Information was collected using questionnaires and interviews. The results of SBDP teaching of music art taught by classroom teachers are not following the competency achievements in the 2013 curriculum. The partly due to the lack of training or education and training on teaching music art for elementary school teachers, and SBDP teachers themselves do not have an art education background, especially music. This paper suggested solutions to overcome obstacles and difficulties by making methods or modules for teaching music at the elementary school level, holding workshops, seminars, or training in the art of musicKeywords: implementation; 2013 curriculum; music

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25

Hsu, Prisca, Emily A. Ready y Jessica A. Grahn. "The effects of Parkinson’s disease, music training, and dance training on beat perception and production abilities". PLOS ONE 17, n.º 3 (8 de marzo de 2022): e0264587. http://dx.doi.org/10.1371/journal.pone.0264587.

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Humans naturally perceive and move to a musical beat, entraining body movements to auditory rhythms through clapping, tapping, and dancing. Yet the accuracy of this seemingly effortless behavior varies widely across individuals. Beat perception and production abilities can be improved by experience, such as music and dance training, and impaired by progressive neurological changes, such as in Parkinson’s disease. In this study, we assessed the effects of music and dance experience on beat processing in young and older adults, as well as individuals with early-stage Parkinson’s disease. We used the Beat Alignment Test (BAT) to assess beat perception and production in a convenience sample of 458 participants (278 healthy young adults, 139 healthy older adults, and 41 people with early-stage Parkinson’s disease), with varying levels of music and dance training. In general, we found that participants with over three years of music training had more accurate beat perception than those with less training (p < .001). Interestingly, Parkinson’s disease patients with music training had beat production abilities comparable to healthy adults while Parkinson’s disease patients with minimal to no music training performed significantly worse. No effects were found in healthy adults for dance training, and too few Parkinson’s disease patients had dance training to reliably assess its effects. The finding that musically trained Parkinson’s disease patients performed similarly to healthy adults during a beat production task, while untrained patients did not, suggests music training may preserve certain rhythmic motor timing abilities in early-stage Parkinson’s disease.

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26

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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27

Folio, Cynthia y Michael L. Friedmann. "Ear Training for Twentieth-Century Music". Journal of Music Theory 36, n.º 2 (1992): 383. http://dx.doi.org/10.2307/843935.

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Kolinsky, Réégine, Héélééne Cuvelier, Vincent Goetry, Isabelle Peretz y Joséé Morais. "Music Training Facilitates Lexical Stress Processing". Music Perception 26, n.º 3 (1 de febrero de 2009): 235–46. http://dx.doi.org/10.1525/mp.2009.26.3.235.

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WE INVESTIGATED WHETHER MUSIC TRAINING facilitates the processing of lexical stress in natives of a language that does not use lexical stress contrasts. Musically trained (musicians) or untrained (nonmusicians) French natives were presented with two tasks: speeded classification that required them to focus on a segmental contrast and ignore irrelevant stress variations, and sequence repetition involving either segmental or stress contrasts. In the latter situation, French natives are usually "deaf" to lexical stress, but this was less the case for musicians, demonstrating that music expertise enhances sensitivity to stress contrasts. This increased sensitivity does not seem, however, to unavoidably bias musicians' attention to stress contrasts: in segmental-based speeded classification, musicians were not more affected than nonmusicians by irrelevant stress variations when overall performance was controlled for. Implications regarding both the notion of modularity of processing and the advantage that musicianship may afford for second language learning are discussed.

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Alanne, Sami. "Psychodynamic music psychotherapist training in Finland". Nordic Journal of Music Therapy 25, sup1 (30 de mayo de 2016): 118. http://dx.doi.org/10.1080/08098131.2016.1180139.

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Pehk, Alice. "Improvisation Teaching Within Music Therapy Training". Norsk Tidsskrift for Musikkterapi 7, n.º 2 (enero de 1998): 179–80. http://dx.doi.org/10.1080/08098139809477940.

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Brown, Walter A., Henry Sachs, Karen Cammuso y Susan E. Folstein. "Early Music Training and Absolute Pitch". Music Perception 19, n.º 4 (2002): 595–97. http://dx.doi.org/10.1525/mp.2002.19.4.595.

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Hesser, B. "Advanced Clinical Training in Music Therapy". Music Therapy 5, n.º 1 (1 de enero de 1985): 66–73. http://dx.doi.org/10.1093/mt/5.1.66.

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Immonen, Outi, Inkeri Ruokonen y Heikki Ruismäki. "Elements of Mental Training in Music". Procedia - Social and Behavioral Sciences 45 (2012): 588–94. http://dx.doi.org/10.1016/j.sbspro.2012.06.596.

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34

Nan, Yun. "Music training and lexical tone processing". International Journal of Psychophysiology 108 (octubre de 2016): 46. http://dx.doi.org/10.1016/j.ijpsycho.2016.07.153.

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35

Aleman, André, Mark R. Nieuwenstein, Koen B. E. Böcker y Edward H. F. de Haan. "Music training and mental imagery ability". Neuropsychologia 38, n.º 12 (octubre de 2000): 1664–68. http://dx.doi.org/10.1016/s0028-3932(00)00079-8.

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36

Robinson, Don C. "Music in Schools and Teacher Training". International Journal of Music Education os-10, n.º 1 (noviembre de 1987): 51–52. http://dx.doi.org/10.1177/025576148701000116.

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Robinson, Don C. "Music in Schools and Teacher Training". International Journal of Music Education os-12, n.º 1 (noviembre de 1988): 56–58. http://dx.doi.org/10.1177/025576148801200115.

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38

Stephens, Jonathan. "Music in Schools and Teacher Training". International Journal of Music Education os-17, n.º 1 (mayo de 1991): 61–63. http://dx.doi.org/10.1177/025576149101700112.

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Serdaroglu, Emine. "Ear Training Made Easy: Using IOS Based Applications to Assist Ear Training in Children". European Journal of Social Science Education and Research 5, n.º 3 (1 de diciembre de 2018): 202–9. http://dx.doi.org/10.2478/ejser-2018-0071.

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Abstract It is an inevitable reality that in all developed countries and in most developing countries, smart phones and tablets are an indispensable part of most children’s lives. There are many discussions and heated arguments on the negative and positive effects of digital technology on the development of children. In this paper, accepting the fact that this technology is a part of most children’s daily lives, it will be questioned whether this technology may be used to reinforce certain components of music education in general classroom and especially in private music studios. In conservatories and music schools, a considerable amount of time is dedicated to aural training of younger students. However, during music lessons in the classroom and during the instrumental lessons in private studios, lesson time is mostly dedicated to other components such as improvement of technique, musicality and sight reading. Thus, a crucial part of music education “ear training” is neglected to some extent. In this paper, several IOS based ear training applications will be evaluated considering the target group, children between ages 6-11. The possible effects and incorporation of these applications into the classroom and private studios will be discussed. Each application will be evaluated on several components; the ear training modules, user-friendliness, possibility of the evaluation of students’ progress by the teacher and probable reaction of the children to these applications.

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Glynne-Jones, Marjorie. "UK Council for Music Education and Training". British Journal of Music Education 7, n.º 3 (noviembre de 1990): 213. http://dx.doi.org/10.1017/s0265051700007804.

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The first British Music Educators' Conference was held in July 1989 at Huddersfield Polytechnic. This was a special event in the development of music education in the UK, and the Council was delighted that the conference attracted presenters and participants who represented the wide range of professional activity in the field. The aim was to stimulate discussion and promote interaction among people with differing roles in music education. Presentations were grouped around the following themes.

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Hamzah, Ibnu Afri, Sapto Adi y Olivia Andiana. "Pengaruh latihan plyometric depth jump dengan diiringi musik terhadap peningkatan power otot tungkai di UKM Badminton Universitas Negeri Malang". MAJORA: Majalah Ilmiah Olahraga 26, n.º 2 (30 de septiembre de 2020): 74–81. http://dx.doi.org/10.21831/majora.v26i2.34012.

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Plyometric adalah variatif model latihan untuk mengurangi kejenuhan dalam program latihan dengan menambahkan suatu beban latihan dan intensitas latihan pada saat eksperimen dilakukan secara berulang–ulang untuk meningkatkan eksplosif kekuatan daya ledak otot tungkai secara maksimal. Latihan plyometric merupakan latihan yang mengkondisikan sistem neuromuscular dalam mendukung kinerja otot yang cepat dan kuat untuk meningkatkan power tubuh bagian bawah dan meningkatkan daya ledak dengan melatih otot untuk melakukan lebih banyak pekerjaan dalam waktu yang lebih singkat. Latihan plyometric dengan diiringi musik bertujuan untuk mengetahui latihan plyometric dengan musik yang efektif untuk meningkatkan power otot tungkai serta sebagai variasi latihan yang dibutuhkan ketika jenuh dengan latihan kekuatan maupun kecepatan pada Tim A bulutangkis di Universitas Negeri Malang. Penelitian ini adalah penelitian eksperimental dengan menggunakan metode Quasi-experimental design. Hasil penelitian menunjukkan nilai signifikansi (2-tailed) adalah 0,000 (p 0,05). Sehingga hasil tes awal dan tes akhir mengalami perubahan yang signifikan (berarti). Dapat disimpulkan bahwa latihan plyometric depth jump dengan diiringi musik memiliki pengaruh terhadap peningkatan power otot tungkai di UKM Badminton Universitas Negeri Malang. The effect of plyometric depth jump exercises with music on the increasing power leg muscle in UKM Badminton Universitas Negeri Malang Plyometric is a variety of training models to reduce boredom in the training program by adding a training load and training intensity when the experiment is repeatedly carried out to increase the leg muscles' maximum explosive power. Plyometric exercises condition the neuromuscular system to support fast and strong muscle performance to increase lower body power and increase explosive power by training muscles to do more work in less time. Plyometric exercises accompanied by music aim to determine plyometric exercises with music that are effective for increasing leg muscle power and a variation of the exercises needed when bored with strength and speed training in Team A badminton at Universitas Negeri Malang. This research is an experimental study using the Quasi-experimental design method. The results showed the significance value (2-tailed) was 0.000 (p 0.05). So that the effects of the initial test and final test experience significant changes (meaning), it can be concluded that the plyometric depth jump training accompanied by music affects increasing leg muscle power in Badminton UKM, Universitas Negeri Malang.

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Clements-Cortes, Amy. "Music Therapy Training Programmes in Europe: Theme and Variations. (2016). Edited by Thomas Stegemann, Elena Fitzthum, and Tonius Timmermann". Music and Medicine 9, n.º 2 (16 de abril de 2017): 145. http://dx.doi.org/10.47513/mmd.v9i2.544.

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Paperback: 192 pages | Publisher: Verlag Publications, Germany | Language: English | ISBN-9783954901791 This book provides an overview of all 119 European music therapy training programmes as well as a detailed portrait of 10 selected music therapy training courses from various countries, reflecting different music therapy backgrounds, approaches, phases of institutional developments, etc. It gives insights into the theoretical background, admission procedures, and the structure and content of each training programme, focusing especially on clinical training and internships, musical training, experiential learning and music therapy self-experience, as well as the evaluation procedures concerning the quality of teaching. Keywords: education, training, music therapy, Europe, evaluation.

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Bhebhe, Sithulisiwe, Tawanda Runhare y Ratau John Monobe. "Training music teachers through distance learning: The case of teaching practice mentoring at one primary school teacher training college in Zimbabwe". British Journal of Music Education 32, n.º 3 (noviembre de 2015): 259–71. http://dx.doi.org/10.1017/s0265051715000339.

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This study sought to examine the quality of teaching practice (TP) mentoring in the teaching of music at primary school level through the distance mode of training at one college of education in Zimbabwe. The study examined the experiences and perceptions of lecturers and student teachers on TP mentoring in music within the context of a distance mode of teacher training. A purposive sample of 17 music student teachers and 11 lecturers was selected. The study employed a qualitative case study research design in which one-on-one interviews, focus group discussions and documentary analysis were used to collect data. The main conclusion from the study was that the distance approach to teacher training was not effectively utilised for teacher preparation in music due to inadequate music knowledge and skills of mentor teachers as well as weaknesses of the school curriculum. Recommendations drawn from these conclusions are that the teaching practice period should not be the same for all subjects and more demanding subjects such as music deserve to be practiced more. Student teachers specialising in music must be placed for teaching practice where there are music specialist teachers. This study also recommends that the placement of music student teachers for teaching practice be undertaken jointly by the teaching practice coordinators and the music specialist lecturer.

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Sulastri, Sulastri. "JURNAL INGGRIS ANGKLUNG TRAINING FOR PAUD TEACHERS". Empowerment 8, n.º 1 (28 de febrero de 2019): 30. http://dx.doi.org/10.22460/empowerment.v8i1p30-38.1155.

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West Java is the area that is rich in traditional music, one of them is angklung, which is a musical instrument made of bamboo and played by shaking . As one of the traditional musical instruments, angklung as musical instrument should be maintained by the community so that it can still be heard and played and even preserved to the next generation. One effort to appreciate and preserve angklung traditional music, IGTKI (Bandung Kindergarten Teachers Association) held a Training to improve the professional competence of early childhood education teachers as a target audience in mastering traditional angklung music to be able to transfer knowledge to children early age in PAUD. The purpose of this study analyzed the implementation of angklung extracurricular learning in PAUD in Bandung as a vehicle for the preservation of traditional music in West Java. This study uses qualitative descriptive as the method. Data collection techniques used were observation, interviews, and documentation. By preserving angklung traditional music, it is hoped that angklung music will remain a cultural heritage of West Java without fear of being seized by other countries.Keywords; Training, Education Teachers, PAUD, Angklung

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45

Winfield, Alfred John. "Oakley Training College". Musical Times 130, n.º 1752 (febrero de 1989): 62. http://dx.doi.org/10.2307/966346.

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Schön, Daniele, Cyrille Magne y Mireille Besson. "The music of speech: Music training facilitates pitch processing in both music and language". Psychophysiology 41, n.º 3 (23 de marzo de 2004): 341–49. http://dx.doi.org/10.1111/1469-8986.00172.x.

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47

Yashaswini, L. y Sandeep Maruthy. "Effect of Music Training on Categorical Perception of Speech and Music". Journal of Audiology and Otology 24, n.º 3 (10 de julio de 2020): 140–48. http://dx.doi.org/10.7874/jao.2019.00500.

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Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

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Carpentier, Sarah M., Sylvain Moreno y Anthony R. McIntosh. "Short-term Music Training Enhances Complex, Distributed Neural Communication during Music and Linguistic Tasks". Journal of Cognitive Neuroscience 28, n.º 10 (octubre de 2016): 1603–12. http://dx.doi.org/10.1162/jocn_a_00988.

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Musical training is frequently associated with benefits to linguistic abilities, and recent focus has been placed on possible benefits of bilingualism to lifelong executive functions; however, the neural mechanisms for such effects are unclear. The aim of this study was to gain better understanding of the whole-brain functional effects of music and second-language training that could support such previously observed cognitive transfer effects. We conducted a 28-day longitudinal study of monolingual English-speaking 4- to 6-year-old children randomly selected to receive daily music or French language training, excluding weekends. Children completed passive EEG music note and French vowel auditory oddball detection tasks before and after training. Brain signal complexity was measured on source waveforms at multiple temporal scales as an index of neural information processing and network communication load. Comparing pretraining with posttraining, musical training was associated with increased EEG complexity at coarse temporal scales during the music and French vowel tasks in widely distributed cortical regions. Conversely, very minimal decreases in complexity at fine scales and trends toward coarse-scale increases were displayed after French training during the tasks. Spectral analysis failed to distinguish between training types and found overall theta (3.5–7.5 Hz) power increases after all training forms, with spatially fewer decreases in power at higher frequencies (>10 Hz). These findings demonstrate that musical training increased diversity of brain network states to support domain-specific music skill acquisition and music-to-language transfer effects.

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Burt, Jacqueline, Einat (Natalie) Ravid, Sandra Bradford, Nancy J. Fisher, Yiye Zeng, Taylor Chomiak, Lesley Brown, Martin J. McKeown, Bin Hu y Richard Camicioli. "The Effects of Music-Contingent Gait Training on Cognition and Mood in Parkinson Disease: A Feasibility Study". Neurorehabilitation and Neural Repair 34, n.º 1 (26 de diciembre de 2019): 82–92. http://dx.doi.org/10.1177/1545968319893303.

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Background. In Parkinson disease (PD), gait impairments often coexist with nonmotor symptoms such as anxiety and depression. Biofeedback training may improve gait function in PD, but its effect on nonmotor symptoms remains unclear. This study explored the cognitive and global effects of Ambulosono, a cognitive gait training method utilizing step size to contingently control the real-time play of motivational music. Objective. This study examined the feasibility of music-contingent gait training and its effects on neuropsychological test performance and mood in persons with PD. Methods. A total of 30 participants with mild to moderate PD were semirandomized via sequential alternating assignment into an experimental training group or control music group. The training group received 12 weeks of music-contingent training, whereby music play was dependent on the user achieving a set stride length, adjusted online based on individual performance. The control group received hybrid training beginning with 6 weeks of noncontingent music walking, whereby music played continuously regardless of step size, followed by 6 weeks of music-contingent training. Global cognition, memory, executive function, attention, and working memory assessments were completed by blinded assessors at baseline, 6 weeks, and 12 weeks. Motor function, mood, and anxiety were assessed. Results. Average training adherence was 97%, with no falls occurring during training sessions. Improvements on cognitive measures were not clinically significant; however, significant decreases in depression and anxiety were observed in both groups over time ( P < .05). Conclusions. Music-contingent gait training is feasible and safe in individuals with PD. Further investigation into potential therapeutic applications of this technology is recommended.

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Ardiningsih, Dini. "Pengembangan game kuis interaktif sebagai instrumen evaluasi formatif pada mata kuliah teori musik". Jurnal Inovasi Teknologi Pendidikan 6, n.º 1 (30 de abril de 2019): 92–103. http://dx.doi.org/10.21831/jitp.v6i1.17725.

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Penelitian ini bertujuan untuk menghasilkan sebuah game kuis interaktif sebagai instrumen evaluasi formatif pada mata kuliah teori musik dengan mengadaptasi sebuah game kuis The Impossible Quiz. Game kuis berisi pertanyaan dengan materi teori musik yang dilengkapi dengan ear training. Metode penelitian yang digunakan adalah metode Research and Development model ADDIE yaitu Analysis (analisis), Design (desain), Development (pengembangan), Implementation (implementasi) dan Evaluation (evaluasi). Penelitian dilakukan di Sekolah Tinggi Musik Bandung (STiMB). Kelayakan produk berdasarkan penilaian ahli materi, ahli media dan responden mahasiswa STiMB. Penilaian berupa lembar evaluasi yang meliputi empat aspek yaitu aspek materi, aspek pembelajaran, aspek tampilan dan aspek pemrograman. Secara keseluruhan rerata presentasi penilaian yaitu (1) aspek pembelajaran sebesar 79,67%, (2) aspek materi sebesar 87,81%, (3) aspek pemrograman sebesar 81,87%, dan (4) aspek tampilan game sebesar 85,15%. Dengan demikian dapat disimpulkan bahwa rerata penilaian di atas 80% yang berarti game kuis interaktif sangat layak dijadikan instrumen evaluasi formatif pada mata kuliah teori musik.Kata kunci: game kuis, the impossible quiz, interaktif, teori musik, ADDIEDeveloping interactive quiz game as formtive evaluation instrument of music theory subjectAbstractThis research was aim to produce an interactive game quiz as a instrument for formative evaluation of subject Music Theory adapted from The Impossible Quiz. The game consist of Music Theory learning materials and be equipped with ear training materials. This research was conducted by Research & Development method with ADDIE model which is Analysis, Design, Development, Implementation and Evaluation. All of research process were held at Sekolah Tinggi Musik Bandung (STiMB). Properness of the reasearch was evaluated by Music Theory expert, multimedia expert and students of Sekolah Tinggi Musik Bandung. Four aspects were have been evaluated by the respondents includes interface aspect, contents, learning materials and programming aspect. In average, learning materials got precentage of 79,67%, contents 87,81%, programming 81,87%, and interface aspect 85,15%. Those result conduct conclusion of 80% rating of this evaluation which means the game quiz are appropriate to become a instrument for formative evaluation on Music Theory subject.Keywords: quiz game, the impossible quiz, interactive, music theory, ADDIE

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