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Tesi sul tema "Higher Music Learning"
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Feichas, Heloisa Faria Braga. "Formal and informal music learning in Brazilian higher education". Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10020512/.
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Balija, Ayn Theresa. "What do I Assume? An Applied Lesson Approach Integrating Critical Thinking and Student-Directed Learning". Thesis, James Madison University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702655.
Testo completoAbstract (sommario):
The applied music lesson remains a revered symbol of Western European tradition in American music education. Very little research exists assessing its continued viability as a method in its current form. This paper examines eight author observed assumptions about applied music lessons which flaw the learning process. Through available research, the assumptions demonstrate that the traditional applied lesson is teacher centered and difficult to assess. Exposing the resultant delusions of the eight assumptions reveals how a holistic approach in a studio can engage students in critical thinking and enhance student self-awareness. These primary goals place the educational emphasis on the process rather than the technically perfect performance as the terminal experience. Sample lesson techniques for undergraduate viola students will incorporate critical thinking methods to transform the weekly encounter into a student-centered experience which develops skills for continued self-directed study.
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Jung, Joo Yeon. "Peer learning group among college voice majors | Collaborative inquiry case study". Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3594111.
Testo completoAbstract (sommario):
This collaborative inquiry case study investigated a pre-existing peer learning group composed of five Korean college voice students and a non-musician facilitator. The group was chosen for this research to understand the implications of a diversified learning context in addition to the typical master-apprenticeship context of higher music education. The main activity for this peer learning group was researching literature related to classical vocal music along with presenting a performance project. This performance was in connection to their learning, and the chosen theme was a musical autobiography. Data were collected during the performance project process that included participant observations, interviews, and artifacts. The peer group's learning experiences and how this process influenced their behaviors, attitudes, and performance, and the role of the facilitator were content analyzed and reported. Results revealed that the students' intense meaning making process included mutual communication, cooperative interaction, enhanced motivation with group cohesion, and a sense of autonomy in their music learning. The autobiographic aspects of each member's life as a musician proved to be transformative in their learning and positively influenced their identity development as musicians. Careful intervention regarding individual differences was found to be an important consideration. The role of the non-musician facilitator aided group development with a contrasting perspective, allowing for positive support to the individuals, and suggestions for long-term goals regarding pedagogical aspects despite his lack of a music background. Challenges of the peer learning group included a lack of available learning resources, time intensiveness of the process, and a lack of continuity with few consistent acknowledged goals.
This study illuminated the need to reflect on diverse learning contexts in addition to the traditional master-apprentice dyad in order to enhance students' initiatives in their learning process; allow for opportunities for the formation of their musical identities; and to encourage a facilitator role for the master teachers. Future research is recommended to replicate peer learning among diverse musicians and to focus further on autobiographic learning in addition to online learning opportunities. Continuous innovation in the learning process in higher music education will empower future musicians to be creative meaning makers and lifelong learners.
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Anthony, Brendan. "Perspectives of Learning Popular Music Production in Higher Education From Both Sides of the Glass". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394317.
Testo completoAbstract (sommario):
The aim of this research is to investigate how popular music production can be learned in higher education contexts, and how higher education can design and implement reputable approaches in popular music production pedagogy that bridge to modern professional practice. Music production has developed from large studio contexts and become ubiquitous within project studios following the invention of the Internet and democratisation of high quality and affordable computer-based recording technology. As a result, multi-skilled popular musicians now blur the once-standardised roles of the producer and artist, use face-to-face and online/remote collaboration, and create music in diverse technological, socio-cultural, and musical landscapes. Yet music production is often a collaborative experience, the culmination of musicians, engineers, producers, and songwriters working together through cognitive and practice-based processes. Therefore, the rationale of this thesis is based around the discovery of effective ways to educate students regarding the selection of creative practices and the design of music production cultures, and how these affect the musical output.
Aspiring music producers seek instruction in popular music production and higher education’s role in this landscape is integral. Yet the diversity that music-making now purveys adds to the complexity of pedagogical designs. As such, popular music production pedagogy needs to be considered alongside applications that bridge the pedagogical experience to the professional world and promote graduate industry integration. However, it is still very unclear as to what form effective higher education music production pedagogical frameworks should take to ensure that the expansive tacit knowledge of professionals can be articulated, and the practice of modern music production be understood by students.
This research utilised an ethnographic case study of a one-year, university-based popular music production pedagogical offering to investigate how effective pedagogy in this field may be created. The students’ and educator’s perceptions of the practice-based tutorial activity were collected through a vast array of data collection methods including surveys, video footage, semi-structured interviews, focus groups, and assessment items. A qualitative thematic analysis informed key findings that were situated within domains including the usefulness of music production cultures, the instinctive and intuitive role of the educator, the necessity of bridging the tutorial experience to the professional world, and the many different ways in which students learned. In particular, the research found that effective pedagogy targets the student’s understanding of the greater practice of music production by engaging with music production from both sides of the glass. In these scenarios songwriting, performance, sound engineering, and production occurred in holistic, collaborative environments where all those involved in the music-making were present during the pedagogy.
The research concludes by recognising that the pedagogical approaches of the future need to consider the affordances of modern music producers. These frameworks should facilitate tacit learning in entrepreneurial habits, self-belief, and life skills. Subsequently, students can then be encouraged to consider themselves as professional practitioners prior to their transition to the music industry.Thesis (Professional Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
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Forbes, Melissa Therese. "Playing the Changes: An Expanded View of Higher Music Education through the Use of Collaborative Learning and Teaching". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366951.
Testo completoAbstract (sommario):
In Australia, higher music education faces challenging times— university reform has ushered in an era of public accountability and budget cuts; the sector has become portfolio career-focussed and a university education must prepare students for uncertain futures. Within higher music education, collaborative learning has been identified as one way to address these types of challenges. There has recently been increased interest in the use of collaborative learning in a variety of higher music education contexts. To date, however, collaborative learning for music practice or performance in higher music education remains little used and under-researched.
Situated within a practitioner inquiry framework, this study employed narrative approaches to discover participants’ experiences of collaborative learning in first year music practice courses at the University of Southern Queensland, a regional Australian university. The participants in this study were students who completed the first year music practice courses in 2014 and the teacher/researcher. Preliminary research during 2012 and a pilot study in 2013 shaped the focus and design of the study. Data were collected from students’ essays, journals and short answer questionnaires. Teacher’s data took the form of a teacher/researcher diary. Thematic analysis of students’ essays and journals established the ways in which collaborative learning built students’ individual and collective agency. Narrative analysis of the entire data set was undertaken to develop a robust picture of the value created through learning music practice collaboratively.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Corley, Alton L. "An investigation of the predictive relationship of academic variables in three different learning environments to the intentions of music education majors to leave the degree program". connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/corley%5Falton/index.htm.
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Darby, Megan. "Challenges to Student Success in an Introductory Music Theory I Course". ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5066.
Testo completoAbstract (sommario):
A state college in the mid-Atlantic United States requires a music theory course for 4 of its undergraduate music programs. In the 6 years prior to this study, students had difficulty with the course, with many failing or withdrawing. Tinto's theory of student retention served as the foundation of the conceptual framework for this study, the purpose of which was to identify challenges to successfully completing the course. This purpose was reflected in the study's driving research question focused on students' experiences regarding challenges to success. In this instrumental case study, 12 students and 2 instructors participated in individual interviews, and 7 students participated in a focus group. Initial coding was used for the 1st-cycle coding phase. Axial coding was used for the 2nd cycle. Seven themes emerged through an iterative categorization protocol: 3 student-related themes, 3 college-related themes, and 1 theme relating to solutions for overcoming challenges to success in Music Theory I. Although data indicated that students experienced diverse challenges to success, the need for additional help was most evident. Thus, a logical project for this study was a music theory lab designed using best practices for course redesign and adult learning found in the literature and developed to support student learning of the concepts presented in Music Theory I. This study may contribute to positive social change by providing an opportunity for students at the college to receive academic support structured to meet their learning needs and improve their performance in Music Theory I, which may prevent students from withdrawing from or failing the course.
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Meredith, Tamara. "Extending the Apprenticeship through Informal Learning on Facebook: An Interpretative Phenomenological Analysis of the Lived Experiences of Music Faculty". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984183/.
Testo completoAbstract (sommario):
Facebook studio groups/pages are commonly used by applied music faculty to communicate with current students, recruit new students, share students' activities, and promote faculty members' professional performances and academic endeavors. However, the blurred lines between academic, professional performance, and social activities in the field have led to a wide variety of approaches to Facebook use by music faculty. This dissertation documents the first generation of music faculty social media users and investigates the beliefs, intent, and lived experiences of music faculty who use Facebook studio groups/pages to communicate with their students. Four music faculty were interviewed and a semester's Facebook studio group/page data collected for each faculty member. Interviews and Facebook data were analyzed using Interpretative phenomenological analysis (IPA) to identify emergent, and ultimately super-ordinate, themes from the data. The three super-ordinate themes that emerged were: Impact of Social Media on Studio Teaching and Learning, Learning through Enculturation, and Faculty Lived Experiences with Facebook Studio Groups/Pages.
Findings of the study included: faculty concerns about personal and professional risk; the observation that teaching and learning are occurring through these Facebook studio groups/pages by way of the process of enculturation, but without evidence of a Virtual Community of Practice; and, a multitude of group/page management practices developed in isolation that suggest a need for discussion/debate and training in the field to determine best practices for using Facebook studio groups/pages as an extension of the physical studio. Recommendations include training for music faculty that situates Facebook studio groups/pages within the enculturation process of students pursuing careers in music, music department development of guidelines for Facebook group/page creation and management based upon their institutions' rules and oversight procedures, and the sharing of exemplar Facebook studio groups/pages by professional music education organizations to encourage discussion of best practices for teaching and learning in informal environments.
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Olszewski, Carol A. "Experiences of Music Therapy Junior Faculty Members: A Narrative Exploration". Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu156812475885396.
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Draper, Paul A. "New learning: The challenge of flexible delivery in higher education". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/36625/1/36625_Digitised%20Thesis.pdf.
Testo completoAbstract (sommario):
Information technologies now enable people to communicate m real-time on a planetary scale. Previously isolated cultures have become interdependent in dynamic relationships of economy, government and society, where electronic information is a universal currency instantly distributed by a global web of inter-computer networks. Traditional labour theories of value are being rapidly superseded by knowledge value systems. Government and corporate rhetoric is now suffused with references to intellectual capital and employment opportunities that increasingly depend on people who can put knowledge to work in fluid, fast-changing landscapes. Thus, education has a critical and enhanced role in this new world order where knowledge is seen as the key to wealth and the engine of social change. By implication, universities are under increased pressure to develop and produce 'fast' knowledge workers by means of flexible formats of educational delivery. This dissertation examines the implications of these imperatives by undertaking an investigation into the professional development of the author as university teacher. The work responds to what has become known as the 'triple challenge' for universities, that is, i) to provide increased accessibility and student-centredness of higher education, ii) to achieve greater economy of operations but with less traditional sources of funding, and iii) to maintain quality, but also improve learning outcomes. The aim is to scrutinise the meaning of the terms 'flexible delivery' and 'lifelong learning' in the context of changing university structures and priorities. To do so, the author investigates teaching and learning practices that arise from within his specialist domains of professional music-making and education in music technology. The dissertation then argues the implications of this project for an overarching investigation of 'new learning' arising out of global change and its effects on all participants within the pedagogical arena - students, teachers, and the university as an organisational culture.
The research is located amid two sets of contestations - that which exists between corporate managers and practitioners, and that which exists between practical creativity and the traditional research culture. In keeping with the challenge of working in this shifting and fragmented terrain, the research methodology makes a postmodern break with traditional formats by employing a generative 'double-science' approach to practitioner-research. However, the project was not generated out of postmodern theory, but out of the 'messiness' inherent in teaching practice. It is not, therefore, a 'postmodern' project, despite the fact that postmodern scholarship informs recent developments in the author's thinking about pedagogical praxis. The enquiry strives to transcend the divides of 'science' and 'experience' by generating a confluence of knowledges, a co-authorship arising from a symbiosis of analytical scholarship and artistic creativiry. The action is about both 'doing practice' and 'troubling practice'. It acknowledges the non-innocence of any knowledge production where the practitioner is both the researcher and the researched. Central to the design is a double-pronged engagement in/with analysis/application whereby recurring themes are deconstructed in chaptered sub-cycles that spiral toward validation and theory-building. It is a reflexive process which works through compounding reconstructions of information, through re-comparisons and member-checks that provide multiple accounts of the data-as-evidence.
The dissertation argues a new logic that arises out of an explicit interrogation of the complexiry, uncertainty, and artistry of pedagogical practices in the context of the author's work. It demonstrates how flexible learning mechanisms can exist amid the artificially imposed boundaries of class segregation and discipline. In the exploration of these opportunities, it is shown that powerful new relationships can be mobilised by the supportive use of information technologies. An examination of collaborative teamwork, interdisciplinary groupings and cross-year activities suggests ways in which current demands for increased accessibility and student-centredness might be met. With its focus on improving practice, the research documents pedagogical activity that is not only generative of theory, but of learning and self-improvement. In its open-endedness, the dissertation also signals that this pedagogical project is unfinished, yet amenable to completion. It imagines a complete, yet on-going body of work that invites further experimentation, innovation and self-reflection in university teaching.
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Mactier, Patricia. "Learning difficulties in music education : an investigation of the difficulties a pupil who has been diagnosed with a specific learning difficulty may face when studying the three mandatory elements of the Higher Still music curriculum and suggested solut". Thesis, University of Strathclyde, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428174.
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Corley, Alton L. "The predictive influence of variables in three different academic learning environments on the intentions of music education majors to leave the degree program". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4228/.
Testo completoAbstract (sommario):
Attrition rates among students in music teacher training programs have contributed to a shortage of qualified music teachers for the nation's schools. The purpose of this study was to investigate the predictive relationship of academic variables in three different learning environments and the intent of a select population of music education majors to leave the degree program. The study drew upon the work of Tinto, Bean and Astin to form a theoretical foundation for examining variables unique to student withdrawal from the music education degree plan. Variables were examined within the context of three different learning environments: (1) applied lessons, (2) ensembles and (3) non-performance courses. Participants were 95 freshmen and sophomore music education majors at a public university who were enrolled in the music education degree program during the spring semester, 2002. Data included participant responses on the Music Student Inventory (MSI), a questionnaire developed specifically for the study, and grade data from university records. Independent variables in the study included participants' perceptions of (1) Ensemble experiences, (2) Applied lesson experiences, (3) Non-performance music course experiences, (3) Course requirements, and (4) Performance growth. Additional variables included: (1) Ensemble placement, (2) Course grades for music theory, applied lessons and aural skills, and (3) cumulative grade point averages. Gender interactions were also examined. The dependent variable in the study was intent to withdraw from the music education program. Data were analyzed using a binary logistic regression procedure. Results of the analysis indicated that none of the variables tested were statistically significant predictors of subjects' intentions to withdraw from the music education degree program. Gender interactions were not evident among the variables. Although statistically insignificant, the strongest predictor of the variables represented by questionnaire responses was lesson experiences. The ana ysis of course grades for music theory, applied lessons and aural skills failed to produce a statistically significant main effect, but applied lesson grades produced the strongest effect in the model. Results of the study suggest that students' intentions to withdraw from the music education program are related to variables other than those representing the academic component of the music education program.
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Araújo, Mauro Monteiro. "Os desafios em lecionar para a geração Y: estudo acerca da utilização de didáticas práticas, musicalidade, como ferramenta de geração de motivação e atração do interesse do aluno para o aprendizado". Master's thesis, [s.n.], 2015. http://hdl.handle.net/10284/4923.
Testo completoAbstract (sommario):
Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para a obtenção do grau de Mestre em Docência e Gestão da Educação, especialização em Administração Escolar e Administração EducacionalAtualmente, o perfil do estudante das instituições de ensino superior se difere totalmente das de alguns anos atrás, o que motivou este estudante de Mestrado a investigar empiricamente os comportamentos da geração que ocupa as cadeiras da universidade, assim como buscar soluções para que estes estudantes criassem interesse em aprender, interesse em estudar. A pesquisa se deu de forma documental, exploratória, qualitativa e aplicada em estudo de caso. Revisado a bibliografia que embasa esta teoria: gerações Baby Boomers, X, Y e X, motivação, aprendizagem, acessibilidade às faculdades brasileiras, comportamento do aluno e do professor; o foco partiu para o estudo de caso. As três hipóteses foram confirmadas: O professor do ensino superior pode atrair o interesse e gerar motivação no aluno da Geração Y; a motivação dos alunos contribui para o sucesso educativo; e a Técnica de ensino utilizada pelo professor contribuiu para o aprendizado dos alunos. A investigação concluiu que o professor planejando se, englobando o conteúdo da matéria de forma mais criativa e prática, atrelando e correlacionando a disciplina aos interesses e realidades dos estudantes e construindo um envolvimento social com os alunos, faz com que o aluno da Geração Y se interesse e se motive para o aprendizado conduzindo o processo de aprender de forma mais assertiva e natural. Currently, the profile of higher education institutions’ students is totally different from a few years ago, which motivated this Master's student to empirically investigate the behavior of the generation that holds the chairs of the university, as well as solutions for these students to create interest in learning, interest in studying. The research took an exploratory qualitative documentary form, and was applied in a case study. The literature that supports this theory was reviewed: Baby Boomers, X, Y and X generations, motivation, learning, accessibility to Brazilian colleges, student and teacher behavior; then the focus was addressed to the case study. The three hypotheses were confirmed: the higher education professor may attract interest and generate motivation in students of Generation Y; the students’ motivation contributes to the educational success; and the teaching technique used by the teacher contributed to the students’ learning. The investigation concluded that when the teacher plans, if he encompasses the content of the material in a more creative and practical way, links and correlates the subject to the interests and realities of students and builds a social engagement with students, then the Gen Y student gets interested and motivated for learning leading to a more assertive and natural learning process.
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Holgersson, Per-Henrik. "Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning". Doctoral thesis, Stockholms universitet, Kungl. Musikhögskolan i Stockholm, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-54709.
Testo completoAbstract (sommario):
The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet
Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning
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Otutumi, Cristiane Hatsue Vital 1978. "Percepção musical e a escola tradicional no Brasil : reflexões sobre o ensino e propostas para melhoria no contexto universitário". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284517.
Testo completoAbstract (sommario):
Orientador: Ricardo GoldembergTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T08:24:22Z (GMT). No. of bitstreams: 1 Otutumi_CristianeHatsueVital_D.pdf: 31212880 bytes, checksum: 5294b602ed332cd475faae46bc26d277 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa teve como objetivos maiores aprofundar discussões sobre o ensino na disciplina Percepção Musical e propor a teoria da Autorregulação da aprendizagem como norte reflexivo da matéria, tendo, ambas as ações, o intuito da sua melhoria no contexto universitário. Para isso, no capítulo um, buscou-se discutir sobre as dificuldades dos docentes - tal como a heterogeneidade de níveis de conhecimento e a falta de motivação dos alunos ao estudo -, bem como levantados cinco aspectos da escola tradicional mais citados e problematizados por autores brasileiros há cerca de dez anos. No capítulo dois, foi proposta a Autorregulação da aprendizagem em uma perspectiva sociocognitiva para as ações na disciplina, mas, também comentadas diferentes formas de estudar no meio acadêmico musical, desde recursos conhecidos como a monitoria, internet, incentivo à pesquisa, à realização de projetos vinculados à sala de aula. O capítulo três traz a pesquisa-ação como metodologia adotada, e a narrativa das duas fases de intervenção pedagógica desenvolvidas com alunos ingressantes de duas instituições públicas brasileiras, da região Sudeste e Sul do país. Foram elaboradas duas disciplinas de Percepção Musical 1 da graduação, orientadas pela Autorregulação da aprendizagem em caráter de infusão curricular, nas quais foram oferecidas diferentes atividades e textos para reflexão, em um sistema que contemplou ações voluntárias e obrigatórias. Os resultados, em depoimentos e atividades realizados pelos alunos, foram organizados, tratados e interpretados segundo a Análise de Conteúdo. Trazem informações significativas demonstrando riqueza de interação com essa nova perspectiva na matéria, com os conteúdos de autorregulação, e mostrando ser possível amenizar o caráter excessivamente técnico ou instrumental geralmente presente na disciplina. Por fim, é apresentada a autoavaliação da pesquisadora, oportunizando e revelando maior conscientização sobre o ensinar e o aprender nesse ambiente musical
Abstract: This research had as main objectives to deepen discussions on education in the discipline of Musical Perception and to propose the theory of self-regulated learning as reflective lead of matter, both aiming the purpose of their improvement in the university context. In this regard, in chapter one, we tried to discuss the difficulties of teachers - such as the heterogeneity of levels of knowledge and lack of motivation of the students to study - as well as, raised five aspects of traditional school cited by Brazilian authors about ten years. In chapter two, it was proposed the self-regulated learning in a socio-cognitive perspective for actions in the discipline, but also remark different ways of studying in the musical academic environment, since known resources as guidance personnel (monitory), internet, encouraging research, the development of projects linked to the classroom. Chapter three brings actionresearch as a methodology, and the narrative of the two phases of pedagogical intervention developed with students entering two Brazilian public institutions, from south and south-east regions. Were prepared two disciplines of Musical Perception 1 of graduation, guided by self-regulated learning on an infusion curriculum way, in which were offered different activities and texts for reflection in a system that included voluntary and compulsory actions. The results, in statements and activities made by the students, were organized, processed and interpreted according to the Content Analysis. Bring meaningful information demonstrating wealth of interaction with this new perspective, with the contents of self-regulation, and showing possible lessen of the technical or instrumental character generally present in the discipline. Finally, we present the self-rated researcher, revealing greater awareness of teaching and learning in this musical environment
Doutorado
Fundamentos Teoricos
Doutora em Música
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Lescano, Contador Juan Alfonso. "El impacto de las TIC en la formación de los estudiantes de los cursos de Lectura Musical y Entrenamiento Auditivo en una escuela de música en Lima (2009-2020)". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653254.
Testo completoAbstract (sommario):
El presente trabajo de investigación busca conocer el nivel de impacto que tienen las Tecnologías de Información y Comunicación (TIC) en la formación de los estudiantes de los cursos de Lenguaje Musical y Entrenamiento Auditivo (LEA) pertenecientes a una escuela de música en Lima. Para ello, en primer lugar, se realiza una descripción sobre las herramientas tecnológicas que están incorporándose en la educación superior musical, así como las metodologías modernas que las respaldan, como serían el b-learning, el e-learning, y el m-learning. En segundo lugar, se efectúa un análisis de los cursos de LEA a partir de su metodología aplicada y de las herramientas tecnológicas que ofrecen para el aprendizaje del estudiante. Para recopilar esta información se realizaron entrevistas a los docentes de las asignaturas, al director de la carrera, al experto en metodologías e-learning y b-learning Daniel Ravelo, y al músico y docente de la Universidad de Chile y Universidad Católica de Chile, Winston Moya. Asimismo, fueron realizadas encuestas a los alumnos de LEA, y dos focus group, uno con 9 estudiantes de quinto y sexto ciclo, y otro con 5 egresados de la carrera. Los resultados encontrados mostraron la necesidad de implementar nuevas y mejores herramientas tecnológicas a los cursos previamente mencionados, por lo que se propone finalmente el diseño de un aplicativo digital innovador.This research work seeks to know the level of impact that Information and Communication Technologies (ICT) have on the education of students of the courses of Musical Language and Auditory Training (MAT) belonging to a music school in Lima. To do this, first, a description is made about the technological tools that are being incorporated into higher music education, as well as the modern methodologies that support them, such as b-learning, e-learning, and m-learning. Secondly, an analysis of the MAT courses is carried out based on their applied methodology and of the technological tools they offer for student learning. To collect this information, interviews were conducted with the teachers of the subjects, with the director of the degree, with the expert in e-learning and b-learning methodologies Daniel Ravelo, and with the musician and teacher of the University of Chile and Catholic University of Chile, Winston Moya. Likewise, surveys were conducted on MAT students, and two focus groups, one with 9 fifth and six semester students, and another with 5 graduates from the career. The results found showed the need to implement new and better technological tools to the aforementioned courses, so the design of an innovative digital application is proposed.
Tesis
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Munive, Benites David. "Les outils numériques pour l'optimisation des apprentissages auditifs et musicaux". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL133.
Testo completoAbstract (sommario):
Cette thèse propose une revue de l'état de l'art des applications pédagogiques pour la formation auditive dans l'enseignement supérieur et explore des stratégies d'optimisation potentielles pour ces applications. Nous avons effectué une analyse de la manière dont ces applications sont utilisées du point de vue des étudiants, des enseignants et des développeurs. L'objectif est d'identifier des stratégies pour optimiser le développement et l'utilisation de ces applications dans les programmes éducatifs. En particulier, nous avons étudié l'interaction entre la formation auditive, la technologie d'apprentissage, la cognition musicale et les théories de l'apprentissage. Notre recherche vise à combler l'écart entre les exigences pédagogiques de l'entraînement auditif et les avancées technologiques en menant une analyse multidisciplinaire. Nous traitons en premier lieu l'évolution historique de l'enseignement des compétences auditives, en commençant par retracer ses racines dans le solfège, en passant par la notation et la théorie musicales et en terminant par sa forme spécialisée actuelle en France. Les théories de l'apprentissage liées au développement des compétences auditives, à la cognition musicale et à l'apprentissage en ligne ont également été examinées. Après cette revue approfondie de la littérature, nous définissons des lignes directrices pour la conception d'applications pédagogiques pour la formation auditive. Nous complétons notre proposition par des exemples d'exercices qui utilisent ces lignes directrices pour améliorer les apprentissages. Enfin, nous présentons les résultats de notre approche expérimentale afin d'évaluer la pertinence de nos idées en tant qu'alternative innovante aux méthodes d'enseignement traditionnelles, en offrant de nouvelles perspectives sur la manière dont la technologie peut améliorer le processus d'apprentissage auditif. Plusieurs facteurs doivent cependant être pris en compte pour parvenir à optimiser ces applications : l'inclusion des théories d'apprentissage basées sur les neurosciences, la prise en compte des besoins spécifiques des enseignants et des étudiants et la mise en œuvre d'une approche pédagogique qui reflète la complexité du traitement auditifThis thesis presents a review of the current state of learning applications for higher aural education and potential optimization strategies. An analysis of how these applications are used is conducted from the point of view of students, teachers, and developers. The goal is to identify ways to optimize the development and use of these applications in educational programs. In particular, we study the interaction between aural education, learning technology, music cognition, and learning theories. The research aims to bridge the gap between the educational requirements of aural training and technological advancements by conducting a multi-perspective analysis. The historical evolution of aural skills education was studied, starting from tracing its roots in "solfège", passing by its connection to music notation and theory, and finishing with its current specialized form in France. Learning theories related to auditory skills development, music cognition, and e-learning were also reviewed. After a deep review of the literature in the field, we define possible guidelines for designing aural learning applications for aural education. In addition, the thesis proposes sample exercises that utilize these guidelines for supporting learning. We conducted an experimental approach to evaluate our ideas as a novel alternative to traditional teaching methods, providing new perspectives on how technology can improve the aural learning process. However, several factors must be considered to achieve such optimization: include learning theories based on neuroscience, consider the specific requirements of teachers and students, and implement a pedagogical approach that reflects the complexity of auditory processing. Finally, we want to emphasize that instructors, students, developers, and institutions must engage in robust dialogue to create a more inclusive educational environment using digital applications
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Scalise, David. "THE EFFECTS OF LEARNING PRACTICES ON MOTIVATION AND ENGAGEMENT AMONG HIGH SCHOOL INSTRUMENTALISTS". Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1433543547.
Testo completo
19
Hartz, Barry C. "Cultivating Individual Musicianship and Ensemble Performance Through Notation-Free Learning in Three High School Band Programs". Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1435244359.
Testo completo
20
Furby, Victoria J. "The Effects of Learning Tonal Harmonic Function on the Sight Singing Skill of High School Students". The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1377257565.
Testo completo
21
Snead, Todd Edwin. "Dichotomous Musical Worlds: Interactions between the Musical Lives of Adolescents and School Music-Learning Culture". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/msit_diss/53.
Testo completoAbstract (sommario):
This ethnographic study investigated the interactions between the musical lives of adolescents and school music-learning culture in a suburban high school. Participants included two music teachers and seven adolescents. Framed within a symbolic interactionist perspective (Blumer, 1969), data were collected via methods consistent with qualitative inquiry, including an innovative data collection technique utilizing music elicitation interviews with adolescents. Findings emerged from the data via thematic analysis (Grbich, 2007). Findings indicate limited interactions between the musical lives of adolescents and school music-learning culture because participants portrayed and experienced a dichotomy between the musical assumptions and practices inside and outside of school. Interactions occurred when participants engaged in sharing musical capital that overcame segmentation among music learning, out-of-school experience, and elective participation in secondary school music programs. Supporting findings indicate that the school music-learning culture derived from teachers' negotiating between two major influences: 1) their own musical values, which were based on their musical backgrounds and the long-established professional tradition of formal performance emphases in school music programs; and 2) the musical values of their students. Adolescents self-defined their musical lives as largely informal musical activities commonly experienced outside of school. They expressed a wealth of personal musical knowledge and described their affinity for music across four dimensions: 1) expression and feeling, 2) relevance, 3) quality in artistry and craftsmanship, and 4) diversity. Three themes describe how adolescents’ personal relationships with music influenced their beliefs and choices regarding music participation and learning: 1) musical roots: nurturing personal and social connections with music, 2) motivated learning: seeking relevance and challenge, and 3) finding a voice: striving toward musical independence. Findings indicate that music teachers may enhance interactions between adolescents’ musical lives and school music-learning culture by acknowledging students’ musical engagement outside of school, honoring their personal musical knowledge and interests, and making them collaborators in developing music-learning models rooted in their affinity for, and personal relationships with, music.
22
Hankins, Elizabeth Aylmer. "An Exploration of Musical Habits of Alumni from “The Lakewood Project” and How They Musick After High School". Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1492171182633657.
Testo completo
23
Arasi, Melissa Tyson. "Adult Reflections on a High School Choral Music Program: Perceptions of Meaning and Lifelong Influence". Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/msit_diss/8.
Testo completoAbstract (sommario):
The purpose of this study was to investigate the lifelong meaning and influence of participation in a high school choral music program. This study described and analyzed the reflections of adults who participated in one high school choral program selected by the researcher as meeting high standards of practice in choral music. The eight participants, who were involved in the choral program for at least three years and pursued careers in fields other than music, were selected via criterion sampling and interviewed regarding their experiences in chorus and how those experiences may have influenced their lives. Semi-structured interviews were the primary method of investigation in this case study. The first interview began with a broad-scope, grand-tour question. Prior to the second interview, former-student participants reviewed transcriptions of the first interview. The second interview consisted of specific questioning around the possible lifelong influence of their choral experience. During the second interview, each former-student participant was asked to complete an evaluation survey of effective teaching strategies/dimensions based on their memories of their choral director. The data collection process took place over a period of approximately five months. The school’s choral director was observed to verify teaching strategies consistent with criteria established by the researcher and to provide contextual data for triangulation of former-student participant data. Interview data, field notes, and archival information were coded for analysis by relevant themes and narratives were crafted. Findings suggested that the lifelong influence of this high school choral program was related to multiple social aspects, including a sense of pride and achievement, as well as to the learned ability to critique and evaluate. Participants valued the high expectations of the choral director and the exposure to many genres of music. Data revealed that some self-perceived outcomes of the program, such as critical thinking and self-confidence, were influential in the development of lifelong learning skills. Findings implied that traditional performing ensembles in secondary schools may not provide the greatest opportunity for engaging school musical experiences that encourage lifelong involvement in music. Additionally, the findings revealed that extra-musical benefits of the program outweighed the musical influence in adulthood.
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Giotta, Dennis P. "Agency and Identity: A Collective Case Study of the Learning Experiences of High School Students in a Music Technology Course". Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1433517567.
Testo completo
25
Carver, Joseph Daniel. "An Investigation into the Musical and Social Benefits of High School Marching Band Participation". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155557359362037.
Testo completo
26
Riley, Emma. "The effects of a Cuban musical exchange trip on the musical journeys of students from a Sydney high school". Thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/2177.
Testo completoAbstract (sommario):
This ethnographic study provides a qualitative account and analysis of the ways in which students’ musical journeys are enhanced through cross cultural educational travel. Narrative reporting by Sydney High School students and other participants in a musical exchange trip to Cuba in December, 2006, highlights the learning experiences and types of learning which contribute to making such trips a context for deep learning. The rich data collected and analysed reveals observable personal and musical transformation as a result of the experiences and learning undertaken on the trip. A model for deep learning related to cross cultural exchange is developed, learning which emerges from the interaction between learning experience and types of learning that take place on such trips, and which emphasises experiential, reflective and serendipitous learning. The study includes recommendations deriving from cross cultural engagement and music exchange that relate to the design of effective and motivating learning experiences for students in more common music education contexts.
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Compton, Karen R. "AN INVESTIGATION OF THE EFFECTIVENESS OF COOPERATIVE LEARNING AS A REHEARSAL TECHNIQUE FOR IMPROVING HIGH SCHOOL BAND PERFORMANCE". UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/38.
Testo completoAbstract (sommario):
The purpose of the present study was to investigate the effectiveness of cooperative learning as a rehearsal technique on high school full-band performance compared to traditional rehearsal methods. Two intact high school bands from the same Kentucky Music Educators Association District participated in the study. One band served as the treatment group using cooperative learning rehearsal techniques and the other group served as the control group using traditional rehearsal methods in a quasi-experimental non-equivalent control group design.
The study spanned six weeks in which both schools prepared the same performance piece, Variants by Jack Bullock. The groups were pre-tested using a recording of their recent Kentucky Music Educators Association (KMEA) concert festival performance to ensure no statistically significant difference existed in performance ability. The bands rehearsed the study piece for 15-20 minutes two times per week for a total of 12 rehearsals. The bands were also asked to play a researcher-composed warm-up prior to each rehearsal of the performance piece. At the end of the study, the groups recorded final performances of the piece and the warm-up.
The full-band performances were measured using the Performance Evaluation Form. Recordings of all tests were sent to four independent judges for evaluation. Statistically significant differences were found between the two groups on both post-test recordings, with the treatment group scoring higher than the control group. Additionally, the within-group comparisons resulted in statistically significant differences for both groups. The treatment group scored higher on the study piece than the pre-test while the control group scored lower on the study piece than their pre-test.
Descriptive and qualitative data were gathered on student self-assessment of performance and the implementation of cooperative learning into high school band. Results indicate that students in the cooperative learning treatment group varied greatly in ability to self-assess and that those abilities progressed over time. Students also engaged in the learning activities in a variety of ways. Factors that must be taken into consideration when implementing cooperative learning in a high school ensemble include the structure of the cooperative activities, the role of the band director, and the usage of time.
28
Nickel, Bethany J. "High School Band Communities of Practice During COVID-19: A Multiple Case Study". Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1623155976075894.
Testo completo
29
Sjöberg, Erik. "Realia i textböcker : En undersökning av realia i textböcker i spanska för årskurs 7–9". Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74285.
Testo completoAbstract (sommario):
The purpose of this study is to find out to what extent and what frequency realia is highlighted in Spanish textbooks for year 7–9. As realia is a wide concept this study has focused on geography, history and music. For this study, a content analysis of both texts and images in teaching materials for year 7-9 has been conducted in order to detect what types of realia are being highlighted and how. The results showed that both teaching materials give a large amount of realia hence a comparison has also been made. In conclusion, all the books in both series do highlight realia, however, they do so in different ways. This means that it matters for the realia education which teaching material is used on an everyday basis, but also that, regardless of what series is used for teaching, the other can serve as a complement.Syftet med den här studien är att få reda på i vilken bredd och med vilken frekvens man tar upp realia i textböcker i spanska för årskurs 7–9. Då realia är ett vitt begrepp har studien fokuserat på geografi, historia och musik. För undersökningen har en innehållsanalys av både texter och bilder i läromedel i spanska för årskurs 7–9 genomförts för att ta reda på vilken typ av realia som tas upp och hur. Resultatet visade att båda läromedelsserierna ger en stor mängd realia och en jämförelse mellan läromedlen har också gjorts. Som slutsats kan man se att alla böcker i serierna tar upp realia men att det görs på olika sätt. Detta bidrar till att valet av läromedel för den vardagliga undervisningen spelar roll för undervisningen av realia men även att oberoende av vilken av dessa serier man använder kan den andra fungera som komplement till undervisningen.
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TEIXEIRA, Levi Trindade. "Referenciais para o ensino de violão na formação do musicoterapeuta". Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2690.
Testo completoAbstract (sommario):
Made available in DSpace on 2014-07-29T16:25:09Z (GMT). No. of bitstreams: 1
Dissert Levi T Teixeira.pdf: 521768 bytes, checksum: c13dbf827089ae94e2f3671f2efaa8b2 (MD5)
Previous issue date: 2010-04-30This work, in view of encompassing a interdisciplinary research, presents as theoretical references, knowledge in the areas of high learning education, Music Therapy and Musical Education. In general, the guitar teacher, while involved in the teaching of Music Therapy is frequently faced with specific challenges in the area where the guitar traditional teaching methods, popular or erudite neglect. Thus, some questions have been raised, amongst them: 1) Would the guitar graduation in Music therapy offer the graduate the necessary skills for him to face the real demands of the profession? 2) Which playing abilities would the music therapist have to achieve? 3) Which contents the music educator do have to know in Music therapy to orient and contextualize his classes? In order to respond to these questions, this research has the general objective of describing, analyzing and comparing knowledge in the area of Musical Education as well as in Music Therapy in a interdisciplinary perspective for instrumental graduation guitar practice of the graduate and the music therapist. For this purpose, it made use of a collection of data performed into two phases: 1) structured interviews of professionals in Music therapy possessing more than three years of experience, pupils in Music Therapy and guitar teachers involved in the graduation of music therapists; 2) participating observation in three fields of training correlated to the EMAC-UFG graduation course in Music Therapy. The data processing activity took place by means of a contents analysis and, later on, those data have been divided in categories concerning the recurrent information. In this manner, at the end of this analysis, ways to the guitar teaching became evident in accordance with the needs in the area of Music Therapy.
Por se tratar de uma pesquisa interdisciplinar, este trabalho apresenta como referenciais teóricos conhecimentos das áreas de Educação em nível superior, Musicoterapia e Educação Musical. Em geral, o professor de violão nos cursos de Musicoterapia é frequentemente confrontado com exigências específicas da área que os métodos de ensino tradicionais do instrumento de caráter tanto popular como erudito negligenciam. Dessa forma, alguns questionamentos foram levantados, entre eles: 1) Será que a formação violonística oferecida ao graduando em Musicoterapia o capacita para as reais necessidades de sua profissão? 2) Quais habilidades violonísticas o musicoterapeuta precisa desenvolver? 3) Quais conteúdos o educador musical precisa conhecer da área de Musicoterapia para nortear e contextualizar suas aulas? Visando responder a essas questões, esta pesquisa teve como objetivo geral descrever, analisar e comparar conhecimentos da área de Educação Musical e os de Musicoterapia numa perspectiva interdisciplinar para a formação instrumental prática do violão do graduando e do profissional musicoterapeuta. Para tanto, valeu-se da coleta de dados realizada em duas etapas: 1) aplicação de entrevistas estruturadas para profissionais musicoterapeutas com mais de três anos de experiência, alunos estagiários em Musicoterapia e professores de violão inseridos na formação do musicoterapeuta; 2) observação participante em três campos de estágio vinculados ao curso de graduação em Musicoterapia da EMAC-UFG. O processamento dos dados realizou-se por meio da análise de conteúdo e, posteriormente, foram estabelecidos por categorias a partir dos dados recorrentes. Dessa forma, ao final dessa análise, evidenciaram-se caminhos para o ensino de violão segundo as necessidades da área de Musicoterapia.
31
Aronson, Gregory. "Guided By Voices : Living and Learning Music". Thesis, 2016. https://vuir.vu.edu.au/33180/.
Testo completoAbstract (sommario):
In my role as a music educator I have observed that students experience significant challenges, and even disengagement and disillusionment, as they attempt to negotiate tertiary music study. This study aims therefore to explore the music backgrounds and learning experiences of music students undertaking tertiary music study at VU in order to evaluate why students might not be enjoying their time at university as much as they perhaps ought to be.
32
Liu, Si-Yao, e 劉思遙. "Music creativity and learning motivation of high school students". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/26dcrm.
Testo completoAbstract (sommario):
博士國立政治大學
教育學系
107
This study explores the music creativity of senior high school students under the background of basic psychological needs theory. Firstly, it integrates the connotation and extension of music creativity on the basis of literature discussion, and develops research tools. Secondly, it explores the effect of experimental courses on students' basic psychological need satisfaction, learning motivations and music creativity. Finally, through quantitative methods were applied to clarify the relationships among basic psychological needs, learning motivation and musical creativity. The conclusions are as follows: 1、The "BPNT Music Creativity Course" can raise the basic psychological needs of students. 2、Sense of autonomy can be improved by teacher’s autonomy support , and can positively predict learning motivation. 3、Sense of relatedness can be improved by teacher’s relatedness support, and can positively predict learning motivation. 4、Student's learning motivation can positively predict performance of music creativity. 5、Basic psychological needs can indirectly predict the performance of music creativity through learning motivation. On this basis, suggestions are made for curriculum and teaching, and for follow-up research.
33
Lai, Ching-Yi, e 賴璟儀. "A Survey of Students’ Learning Satisfaction of the Music Theory Subject at Junior High Music -Talented Classes". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/c2p6j2.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂學系
106
This study aimed to understand the students’ learning satisfaction to music theory related subjects at junior high music -talented classes. In this research, the learning satisfaction was discussed by four parts of “environment,” “course,” “teaching method,” and “learning achievement.” It also explored the differences caused by background variables. In this research, a survey was designed and employed to investigate the students’ learning satisfaction to music theory related subjects at junior high music -talented classes. The constructed survey was distributed to 830 junior high music -talented classes students. Among 794 received surveys, 775 copies contained valid data. All survey results were processed through data analyses including the descriptive statistics, independence t-test, one-way ANOVA, and Scheffe’ Post Hoc analysis method, etc. Summaries of the survey results were listed as follows: 1.Regarding the students’ learning satisfaction to music theory related subjects at junior high music -talented classes, the overall learning satisfaction reached the level of “satisfying.” 2.The “gender” and “Major” factors did not influence the students’ learning satisfaction either from the integral perspectives or from individual aspects. 3.The factor of “area” showed differences under categories including “integral perspectives” and “environment.” 4.The factor of “school” showed differences under category of “environment.” 5.The factor of “motive to attend music -talented classes” showed differences under categories including “integral perspectives,” “course,” and “learning achievement.” 6.The factor of “music-learning background” showed differences under category of “course.” 7.The factor of “after-school practice” showed differences under categories including “integral perspectives,” “environment” and “learning achievement.” 8.The factor of “extra music theory learning” showed differences under categories including “environment” and “learning achievement.” 9.The factor of “willingness for continuous study” showed differences under categories including “integral perspectives,” “environment” and “course.” 10.The students at junior high music -talented classes thought that the difficult parts and simple parts in music theory roughly matched the arrangement of music theory books. Finally, based on these research results, this study addresses suggestions accordingly for the benefit of supervising organizations of education, schools, teachers, and future studies.
34
Harrington, William James. "Collaborative learning among high school students in a chamber music setting". Thesis, 2016. https://hdl.handle.net/2144/16834.
Testo completoAbstract (sommario):
This study is a qualitative case study of collaborative learning in two chamber music ensembles in a public high school orchestra program. Collaborative learning, as applied to chamber music education, is a setting in which musicians engage in a common musical task and are accountable to the other members of the group. Using social constructivism as a conceptual framework, I sought to explore student collaboration within chamber music ensembles through social interaction and the development of creative rehearsal strategies. Attention was directed to the way in which students identified problems and developed rehearsal strategies to solve them. The following research questions guided this study: (1) How do students in the selected chamber music ensembles engage in collaborative learning? (2) What are the learning structures that enable collaboration within each group? (3) How do the students interact with each other in the selected chamber music ensembles? (4) What are the social structures that enable collaborative learning within each group?
Using Mediated Discourse Analysis (MDA) I analyzed and interpreted the collaborative learning that occurred in the musical development of these high school chamber musicians. Data collection occurred during one semester of instruction (five months) and included individual interviews, focus group interviews, and observations, which included field-notes and digital video of rehearsals. The research methodology used in this study comprised the “interpretive–descriptive” method and focused on turning the participants’ words and actions into the development of potential themes and implications. My approach used a three-step process to analyze data in which concepts were coded relating to the phenomenon of collaborative and mutual learning as well as sociocultural mediation.
In this study, I examined the collaborative learning process among the student participants. My study was further informed by the participants’ perceptions of their own collaborative learning processes. Themes found were learning structures that allowed for collaboration in interpretation and problem solving, and social structures that enabled peer pressure, socialization and a work ethic. Results indicated that when given the opportunity to work in small groups toward pre-determined musical goals, the participants in this study: (1) worked with internal group leaders to identify musical problems and develop creative rehearsal strategies to solve them, (2) used positive and negative peer pressure that created an organic social structure which contributed to team efficacy, and (3) showed a willingness to work harder toward group goals when empowered with the responsibility for their own learning.
The results of this study suggest that a collaborative learning environment that includes small groups of heterogeneously mixed students can advance student learning in multiple ways. The traditional teacher centered learning environment may not be the most effective learning environment because it may limit student development in one or more capacities, including decision making and social development. Recognition of the active, purposeful character of human development and respect for the shared understanding (socially distributed knowledge) that enables peers to teach one another ought to shape the music educator’s role and function; to serve as a musical guide, facilitator, and source of social support. Based on the results of this study, it appears that it may be possible to adapt collaborative learning to diverse instructional situations regardless of the heterogeneous makeup of the learning group.
35
Tsai, Yun-Chin, e 蔡沄秦. "A Survey Study of the Music Learning Attitudes among Junior High School Students Participating in Music Creating Curriculum". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/69853659103426088784.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂學系
103
The purpose of this study was to investigate how junior high school students, after participating in music creating curriculum, differed in their overall music learning attitudes. The construct of music learning attitude consisted in four aspects, namely, learning motivation, learning habit, learning environment as well as self-concept. This study also compared how gender, parenting style, socioeconomic status, time spent in extra-curricular music learning affected students’ attitudes. The method of survey study was adopted. Eighth-grade and ninth-grade students from five junior high schools formed the subjects of this study. The researcher rearranged the “Questionnaire of Music Creating Curriculum” to be the research instrument. A total of 467 student subjects were reached through snowball sampling, among which 56 were excluded in formal survey study for their taking part in pre-study. Only 311 valid samples were obtained. The findings were stated as follows: First, regarding the aspect of learning motivation, students most agreed that music creating curriculum made them like music courses more and caused them to be willing to take music knowledge learning more seriously. They least agreed that they would actively engage in music creating after school. Second, in terms of the aspect of learning habit, students most agreed that music creating curriculum helped them to effectively complete in-class tasks. They least trusted that they would do self-leaning after school. Third, concerning the aspect of learning environment, students most agreed that music creating curriculum fostered a better classroom learning atmosphere, and that the guidance teachers provided assisted their learning. They least thought that the current classroom facility and teaching strategies were helpful for their enjoying participating in music creating. Fourth, when it comes to the aspect of self-concept, students most consented to that music creating curriculum helped for their music learning. They least agreed that they could do music creating independently after school. Fifth, students consented to that their overall music learning attitudes changed because of music creating curriculum, while the degree of influence resulted sequentially from the aspects of learning environment, self-concept, and learning motivation as well as learning habit. Sixth, the variables of gender, parenting style and time spent in extra-curricular music learning did cause significant differences in students’ music learning attitude, with time spent in extra-curricular music learning exerted most impact. Seventh, the variable of socioeconomic status did not cause significant differences in students’ music learning attitude. Related suggestions were proposed based on research findings for future references. Keywords: music creating curriculum, music learning attitude
36
金惠琳. "Apply curriculum project of learning motivation to junior high school music teaching". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/99830368850747653244.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂學系在職進修碩士班
94
The main purpose of the study was to explore the effects of learning motivation curriculum project on music teaching for eighth graders. Case study method was adopted, and the study carried out for eight weeks. The research tools were “learning motivation scale”, “reflective teaching journal”, and “interview records”. The researcher used “T-test” and ”Correlate test” for the quantitative data analysis, and ”document analysis method”; “constant comparison method” and “triangulation method” for qualitative data analysis. The results of this study were listed as following: 1. The learning motivation theory based on cognitive psychology can be integrated into music curriculum design. a. The angles of music curriculum design can link up with learning motivation theory cognitive psychology. b. Principles of improving learning motivation can categorize into three domains, including “teacher behavior”,” teaching situation”, “learning characteristic” for curriculum design. c. Teachers can observe and judge the reaction of students’ learning motivation by Eccles’s “expectancy-value” model. 2. This curriculum project can promote the learning motivation. a. After the curriculum project, the students’ motivation developed evidently. b. After the curriculum project, the students’ motivation of “value components”,” expectancy components” and “the teaching skill of improving learning motivation” were encouraged appreciably. c. The students’ learning motivation has high correlation between “value components”,” expectancy components” and “the teaching skill of improving learning motivation”. 3. Reflections on this research: a. We can use appropriately teaching skill to arouse the learning motivation, e.g.: controlling the teaching time appositely, dividing into groups adequately, augmenting the proportion of implementation activities,; using the multimedia materials. b. The enjoyment and acquirement of courses, the interaction between the teacher and students, have influences on the learning motivation. c. Learning motivation won’t affected by different activities of music teaching. d. Heterogeneous grouping should be used to avert the gender influence for learning motivation. e. Multimedia materials can inspire the learning motivation, but the playing time should be controlled deliberately.
37
Shyu, Tzer-Jeau, e 徐澤佼. "A Study on Relationship between Vocational Senior High School Students’ Music Learning Attitudes and Music Learning Achievements — The Case of the Schools in Tainan Area". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/39852011669891181033.
Testo completoAbstract (sommario):
碩士致遠管理學院
教育研究所
94
The purpose of this study was to investigate the relationship between music learning attitudes and music learning achievements in vocational senior high school students so that teachers as well as the educational officials can understand students’ music learning situations and improve the teaching effectiveness in music instructions. The research methods primarily conferred theory survey about music learning attitudes and learning achievements; then, used questionnaire method to investigate 11 public and private vocational senior high schools in Tainan area, including Tainan County and Tainan City. There were 1,071 valid questionnaires (93 % yielded from the samples involved in this study) from students in the above vocational senior high schools. For the empirical study, the researcher developed a tool called “Vocational Senior High School Students’ Music Learning General Situation Questionnaire” to collect data. The statistical methods employed in this study were（1）descriptive statistics;（2）factor analysis;（3）t-test;（4）one-way ANOVA ;（5）Pearson’s Correlation;（6）step-wise multiple regression. The analysis of the data revealed the following main findings: 1. The vocational senior high school students’ music learning attitudes were active. 2. The vocational senior high school students’ music learning achievements should be enhanced. 3. The public vocational senior high school students’ music learning attitudes were more active than private school students’. 4. The grade one vocational senior high school students’ music learning attitudes were better than grade two and grade three students’. 5. The female vocational senior high school students’ music learning attitudes were more active than the males’. 6 .Different majors of vocational senior high school students had significant differences in music learning attitudes; students who majoring in art were the most active, while agricultural and industrial students were the most passive. 7. Different parental educational backgrounds of vocational senior high school students had significant differences; students whose parents had university and master degrees were more active in music learning attitudes. 8. Different parental occupations of senior high school students had significant differences in self- music learning attitude. Students whose parents in high positions and work in a professional field had better music learning attitudes. 9. Students with different family incomes had significant differences. 10. Students with educational experiences in off-campus music class were more active in music learning attitudes. 11. With moderate predicting power, students’ personal background variables could collaboratively predict vocational senior high school students’ music learning attitudes; among them, the majors the students were majoring in were the most influential. 12. There were significant correlation between vocational senior high school students’ music learning attitudes and music learning achievements. The more active the students’ music learning attitudes, the better music learning achievements the students got. 13. With strong predicting power, music learning attitudes could predict vocational senior high school students’ music learning achievements. Based on the findings mentioned above, this study proposed suggestions as follows: 1. Suggestions for educational authorities a. To reframe vocational senior high school music curriculum standard. b. To increase teaching hours of vocational senior high school artistic education. c. To have a better plan in music teachers’ training. d. To lay emphasis on music educational assessment. e. To supply sufficient teaching facilities and equipments for artistic education. 2. Suggestions for vocational senior high schools a. To construct artistic curriculum study groups. b. To update audio-visual equipments for music instructions. c. To promote music teachers’ quality as well as responsibilities and rights. d. To strengthen music teachers’ abilities in developing music subject matters so as to enhance their teaching effectiveness. e. To set up more student music clubs and encourage teachers and students to participate in community musical activities. 3. Suggestions for music teachers a. To be an effective teacher. b. To connect computer information systems and music teaching together so as to promote students’ music learning achievements. c. To use individualized music instructions to teach different students. d. To select music subject matters from students’ daily life so as to increase students’ interesting in music learning. e. To create a well music learning environment on campus. 4. Suggestions for the further studies a. The subjects can extend to elementary school students, junior high school students as well as senior comprehensive high school students so as to have a comparative analysis among different school students’ music learning attitudes and learning achievements. b. The methods of the study can include qualitative as well as quantitative methods. c. The variables of the study can include students’ music aptitude, students’ prior music learning achievements, and/or school administrative supports in music instructions, and so on.
38
Chang, Yu-Ping, e 張育萍. "A Study on the effect of the learning-pressure release under junior high school’s music education and music interest". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/48282756373047055822.
Testo completoAbstract (sommario):
碩士義守大學
管理學院管理碩士在職專班
99
This research focuses on the effect of learning-pressure release under junior high school’s music education and music interest for the Fengjia Junior High School students. We use experiment questionnaire survey to test our topic, and we sends out 255 questionnaires, and all are effective returns-ratio 100%. The research results show: jthe individual preference will be not different from music learning experience, but different from the grades, the sex and the mass organization participating; kthe individual preference shows girls are more preference than boys in classical music, and popular piano song and Chinese popular song have the same result. But all students do not like traditional music; lthe early singer, Deng Li-Jun, and traditional music (pi-pa program) have more effects to learning-pressure release.
39
Yeh, Shu-Chen, e 葉淑真. "AN EXPERIMENTAL STUDY ON COOPERATIVE LEARNING IN MUSIC TEACHING AT SENIOR HIGH SCHOOL". Thesis, 1993. http://ndltd.ncl.edu.tw/handle/98397136420328000392.
Testo completo
40
HUANG, YUAN-CHEN, e 黃元禎. "Junior High School Students’ Motivations and Choice Behavior of Participating Extracurricular Music Learning". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3kc9bg.
Testo completoAbstract (sommario):
碩士國立高雄師範大學
表演藝術碩士學位學程
106
Abstract In the 21st century, the job opportunities in all the industrial sectors in Taiwan are nearing saturation. Therefore, many parents have been developing their children’s skills from a young age in order to improve their competitiveness. As Taiwanese society faces the a decreasing birthrate, many schools strive to improve the students’ chance of advancement in higher education, so the school life is mainly focused on the coursework. It is a common for students to choose to learn talents after class. However, it is not easy for junior high students who are facing the pressure of academic work to do so. This thesis analyzes the motivation and choice behavior of after-school music talents learning of the middle school students, as music learning requires quite an amount of time of self-practice to obtain the effect and there are fewer studies of this kind (regarding the motivation and choice behavior of music learning as an extra-curricular activity) with junior-high students being the subjects. Therefore, it is expected that this study will provide a deeper insight into the behaviors of music learning after school by the junior-high school student and provide the necessary information and advice for parents, musicians, teachers and music talent classes. The subjects were students who were enrolled in junior high schools in the school year of 2017 and learned music after school. They were selected by random sampling. In order to achieve the research objective, this study collected data and conducted research through questionnaires, using IBM SPSS Statistics 20 Analysis. A total of 617 questionnaires were collected with the effective sample size of 498. The results showed that the intrinsic motivation of the junior high school students was greater than the extrinsic motivation. Most of them hope that the after-school music learning will enrich their knowledge and life, and release their life pressure. For choosing to learn music after school, the priority factor to be considered is the environment and facilities of the learning place. They are more likely to continue to learn music after school based on the interaction between teachers and students and their own will.
41
Chiang, Ying-Ying, e 江盈瑩. "The Influence of Cooperative Learning Toward Junior High School Students’ Flow Experience and Learning Satisfaction in Music Class". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/71023384797383066638.
Testo completoAbstract (sommario):
碩士亞洲大學
休閒與遊憩管理學系碩士在職專班
102
Cooperative Learning is a method to contribute to group partners’ trust and cooperation, moreover, work hard for personal and group progress. The purpose of the method is to provide a cooperative learning environment, in order to reach certain goals such as cognition, emotions and skills. The main steps of Student’s Team Achievement Division (STAD) include: (1) giving lecture to the whole class (2) grouping (3)quizzing (4) the progress of personal grades (5) praising the groups. This method is different from Traditional Teaching Method (TTM). The purpose of this study is to probe into the effect on the stepping in of Cooperative Learning to 7th graders’ recorder education. The effects include the flow experience and the learning satisfaction gained from class. The study adopt Quasi-Experiment Designs, sampling on two classes of 7th grade students from Shalu Junior High School of Taichung City. The object of study, including the 59 students in total, are separate into experimental group of 30 persons(Cooperative Learning) and control group of 29 persons (TTM).Teaching experiment carry on 4 weeks.(totally 8 classes, each week 2 classes, every single class 45 minutes) Then conducted tests with flow experience and learning satisfactin during a week of the back and forth of the experiment. Below is the result of the research. 1. Cooperative learning groups " flow experience " the scales of "unity of knowledge", "balance of challenges and skills," "self into the experience," "a sense of timing shift", "concentrate", and overall flow experience significantly progress. 2.Cooperative learning groups "learning satisfaction" subscale of "Music courses" in "teaching", "human relationships", "Environmental Equipment", "academic performance", and overall satisfaction with significant learning progress. 3.Traditional teaching group " flow experience " the scales of "unity of knowledge", "Challenges and balance skills," "self into the experience," "a sense of timing shift", "concentrate", and overall flow experience insignificant progress. 4.Traditional teaching groups "learning satisfaction" sub-scales of the "Music courses" in "teaching", "human relationships", "Environmental Equipment", "academic performance", and the overall learning satisfaction insignificant progress.
42
Lin, Chinhan, e 林清安. "Effects of MUSIC Model on Junior High School Students’ Learning Climate， and Learning Beliefs about Electricity and Magnetism". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37449589175850697987.
Testo completoAbstract (sommario):
碩士大葉大學
教育專業發展研究所
100
This study investigated the influence of a particular instruction, MUSIC Model, on promoting learning climate, and learning beliefs about electricity and Magnetism for the ninth grade students, and sixty three students of grade ninth participated in the study. Variables of interest were students’ learning climate and learning beliefs, teachers’ reported use of MUSIC Model for designing eight weeks MUSIC Model teaching projects. A nonequivalent pre-test, post-test, follow-up test control group design was employed. The finding showed a statistically significant interaction of MUSIC Model project for students’ learning climate, and learning beliefs. For all outcome variables, the MUSIC model group showed significantly greater gains from pre-test to post-test and follow-up test than the control group. The findings have implications for both practice and research.
43
Lee, Mei-Feng, e 李梅鳳. "A Survey Study of Music Learning Attitude for Music Talented Class Orchestra Students in Senior High School in Taoyuan Area". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/33772570749531931187.
Testo completo
44
Wu, Mei-Chih, e 吳美枝. "A Research on the Learning Effect of Cooperative Learning Applied to Music Theory Teaching of the Junior High School". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/60004120145997113773.
Testo completoAbstract (sommario):
碩士國立臺中教育大學
教育學系課程與教學碩士班
100
The main purpose of this research is to investigate the effects of the cooperative learning applied to music theory teaching of the junior high school. A nonequivalent pretest-posttest quasi-experimental design was adopted. Students of two classes in the junior high school were assigned into experimental group and control group. The experimental group was taught by the method of cooperative learning, and the control group was taught by the method of traditonal teaching. All the teaching contents, teacher, time length, and classroom for the students of the two groups were the same, and the experimental treatment had lasted for 9 weeks in the amout of 18 classes. Research data were collected through the self-designed instruments, including “ Music Theory Test A ”, “ Music Theory Test B”, “Questionnaire of Students’ Opinion about Cooperative Learning”…etc. The main findings of this research are listed below： 1. The learning achievements of experimental group were significantly effective in enhancing students’ ability of the basic music theory. But, there were no statistical differences between both the learning achievements of the experimental and the control groups. 2. Applying the Cooperative Learning to the music theory teaching of the junior high School Students was effective in increasing students’ learning motivation, cultivating the spirit of mutual assistance and cooperation among the peers, and producing the positive impact for the classroom climate. 3. Applying the Cooperative Learning to the music theory teaching of the junior high School Students was effective in promoting researcher’s expertise and changing her belief in teaching. According to the results, some suggestions were made for music teaching and future researches.
45
Boyce, Derek S. "Voices of steel: a case study of a Pennsylvania high school steel band". Thesis, 2015. https://hdl.handle.net/2144/15202.
Testo completoAbstract (sommario):
Steel bands have become more prevalent in U.S. schools since the early 1980's.
Through discussions with several of the leading steelpan builders in the United States, it
is now estimated that there are over 600 steel bands in U.S. schools and universities. An
appealing aspect of these ensembles is that they attract a wide range of students, from
accomplished instrumentalists to students with no musical background. Due to their
uniqueness in school music programs, steel bands are often extra-curricular activities but
are often highly sought after for performances.
This case study examines students' motivations to play in steel band (nontraditional
music ensembles) including informal music education and learning, pedagogy,
curriculum, and repertoire. It was found that students are attracted to the ensemble due to
the uniqueness of the instruments, the repertoire, and for the opportunity to be part of a
close community. Students value the opportunity for learning music in an informal
manner where they are able to have input on the instructional process and what material
is performed.
46
徐佩瑜. "A survey on the needs of developing music ability for learning of music talented class students at senior high level in Taiwan". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/16907015499692841365.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂研究所
92
Abstract The purpose of this study was to investigate the needs of learning to achieve musical abilities for talented students at senior high level. Three dimensions related to the abilities of structure acoustic material, music theories and musical appreciation, and musical creativities and performance including twenty-seven item concepts were selected to develop a survey task. Two hundred ninety-seven talented students in the ten high schools among Taiwan area were stratified random sampling to conduct the survey. The findings were as following：1.The twenty-seven item concepts related to the musical abilities were found to be meeting appropriately the goals of education of the talented students. 2.The abilities of music theories and appreciation were found the preferment to be needed, and the abilities of structure acoustic material were found to be the less needed among the three dimensions. 3.Both of practicing performance of musicality and chamber music should be stressed in curriculum design. 4.Humanity, technology and musicality should be integrated to provide students the literacy. 5.The musical curriculum development should be aware of the differences among the local students. 6.The education of music talented students should be aware of the difference of learning between the genders. The issues related to the needs of musical learning were discussed and some suggestions were recommended also.
47
Chien, Chien-Chiao, e 簡千喬. "A Study of Applying Speech Assessment Technology on Music Learning System to Improve Junior High School Students’ Chorus Learning Achievement". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/87491612273982685863.
Testo completoAbstract (sommario):
碩士朝陽科技大學
資訊工程系碩士班
102
This study combines the technologies of speech recognition, speech assessment and mastery learning to design a ''music learning system'' for concrete operation. The study probes into the learning efficiency of chorus teaching using this system and the different learning efficiency of students with different learning achievements on choir members in junior high school. In addition, this study probes the attitude of the music on school child afterward. The samples of this study are 60 students in the choir. These subject were assigned to two groups: Experiment and Control. The Experimental takes the computer-assisted instruction ''music learning system'' as method. The Control takes traditional choral learning mode as method. This study is respectively proceeding through 12 weeks. The outcomes were based upon data collection by the music achievement test and the music learning scale. All experimental data analysis using independent-sample t test、pair-sample t test and K. Pearson''s product-moment correlation. According to the outcomes, we have some conclusions. 1. There is a great difference in thorough music learning between the Experiment and the Control. 2. There is a great difference in rhythm、volume and pitch between the Experiment and the Control. 3. There is a great difference in attitude of the music between the Experiment and the Control. 4. There is no significant different between learning outcomes and attitude of the Experiment. 5. There is no significant difference between learning outcomes and attitude of the Control.
48
Hsiao, Hsin-Yun, e 蕭欣芸. "An Action Research on the Class Climate and Learning Motivation with Cooperation Learning in Music Class in Junior High School". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85488697947069313923.
Testo completoAbstract (sommario):
碩士國立臺北教育大學
音樂學系碩士班
100
Taking the eighth-grade-class in Taichung city as an example, this action research is based on the cooperation learning in the music course in junior high school. The study aims to explore how to use cooperation learning in the field of Arts and Humanities, and if it is effective to enhance the classroom climate and learning motivation. The course “Impressionism” that was used in this study is divided into four units. Through the improving cooperating, different tasks are achieved in every unit. The task becomes more difficult, and the group members must be more understanding with each other. The target students were 32 eighth-graders in the researcher’s class which is normal in Taichung city. Through analysis of teaching journals, questionnaires, learning files, and interview notes, this study adopted qualitative research assisted with quantitative research. The findings of the study are as follows: 1.In the process of Cooperation learning, the more opportunities for cooperation, the more motivation will be excited. 2.Multiple teching methods and assessments would stimulate learning motivation. 3.The more time to cooperating, the class climate would improve. 4.In the process of Cooperation learning, the students can learn the importance of cooperation, and will think about the benefit of the class.
49
Huang, Fu-Nuan, e 黃富暖. "An Experimental Study of Applying Network Resources Learning in Senior High School Music Appreciation Curriculum". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/25388922110991043948.
Testo completo
50
Lin, Wan-ting, e 林婉婷. "Effects of Music Videos on EFL Senior High Students' English Vocabulary Recognition and Learning Attitudes". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/18825397849113258834.
Testo completoAbstract (sommario):
碩士國立高雄師範大學
英語學系
102
ABSTRACT The purpose of this research is to investigate the effects of an English music video program (EMVP) on senior high students’ vocabulary recognition and learning attitudes. The participants of this study included one class of total 28 tenth graders at Luzhu Senior High School in Kaohsiung. Based on the students’ mean score of three English mid-term exams in the previous semester prior to the experiment, they were further categorized into the high-proficiency group (from the top 33 % of the population) and the low-proficiency group (from the bottom 33 % counterparts) to examine whether there were any difference on the ability of vocabulary recognition between the two proficiency levels. The whole experiment lasted for fifteen weeks. In the first week, all of the participants had to answer a pre-study questionnaire and take a vocabulary pretest on 40 words to make sure they were less familiar or new to the target words before the program. From the second to eleventh week, the participants learned vocabulary from the five English subtitled music videos. In the twelfth week, the participants had to take the immediate vocabulary recognition posttest after reviewing the EMVP. To examine the participants’ delayed vocabulary recognition posttest after two weeks of the project, no instruction was implemented in the thirteenth and fourteenth weeks. In the last week, the participants had to take the two-week delayed vocabulary recognition posttest and answer the post-study questionnaire. Test items in the pretest, immediate posttest and delayed posttest were made the same, but the sequence was altered. According to the quantitative and qualitative data analysis, the findings of the study are summarized as follows. First of all, the mean score of students’ immediate vocabulary recognition posttest was significantly higher than that of their vocabulary pretest. The finding indicated that the EMVP could effectively improve students’ ability of vocabulary recognition. Second, students’ delayed vocabulary recognition posttest scored significantly lower than their immediate vocabulary recognition posttest. The results implied that the EMVP could at best assist students in recognizing the target words for a short-term period. Third, the high-proficiency students performed significantly better on both the immediate and delayed vocabulary recognition posttests than the low-proficiency students; that is, students with low language proficiency had relatively limited vocabulary perceptual ability. Fourth, nearly all of the participants held a positive attitude towards the EMVP and considered it beneficial to their English learning. On the basis of the study findings, the present study is conducive to the following aspects. First, EFL learners can participate in a less teacher-centered and more interesting classroom atmosphere in the EMVP. Second, the results of this study indicate that learning English from music videos with their lyric-form subtitles can effectively help EFL learners recognize vocabulary for a short-term period. Third, EFL learners can regain positive English learning attitudes and confidence from the EMVP. Last but not least, the findings of this study can let English teachers retrospect on their teaching methods and motivate them to adopt new ways of teaching to activate the English learning environment.