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Artykuły w czasopismach na temat "Music – Instruction and study – Psychological aspects"
Li, Jiuchen. "Optimal Development Model of College Music Curriculum Based on Psychology and Big Data Analysis in a Quantitative Environment". Journal of Environmental and Public Health 2022 (16.09.2022): 1–10. http://dx.doi.org/10.1155/2022/7455340.
Pełny tekst źródłaLinek, Stephanie B., Birgit Marte i Dietrich Albert. "Background Music in Educational Games". International Journal of Game-Based Learning 1, nr 3 (lipiec 2011): 53–64. http://dx.doi.org/10.4018/ijgbl.2011070104.
Pełny tekst źródłaCoss, Roger G. "Descriptions of expert jazz educators’ experiences teaching improvisation". International Journal of Music Education 36, nr 4 (11.06.2018): 521–32. http://dx.doi.org/10.1177/0255761418771093.
Pełny tekst źródłaMURPHY, REGINA, i MARTIN FAUTLEY. "Editorial". British Journal of Music Education 30, nr 3 (25.10.2013): 307–9. http://dx.doi.org/10.1017/s0265051713000259.
Pełny tekst źródłaSydoriv, Sergiy. "Pre-Service Training of Elementary School Teachers for Organization of Inclusive Learning Environment". Journal of Vasyl Stefanyk Precarpathian National University 9, nr 1 (27.04.2022): 169–79. http://dx.doi.org/10.15330/jpnu.9.1.169-179.
Pełny tekst źródłaMo, Wenwen, i Yuan Yuan. "Design of Interactive Vocal Guidance and Artistic Psychological Intervention System Based on Emotion Recognition". Occupational Therapy International 2022 (17.06.2022): 1–9. http://dx.doi.org/10.1155/2022/1079097.
Pełny tekst źródłaConcina, Eleonora. "Effective Music Teachers and Effective Music Teaching Today: A Systematic Review". Education Sciences 13, nr 2 (19.01.2023): 107. http://dx.doi.org/10.3390/educsci13020107.
Pełny tekst źródłaDuke, Robert A., Carol A. Prickett i Judith A. Jellison. "Empirical Description of the Pace of Music Instruction". Journal of Research in Music Education 46, nr 2 (lipiec 1998): 265–80. http://dx.doi.org/10.2307/3345628.
Pełny tekst źródłaKiraly, Zsuzsanna. "Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer". International Journal of Music Education os-40, nr 1 (maj 2003): 41–58. http://dx.doi.org/10.1177/025576140304000105.
Pełny tekst źródłaMontemayor, Mark, i Brian A. Silvey. "Conductor Expressivity Affects Evaluation of Rehearsal Instruction". Journal of Research in Music Education 67, nr 2 (5.03.2019): 133–52. http://dx.doi.org/10.1177/0022429419835198.
Pełny tekst źródłaRozprawy doktorskie na temat "Music – Instruction and study – Psychological aspects"
Kirsch, Simone Hillary. "Psychological aspects of one-on-one instrumental teaching at the tertiary level". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17372.
Pełny tekst źródłaENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these.
AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.
Chen, Ti Wei. "Role and efficacy of verbal imagery in the teaching of singing : case study and computer vocal analysis". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/716.
Pełny tekst źródłaLeavell, Brian K. ""Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.
Pełny tekst źródłaMCDONALD, JUNE CLARKSON. "THE APPLICATION OF EDWIN GORDON'S EMPIRICAL MODEL OF LEARNING SEQUENCE TO TEACHING THE RECORDER". Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184116.
Pełny tekst źródłaChan, Wai-lan Candy, i 陳惠蘭. "Music extra-curricular activities and students' sense of belonging to the school". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37604569.
Pełny tekst źródłaNewton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.
Pełny tekst źródłaFiorillo, Risa Maree. "Music handbook for primary grade teachers". CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1739.
Pełny tekst źródłaTaylor, Ouida O. (Ouida Oswalt). "Student Interpretations of Teacher Verbal Praise in Selected Seventh and Eighth Grade Choral Classes". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278057/.
Pełny tekst źródłaCampbell, Velma-Jean. "The implications of Ned Herrmann’s whole-brain model for violin teaching : a case study". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1889.
Pełny tekst źródłaThis study is concerned with determining whether the application of Ned Herrmann’s “whole-brain” model would impact violin teaching in any way. Our educational system places great importance on what has become known as the left-brain modes, that is, reading, writing and arithmetic, to the neglect of the socalled right brain’s cognitive abilities, such as, music, art, intuition and dance. Wellintentioned, yet ill-informed teachers teach learners in ways that make learning difficult or impossible, as they are unaware of how to determine and use the preferred learning style of each learner. When a learner’s learning style is not matched with the method of instruction, the learner’s discomfort level may be so great that it not only interferes with the learning process but it could also ultimately prevent learning from taking place. The researcher, therefore, set out to determine whether the use of whole-brain development would lead to any significant changes in the learning process. For a period of two school terms, case studies using action research were conducted on five of the learners that received instruction from the researcher. The research participants were so chosen as to make the experimental group as homogenous as possible. Data was collected qualitatively by means of diaries and was presented descriptively. Every week the learners received a printed copy of the homework exercises. They recorded their feedback weekly, in their diaries. The researcher, as the teacher of the learners, made weekly observations during lessons. During this research the process of triangulation was used. This process added validity to the study as information about specific aspects was gained from three different perspectives, namely, that of the learners, the teacher and the learners’ accompanists. The accompanists gave their feedback before the start of the research and again at the end. After applying Herrmann’s model for two terms, the following became apparent: • The learners practised more, were more motivated and there was a general improvement in their attitude. • The learners felt that having received a printed copy of the exercises, a whole brain exercise in itself, had helped them to know what and how to practise. • There was a significant change in the playing of the majority of learners (three of the five). • The learners, where significant changes were not apparent in their playing, indicated that their understanding of their practising methods and playing had increased. • The learners felt that they had benefited from the experiment as they all indicated that they would like future lessons to be conducted in the same manner. In view of the positive outcome of the research, and given that this was a pilot study, the researcher suggests that similar studies using larger numbers of learners and involving a longer period of time, be conducted. The inclusion of a control group would also render the findings more conclusive. The researcher also suggests that violin teachers become knowledgeable about learning styles and whole-brain learning if they wish to reach all learners and enable them to achieve their potential.
Younse, Stuart. "Dialogic Interactionism: the Construction of Self in the Secondary Choral Classroom". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4557/.
Pełny tekst źródłaKsiążki na temat "Music – Instruction and study – Psychological aspects"
P, Schmidt Charles, red. Advances in social-psychology and music education research. Burlington, VT: Ashgate, 2011.
Znajdź pełny tekst źródłaMusic, meaning and transformation. Newcastle, U.K: Cambridge Scholars, 2007.
Znajdź pełny tekst źródłaMusic, mind, and education. London: Routledge, 1988.
Znajdź pełny tekst źródłaCollaborative learning in higher music education. Burlington: Ashgate, 2013.
Znajdź pełny tekst źródła1946-2012, Campbell Don G., red. Bringing music to life. Chicago, Ill: GIA Publications, 2009.
Znajdź pełny tekst źródłaBeck, Wolfgang. Musik machen--Musik verstehen: Psychologische Aspekte des handlungsorientierten Musikunterrichts im Klassenverband : Veröffentlichung der Akademie für Musikpädagogik Mainz. Mainz: Schott, 1992.
Znajdź pełny tekst źródłaRazhnikov, Vladimir. Dialogi o muzykalʹnoĭ pedagogike. Moskva: "T͡S︡API", 1994.
Znajdź pełny tekst źródłaAgosti-Gherban, Cristina. L' éveil musical, une pédagogie evolutive. Issy-les-Moulineaux: EAP, 1995.
Znajdź pełny tekst źródłaKleinen, Günter. Die psychologische Wirklichkeit der Musik: Wahrnehmung und Deutung im Alltag. Kassel: G. Bosse, 1994.
Znajdź pełny tekst źródłaRay, Johanna. Musikaliska möten man minns: Om musikundervisningen i årskurserna sju till nio som en arena för starka musikupplevelser. Åbo: Åbo Akademis, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Music – Instruction and study – Psychological aspects"
Linek, Stephanie B., Birgit Marte i Dietrich Albert. "Background Music in Educational Games". W Developments in Current Game-Based Learning Design and Deployment, 219–30. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1864-0.ch016.
Pełny tekst źródłaLinek, Stephanie B., Birgit Marte i Dietrich Albert. "Background Music in Educational Games". W Gamification for Human Factors Integration, 259–71. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5071-8.ch016.
Pełny tekst źródłaHuang, Chih-Fang, Chih-Hsiang Liang i En-Ju Lin. "A Study on Emotion Releasing Effect with Music and Color". W Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 23–31. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch003.
Pełny tekst źródłaVitalino, Michael, i Vincent E. Rone. "A Player’s Guide to the Psychology of Nostalgia and Videogame Music". W Nostalgia and Videogame Music: A Primer of Case Studies, Theories, and Analyses for the Player-Academic, 24–45. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385519_1.
Pełny tekst źródłaRakovs`ka, Maria, i Dariya Pustovoichenko. "IMPROVING THE EFFICIENCY OF FOREIGN LANGUAGE TEACHING FOR FUTURE NON-LINGUISTIC SPECIALISTS WITH THE APPLICATION OF THE SIOP MODEL". W Trends of philological education development in the context of European integration. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-069-8-10.
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