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Libri sul tema "Higher Music Learning"

Autore: Grafiati
Pubblicato: 22 febbraio 2025

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1

Hunter, Desmond. Peer learning in music. Newtownabbey, Co. Antrim: University of Ulster, 2000.

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2

Shaw, G. L. Keeping Mozart in mind. San Diego, Calif: Academic, 2000.

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3

Mackinlay, Elizabeth. Disturbances and dislocations: Understanding teaching and learning experiences in indigenous Australian woman's music and dance. New York: Lang, 2006.

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4

Siksimova, Marina, Ol'ga Begicheva e Svetlana Mozgot. Solfeggio and music theory: a practical course. ru: INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1971854.

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Abstract (sommario):
The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the necessary professional knowledge, skills and abilities. It is intended for use in the classroom work of students of performing and theoretical departments of music colleges, as well as advanced students of the senior classes of SSMSH, DMSh and DSHI. It can be used for independent work of students of various specialties of secondary vocational education institutions and areas of higher education: 53.02.03 "Instrumental performance (by types of instruments)", 53.03.03 "Vocal art", 53.03.04 "The Art of folk singing", as well as for preparing applicants for entrance exams.
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5

Winn, James Anderson. The pale of words: Reflections on the humanities and performance. New Haven: Yale University Press, 1998.

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6

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. [Toronto, ON: s.n.], 1989.

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7

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. [Toronto, ON: s.n.], 1988.

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8

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. [Toronto, ON: s.n.]., 1986.

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9

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. [Ontario: s.n.], 1991.

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10

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. [Ontario: s.n.], 1990.

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11

Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. [Toronto, ON: s.n.], 1994.

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12

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. [Ontario: s.n.], 1992.

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13

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. [Toronto, Ont: s.n, 1993.

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14

Gaunt, Helena. Collaborative Learning in Higher Music Education. Routledge, 2016. http://dx.doi.org/10.4324/9781315572642.

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15

Collaborative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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16

Collaborative learning in higher music education. Burlington: Ashgate, 2013.

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17

Gaunt, Helena, e Heidi Westerlund. Collaborative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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18

Collaborative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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19

Welch, Graham, e Ioulia Papageorgi. Advanced Musical Performance: Investigations in Higher Education Learning. Taylor & Francis Group, 2016.

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20

Welch, Graham, e Ioulia Papageorgi. Advanced Musical Performance: Investigations in Higher Education Learning. Taylor & Francis Group, 2016.

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21

Welch, Graham, e Ioulia Papageorgi. Advanced Musical Performance: Investigations in Higher Education Learning. Taylor & Francis Group, 2016.

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22

Advanced Musical Performance: Investigations in Higher Education Learning. Taylor & Francis Group, 2014.

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23

Creative Teaching for Creative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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24

Andrianopoulou, Monika. Aural Education: Reconceptualising Ear Training in Higher Music Learning. Taylor & Francis Group, 2019.

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25

Andrianopoulou, Monika. Aural Education: Reconceptualising Ear Training in Higher Music Learning. Taylor & Francis Group, 2019.

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26

Haddon, Elizabeth, e Pamela Burnard. Creative Teaching for Creative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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27

Haddon, Elizabeth, e Pamela Burnard. Creative Teaching for Creative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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28

Andrianopoulou, Monika. Aural Education: Reconceptualising Ear Training in Higher Music Learning. Taylor & Francis Group, 2019.

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29

Andrianopoulou, Monika. Aural Education: Reconceptualising Ear Training in Higher Music Learning. Taylor & Francis Group, 2019.

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30

Haddon, Elizabeth, e Pamela Burnard. Creative Teaching for Creative Learning in Higher Music Education. Taylor & Francis Group, 2016.

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31

Haddon, Elizabeth, e Pamela Burnard. Creative Teaching for Creative Learning in Higher Music Education. Taylor & Francis Group, 2017.

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32

Conway, Colleen M. Teaching Music in Higher Education. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.001.0001.

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Abstract (sommario):
This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on learner-centered pedagogy or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of teaching as transmission is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, the book relies on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching.
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33

Willingham, Lee, e Glen Carruthers. Community Music in Higher Education. A cura di Brydie-Leigh Bartleet e Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.9.

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The establishment of community music courses and degree programs in universities gives rise to discourse about the fundamental principles of community music. Can community music flourish in the complexity of academia, where disciplines are regulated, researched, and examined systematically? This chapter will argue that community music principles are synergistic with higher education goals, and, in fact, traditional music education has much to learn and gain from community music practices. How can schools of music be more civic minded, community friendly, and enhance the cultural life of the regions they serve? How can rigour exist (artistic and scholarly) in a culture of empathy, inclusivity, and hospitality where nonformal pedagogies are practiced, and where intergenerational and lifelong learning—along with activism, health, and wholeness—are foundational? These questions are addressed and measured against a tradition where audition standards and progression pathways are becoming increasingly multivalent.
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34

Yu, XinPing. Study on the Music Teaching in the Institutions for Higher Learning. LONGMAN PRESS LTD, 2023.

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35

Activating diverse musical creativities: Teaching and learning in higher music education. New York: Bloomsbury Academic, 2015.

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36

Prokop, Rainer, e Rosa Reitsamer, a cura di. Higher Music Education and Employability in a Neoliberal World. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350266995.

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Abstract (sommario):
In recent years, a growing body of research has been reassessing the role of higher music education institutions in light of the challenges posed by the dominant neoliberal economic system and the growing sensitivity to the reproduction of social inequalities in access to higher education and the labour market. This open access book offers international and interdisciplinary insights into these processes and practices and by examining the learning cultures, curricula designs and emancipatory initiatives within higher music education institutions. Drawing together empirical case studies from Austria, France, Germany, Italy, the Netherlands, Portugal, Switzerland, the UK and the USA, the authors explore the multifaceted ways to transition from study to work and the world of uncertainty and job insecurity currently experienced by a younger generation of musicians. Contributions shed light on the reactions of higher music education institutions to the neoliberal restructuring of the educational field and take a fresh look at the master-apprentice model of teaching and learning. They look at the discourses surrounding employability and artistic standards that form the traditional foundation of conservatoire education but also create the environment for unequal power relations and sexual misconduct. The authors also examine how gender, class and race/ethnicity pervade the creation and performance of music, and highlight alternative pedagogical strategies that fight discrimination and violence to bring about equity and empowerment. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University of Music and Performing Arts Vienna.
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37

A, Hansen Demaris. The effect of prerequisite skill mastery on higher order skill attainment and motivation in music learning. 1991.

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38

Shaw, G. L. Keeping Mozart in Mind. Elsevier Publishing Company, 2004.

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39

Shaw, G. L. Keeping Mozart in Mind. Elsevier Publishing Company, 2004.

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40

Bowman, Judith. The Music Professor Online. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.001.0001.

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Abstract (sommario):
The book provides a window onto online music instruction in higher education with the aim of helping music professors successfully integrate online teaching into their pedagogical repertoire. It highlights commonalities between online and face-to-face teaching, presents a theoretical framework for online learning, and provides practical models and techniques from professors teaching online in various music disciplines. Part I reviews the status of online learning in general and in music, identifies some similarities and differences between face-to-face and online teaching, presents standards and principles for online instruction, explores the development of an online teaching persona, and examines pedagogical characteristics of effective online teaching, including signature pedagogies of the music disciplines. Part II focuses on the lived online curriculum. It features online teaching experiences in applied music, music theory, music history/musicology, music appreciation, and music education provided by professors teaching online in those disciplines. Part III summarizes lessons from online practitioners, presents an action plan for moving forward with online music instruction, and looks to the future of online instruction in music.
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41

Phelan, Helen, e Graham F. Welch. Artist and Academia. Taylor & Francis Group, 2021.

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42

Phelan, Helen, e Graham F. Welch. Artist and Academia. Taylor & Francis Group, 2021.

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43

Phelan, Helen, e Graham F. Welch. Artist and Academia. Taylor & Francis Group, 2021.

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44

Artist and Academia. Taylor & Francis Group, 2021.

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45

Kernodle, Tammy, Horace Maxile e Emmett Price, a cura di. Encyclopedia of African American Music. Greenwood, 2010. http://dx.doi.org/10.5040/9798400607752.

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Abstract (sommario):
African Americans' historical roots are encapsulated in the lyrics, melodies, and rhythms of their music. In the 18th and 19th centuries, African slaves, longing for emancipation, expressed their hopes and dreams through spirituals. Inspired by African civilization and culture, as well as religion, art, literature, and social issues, this influential, joyous, tragic, uplifting, challenging, and enduring music evolved into many diverse genres, including jazz, blues, rock and roll, soul, swing, and hip hop. Providing a lyrical history of our nation, this groundbreaking encyclopedia, the first of its kind, showcases all facets of African American music including folk, religious, concert and popular styles. Over 500 in-depth entries by more than 100 scholars on a vast range of topics such as genres, styles, individuals, groups, and collectives as well as historical topics such as music of the Harlem Renaissance, the Black Arts Movement, the Civil Rights Movement, and numerous others. Offering balanced representation of key individuals, groups, and ensembles associated with diverse religious beliefs, political affiliations, and other perspectives not usually approached, this indispensable reference illuminates the profound role that African American music has played in American cultural history. Editors Price, Kernodle, and Maxile provide balanced representation of various individuals, groups and ensembles associated with diverse religious beliefs, political affiliations, and perspectives. Also highlighted are the major record labels, institutions of higher learning, and various cultural venues that have had a tremendous impact on the development and preservation of African American music. Among the featured: Motown Records, Black Swan Records, Fisk University, Gospel Music Workshop of America, The Cotton Club, Center for Black Music Research, and more. With a broad scope, substantial entries, current coverage, and special attention to historical, political, and social contexts, this encyclopedia is designed specifically for high school and undergraduate students. Academic and public libraries will treasure this resource as an incomparable guide to our nation's African American heritage.
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46

Patch, Justin. The Case for Pop Ensembles in the Curriculum. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0006.

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Abstract (sommario):
Music programs should include pop pedagogy, a serious engagement with applied popular music, as they adjust their curricula for the twenty-first century. Pop pedagogy is relevant for pragmatic reasons of future employment and also to meet long-standing missions of higher education. Pop performance, arranging, and songwriting have implications beyond creating music professionals—they open a music department up to students who might never take classes otherwise, teach critical communication skills and civics, provide opportunities for student leadership and applied learning, and prepare skilled amateur musicians for lifelong engagement with music making. Through flipping the classroom and creating a rigorous atmosphere for students to engage with musics that they regularly listen to and participate in, pop ensembles augment the intellectual and practical experiences of students, diversify the curriculum, and keep music education relevant.
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47

DeWitt, Mark F. Training in Local Oral Traditions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0004.

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Abstract (sommario):
This chapter is a study of programs that offer performance training in oral-tradition musics at accredited two- and four-year postsecondary institutions in the United States, Canada, and Mexico, especially but not exclusively those that focus on traditions that developed in the region where the institution is located. The trajectory of oral-tradition musics in North American higher education is found to be one of gradual acceptance through many disconnected local efforts, resulting in a variety of solutions to problems inherent in reforming a curriculum not designed for the needs of learning in oral traditions. The chief intended audience of this chapter are faculty and administrators of schools and departments of music, especially those who are contemplating the addition of local oral-tradition music to their curriculum or are at least open to the idea of doing so.
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48

Miller, Leta E. Learning the Craft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0002.

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This chapter studies Kernis's early years and training. During the seventh grade, Mary Jane Scholl, a freelance music teacher, started Kernis on the violin. She also introduced him to some basic concepts of music theory and elementary composition—writing simple counterpoints and four-part chorales—which eventually led him into free composition and his first instrumental pieces. Kernis then began to teach himself piano “by sight-reading all the music [he] could get [his] hands on.” During high school, he studied jazz keyboard harmony at Temple University. He also took private piano lessons there, but after acting as his own teacher for so many years, he had developed enough bad habits that both he and the teacher were frustrated. By the time Kernis left for college in the fall of 1977, he had already won awards in composition from the National Federation of Music Clubs (NFMC).
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49

Davidson, Jane W., e Gary E. McPherson. Learning to perform. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0002.

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Abstract (sommario):
To perform any skilled activity to expert level requires committed and intensely motivated learning. This chapter explores how musical development, particularly as it applies to learning an instrument, depends crucially on inventive and productive opportunities that coalesce in configurations unique to each learner. It reveals how an obsession with gifts and talents on the parts of researchers, teachers, parents and musicians alike has led to confusion over the nature and acquisition of the skills required for high-level music performance. It traces key theories on family scripts and self-determination to illustrate the ways in which psychological constructs shape belief and thus motivate learning. Environmental catalysts such as practice support and opportunity for creative expression offer additional significant influences. These factors are shown to align with intrapersonal characteristics and are described as syzygies, or inventive configurations, that provide pathways to committed music learning.
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50

McPherson, Gary E., a cura di. The Oxford Handbook of Music Performance, Volume 1. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190056285.001.0001.

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Abstract (sommario):
Volume 1 of the Oxford Handbook of Music Performance is designed around four distinct parts: Development and Learning, Proficiencies, Performance Practices, and Psychology. Chapters cover a range of topics dealing with musical development, talent development, and chapters dealing with learning strategies from a self-directed student learning perspective and high-impact teaching mindframes. Essential proficiencies include coverage of effective practice habits, through to the abilities of being able to play by ear, sight-read, improvise, memorize repertoire, and conduct and chapters that detail the highly personalized forms of musical expression that go beyond the printed notation or stylistic convention of the repetoire being performed. Chapters within the Performance Practices part cover some of the most fundamental aspects of performance practices from Baroque through to New Music repertoire and include chapters dealing with how emotions might be generated as a form of historically informed performance practice, and how creativity unfolds in the real-time dynamics of musical performance. The Psychology part concerns characteristics and individual differences in human behavior, cognition, emotion, and wellness. Across chapters in this part, several common threads and themes are evident: our relationships with music itself and what it means to become and to be a musician, the tensions that can arise between the joy of music and the hard work required to develop musical skills, and the intimate connection between music performance and our social and emotional lives.
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