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Artykuły w czasopismach na temat „Music ability”

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Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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1

Butler, David. "The Days Do Not End: Film Music, Time and Bernard Herrmann". Film Studies 9, nr 1 (2006): 51–63. http://dx.doi.org/10.7227/fs.9.8.

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The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.
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Nainggolan, Oriana Tio Parahita, i Vill Alvia Martin. "Pembelajaran Musik Kreatif Dalam Sudut Pandang Pembelajaran Abad ke-21". PROMUSIKA 7, nr 2 (30.09.2019): 85–92. http://dx.doi.org/10.24821/promusika.v7i2.3454.

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Creative music learning is one of the challenging subjects of learning music for elementary school students. The main topic of creative music is sound. It is the most important element in learning music. Sound must recognized and heard at the beginning of music lesson. Creative music aims not only to develop students’ listening skills but also to develop the ability to in making innovation in music either creating creative musical composition or musical instruments. The students also will get the advantages from creative music learning processes such as critical thinking, communication, collaboration, and creativity and innovation (4C). In the framework of the 21st century learning, the 4C is the ability that must achieved by the students. Although creative music subject is important in learning music, it has not been widely taught in public schools. This paper will examine how 4C integrated into creative music learning. The data obtained from observations and interviews during the music creative learning process. The results have shown that students integrate 4C in the learning process. Making creative music requires critical thinking finding various possibilities in order to make making innovations in music. Communication skill is also needed to express ideas from critical thoughts. The collaborative ability also used when playing creative music. Critical thinking skills, communication, and collaboration will ultimately result in creativity and innovation in making creative music. Pembelajaran musik kreatif merupakan salah satu pembelajaran yang menarik bagi siswa Sekolah Dasar (SD). Materi utama pembelajaran musik kreatif adalah suara. Suara merupakan materi pertama yang harus dikenali oleh siswa pada pembelajaran musik. Pembelajaran musik kreatif bertujuan tidak saja untuk mengembangkan keterampilan mendengar, tetapi juga mengembangkan kemampuan dalam membuat inovasi mencipta komposisi musik kreratif. Pada saat pembelajaran musik kreatif, siswa juga mendapat keuntungan yaitu melatih kemampuan berpikir kritis, berkomunikasi, berkolaborasi, dan kreativitas serta berinvoasi (4C). Kemampuan 4C merupakan kemampuan yang harus dicapai oleh seluruh peserta didik dalam pembelajaran abad 21. Artikel ini bertujuan untuk mendeksripsikan kemampuan 4C pada pembelajaran musik kreatif. Data penelitian diperoleh dari observasi, wawancara, dan dokuemntasi selama proses pembelajaran musik kreatif. Hasil penelitian menunjukkan bahwa kemampuan 4C terintegrasi secara langsung pada pembelajaran musik kreatif. Kemampuan 4C dibutuhkan siswa pada saat membuat komposisi musik kreatif. Pada saat membuat komposisi musik kreatif, berpikir kritis dibutuhkan untuk menemukan berbagai macam kemungkinan suara untuk disusun dalam komposisi musik kreatif. Kemampuan berkomunikasi digunakan untuk dapat mengkomunikasikan ide-ide untuk membuat komposisi musik kreatif. Kemampuan berkolaborasi digunakan untuk dapat memainkan komposisi musik kreatif. Kreativitas merupakan hasil dari kemampuan berpikir kritis, berkomunikasi dan berkolaboasi sehingga dapat membuat dan memainkan komposisi musik kreatif.
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3

Swaminathan, Swathi, i E. Glenn Schellenberg. "Musical ability, music training, and language ability in childhood." Journal of Experimental Psychology: Learning, Memory, and Cognition 46, nr 12 (grudzień 2020): 2340–48. http://dx.doi.org/10.1037/xlm0000798.

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Ansoriyah, Siti. "PENGARUH PEMBERIAN MUSIK KLASIK TERHADAP KEMAMPUAN MENULIS BERITA SISWA SMAN 37 JAKARTA". AKSIS: Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, nr 1 (30.06.2017): 104–17. http://dx.doi.org/10.21009/10.21009/aksis.010106.

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The objective of this research is to identify whether classic music gives impact to students ability in writing news. The subject of this research is the XII grade students of senior high school. This is an experimental research and involved 60 students. The students were divided into experiment group and control group which consists of 30 students. The experiment group was given classic music while they writing news, while the control group was given no treatment during writing news. The scoring of the news writing covered 5W+1H. The result of the research shows that classical music gives positive impact in students ability in writing news. Keywords: students ability, writing news, classic music Abstrak Tujuan penelitian ini adalah untuk mengetahui ada tidaknya pengaruh pemberian musik klasik terhadap kemampuan siswa dalam menulis berita. Subjek dalam penelitian ini adalah siswa kelas XII SMA. Penelitian ini merupakan penelitian eksperimental dan melibatkan 60 siswa yang dibagi dalam kelompok eksperimen dan kelompok kontrol masing-masing 30 siswa. Kelompok eksperimen akan diberikan musik klasik selama menulis berita dan kelompok kontrol tidak diberikan perlakuan apapun selama menulis berita. Penilaian penulisan berita meliputi 5W+1H. Hasil dari penelitian ini menunjukan bahwa musik klasik dapat mempengaruhi kemampuan menulis berita dengan baik. Kata kunci: kemampuan siswa, menulis berita, musik klasik
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5

Rowley, Peter T. "Identifying genetic factors affecting music ability." Psychomusicology: A Journal of Research in Music Cognition 7, nr 2 (1988): 195–200. http://dx.doi.org/10.1037/h0094168.

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6

Watts, Michael, i Barbara Ridley. "Identities of dis/ability and music". British Educational Research Journal 38, nr 3 (czerwiec 2012): 353–72. http://dx.doi.org/10.1080/01411926.2010.548546.

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7

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

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Deswarni, Deswarni, i Budiwirman Budiwirman. "MENINGKATKAN KEMAMPUAN SISWA MEMBACA NOTASI MUSIK DENGAN MENGGUNAKAN METODE DEMONSTRASI DALAM PEMBELAJARAN SENI MUSIK". Gorga : Jurnal Seni Rupa 8, nr 2 (22.11.2019): 374. http://dx.doi.org/10.24114/gr.v8i2.15419.

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AbstrakKemampuan membaca notasi musik dalam aktivitas siswa meliputi kegiatan memperhatikan guru dalam menerangkan pelajaran, bertanya, dan keberanian siswa maju kedepan kelas (Nasional, D.P. (2002), itusemua sangat kurang sekali ditemui dikelas XI IPS 1. Untukituperlu dilakukan suatu penelitian untuk mengetahui penyebapnya. Penelitian ini bertujuan untuk meningkatkan kemampuan siswa membaca notasi musik dalam pembelajaran seni musik, dengan target yang ingin dicapai adalah 75%. Tindakan yang diterapkan adalah dengan menggunakan metode demonstrasi. Data dikumpulkan dengan bantuan instrument serta dilengkapi dengan observasi, selanjutnya diolah dengan teknik persentase untuk melihat kecendrungan-kecendrungan data setelah perlakuan diberikan. Jenis penelitian yang digunakan adalah penelitian tindakan kelas, sedang subjek penelitian ini adalah siswa kelas XI IPS 1 SMA Negeri 5 Pariaman dan perlakuan yang diberikan yaitu dengan menggunakan metode demonstrasi. Prosedur penelitian ini dilaksanakan dalam dua siklus, siklus I dilaksanakan 4 kali pertemuan dan siklus ke II dilaksanakan dalam 2 kali pertemuan dengan alokasi waktu satu kali pertemuan adalah 2 X 45 menit. Hasil penelitian dari data siklus I dalam meningkatkan kemampuan siswa membaca notasi musik dalam kegiatan aktifitas siswa dalam memperhatikan guru yang aktif 79,41%, mengajukan pertanyaaan yang aktif mencapai 29,41%, berani maju kedepan mencapai 44,11%. Sedangkan kemampuan siswa membaca notasi musik mencapai 59,32%. Data siklus II meningkatkan kemampuan siswa membaca notasi musik dalam kegiatan aktifitas siswa memperhatikan guru 82,35%, mengajukan pertanyaaan 64,71%, berani maju kedepan 70,59%. Sedangkan kemampuan siswa dalam membaca notasi musik mencapai 75,50%.Berdasarkan hasil pengolahan data dapat disimpulkan bahwa ada pengaruh tindakan yang diberikan terhadap peningkatan kemampuan siswa dalam membaca notasi musik dari siklus I ke siklus ke II meningkat menjadi 16,18%. Kata Kunci: notasi musik, metode demonstrasi.AbstractThe ability to read music notation in student activities includes paying attention to the teacher in explaining the lesson, asking questions, and the courage of students to move forward in the classroom (National, DP (2002), all of them are very poorly found in class XI IPS 1. For this reason, a research is needed to find out. This study aims to improve students' ability to read music notation in learning music, with the target to be achieved is 75%. The measures applied are using the demonstration method. Data is collected with the help of instruments and completed with observation, then processed with percentage techniques to see data trends after the treatment is given. This type of research is a classroom action research, while the subject of this study was a class XI IPS 1 student at SMA Negeri 5 Pariaman and the treatment given was using the demonstration method. The procedure of this research was carried out in two cycles, the first cycle was held 4 times and the second cycle was carried out in 2 meetings with the time allocation of one meeting was 2 X 45 minutes. The results of the study from the data cycle I in improving the ability of students to read music notation in the activities of students in paying attention to active teachers 79.41%, asking active questions reached 29.41%, dare to move forward reaching 44.11%. While the ability of students to read music notation reached 32.17%. Cycle II data improved the ability of students to read music notation in student activities paying attention to the teacher 82.35%, asking questions 64.71%, daring to go forward 70.59%. While the ability of students to read music notation reaches 75.50%. Based on the results of data processing, it can be concluded that there is an effect of the action given to the increase in students' ability to read music notation from cycle I to cycle II increasing to 16,18%.Keywords: music notation, demonstration method.
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Ahmad, Hariyatunnisa, Rukayah Rukayah i Triyanto Triyanto. "PENGARUH ACCELERATED LEARNING BERBASIS MUSIK BAROK TERHADAP KEMAMPUAN MEMBACA PEMAHAMAN". EduHumaniora | Jurnal Pendidikan Dasar Kampus Cibiru 11, nr 1 (31.01.2019): 55. http://dx.doi.org/10.17509/eh.v11i1.14055.

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Abstract: Reading comprehension is flexible and sustainable cognitive and constructive process. Students 'understanding of reading content is still low, therefore there is need strategies to improve students' reading comprehension ability. One of strategy that can be used in reading comprehension learning is Accelerated Learning based on baroque music. Baroque music has no lyrics and neutral, besides that the baroque music have a strong influence on the ability to absorb information and memorize it. The purpose of this study was to determine differences in scores on the read comprehension ability of fifth grade students of elementary school before and after learning using Accelerated Learning based on baroque music. The design of this study uses nonequivalent control group with data collection techniques using test. The collected data were tested using Independent Sample t-test with a significance level of 5%. The results showed that there was a significant difference between the score of reading comprehension ability of fifth grade students of elementary school before and after learning using Accelerated Learning based on baroque music.Keywords: reading comprehension, learning strategy, Accelerated Learning, baroque music Abstrak: Membaca pemahaman adalah proses kognitif dan konstruktif yang fleksibel dan berkelanjutan. Pemahaman siswa mengenai isi bacaan masih belum optimal, oleh karena itu perlu adanya strategi untuk meningkatkan kemampuan membaca pemahaman siswa. Salah satu strategi yang dapat digunakan dalam pembelajaran membaca pemahaman adalah Accelerated Learning berbasis musik barok. Musik barok tidak memiliki lirik dan netral, selain itu musik barok memiliki pengaruh yang kuat pada kemampuan untuk menyerap informasi dan menghafalnya. Tujuan penelitian ini adalah untuk mengetahui perbedaan skor pada kemampuan membaca pemahaman siswa kelas 5 sekolah dasar sebelum dan sesudah belajar menggunakan Accelerated Learning berbasis musik barok. Desain penelitian ini menggunakan nonequivalent control group dengan teknik pengumpulan data menggunakan tes. Data yang terkumpul diuji menggunakan Independent Sample t-test dengan tingkat signifikansi 5%. Hasil penelitian menunjukkan bahwa ada perbedaan yang signifikan antara skor kemampuan membaca pemahaman siswa kelas 5 sekolah dasar sebelum dan sesudah pembelajaran yang menerapkan Accelerated Learning berbasis musik barok.Kata kunci: membaca pemahaman, strategi pembelajaran, Accelerated Learning, musik barok
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10

Chen, Xu. "Compensated Fuzzy Neural Network-Based Music Teaching Ability Assessment Model". Computational Intelligence and Neuroscience 2021 (28.09.2021): 1–11. http://dx.doi.org/10.1155/2021/3865190.

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College is the main place to carry out music teaching, and it is important to assess the music teaching ability in college effectively. Based on this, this paper firstly analyzes the necessity of music teaching ability assessment and briefly summarizes the application of neural network and deep learning technology in music teaching ability assessment and secondly designs an assessment model based on compensated fuzzy neural network algorithm and analyzes the accuracy of the model, finds out the causes of forming abnormal output by analysing the general dimensional conditions of the algorithm of the model, and proposes corresponding correction. Finally, the reliability and feasibility of the music teaching ability assessment model were experimentally verified by combining with teaching practice. The research results confirm the feasibility of the compensated fuzzy neural network algorithm in music teaching ability assessment, which has important reference significance for improving the quality of music teaching in colleges and universities.
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11

Doxey, Cynthia, i Cheryl Wright. "An exploratory study of children's music ability". Early Childhood Research Quarterly 5, nr 3 (wrzesień 1990): 425–40. http://dx.doi.org/10.1016/0885-2006(90)90031-u.

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Jeremić, Biljana, i Jovana Milošević. "Speach in the function of developing ability to sing". Zbornik radova Uciteljskog fakulteta Prizren-Leposavic, nr 14 (2020): 413–25. http://dx.doi.org/10.5937/zrufpl2014413j.

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The basic concept of this work is the hypothesis that all of the children have natural ability to speak, sing and listen. Learning by music is a holistic approach to the child. Upbringing through music and literature may be one of the basic concepts of contemporary pedagogy. Rapid technological changes caused the children to grow up without any aesthetic evaluation and with the consumption of fast instant culture without art. By adopting the first words, the child adopts the symbols of his own culture. It can also learn to sing as he learns to speak. If the approach for learning how to sing were the same as for learning how to speak, music would surely be an integral part of the culture of each individual. A child reciting literary verses creates a world in which he gets to be someone else, while singing he expresses his feelings. In this imagination of sensory and visual performances lies the possibility of learning music. The main thesis of this paper is in pointing out the similarity and the connection between language and music, the purpose of the work is to point out and refer to the teaching of music in the context of language learning.
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Fine, Philip A., i Brian C. J. Moore. "Frequency Analysis and Musical Ability". Music Perception 11, nr 1 (1993): 39–53. http://dx.doi.org/10.2307/40285598.

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Soderquist (Psychonomic Science, 1970, 21,117–119) found that musicians were better than nonmusicians at separating out ("hearing out") partials from complex tones and proposed that this might be explained by the musicians having sharper auditory filters. In Experiment 1, the auditory filters of two groups, musicians and nonmusicians, were measured at three center frequencies by using a notched-noise masker. The filters were found not to differ in bandwidth between the two groups. However, the efficiency of the detection process after auditory filtering was significantly different between the two groups: the musicians were more efficient. In Experiment 2, the ability to hear out partials in a complex inharmonic tone was measured for the same two groups, using a tone produced by "stretching" the spacing between partials in a harmonic complex tone. Unfortunately, most of the nonmusicians were unable to perform this task. The ability of the musicians to hear out partials was not significantly correlated with the auditory filter bandwidths measured in Experiment 1. The musicians were also tested on the original harmonic complex tone (before "stretching"). For some partials, their performance was better for the inharmonic tone, reflecting the fact that the separation of the partials in frequency was greater for that tone. However, it was also found that those partials that were octaves of the fundamental in the harmonic series were identified better than corresponding partials in the inharmonic tone.
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Pramudia, Rosa Virginia Cindy, Dewi Indrileani, Tarisya Maretaura Lesmana, Felix Hansel Raditya Wibowo i Hana Permata Heldisari. "Hubungan Kemampuan Musikal dengan Kepekaan Sosial pada Masa Dewasa Awal". Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 2, nr 2 (30.10.2022): 97–110. http://dx.doi.org/10.30872/mebang.v2i2.28.

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This study aims to determine whether or not there is a relationship between musical ability and social sensitivity in the early adulthood of students at Fermata Music Course, Antonio School of Music, and Allegretto School of Music Yogyakarta, which totaled 107 students. This research uses a quantitative approach with a type of correlation. The population of this study was all students at Fermata Music Course, Antonio School of Music, and Allegretto School of Music Yogyakarta, with a total of 107 people. The samples in this study were taken by purposive random sampling, with criteria of 20-25 years, so a sample of 30 people was obtained. Data collection was carried out with questionnaire techniques to measure social sensitivity and tests to measure musical ability. Instruments are tested by content validation through expert judgment and construct validation with product moment techniques. With musical talent as the independent variable and social sensitivity as the dependent variable, Pearson's product-moment correlation was applied to analyze the data. According to the determined r value of -0.423 and sig of 0.02, there was a moderately unfavorable and statistically significant link between musical talent and social sensitivity in early adulthood. It means that the higher the musical ability, the lower the social sensitivity, on the contrary, the lower the musical ability, the higher the social sensitivity will be. Penelitian ini bertujuan untuk mengetahui ada atau tidaknya hubungan antara kemampuan musikal dan kepekaan sosial pada masa dewasa awal murid di Fermata Music Course, Antonio School of Music, and Allegreto School of Music Yogyakarta yang berjumlah 107 murid. Penelitian ini menggunakan pendekatan kuantitatif dengan jenis korelasi. Populasi penelitian ini adalah seluruh murid di Fermata Music Course, Antonio School of Music, and Allegreto School of Music Yogyakarta dengan jumlah 107 orang. Sampel dalam penelitian ini diambil secara purposive random sampling, dengan kriteria 20-25 tahun sehingga diperoleh sampel sebanyak 30 orang. Pengumpulan data dilakukan dengan teknik angket untuk mengukur kepekaan sosial dan tes untuk mengukur kemampuan musikal. Instrumen diuji dengan validasi isi melalui expert judgement dan validasi konstruk dengan teknik product moment. Dengan bakat musik sebagai variabel independen dan kepekaan sosial sebagai variabel dependen, korelasi product moment pearson digunakan untuk menganalisis data. Berdasarkan nilai r yang ditentukan sebesar -0,423 dan sig 0,02, terdapat hubungan yang cukup tidak menguntungkan dan signifikan secara statistik antara bakat musik dan kepekaan sosial pada masa dewasa awal. Ini berarti semakin tinggi kemampuan musikal maka akan semakin rendah kepekaan sosialnya, sebaliknya semakin rendah kemampuan musikal maka akan semakin tinggi pula kepekaan sosialnya.
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Demorest, Steven M., Jamey Kelley i Peter Q. Pfordresher. "Singing Ability, Musical Self-Concept, and Future Music Participation". Journal of Research in Music Education 64, nr 4 (30.11.2016): 405–20. http://dx.doi.org/10.1177/0022429416680096.

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Research on adults who identify as “tone deaf” suggest that their poor musical self-concept is shaped by a view of themselves as nonsingers even when their perceptual skills and singing ability are not significantly worse than the general population. Many of these adults self-selected out of further participation as children but expressed regret as adults for lost opportunities. The purpose of this investigation was to explore the role of musical self-concept, attitude, and related variables in predicting students’ decisions to participate in elective music instruction in junior high and whether those same variables were related to their assessed singing ability. Findings suggest that family music participation and positive attitudes toward music, particularly their view of themselves as musicians, can predict with 74% accuracy which students choose to continue in elective music. Musical self-concept was also a unique predictor of singing accuracy performance, suggesting a connection between students’ actual singing ability and their view of themselves as musicians.
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Nainggolan, Oriana Tio Parahita. "The Impact of Music in Increasing Intelligence: A "Gendhing Lancaran" Experiment on Spatial-Temporal Ability". Journal of Music Science, Technology, and Industry 2, nr 1 (15.01.2019): 113. http://dx.doi.org/10.31091/jomsti.v2i1.606.

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The purpose of this research was to investigate the influence of the Javanese gamelan pieces, namely gendhing lancaran towards the increasing of the spatial-temporal ability. The subjects of this research consist of 60 elementary school students in the fourth grade. By using random methods, those subjects are grouped into two groups those are 30 students on the experiment group and 30 others on the control group. The subjects were assigned to one of two conditions: listening gendhing lancaran (for the experiment group) or no music (for the control group). As a spatial-temporal task, CFIT (culture fair intelligence test) was administered before and after listening gendhing lancaran. The experiment group is scored significantly higher than the non-music group on CFIT. These data support this research as the elements of sounds produced by various music instruments can give stimulus or influence spatial-temporal ability. Tujuan penelitian ini adalah menginvestigasi pengaruh tetembangan gamelan Jawa, yaitu gendhing lancaran terhadap peningkatan kemampuan spasial-temporal. Subjek penelitian ini adalah 60 murid sekolah dasar di kelas empat. Dengan menggunakan metode acak, subjek-subjek tersebut dijadikan ke dalam dua kelompok, yaitu 30 dalam kelompok eksperimen dan 30 lainnya dalam kelompok pengawasan. Mereka dikaitkan dengan salah satu dari dua kondisi: mendengar gendhing lancaran (untuk kelompok eksperimen) atau tidak mendengar musik tersebut (untuk kelompok pengawasan). Sebagai tugas spasial-temporal, CFIT (culture fair intelligence test) dicatat sebelum dan sesudah mendengar gendhing lancaran. Kelompok eksperimen secara signifikan bernilai lebih tinggi dibandingkan kelompok pengawasan melalui CFIT. Data ini mendukung penelitian ini di mana elemen-elemen bunyi yang dihasilkan berbagai alat musik dapat memberikan stimulus atau pengaruh pada kemampuan spasial-temporal.
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Qahhorovich, Azimov Abror. "Developing students 'ability to sing in national music". ACADEMICIA: An International Multidisciplinary Research Journal 11, nr 11 (2021): 708–13. http://dx.doi.org/10.5958/2249-7137.2021.02600.8.

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Fujita, Shuji, i Juichi Ito. "Ability of Nucleus Cochlear Implantees to Recognize Music". Annals of Otology, Rhinology & Laryngology 108, nr 7 (lipiec 1999): 634–40. http://dx.doi.org/10.1177/000348949910800702.

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Kruse, Nathan B. "Adult community musicians’ self-esteem of music ability". Research Studies in Music Education 34, nr 1 (7.03.2012): 61–72. http://dx.doi.org/10.1177/1321103x12438655.

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Byo, Susan J. "Classroom Teachers' and Music Specialists' Perceived Ability to Implement the National Standards for Music Education". Journal of Research in Music Education 47, nr 2 (lipiec 1999): 111–23. http://dx.doi.org/10.2307/3345717.

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This study was designed as an examination of teacher perceptions about factors affecting the successful teaching of the National Standards for Music Education. Subjects of the study were music specialists and fourth-grade classroom teachers—or generalists—from public elementary schools throughout Florida. A survey was administered to both groups to determine opinions regarding the feasibility of implementing each of the nine National Standards for Music Education (singing, playing instruments, improvising, composing/arranging, reading/notating, listening/analyzing, evaluating, understanding music as it relates to other subjects, and understanding musk as it relates to history and culture) by rating seven items (contact time, resources, assistance, ability, training, interest, responsibility, and level of assistance). Results indicated that, with respect to all seven items, music specialists are considerably more amenable to the implementation of all nine standards than are general educators. Certain standards are more feasible for both music teachers and generalists to integrate, whereas others should be solely implemented by music teachers. Music specialists are less dependent on the assistance of generalists, but the generalists need the assistance of music specialists to successfully implement most standards. Both groups expressed a concern about the lack of time and resources to effectively teach what is required by most standards.
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Gromko, Joyce Eastlund. "Predictors of Music Sight-Reading Ability in High School Wind Players". Journal of Research in Music Education 52, nr 1 (kwiecień 2004): 6–15. http://dx.doi.org/10.2307/3345521.

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The purpose of this study, grounded in near-transfer theory, was to investigate relationships among music sight-reading and tonal and rhythmic audiation, visual field articulation, spatial orientation and visualization, and achievement in math concepts and reading comprehension. A regression analysis with data from four high schools (N = 98) in the American Midwest yielded a 4–variable model that included reading comprehension, rhythmic audiation, visual field articulation, and spatial orientation, F = 21.26, p < 0.001, accounting for 48% of the variance on music sight-reading. The results support previous studies in music education, cognitive science, and neuroscience that have shown that music reading draws on a variety of cognitive skills that include reading comprehension, audiation, spatial-temporal reasoning and visual perception of patterns rather than individual notes.
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Tanner, Michael. "Metaphysics and Music". Royal Institute of Philosophy Supplement 33 (wrzesień 1992): 181–200. http://dx.doi.org/10.1017/s1358246100002344.

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In a once-famous article, ‘The Elimination of Metaphysics through the Logical Analysis of Language’, first published in 1932, Rudolf Carnap (1959) wrote:The harmonious feeling or attitude, which the metaphysician tries to express in a monistic system, is more clearly expressed in the music of Mozart. And when a metaphysician gives verbal expression to his dualistic-heroic attitude towards life in a dualistic system, is it not perhaps because he lacks the ability of a Beethoven to express this attitude in an adequate medium? Metaphysicians are musicians without musical ability.
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Kanagala, Sai Charan, Thomas Schäfer, David M. Greenberg i Anna Gabińska. "Depression Symptoms Relationship With Music Use: Investigating the Role of Trait Affect, Musical Ability, Music Preferences". Music & Science 4 (styczeń 2021): 205920432110572. http://dx.doi.org/10.1177/20592043211057217.

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People across cultures often use music to evoke positive emotions and moods. Yet, some people tend to employ maladaptive strategies such as rumination, avoidant coping, or social isolation when they listen to music. The present research investigated how strongly maladaptive musical engagement is linked with depression and wellbeing in a sample of 1415 Indians (17–65 years) across four cities and two countries. Participants completed a battery of assessments on trait affect, depression, adaptive and maladaptive musical engagement strategies, music preferences, and music skills. 1329 participants were included for analysis. All nine symptoms ( r = .16, to .30) and the sum score of depression ( r = .39), as well as trait negative affect ( r = .36) were correlated with maladaptive music engagement. Six of the symptoms of depression were significant predictors of maladaptive music engagement. Among those, suicidal ideation, worthlessness, and fatigue were the most important. Maladaptive music engagement increased the odds of experiencing all the depression symptoms ( OR = 1.04 to 1.14). Trait positive affect ( r = .29) and having music as a hobby ( r = .22) correlated with adaptive music engagement. Musicians who had been playing an instrument for six years and above had lower levels of maladaptive music engagement ( d = .84). Furthermore, the results show that depression symptoms might have a bidirectional relationship with maladaptive music engagement, with suicidal thoughts being the most important symptom. The current study also validated the Healthy-Unhealthy Music Scale (HUMS; Saarikallio et al., 2015 ) in India and provides a cut-off score based on the sensitivity (.86) and specificity (.66) in identifying people at risk for depression. Overall, the results reveal that socio-demographic factors (age, gender, relationship status, occupation status, geographical location), psychological factors (trait affect, depressive symptoms), and music skills play an important role in engaging with music.
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Dohn, Anders, Eduardo A. Garza-Villarreal, Lars Riisgaard Ribe, Mikkel Wallentin i Peter Vuust. "Musical Activity Tunes Up Absolute Pitch Ability". Music Perception 31, nr 4 (grudzień 2012): 359–71. http://dx.doi.org/10.1525/mp.2014.31.4.359.

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Absolute pitch (AP) is the ability to identify or produce pitches of musical tones without an external reference. Active AP (i.e., pitch production or pitch adjustment) and passive AP (i.e., pitch identification) are considered to not necessarily coincide, although no study has properly compared these abilities. Using a novel computerized pitch adjustment test, we investigated active AP ability in musicians with and without AP (ages 18-43). We found a significant correlation between active and passive AP indicating that AP possessors (APs) identify and produce pitch equally well. Furthermore, we found that APs generally undershoot when adjusting musical pitch, a tendency that decreases when musical activity increases. Finally, APs are less accurate when adjusting the pitch to black key targets than to white key targets. Hence, AP ability may be partly practice-dependent and we speculate that APs may benefit from frequent contact with fixed standard chroma to keep in tune.
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Rubia Vila, Francisco José. "Neurobiological foundations of music". ANALES RANM 135, nr 135(02) (30.12.2018): 34–40. http://dx.doi.org/10.32440/ar.2018.135.02.supl01.art03.

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Music plays a fundamental role in our brain which suggests that music ability is an early developing mental capacity. The brain regions that are activated during music-related activities overlap with those that are dedicated to language functions, in particular singing. This is why it has been argued that both functions develop in parallel or that there is a precursor for both functions which has been labelled as “Musilanguage”. It is possible that this mental ability is hereditary, which would explain the existence of entire families dedicated to music.
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Jung, Jin-Hwa. "A comparison of the effects between music element focused singing activity and expression-centered singing activity on young children's music ability, perceptual-motor ability and language ability." korean Jouranl of Early Childhood Education 20, nr 3 (31.10.2018): 195–219. http://dx.doi.org/10.15409/riece.2018.20.3.9.

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Minjung Lee. "Effect of music drama activity on child's social ability". Korean Journal of Early Childhood Education 30, nr 2 (kwiecień 2010): 449–62. http://dx.doi.org/10.18023/kjece.2010.30.2.020.

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Minjung Lee. "A study of pre-service kindergarten teacher's music ability". Korean Journal of Early Childhood Education 31, nr 1 (luty 2011): 255–69. http://dx.doi.org/10.18023/kjece.2011.31.1.012.

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Kim, Eunoak, Hyo-Jeong Lee i Hyung-Jong Kim. "Music Perception Ability of Korean Adult Cochlear Implant Listeners". Clinical and Experimental Otorhinolaryngology 5, Suppl 1 (2012): S53. http://dx.doi.org/10.3342/ceo.2012.5.s1.s53.

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Yue, Sun, i Zhao Jingjing. "Effects of Music Training on Cognitive Ability and Anxiety". Psychology of China 1, nr 7 (2019): 524–36. http://dx.doi.org/10.35534/pc.0107033.

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Clark, Terry, i Aaron Williamon. "Imagining the music: Methods for assessing musical imagery ability". Psychology of Music 40, nr 4 (9.05.2011): 471–93. http://dx.doi.org/10.1177/0305735611401126.

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Lesiuk, Teresa. "Music perception ability of children with executive function deficits". Psychology of Music 43, nr 4 (21.02.2014): 530–44. http://dx.doi.org/10.1177/0305735614522681.

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Zimmerman, Emily, i Amir Lahav. "The multisensory brain and its ability to learn music". Annals of the New York Academy of Sciences 1252, nr 1 (kwiecień 2012): 179–84. http://dx.doi.org/10.1111/j.1749-6632.2012.06455.x.

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Jones, Steve. "Music and the Internet". Popular Music 19, nr 2 (kwiecień 2000): 217–30. http://dx.doi.org/10.1017/s026114300000012x.

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The fact is, if you want to make a difference in music, you have to change the machine. (Christie 1998)In my book Rock Formation I borrowed from Walter Ong and Jacques Attali when I noted that, ‘The ability to record sound is power over sound.’ (Jones 1992, p. 51) I continue to believe that statement to be true. Arguments that I then made about the increasing role computers would play in the production of music have been borne out. They were not hard forecasts to make: one only had to imagine that the processing power of computer chips would continue to increase according to Moore's Law and then extrapolate the possibilities such increases would create for sound recording and reproduction. Even comments I made, vaguely tongue-in-cheek, expecting that we would have, in addition to the ability to record high-quality digital audio in the home, the ability to press CDs at home, and print colour inserts for CD jewel boxes, thus creating not only home studios but home pressing plants, have become a reality. However, with but a few years' hindsight, I want to append to these an argument that recording sound matters less and less, and distributing it matters more and more, or, in other words, the ability to record and transport sound is power over sound. Consequently, technology is an even more important element to which popular music scholars must attend.
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Greenspon, Emma B., Peter Q. Pfordresher i Andrea R. Halpern. "Pitch Imitation Ability in Mental Transformations of Melodies". Music Perception 34, nr 5 (1.06.2017): 585–604. http://dx.doi.org/10.1525/mp.2017.34.5.585.

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Previous research suggests that individuals with a Vocal Pitch Imitation Deficit (VPID, a.k.a. “poor-pitch singers”) experience less vivid auditory images than accurate imitators (Pfordresher & Halpern, 2013), based on self-report. In the present research we sought to test this proposal directly by having accurate and VPID imitators produce or recognize short melodies based on their original form (untransformed), or after mentally transforming the auditory image of the melody. For the production task, group differences were largest during the untransformed imitation task. Importantly, producing mental transformations of the auditory image degraded performance for all participants, but were relatively more disruptive to accurate than to VPID imitators. These findings suggest that VPID is due partly to poor initial imagery formation, as manifested by production of untransformed melodies. By contrast, producing a transformed mental image may rely on working memory ability, which is more equally matched across participants. This interpretation was further supported by correlations with self-reports of auditory imagery and measures of working memory.
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Burak, Sabahat. "Self-efficacy of pre-school and primary school pre-service teachers in musical ability and music teaching". International Journal of Music Education 37, nr 2 (1.04.2019): 257–71. http://dx.doi.org/10.1177/0255761419833083.

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Pre-service non-music major teachers deem music and music teaching essential, but they do not perceive themselves to be competent in this field due to various reasons. This research aims to reveal the effects of factors such as gender, age, the year of study they are currently in at university, and musical experience on their self-efficacy in music skills and music teaching. The research was conducted with the participation of 395 pre-service teachers studying pre-school education and classroom teaching in the department of basic education in the faculty of education. The data were collected by employing the self-efficacy scale developed for musical abilities and music teaching. The findings of the research indicate that while the self-efficacy of the participants in musical abilities and music teaching does not show meaningful difference by gender, it does show meaningful difference according to the year they are in at university. According to the regression analyses, the important variables predicting perceived musical ability are music teaching self-efficacy, having previously played an instrument, and currently playing an instrument. However, the variable of music teaching self-efficacy is predicted meaningfully only by musical ability self-efficacy.
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Hopkins, Michael T. "Eighth-Grade Violinists’ Instrument Tuning Ability". Journal of Research in Music Education 63, nr 3 (1.09.2015): 349–68. http://dx.doi.org/10.1177/0022429415597884.

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The purpose of this study was to explore the relationship between eighth-grade violinists’ pitch perception and instrument tuning skill. The perceptual task was a researcher-developed computer-based Violin Tuning Perception Test. The instrument tuning task involved tuning two violins, one mistuned flat and the other mistuned sharp. Participants ( N = 46) were enrolled at three middle schools in the midwestern United States. A moderate relationship was found between participants’ perceptual accuracy and instrument tuning accuracy, with pitch perception scores significantly more accurate than instrument tuning scores. Participants tuned the flat instrument more accurately than the sharp instrument. An overall tendency toward flat tuning was evident on both the perception and instrument tuning tests, with responses to items representing the G string, the least accurate on both the perception and the instrument tuning tests. No relationships were found between participants’ rating of their tuning ability and their perceptual or instrument tuning accuracy; however, those who rated themselves as “excellent or good” required significantly less time to complete the instrument tuning test than those who rated themselves as “fair or poor.”
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Shouldice, Heather Nelson. "“Everybody has something”: One teacher’s beliefs about musical ability and their connection to teaching practice and classroom culture". Research Studies in Music Education 41, nr 2 (27.06.2018): 189–205. http://dx.doi.org/10.1177/1321103x18773109.

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The purpose of this case study was to explore one elementary music teacher’s beliefs about the nature of musical ability and the ways in which these beliefs relate to actions and lived experiences in the classroom. Data included extensive classroom observations documented through fieldnotes and video footage, semi-structured interviews, teacher journal entries, teaching artifacts, and researcher memos. Three themes emerged from the data: (a) enabling success for all; (b) power of the learning environment; and (c) encouraging lifelong engagement with music. The findings of this study suggest that music educators’ beliefs about students’ musical abilities relate to their actions in the music classroom, their interactions with students, and their beliefs about the purpose of music education. Music educators should reflect on their beliefs, the ways in which they relate to teaching practice, and the impact they may have on students’ musical achievement and musical identity development. Additionally, music teacher educators should consider the role they might play in helping pre-service as well as in-service music teachers examine and possibly reshape their beliefs about music teaching and learning.
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Goolsby, Thomas W. "Eye Movement in Music Reading: Effects of Reading Ability, Notational Complexity, and Encounters". Music Perception 12, nr 1 (1994): 77–96. http://dx.doi.org/10.2307/40285756.

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Six types of eye movement were measured and recorded with an SRI Eyetracker: number of progressive and regressive fixations, durations of progressive and regressive fixations and lengths of progressive and regressive saccades. Twenty-four graduate music students were selected as skilled and less- skilled music readers. Eye position was measured every millisecond with a high degree of accuracy. The factorial design was 2 Groups x 4 Melodies x 3 Encounters (including a practice period). Results indicated that patterns of eye movement in the two groups were similar across melodies and encounters, but differed with notational complexity. Eye movement was reduced when performing melodies with more-concentrated visual information than when performing melodies with less- concentrated visual information. The main effect of encounters indicated that music readers used fewer but longer fixations after practicing the melodies. Results suggest that skilled music readers look farther ahead in the notation, and then back to the point of performance, when sightreading.
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Cheng, Hao, Hao-ze Zhong i Ke-cheng Ben. "Study on the Application of Digital Information Technology in Music Teaching". Mobile Information Systems 2022 (22.03.2022): 1–9. http://dx.doi.org/10.1155/2022/2816848.

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In order to deal with the great challenge of the arrival of information society to the traditional music teaching concept and practice, an overview of the teaching ability structure of music normal students supported by information technology is put forward. The changes in the structure of teaching ability caused by information technology are analyzed, that is, to analyze the cultivation of teaching ability of music normal students by integrating music subject knowledge with information technology platform and promoting relevant elements in combination with teaching activities. By using Fitzgerald and our proposed long+short method to separate Beach Boys songs at the singing music ratio of -6, 0, and +6 dB, the singing signal (left column) and music signal (right column) are relative to the average values of SDR (first row), SIR (second row), and SAR (third row) of pure singing and pure music. Experiments show the effectiveness of this method.
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Bell, Adam Patrick. "(dis)Ability and Music Education: Paralympian Patrick Anderson and the Experience of Disability in Music". Action, Criticism, and Theory for Music Education 16, nr 3 (1.11.2017): 108–28. http://dx.doi.org/10.22176/act16.3.108.

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Harrison, Carole S. "Predicting Music Theory Grades: The Relative Efficiency of Academic Ability, Music Experience, and Musical Aptitude". Journal of Research in Music Education 38, nr 2 (1990): 124. http://dx.doi.org/10.2307/3344932.

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Byo, Susan J. "Classroom Teachers' and Music Specialists' Perceived Ability to Implement the National Standards for Music Education". Arts Education Policy Review 101, nr 5 (maj 2000): 30–35. http://dx.doi.org/10.1080/10632910009600271.

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Ginman, Karolina, Eeva Anttila, Marja-Leena Juntunen i Kaisa Tiippana. "Classroom-Integrated Movement and Music Interventions and Children’s Ability to Recognize Social Interaction Based on Body Motion". Education Sciences 12, nr 12 (13.12.2022): 914. http://dx.doi.org/10.3390/educsci12120914.

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Music and movement activities have been found to be beneficial for learning in childhood. The current study was part of the Arts@School project examining the effect of classroom-integrated arts-based interventions (music, movement, music-movement) on various student outcomes. The outcome of interest in the current report is the ability to recognize social interaction, which is one aspect of social cognition, an important but often ignored factor contributing to well-being and learning. The ability to recognize social interaction was studied using a test with two human figures either interacting with each other or moving separately. Children aged 10–11 completed the test pre and post intervention. The intervention groups and an inactive control group were four classes in a school. The interventions were delivered by teachers. The music intervention included listening, singing, and joint music making. The movement intervention was based on a creative dance approach and contained developmental movement patterns. The music-movement intervention focused on bodily experiences arising through activities combining music and movement. All intervention groups improved at the test, whereas the difference between the pre and post measurement did not reach significance in controls. This trend suggests that music and movement interventions integrated in the school learning environment may support children’s ability to interpret body motion, an important aspect of social interaction.
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Liu, Fengqin. "Interactive Music Learning Model Based on RBF Algorithm". Computational Intelligence and Neuroscience 2022 (13.08.2022): 1–6. http://dx.doi.org/10.1155/2022/5759986.

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With the development of art education and information technology, it is increasingly necessary to use computer technology and multimedia technology to assist teaching in the teaching activities of music subjects nowadays, so as to cultivate students’ independent inquiry ability and drilling ability. The design of an interactive teaching music intelligence system based on artificial intelligence is studied, and a music learning model based on the RBF algorithm is proposed, which helps to enhance students’ inquiry ability and also plays the leading role of teachers. By teaching each other, students become the main subject of teaching and learning, and it stimulates students’ enthusiasm and learning awareness of music learning.
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Liu, Hou Yu. "Application of Music Software in College Professional Music Using". Applied Mechanics and Materials 556-562 (maj 2014): 6754–57. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6754.

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There are many kinds of music software which can apply to almost every field of professional music using, such as solfeggio, vocal music and composing. Software, EarMaster School, can quickly upgrade students’ ability of solfeggio. Simulating stage scenery by using auto accompaniment software can reduce their stress and tension and improve their level of singing. Doing composing practice by using music software can improve learning efficiency. "TT composer" make electronic composing more intuitive, more easily.
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Wang, Mingxun, Gang Luo i Hao Chen. "Practice of Music Therapy for Autistic Children Based on Music Data Mining". Mathematical Problems in Engineering 2022 (6.04.2022): 1–9. http://dx.doi.org/10.1155/2022/4576211.

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For children with autism, music therapy has aroused great concern with its novelty and better influence. Music therapy, as one of the effective treatment methods, has an important influence on the social interaction, behavior, and emotion of autistic children. This study attempts to explore a form of applying highly specialized impromptu music therapy to the personal treatment of autistic children in schools for the disabled, as well as the design method of specific music activities. Based on music data mining, the machine learning method is introduced to model music emotion features, and various algorithms are compared to find a model with higher recognition rate, and, at the same time, the antinoise ability and generalization ability of the model are further improved. Finally, a music emotion cognitive model with better performance is established. The results show that the model can effectively promote the overall development of autistic children’s cognitive movement, social communication, language communication, and cognition.
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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang i Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability". Quarterly Journal of Experimental Psychology 75, nr 5 (1.11.2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.

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A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.
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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang i Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability". Quarterly Journal of Experimental Psychology 75, nr 5 (1.11.2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.

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A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.
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An, Le. "Separation and Integration of Music Education and Innovation and Entrepreneurship Education". International Journal of Education and Humanities 4, nr 3 (27.09.2022): 192–96. http://dx.doi.org/10.54097/ijeh.v4i3.1805.

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Innovation and entrepreneurship education is a new educational model and new idea centered on the guidance of college students' innovative thinking, the training of innovative consciousness, the cultivation of entrepreneurial spirit and entrepreneurial ability. With the development of economy and society, especially the proposal of the strategy of building an innovative country in 2020, it is not only required to cultivate talents with innovative consciousness, spirit and entrepreneurial ability while mastering music professional skills, but also with the ability to achieve innovative self-development from work or the ability to realize self-entrepreneurship. The integration of music professional education and innovation and entrepreneurship education is the final trend in the development process of music education and the embodiment of higher education to achieve educational goals in the new period. This paper analyzes the separation and integration of music professional education and innovation and entrepreneurship education to help solve the confusion of students' employment, improve students' music professional ability, clarify their employment goals, and provide reference for the integration of professional education and innovation and entrepreneurship education in colleges and universities.
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