Bibliografie tematiche / Secondary school music

Letteratura scientifica selezionata sul tema "Secondary school music"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 21 febbraio 2023

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Articoli di riviste sul tema "Secondary school music"

1

Cox, Gordon. "Secondary School Music Teachers Talking". Music Education Research 1, n. 1 (marzo 1999): 37–46. http://dx.doi.org/10.1080/1461380990010104.

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Abril, Carlos R., e Brent M. Gault. "The State of Music in Secondary Schools". Journal of Research in Music Education 56, n. 1 (aprile 2008): 68–81. http://dx.doi.org/10.1177/0022429408317516.

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The purpose of this study was to profile secondary school music programs in the United States and investigate principals' perceptions of those curricula. A survey form was sent to 1,000 secondary school principals, yielding a 54% response rate. That form was designed to answer the following questions: What is the profile of secondary music programs in the United States? How effective do principals think music programs are in helping students attain specific learning outcomes and broad educational goals? To what degree do certain variables (e.g., standardized tests, teachers, parents) impact a given music program? Ninety-eight percent of respondents indicated that their schools offered music courses, yet 34% required music. There were significant differences in the diversity of course offerings based on school socioeconomic status profiles. Standardized tests and No Child Left Behind were thought to have the most negative impact on music programs.
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Ho, Wai-chung. "Musical learning: Differences between boys and girls in Hong Kong Chinese co-educational secondary schools". British Journal of Music Education 18, n. 1 (marzo 2001): 41–54. http://dx.doi.org/10.1017/s0265051701000134.

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This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.
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Mills, Janet. "Starting at secondary school". British Journal of Music Education 13, n. 1 (marzo 1996): 5–14. http://dx.doi.org/10.1017/s0265051700002904.

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The quality of music teaching that pupils receive when they enter a new secondary school at the age of 11 years varies. The article considers the characteristics of unsuccessful and successful approaches to teaching in Year 7.
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Priest, Philip. "General Practitioners in Music: Monitoring Musicianship Skills Among Intending Secondary Teachers". British Journal of Music Education 13, n. 3 (novembre 1996): 225–32. http://dx.doi.org/10.1017/s0265051700003259.

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Music graduates choosing secondary school teaching as a career and training through one-year post-graduate courses are drawn from an increasingly wide range of degree studies in music and embark on their training year with diverse specialisms and music skills. Yet these students will need to operate as generalists in schools with an ever-widening music curriculum. In this account of procedure in one institution, a view is given of the applied musicianship needed by new teachers and discussion of this invited from all providers of post-school music education and training. Data collected from students who may soon be responsible for music in a school indicate a trend towards improvement in only some areas of musicianship.
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Stowell, Dan, e Simon Dixon. "Integration of informal music technologies in secondary school music lessons". British Journal of Music Education 31, n. 1 (28 agosto 2013): 19–39. http://dx.doi.org/10.1017/s026505171300020x.

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Technologies such as YouTube, mobile phones and MP3 players are increasingly integrated into secondary school music in the UK. At the same time, the gap between formal and informal music learning is being bridged by the incorporation of students’ preferred music into class activities. We conducted an ethnographic study in two secondary schools in London, investigating the roles of technology in the negotiation of musical concepts in music classes. From this, we report some observations on the relation between formal/informal and authorised/unauthorised activities in class, and some specific observations on the role of YouTube, mobile phones and MP3 players in the class context. In the lessons we observed, these technologies functioned as part of a richly multimodal ecosystem of technologies, combining aspects of formal and informal use. This carries implications for how we plan for the use of technology in the delivery of music education.
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Kibici, Volkan Burak. "An Analysis of the Relationships between Secondary School Students' Creativity, Music Achievement and Attitudes". International Journal on Social and Education Sciences 4, n. 1 (15 gennaio 2022): 87–100. http://dx.doi.org/10.46328/ijonses.304.

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This study aimed to investigate secondary school students’ music achievement, attitudes towards music and creativity based on the variables of gender, school type, grade level and achievement. A causal-comparison design was used for this study. 246 secondary school students studying in some schools in Mersin and Konya provinces were randomly selected by using convenience sampling method. Data were collected through Kaufman Creativity Test, Music Achievement Scale and Music Lesson Attitude Scale. Data were analyzed using independent samples t-test, one-way analysis of variance and regression analysis techniques. The results revealed that female students had higher creativity scores based on attitude towards music lessons and artistic performance. Significant differences were found in music achievement, attitude and creativity mean scores in terms of school type, grade level and achievement of students. Finally, there were significant relationships between the creativity levels of secondary school students and their music achievements and attitudes. Considering the results obtained, suggestions for implementation were provided.
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Blackford, Lena. "Musical education in Russian secondary schools". British Journal of Music Education 14, n. 1 (marzo 1997): 57–67. http://dx.doi.org/10.1017/s0265051700003442.

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This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.
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Culp, Mara E., e Matthew Clauhs. "Factors that Affect Participation in Secondary School Music: Reducing Barriers and Increasing Access". Music Educators Journal 106, n. 4 (giugno 2020): 43–49. http://dx.doi.org/10.1177/0027432120918293.

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Students often enter secondary schools with increased autonomy over course selection and how they meet graduation requirements. Those who once participated in school music may discontinue music studies for a variety of reasons. Music teachers should be mindful of factors that may affect a student’s ability or desire to participate in school music. This article discusses these factors and suggests practices to increase access to music education for all students. By examining practices and considering ways they can be altered or expanded to provide more options and be more inclusive, music educators may be able to provide more opportunities for all students.
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BOURA, VASSILEIA. "The Learning Effect of Electroacoustic Music in Secondary Education An Interdisciplinary Practice in Greek Schools". Volume 5 - 2020, Issue 9 - September 5, n. 9 (25 settembre 2020): 562–74. http://dx.doi.org/10.38124/ijisrt20sep464.

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In the rise of the 21st century, the music educator in modern schools is challenged to educate and train students in both conventional and contemporary music theory and practice. The contemporary approach to music learning and composition requests knowledge and practical skills from interdisciplinary fields. Electronics, physics, mathematics, computer science and music are merged to produce different contemporary styles of music. Students, in secondary education, are challenged to develop listening, performing and computer music skills, to expand their musical aesthetics and culture, together with their musical memory. Music educators are expected to teach a wide range of musical styles and techniques. Science and technology are parts of the musical practice in schools. Music has become an interdisciplinary subject, capable, more today than ever, to educate and shape personalities in school and for preparing students to be strong and healthy for entering society. Scientific and empirical research continues to be conducted to provide helpful guidelines for teachers' intentional use of music, in every class. This paper provides music educators with successful and valuable methods for incorporating electroacoustic music into the teaching and learning school environment applicable to secondary school settings
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Tesi sul tema "Secondary school music"

1

Gibbs-Singh, Cheynne. "World music in the British secondary school". Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30251/.

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World music has enjoyed increasing representation in the National Curriculum up to Key Stage 3. At the same time, music in higher education in the UK is becoming increasingly diverse, with degrees in popular music, world music and jazz becoming more commonplace. This, alongside the growing diversity of the population, supports arguments for introducing and maintaining a diverse music curriculum, particularly one that includes world music, throughout secondary education. The importance of world music in education has been advocated both in the UK (e.g. Wiggins (1996), Stock (1991)) and in other parts of the western world (Campbell (2007) and Fung (1995) in the USA, Drummond (2005) in New Zealand, Schippers (2012) in Holland). However, post-16 music syllabi have remained noticeably narrow in focus: the music A level continues to be dominated by the Western classical music tradition, whilst the BTEC is rooted largely in Western popular music, despite adopting a more flexible approach. Both have recently been revised, and this thesis examines the current status quo regarding diversity in the secondary music classroom, pinpointing some of the challenges and successes of delivering a multicultural music education. It focuses on seven contrasting schools in south-east England. By examining the relationships these schools have with world music, specifically within their post-16 provision, this research examines individual responses towards musical diversity as well as the themes that emerge from these across the subject. These themes include: the exclusivity of Western classical and Western popular music; whether breadth of study or depth of understanding is more valued in classrooms; how teacher attitudes towards world music influences the curriculum content as well as student attitudes; challenges in teaching and learning world music; uptake and engagement; diverse music in non-diverse areas; and the desire for more diversity in the curriculum.
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Ng, Yuen-fun Fanny. "The Hong Kong secondary school music curriculum : constructing marginality /". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19884576.

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Ng, Yuen-fun Fanny, e 吳婉芬. "The Hong Kong secondary school music curriculum: constructing marginality". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237587.

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Zelenak, Michael S. "Self-Efficacy in Music Performance: Measuring the Sources Among Secondary School Music Students". Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3419.

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The purpose of this study was to develop a greater understanding of self-efficacy in music performance. I sought to (a) contribute to fundamental knowledge of self-efficacy in music performance, (b) determine whether scores from the Music Performance Self-Efficacy Scale (MPSES) were valid and reliable, and (c) provide insights for developing self-efficacy among secondary school music students. Participants (N = 290) were middle and high school students in band, chorus, and string orchestra ensembles from 10 schools in the southeast and western regions of the United States. Participants completed four online questionnaires: (a) Music Performance Self-Efficacy Scale, (b) Sources of Middle School Mathematics Self-Efficacy Scale, (c) Self-Esteem of Musical Ability, and (d) Advanced Measures of Music Audiation. Teachers provided 5-point Likert-type ratings of their student's music self-efficacy. Data from the MPSES demonstrated good fit with Bandura's proposed self-efficacy model (SRMR = .06, RMSEA = .06). The strength of the relationships between the sources and composite construct were consistent with theory and findings from other studies. Mastery experience was strongest, followed by verbal/social persuasion, physiological state, and vicarious experience. No differences in responses were found between middle and high school students, or among band, chorus, and string orchestra students. Items on the MPSES were also found to assess participants equally across grade levels. Music aptitude was found to predict self-efficacy in music performance (â = .16) and accounted for 3% of the variance in self-efficacy. This finding raises questions about the role of self-efficacy in mediating the relationship between music aptitude and music achievement. The Music Performance Self-Efficacy Scale was found to be a valid and reliable measure of self-efficacy in music performance. Evidence of validity was based on test content, response process, and internal structure, along with convergent, discriminant, and multi-method relationships. Evidence of reliability was based on test-retest correlation (r = .87) and internal consistency (á = .88). Recommendations for researchers were to link the sources of self-efficacy to performance achievement; explore self-efficacy's relationship with aptitude and achievement; and expand the investigation to other populations. Recommendations for educators focused on improving understanding of self-efficacy and interpreting MPSES results.
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Pascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.

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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fulfilment and satisfaction enjoyed by our adolescents through music is not, however, reflected in the comparatively small number of students who choose or qualify to undertake music studies at high school. A study by the U.S. Department of Education (1988) cited by Patchen (1993, p.19) indicates that, while from Kindergarten to sixth grade 80% of students participate in music, in 7th and 8th grades this falls to 48% and by grades eleven and twelve only 9% of students participate in music classes.
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Devous, Donald Michael. "A financial resource guide for the beginning secondary choral music director". Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/devous%5Fdonald%5Fmichael/index.htm.

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Ryan, Michael Joseph. "A critical examination of the provision for music education and attitudes to the music curriculum amongst secondary school pupils in Hong Kong : implications for school administration /". Hong Kong : University of Hong Kong, 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18031146.

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Maas, Andrea. "Musical expression in the high school choral classroom". Thesis, Teachers College, Columbia University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10117744.

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This study explored with high school choral directors and singers, their experiences of musical expression in the choral classroom setting. A phenomenological approach to a collective case study was used to address the notions of “what”, “why”, and “how” in regard to the relationships and interactions between choral directors, singers, their personal experiences and musical texts as they pertain to musical expression. Four high school choral programs participated in this study. One choral director and a focus group of 4-7 students from each program participated in open-ended, semi-structured, interviews. Video recorded observations of choral rehearsals provided media for additional stimulated recall interviews that used both open-ended and framing techniques. These interviews served as the primary method of data collection to help examine how the participants conceptualized and practiced musical expression.

The high school choral directors and singers of this study described musical expression in broad terms but agreed that it can be understood as both a means of conveying and understanding meanings and emotions. The participants addressed considerations and conditions such as engagement, their emotional response to the repertoire, composer intent, the classroom environment and obstacles such as the difficulty of the score or external distractions. They described specific approaches such as collaborative meaning making of musical contexts, formal elements of a score, and text. Implications are addressed for the ways choral directors approach repertoire selection, classroom configuration, rehearsal strategies, building relationships, delivering content, helping students to develop vocal skills and techniques and the use of collaborative learning and dialog to encourage ensemble interpretations. Participants also described optimal experiences of musical expression in regard to enjoyment, release of tension and perceived time and space. This study helped to uncover some of the ways high school choral directors and singers attempt to acknowledge each member’s individuality while working toward a unified ensemble expression. The data revealed that collectively, the four participating programs shared many common ideas and yet each ensemble had a unique and nuanced approach to musical expression that reflected the values, beliefs and experiences of the choir and its members.

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Leung, Bo Wah School of Music &amp Music Education UNSW. "Creative Music Making in Hong Kong Secondary Schools: The Present Situation and Professional Development of Music Teachers". Awarded by:University of New South Wales. School of Music and Music Education, 2002. http://handle.unsw.edu.au/1959.4/18665.

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Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.
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Overland, Corin Tyler. "EFFECTS OF MUSIC EDUCATION ON SYNCHRONIZATION TASKS IN SECONDARY SCHOOL STUDENTS". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/134863.

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Music Education
Ph.D.
The act of predicting rhythmic events and coordinating these predictions with motor actions is seen in many elements of human existence (e.g., walking, dancing, or speaking). Several studies have shown that the efficiency of synchronizing actions with an anticipatable repeating stimulus differs between musicians and non-musicians. This difference is particularly evident when examining two commonly measured metrics of synchronization tasks, (a) asynchrony, or the differential in temporal distance between a recurring stimulus and its associated motor reaction; and (b) variability, or the degree to which successive synchronization actions are distanced from each other relative to repeated stimuli. The purpose of this study was to determine the extent to which differences in asynchrony and variability might be related to the type of musical experiences received in secondary school. It was hypothesized that students who received a greater amount of musical training would exhibit reduced asy
Temple University--Theses
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Libri sul tema "Secondary school music"

1

Teaching music in the secondary schools. 5a ed. Belmont, CA: Wadsworth Thomson Learning, 2001.

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Teaching music in the secondary schools. 4a ed. Belmont, Calif: Wadsworth Pub. Co., 1991.

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E, Miller Kenneth. Vocal music education: Teaching in the secondary school. Englewood Cliffs, N.J: Prentice Hall, 1988.

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Cooke, Carolyn, Keith Evans, Chris Philpott e Gary Spruce, a cura di. Learning to Teach Music in the Secondary School. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203.

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Howard, Karen. World Music Pedagogy, Volume III: Secondary School Innovations. New York ; London : Routledge, 2018–: Routledge, 2018. http://dx.doi.org/10.4324/9781315174655.

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Thompson, Keith P. Strategies for teaching high school general music. Reston, VA: Music Educators National Conference, 1997.

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J, Kiester Gloria, e Music Educators National Conference (U.S.), a cura di. Strategies for teaching high school general music. Reston, VA: Music Educators National Conference, 1997.

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1958-, Evans Julie, e Philpott Chris 1956-, a cura di. A practical guide to teaching music in the secondary school. New York: Routledge, 2009.

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Cooke, Carolyn, e Chris Philpott. A Practical Guide to Teaching Music in the Secondary School. 2a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003092568.

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Timothy, Gerber, Hughes William O, Music Educators National Conference (U.S.) e Florida State University, a cura di. Music in the high school: Current approaches to secondary general music instruction, proceedings of the National Conference on Music/Arts for the High School General Student, June 25-28, 1986, Orlando, Florida. Reston, Va: Music Educators National Conference, 1988.

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Capitoli di libri sul tema "Secondary school music"

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Philpott, Chris, e Keith Evans. "Assessment in music education". In Learning to Teach Music in the Secondary School, 194–209. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-14.

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Philpott, Chris, e Keith Evans. "Creativity and music education". In Learning to Teach Music in the Secondary School, 109–27. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-9.

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Philpott, Chris. "Music, the arts and education". In Learning to Teach Music in the Secondary School, 226–35. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-16.

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Philpott, Chris, e Keith Evans. "Language and learning in music". In Learning to Teach Music in the Secondary School, 52–62. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-5.

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Cooke, Carolyn, e Gary Spruce. "What is a music curriculum?" In Learning to Teach Music in the Secondary School, 63–79. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-6.

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Finney, John. "The place of music in the secondary school". In Learning to Teach Music in the Secondary School, 4–16. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-2.

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Bucura, Elizabeth. "Meanings of a Secondary General Music Keyboard Class for Middle School Students". In Meanings of Music Participation, 63–84. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003242239-9.

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Barnes, Jonathan. "Exploring Music within Cross-Curricular Learning". In A Practical Guide to Teaching Music in the Secondary School, 89–100. 2a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003092568-9.

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Philpott, Chris, Ruth Wright, Keith Evans e Sally Zimmermann. "Addressing individual needs and equality of opportunity in music education". In Learning to Teach Music in the Secondary School, 173–93. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-13.

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Mackrill, Duncan, e Alison Daubney. "Framing conceptions of technology for learning in music – implications for pedagogy". In Learning to Teach Music in the Secondary School, 157–72. 3rd edition. | London; New York: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315621203-12.

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Atti di convegni sul tema "Secondary school music"

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Thompson II, Dennis W. "INCORPORATING 21ST CENTURY SKILLS INTO DUTCH SECONDARY SCHOOL MUSIC CURRICULUM". In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.2380.

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Pendergast, Seth. "Secondary Students' In-School and Out-of-School Music Participation Profiles: An Exploratory Analysis". In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1582637.

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Hug, Daniel, Serge Petralito, Sarah Hauser, Anna Lamprou, Alexander Repenning, Didier Bertschinger, Nadine Stüber e Markus Cslovjecsek. "Exploring Computational Music Thinking in a Workshop Setting with Primary and Secondary School Children". In AM '17: Audio Mostly 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123514.3123515.

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Hughes, Robert. "Music Literacy at the Secondary Level: Studying Direct Instruction Intervention With High School Instrumentalists". In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1430595.

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Sun, Dong-Ni, e Ying-Ying Xian. "Misunderstanding Discrimination of the Music Aesthetic Sensibility Cultivation of Primary and Secondary School Students". In 2nd Annual International Conference on Social Science and Contemporary Humanity Development. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/sschd-16.2016.68.

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Kachlík, Petr. "Risk of Mobile Phone Addiction in Secondary School Pupils". In Život ve zdraví 2021. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0076-2021-2.

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Background: the urge to use mobile devices constantly and anxiety that might come in case of impossibility to use them, represent one of the forms of behavioral addictions, the so-called nomophobia. Nomophobia negatively affects all attributes of human health, seriously affects its mental, physical and social components. Objectives: the main objective of the research was to determine the degree of nomophobia in a sample of secondary school students, the partial objective was to map potentially risky areas with the use of modern information and communication technologies. Methods: a quantitative method was chosen to carry out the survey, and an anonymous questionnaire containing a standardized core was used as a research tool. It consisted of 20 items focused on respondents' reactions in situations where communication links are not available or cannot be used. The survey was conducted in the eighth and ninth grades of 11 randomly selected primary schools in the Hradec Králové region. Data were obtained from 373 respondents with a balanced representation of boys and girls. 3 working hypotheses were established to compare the opinions, behavior and degree of nomophobia between boys and girls. The answers were evaluated by methods of descriptive statistics, Student's t-test was used to analyze the hypotheses. Results: 0.5% of respondents did not show symptoms of nomophobia, a very mild and moderate form was recorded in 70% of respondents, mild form in 18% of the group, moderate in 8% and severe in 2% of respondents. Almost three-fourths of the students were not directly at risk of dependence on a mobile, but a tenth of the sample showed serious problems of a behavioral addiction nature. Respondents used an average of 4 applications, mainly communication programs, social networks and music players. Conclusions: girls in the sample showed a higher rate of nomophobia than boys. The biggest differences in responses were mainly for fears of not being able to communicate immediately with family or friends.
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Baratè, Adriano, Andrea Formica, Luca A. Ludovico e Dario Malchiodi. "Fostering Computational Thinking in Secondary School through Music - An Educational Experience based on Google Blockly". In 9th International Conference on Computer Supported Education. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0006313001170124.

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8

Polak, Milan. "INTEGRATION OF KNOWLEDGE AS ONE OF THE BASIC PRINCIPLES OF THE CURRENT TEACHINGS IN THE CZECH REPUBLIC (WITH A FOCUS ON PRIMARY AND LOWER SECONDARY SCHOOL LANGUAGE TEACHING AND MUSIC EDUCATION)". In SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b13/s3.059.

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Chloupek, Tomáš, Vilma Polmanová e Pavel Ostrý. "Lidová píseň v současné školní praxi: dílčí výsledky výzkumu o využití lidové písně a folkloru pohledem učitelů hudební výchovy základních a středních škol". In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-6.

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Folk music is undoubtedly an essential cultural asset with great didactic potential. The content of the paper are the ongoing results of a research survey focusing on the teachers’ usage of folk songs in music education at primary and selected secondary schools. The main ways of using this topic in the context of four fundamental teaching areas (set out in the FEP) and in other musical or interdisciplinary topics and activities are presented here. A specific group of respondents who reported to folklore activities in the questionnaire is then examined. Their answers regarding preference and especially the use of folk music in music lessons are evaluated. Everything is simultaneously compared with the answers of the remaining respondents who did not report to folklore.
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Dolinšek, Eva. "Monteverdi and Seconda Pratica: Music Should be at the Ser-vice of the Word". In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d21.

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This article provides insight into the music of the late Renaissance and early Baroque in Italy. Com-poser Claudio Monteverdi was one of the most important figures in the music of the early Italian Baroque. We consider the events that led to the creation of the new early Baroque style – Seconda pratica - (second practice) and describe the significant changes in vocal music that took place with the aim to depart from strict counterpoint at the turn of the 16th century. Keywords: Claudio Monteverdi; Seconda pratica; Venetian school; Madrigalisms; Ornamentation
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