Artykuły w czasopismach na temat „Music practice”
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Sandgren, Maria. "How modes of instrumental practice are distributed in three musical genres and among vocalists and instrumentalists at music colleges". Psychology of Music 47, nr 5 (10.04.2018): 767–78. http://dx.doi.org/10.1177/0305735618765299.
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The present study investigates whether past and present instrumental practices differ across musical genres (jazz, folk music, classical music) and vocalists in relation to instrumentalists ( N = 108). New findings were that vocalists and instrumentalists differed significantly in all practice experiences ( p < .05–.001), whereas fewer differences were found across genres. In line with previous research, classical musicians engaged more in solitary practice than folk music and jazz musicians did ( p < .001), yet jazz and folk music students practiced more in ensemble compared to classical musicians ( p < .05). In addition, the results contrasted with the general view of solitary practice as a demanding and unpleasant activity, as all groups of music students found solitary practice to be a more positive than negative experience. Future studies are warranted to more closely and empirically investigate vocalists’ practice habits, and to examine how emotions are related to instrumental practicing in music education.
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Critchfield, Jared B. "Practice Rooms and Practice Fields: Connections in Character Development". Music Educators Journal 107, nr 4 (czerwiec 2021): 35–41. http://dx.doi.org/10.1177/00274321211012447.
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Most music teachers desire to positively influence the development of their students’ character; however, the practicalities of doing so have been understudied in music education. This article draws on research from the related field of sports education and presents possible strategies for developing strong character in music students. Cultivating a moral atmosphere, developing a teaching orientation that encourages student mastery, and listening to student perceptions about their experience in the music classroom are research-driven approaches that music educators can use to encourage positive character development in music students.
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Syafa, Muhammad Fachmi, i Sri Murlianti. "Reggae Music Community Practice in The City of Bontang (Descriptive Study of Bontang Reggae Community)". Progress In Social Development 1, nr 2 (6.07.2020): 23–31. http://dx.doi.org/10.30872/psd.v1i2.21.
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ABSTRACT:
This study describes the practice of social life in the field of music in the city of Bontang, based on a sociological perspective using the generative formulation of the theory of Pierre Bourdieu (Habitus x Modal) + Ranah = Practice. This shows that the existence of the Bontang Reggae Community has produced several groups consisting of Reggae Grill, Slow Reggae, and Reggae Vibe groups as actors who practice in the realm of reggae music. This group was formed because of the different knowledge and understanding in the field of reggae music as a realm of space for social life, which then produced various habitus according to the realm of music in each group. Also, the existence of each group has been supported by the existence of a classification of capital which according to Bourdieu consists of four fundamental capitals including material capital, social capital, cultural capital, and symbolic capital. The three groups produce a practice resulting from dialectical relations through habitus-modal interactions in different and prominent domains of reggae music. The Reggae Grill group produces practices that come from symbolic capital, and circular habitus or the use of Cannabis, then the Slow Reggae group produces modern music practices that come from material capital and cultural capital, and the Reggae Vibe group produces solidarity practices that come from cultural capital and capital. symbolic, as well as group habitus.
ABSTRAK:
Penelitian ini menggambarkan praktik kehidupan sosial masyarakat pada bidang seni musik di kota Bontang, berdasarkan perspektif sosiologi dengan menggunakan rumusan generatif teori Pierre Bourdieu (Habitus x Modal) + Ranah = Praktik. Menunjukkan bahwa keberadaan Bontang Reggae Community telah melahirkan beberapa kelompok yang terdiri dari kelompok Reggae Grill, Slow Reggae, dan Reggae Vibe sebagai aktor yang melakukan praktik dalam ranah kehidupan seni musik reggae. Kelompok ini terbentuk karna adanya pengetahuan dan pemahaman yang berbeda-beda di bidang seni musik reggae sebagai ranah atau ruang kehidupan sosial, yang kemudian menghasilkan berbagai habitus sesuai dengan ranah musik pada masing-masing kelompok. Selain itu, keberadaan setiap kelompok telah didukung dengan adanya klasifikasi modal yang menurut Bourdieu terdiri dari keempat modal fundamental diantaranya adalah, modal material, modal sosial, modal kultural, dan modal simbolik. Ketiga kelompok tersebut menghasilkan sebuah praktik yang dihasilkan dari hubungan dialektis melalui interaksi habitus-modal dalam ranah musik reggae yang berbeda dan menonjol. Kelompok Reggae Grill menghasilkan praktik yang bersumber dari modal simbolik, dan habitus melingkar atau penggunaan Cannabis, kemudian kelompok Slow Reggae menghasilkan praktik musik modern yang bersumber dari modal material dan modal budaya, serta kelompok Reggae Vibe menghasilkan praktik solidaritas yang bersumber dari modal budaya, dan modal simbolik, serta habitus berkelompok.
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Guilbault, Jocelyne. "Interpreting world music: a challenge in theory and practice". Popular Music 16, nr 1 (styczeń 1997): 31–44. http://dx.doi.org/10.1017/s0261143000000684.
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This article focuses on the issue of meanings in ‘world music’ practices. The main questions addressed are how such musical cultures take on meanings, and what meanings are constructed by such cultures. As Deborah Pacini has indicated, the term ‘world music’ in this case does not refer to a musical genre. It is used, rather, ‘[as] a marketing term describing the products of musical cross-fertilisation between the north – the US and Western Europe – and south – primarily Africa and the Caribbean Basin, which began appearing on the popular music landscape in the early 1980s’ (1993, p. 48). From 1985, the expanding ‘world music’ umbrella has come to include practically any musics of cultures of non-European origin.
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Saputra, Wahyu Eka, i Agusti Efi. "GAYA BELAJAR AURAL PLAY DI YAMAHA MUSIK PADANG". Gorga : Jurnal Seni Rupa 8, nr 2 (22.11.2019): 378. http://dx.doi.org/10.24114/gr.v8i2.15420.
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AbstrakPenelitian ini bertujuan untuk mengetahui pelaksanaan pembelajaran gaya belajar aural play di Yamaha musik Padang. Metode yang digunakan dalam mengetahui pelaksanaan pembelajaran aural play di Yamaha musik Padang ini adalah metode kualitatif natural observasi, dimana peneliti sebagai instrument utama penelitian. Siswa Yamaha musik padang memiliki kecendrungan menggunakan indra pendengaran untuk belajar dan mempraktekkan alat musik dengan menirukan kembali apa saja yang dilakukan oleh guru mereka. Walaupun telah adanya buku penunjang berisi notasi musik yang dipelajari dengan cara membaca, siswa lebih senang mendengarkan dan menirukan cara guru mereka mempraktekan materi musik yang sedang dipelajarinya. Oleh sebab itu perlu untuk dicari tahu kenapa siswa Yamaha musik padang sangat cendrung menggunakan gaya belajar aural play dalam mempelajari dan mempraktekkan instrument musik mereka. Penelitian ini diharapkan dapat menambah wawasan kajian pembelajaran musik tentang penerapan gaya belajar aural kepada siswa di lembaga pendidikan musik, mampu memperkaya teori tentang gaya belajar aural dan terhadap pengembangan ilmu pengetahuan yang berkaitan dengan gaya belajar aural. Kata Kunci: gaya belajar, musik, aural, play.AbstractThis research study is to study the implementation of aural play style learning in Yamaha Padang music. The method used in studying the implementation of learning to play in Yamaha Padang music is a qualitative method of natural observation, where the researcher as the main research instrument. Yamaha Padang students have a tendency to use the sense of hearing to learn and practice musical instruments by imitating whatever their teacher does. Although there are supporting books containing music notation that are learned by reading, students prefer to listen and imitate the way their teacher practices the music material that they are learning. Therefore it is necessary to know why Yamaha Padang students are so inclined to use aural learning learning styles in discussions and practice their musical instruments. This research is expected to add insight into music learning about the application of aural learning styles to students in music education institutions, able to enrich theories about aural learning styles and to the development of knowledge related to aural learning styles. Keywords: learning style, music, aural, play.
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DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE". Eighteenth Century Music 4, nr 2 (wrzesień 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.
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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
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Mahon. "Music, Power, and Practice". Ethnomusicology 58, nr 2 (2014): 327. http://dx.doi.org/10.5406/ethnomusicology.58.2.0327.
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BERGER, JOY S. "Music for Your Practice". Home Healthcare Nurse: The Journal for the Home Care and Hospice Professional 21, nr 1 (styczeń 2003): 25–30. http://dx.doi.org/10.1097/00004045-200301000-00006.
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Woody, Robert Henley. "Obsessive – Compulsive Music Practice". American String Teacher 50, nr 2 (maj 2000): 116. http://dx.doi.org/10.1177/000313130005000222.
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Dovgiy, I. L. "MUSIC THERAPY IN NEUROLOGICAL PRACTICE". East European Journal of Parkinson`s Disease and Movement Disorders 4, nr 1-2 (30.06.2018): 10–19. http://dx.doi.org/10.33444/2414-0007.4.1-2.10-19.
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The article describes a brief history of music. The main directions of application of music therapy are considered. The division of its methods and forms of work and an indicative note of the lesson on music therapy is provided. Keywords: music, music therapy.
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Bowen, Jose A., i Michael Chanan. "Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism". Notes 52, nr 4 (czerwiec 1996): 1156. http://dx.doi.org/10.2307/898385.
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Tregear, Peter. "Musica Practica: The social practice of western music from gregorian chant to postmodernism". Musicology Australia 19, nr 1 (styczeń 1996): 88–89. http://dx.doi.org/10.1080/08145857.1996.10416554.
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Pokharel, Ramesh. "Music in Lichhavi and Malla Period: An Overview". SIRJANĀ – A Journal on Arts and Art Education 4, nr 1 (1.12.2017): 134–39. http://dx.doi.org/10.3126/sirjana.v4i1.44439.
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Music is a universal language which transcends all barriers of country, race or religion. The people of Nepal are immensely music oriented. This paper attempts to discuss the music conditions during Lichchhavi and Malla periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as traditional Music today has taken the step of development in this very age. The evidence shows that specially raga based traditional Music was practiced in those periods.
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Heiderscheit, Annie. "Integrating Music and Imagery in Music Therapy Clinical Practice". Music and Medicine 8, nr 2 (30.04.2016): 9. http://dx.doi.org/10.47513/mmd.v8i2.493.
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This article explores the use of music and imagery in the music therapy literature beyond the scope of The Bonny Method of Guided Imagery and Music (GIM), or solely its use in music and imagery for relaxation. The majority of music therapy literature exploring the use of music and imagery is specific to the Bonny Method of Guided Imagery and Music and linked to the practice of utilizing music and imagery for relaxation. Through reviewing music therapy literature that identifies how music and imagery are embedded in other music therapy methods, this article will incorporate clinical case illustrations from the author’s clinical practice that further demonstrate how the use of music and imagery are utilized in other music therapy methods. These clinical case illustrations include explorations of the use of music and imagery in group music therapy sessions, exemplifying its use in discussion and improvisation. Keywords: music, imagery, clinical practiceGermanMusic and Imagery in der klinischen musiktherapeutischen PraxisAnnie HeiderscheidtDieser Artikel untersucht, wie Music and Imagery in der musiktherapeutischen Literatur jenseits der Bonny Methode der Guided Imagery and Music (GIM) angewendet wird, oder alsalleinige Verwendung zur Entspannung. Die Mehrzahl der Musiktherapie-Literatur, die die Verwendung von Music and Imagery untersucht, ist besonders verbunden mit GIM und der Praxis, Music and Imagery zur Entspannung einzusetzen. Im Zuge der Durchsicht der Musiktherapie-Literatur, die beschreibt, wie Music and Imagery in andere musiktherapeutische Methoden eingebunden ist, fügt dieser Artikel klinische Fallstudien aus der Arbeit der Autorin ein, die darüber hinaus zeigen sollen, wie Music and Imagery in anderen musiktherapeutischenMethoden eingesetzt wird. Diese klinischen Fallstudien untersuchen Music and Imagery in Gruppenmusiktherapiesitzungen, wobei ihre Verwendung mit Hilfe von Diskussionen und Improvisationen veranschaulicht wird.Keywords: Musik, Imagery, klinische Praxis Japanese音楽療法臨床における音楽とイメージの統合要旨本稿は、 ボニー式GIMの領域を超えた音楽とイメージの使用について、もしくは単に音楽とイメージをリラクゼーションに使用した音楽療法文献について調査している。大多数の音楽とイメージを使用についての音楽療法文献が、ボニー式GIMに特化して調査されたものであり、音楽とイメージをリラクゼーションのために使用した臨床に関連している。音楽療法文献を再調査することを通して音楽とイメージがどのように他の音楽療法メソッドに取り組まれているかを見極め、音楽とイメージの使用がどのように他の音楽療法メソッドにおいて取り扱われているか実際に行われた著者の臨床からの例を取り入れる。これらの臨床例は集団音楽療法セッションにおける音楽とイメージの使用の解説を含み、ディスカッションと即興における使用について例示する。 キーワード：音楽、イメージ、臨床Chinese本文探討了音樂治療文獻中音樂與意象的使用，包括邦尼式引導想像音樂治療法(GIM)的範疇，或僅以音樂與意象用在放鬆上。大多數探討音樂與意象的音樂治療文獻都限定在邦尼式引導想像音樂治療法，並與運用此方法輔助放鬆做連結。透過文獻回顧並定義音樂與意象如何融入其他音樂治療方法，本文結合了作者的臨床案例經驗進一步闡述音樂引導意象能如何被應用於其他音樂治療方法。這些臨床案例演示探討了音樂引導意象方法在音樂治療團體中的運用，並舉例說明此方法在討論與即興中的使用。Korean1. 음악 치료 임상 현장을 위한 음악과 심상의 통합적용Annie Heiderscheit초록본 연구는 음악 치료 문헌에서 음악과 심상이 유도된 심상과 음악 기법(GIM), 또는 이완(relaxation)을 위한 활용을 넘어 어떻게 활용되고 있는지를 탐구한다. 음악과 심상의 적용을 조사한 음악 치료 문헌들은 대부분 Bonny 에 의해 개발된 유도된 심상과 음악, 또는 이완을 위해 음악과 심상을 활용한 경우로 국한되어 왔다. 음악과 심상이 그 외의 다른 음악 치료 현장에서 어떻게 적용되었는지 확인하기 위해 본 연구는 음악 치료 문헌들을 검토하고, 저자의 임상사례들을 통합하며 음악과 심상 사용이 다른 음악 치료 기법에서 어떻게 활용되는가를 알아보고자 한다. 본 연구에 포함된 임상 사례는 집단 음악 치료 세션에서 음악과 심상을 사용하는 것에 대한 조사가 포함되며, 대화(토론)와 즉흥 연주에서 음악과 심상을 활용하는 예시를 제시한다. 키워드: 음악, 심상, 임상현장
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Sweeney-Turner, Steve, i Michael Chanan. "Music Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism". Musical Times 136, nr 1823 (styczeń 1995): 38. http://dx.doi.org/10.2307/1003283.
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Fuentes, Christian, Johan Hagberg i Hans Kjellberg. "Soundtracking: music listening practices in the digital age". European Journal of Marketing 53, nr 3 (4.04.2019): 483–503. http://dx.doi.org/10.1108/ejm-10-2017-0753.
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Purpose The purpose of this paper is to further develop the conceptualization of music consumption in the digital age by examining how contemporary music listening is interweaved with other practices, how it shapes those practices and how it is in turn shaped by them. Design/methodology/approach The paper draws on extensive, qualitative interviews with 15 Swedish music consumers. During the course of these interviews, specific situations of everyday music listening were discussed in detail. Findings Drawing on practice theory and more specifically the concepts of dispersed and integrative practices, the authors identify and explore a mode of music listening that they term soundtracking, which involves choosing and listening to music mainly to accompany other everyday practices. Research limitations/implications As soundtracking grows in importance, music is increasingly consumed as an affective-practical resource. Its significance is then not derived from its ability to demarcate difference and construct consumer identities but from its capacity to evoke emotions and moods than enable and enrich a set of everyday practices. Practical implications When music is consumed as part of soundtracking, issues such as the audio quality of music or ownership of material music media become less important, while aspects such as mobility, accessibility and the adaptability of music increase in importance. This has important implications for how and what music should be produced and marketed. Originality/value This paper offers an alternative view of contemporary music consumption compared to previous research, which has considered music listening primarily as an integrative practice on which the practitioner is fully focussed. The paper also contributes to practice theory by offering an empirically based understanding of a dispersed practice, showing that such practices are neither without shape nor necessarily very simple in their structure.
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Waddington, Kathryn, i Maria Erbmann. "The influence of music on black, Asian and minority ethnic women working in the field of domestic violence and abuse: critical reflection on music as method". International Practice Development Journal 11, nr 1 (19.05.2021): 1–8. http://dx.doi.org/10.19043/ipdj.111.010.
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Background: Arts-based research practices draw upon music, visual art, poetry and other media as methodological tools throughout the research process. There is also growing recognition of the contribution of arts-based practices, including music as method, to interdisciplinary fields of health, social sciences, humanities and education. Research into: i) the role of music as a therapeutic intervention; and ii) the use of creative approaches to practice development are clearly evident in the literature. What is less evident is the role of music as method. This article is a critical reflection on the novel use of music recordings during qualitative interviews in a small-scale study exploring the role of music in the work and lives of black, Asian and minority ethnic women working in a UK domestic violence and abuse charity. Aim: To describe a critical reflection on music as method in a small-scale qualitative research study. Implications for practice: Music has potential as a model and method in qualitative health and social care research practice, particularly with sensitive topics such as drug misuse or homelessness Music is a means of developing compassion and critically reflective practice development in the field of domestic violence and abuse and other areas of practice
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Pokharel, Ramesh. "Classical Music in the Shah and Rana Era: 1768 - 1951 A.D." SIRJANĀ – A Journal on Arts and Art Education 6, nr 1 (1.12.2019): 62–71. http://dx.doi.org/10.3126/sirjana.v6i1.39674.
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The tradition of classical music was more justified during the Shah and Rana Dynasty’s ruling. During the time the cultural import from neighboring India and the wide appreciation of music by kings and the Royal Palace of Nepal show the influence of Classical music among the Shah and Rana families. Some Rana Prime Ministers wanted to promote classical music but in practice most music was limited to the Royal palace and Rana family. Music Education, as well as all kinds of formal education were banned for the citizens of Nepal during the Rana regime. Those who were close to the Rana family and the palace were supposed to learn classical music from the patronized Ustaad /Pundit of the Palace and private teachers as well. This paper attempts to discuss the overall developing trends of classical music during Shah and Rana periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as classical music today has taken the step of development in those periods. The evidence shows that especially raga based different Music genres were practiced and flourished in those periods.
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Hyllegard, Randy, i Tamara L. Bories. "Deliberate Practice Theory: Relevance, Effort, and Inherent Enjoyment of Music Practice". Perceptual and Motor Skills 107, nr 2 (październik 2008): 439–48. http://dx.doi.org/10.2466/pms.107.2.439-448.
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This study examined three assumptions of the theory of deliberate practice for practice playing music on an electronic keyboard. 40 undergraduate students, divided into two separate groups, practiced one of two music sequences and rated the relevance of practice for improving performance on the sequences, the amount of effort needed to learn the sequences, and the inherent enjoyment of practice sessions. Findings for each assumption were consistent with those suggested by theory but also showed that perceptions are affected by the amount of practice completed and performance of the skill.
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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice". Organised Sound 25, nr 2 (sierpień 2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.
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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.
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Ananda, Rizky Fauzy, Helena Evelin Limbong i Hery Budiawan. "Saru Pakareman: Refleksi Pengalaman Diri sebagai Practice-led Research". Resital: Jurnal Seni Pertunjukan 23, nr 2 (1.08.2022): 75–87. http://dx.doi.org/10.24821/resital.v23i2.7328.
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ABSTRACT This research on the art creation of Saru Pakareman's work aims to find the importance of repetition in both musical and extra-musical. This work is a process of creating musical compositions that depart from the reflection of the researcher's self-experience. This art creation research activity is based on musical and extra-musical experiences in the researcher's life that have an influence on the researcher's music writing style or language. These experiences are mostly found by researchers from everyday life from childhood in the realm of family (social) phenomena where the influence of cultural teachings brought by mothers plays a major role in the process of self-introduction and the researcher's musical style. The art creation research methodology used is Practice-led Research artistic research which is also integrated with ethnographic and phenomenological approaches. The stages carried out a) the collection of data on phenomena, minimalist music, repetitions, Sundanese, and drum patterns, b) deepening of art creation: Repetition, Art creation Internship, Laboratory, and Curation. The results of this art creation research are in the form of program music works based on family socio-cultural phenomena and repetitions with simple development, interpretation of laras saléndro padantara into the whole tone scale in Western music, as well as the transition of traditional musical instruments kendang, karawitan degung laras madenda, and karawitan jaipong into the form of a string ensemble presentation. The results of such art creation research prove that the importance of repetition in music as well as in the context of life. Without repetitions in music a piece will not sound musical, while in the context of life repetition is something that always exists in everyday life such as worship activities and life patterns, in the context of education repetition is the easiest and most basic way of learning to learn and recall about understanding something. Reflection on life-experience through Practice-led Research is proven to be an idea of art creation research and is able to bridge the gap between subjectivity and objectivity in scientific writing.ABSTRAK Penelitian penciptaan karya Saru Pakareman ini bertujuan untuk menemukan arti pending repetisi baik dalam musikal maupun ekstra-musikal. Karya ini merupakan proses penciptaan komposisi musik yang berangkat dari refleksi pengalaman diri penulis. Kegiatan penelitian penciptaan ini didasari oleh pengalaman musikal dan ekstra-musikal dalam hidup penulis yang memiliki pengaruh terhadap gaya atau bahasa penulisan musik penulis. Pengalaman pengalaman tersebut sebagian besar didapati penulis dari kehidupan sehari-hari sedari kecil dalam ranah fenomena (sosial) keluarga di mana pengaruh ajaran kebudayaan yang dibawa oleh ibu berperan besar dalam proses pengenalan diri dan gaya musik penulis. Metodologi penelitian penciptaan yang digunakan adalah penelitian artistik Practice-led Research yang juga diintegrasikan dengan pendekatan etnografi dan fenomenologi. Tahapan yang dilakukan: a) Pengumpulan data mengenai fenomena, musik minimalis, repetisi, Sunda, dan pola kendang; b) Pendalaman penciptaan: repetisi, magang penciptaan, laboratorium, dan kurasi. Hasil penelitian penciptaan ini berupa karya musik program yang didasari oleh fenomena sosial budaya keluarga dan repetisi dengan pengembangan sederhana, penginterpretasian laras saléndro padantara ke dalam whole tone scale dalam musik barat, serta peralihan wahana instrumen musik tradisional kendang, karawitan degung laras madenda, dan karawitan jaipong ke dalam bentuk sajian ansambel gesek. Hasil dari penelitian penciptaan tersebut membuktikan bahwa pentingnya repetisi dalam musik maupun dalam konteks kehidupan. Tanpa adanya repetisi dalam musik suatu karya tidak akan terdengar musikal, sedangkan dalam konteks kehidupan repetisi adalah hal yang selalu ada dalam keseharian seperti kegiatan peribadatan maupun pola hidup, dalam konteks Pendidikan repetisi merupakan cara belajar termudah dan paling dasar untuk mempelajari dan mengingat kembali tentang pemahaman sesuatu. Refleksi atas pengalaman diri lewat Practice-led Research terbukti dapat dijadikan sebuah ide penelitian penciptaan dan mampu menjembatani antara subjektifitas dan objektifitas dalam penulisan ilmiah.
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Andang’o, Elizabeth Achieng’. "The influences of teacher aspirations and practices for children’s inclusive music education: The case of Muziki Changa". International Journal of Music in Early Childhood 16, nr 1 (1.06.2021): 51–69. http://dx.doi.org/10.1386/ijmec_00027_1.
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This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.
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Andang’o, Elizabeth Achieng’. "The influences of teacher aspirations and practices for children’s inclusive music education: The case of Muziki Changa". International Journal of Music in Early Childhood 16, nr 1 (1.06.2021): 51–69. http://dx.doi.org/10.1386/ijmec_00027_1.
Pełny tekst źródłaStreszczenie:
This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.
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Kimura, Mari. "Performance Practice in Computer Music". Computer Music Journal 19, nr 1 (1995): 64. http://dx.doi.org/10.2307/3681300.
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Check, John, i Robert Gauldin. "Harmonic Practice in Tonal Music". Notes 56, nr 2 (grudzień 1999): 382. http://dx.doi.org/10.2307/900007.
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Kmetz, John, Howard Mayer Brown i Stanley Sadie. "Performance Practice: Music before 1600". Notes 49, nr 2 (grudzień 1992): 626. http://dx.doi.org/10.2307/897949.
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DeLorenzo, Lisa C. "Teaching Music as Democratic Practice". Music Educators Journal 90, nr 2 (listopad 2003): 35–40. http://dx.doi.org/10.2307/3399932.
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Blackburn, Bonnie J. "Ancient music and modern practice". Early Music XXVI, nr 1 (luty 1998): 139–41. http://dx.doi.org/10.1093/earlyj/xxvi.1.139.
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Moore, Carolyn, i Devan Elliott. "Introduction to music therapy practice". Journal of Music Therapy 56, nr 1 (31.12.2018): 117–21. http://dx.doi.org/10.1093/jmt/thy021.
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Jensenius, Alexander Refsum. "Best versus Good Enough Practices for Open Music Research". Empirical Musicology Review 16, nr 1 (10.12.2021): 5–15. http://dx.doi.org/10.18061/emr.v16i1.7646.
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Music researchers work with increasingly large and complex data sets. There are few established data handling practices in the field and several conceptual, technological, and practical challenges. Furthermore, many music researchers are not equipped for (or interested in) the craft of data storage, curation, and archiving. This paper discusses some of the particular challenges that empirical music researchers face when working towards Open Research practices: handling (1) (multi)media files, (2) privacy, and (3) copyright issues. These are exemplified through MusicLab, an event series focused on fostering openness in music research. It is argued that the "best practice" suggested by the FAIR principles is too demanding in many cases, but "good enough practice" may be within reach for many. A four-layer data handling "recipe" is suggested as concrete advice for achieving "good enough practice" in empirical music research.
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Setiarini, Agnes Tika. "Distance Learning For Music Practice In College: Benefits, Drawbacks, And Challenges". Grenek Music Journal 10, nr 2 (5.11.2021): 43. http://dx.doi.org/10.24114/grenek.v10i2.27900.
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The COVID-19 pandemic has impacted all sectors of human life globally, including the world of education. The world of education is forced to adapt by implementing a distance learning system to limit the mobility of educators and students. Program Studi D4 Penyajian Musik ISI Yogyakarta is one of the educational institutions that conduct distance learning. As a vocational education institution, ISI Yogyakarta helds many music practice courses to support its students' skills. This research aims to determine the benefits, drawbacks, and challenges of the distance learning system in music practice courses. This research is a qualitative study with 2 methods of data collection, namely in-depth interviews and questionnaires. Questionnaires were distributed to the respondents which are active students of the Prodi D4 Penyajian Musik, ISI Yogyakarta and will be confirmed by the results of in-depth interviews with the subject lecturers. The research results were formulated using the Miles & Huberman concept, namely: (1) data reduction; (2) data presentation; and (3) drawing conclusions (Miles & Huberman, 1984). The results of the study are concluding sentences about the benefits, drawbacks, and challenges of the distance learning method. These conclusions will be the basis for developing recommendations for the most effective distance learning process for the form of music practice lectures.
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Aguilar, Carla, i Lauren Kapalka Richerme. "The Everyday Practice of Policy". Music Educators Journal 107, nr 1 (wrzesień 2020): 49–54. http://dx.doi.org/10.1177/0027432120941062.
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Music educators engage with policies and take policy actions on a daily basis. Better understanding their everyday policy contexts can empower music educators to interact with policies in ways that benefit students and local communities. In this article, we outline three main topics: (1) different types of policies and their associated consequences, or lack thereof; (2) the three typical levels of policy texts with which music teachers interact, including the ways that music teachers can learn about and access these policy texts; and (3) specific policy actions that music educators might take, including questions they might ask when critically considering policy texts. These three processes—understanding one’s policy context, keeping updated about policy information, and taking action—are key to ongoing policy understanding and responsiveness.
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Ahonen, Heidi. "Using music and medicine research to inform music psychotherapy practice". Music and Medicine 10, nr 1 (26.01.2018): 26. http://dx.doi.org/10.47513/mmd.v10i1.568.
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This article describes some key elements that continue impacting my personal journey from qualitative researcher and music psychotherapist into evidence-based researcher. I will contemplate how to explain the power of music within the framework of music and medicine, and introduce the relevant music and brain research findings, i.e. how music affects our hormones, emotions, and memories. Could I have a neurological rationale in my mind when I choose or use music for my music psychotherapy clients? Do the music and brain findings expound what exactly in music is therapeutic and what happens during those processes? Could we speculate if indeed those findings are the very foundation of music psychotherapy?
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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition". European Journal of Education 2, nr 1 (30.04.2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.
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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.
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Bhebhe, Sithulisiwe, Tawanda Runhare i Ratau John Monobe. "Training music teachers through distance learning: The case of teaching practice mentoring at one primary school teacher training college in Zimbabwe". British Journal of Music Education 32, nr 3 (listopad 2015): 259–71. http://dx.doi.org/10.1017/s0265051715000339.
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This study sought to examine the quality of teaching practice (TP) mentoring in the teaching of music at primary school level through the distance mode of training at one college of education in Zimbabwe. The study examined the experiences and perceptions of lecturers and student teachers on TP mentoring in music within the context of a distance mode of teacher training. A purposive sample of 17 music student teachers and 11 lecturers was selected. The study employed a qualitative case study research design in which one-on-one interviews, focus group discussions and documentary analysis were used to collect data. The main conclusion from the study was that the distance approach to teacher training was not effectively utilised for teacher preparation in music due to inadequate music knowledge and skills of mentor teachers as well as weaknesses of the school curriculum. Recommendations drawn from these conclusions are that the teaching practice period should not be the same for all subjects and more demanding subjects such as music deserve to be practiced more. Student teachers specialising in music must be placed for teaching practice where there are music specialist teachers. This study also recommends that the placement of music student teachers for teaching practice be undertaken jointly by the teaching practice coordinators and the music specialist lecturer.
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Boeskov, Kim. "Music, agency, and social transformation: Processes of subjectivation in a Palestinian community music program". Nordic Research in Music Education 1, nr 1 (17.11.2020): 4–28. http://dx.doi.org/10.23865/nrme.v1.2634.
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In this article, a community music program in a Palestinian refugee camp in Lebanon is explored by means of ethnographic methods of participant observation and semistructured interviews. Judith Butler’s notion of subjectivation is employed in an analysis of how the participants are constituted as national subjects in and through the musical practice. By analyzing the specific instances of agency that this constitution entails, it is argued that even as the musical practice works to consolidate established norms of national belonging and identity, it also enables participants to resignify Palestinian identity in ways that counter experiences of marginalization, exceed certain social norms, and expand the categories through which their existence becomes meaningful. Conceiving a community music practice as a subjectivating practice may prove useful for scholars seeking to analyze musical-social work in terms of its capacity for social transformation, while retaining a critical perspective on the formative and socially reproductive character of such practices.
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Hallam, Susan, Maria Varvarigou, Andrea Creech, Ioulia Papageorgi, Teresa Gomes, Jennifer Lanipekun i Tiija Rinta. "Are there gender differences in instrumental music practice?" Psychology of Music 45, nr 1 (8.07.2016): 116–30. http://dx.doi.org/10.1177/0305735616650994.
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This research aimed to consider whether there were gender differences in the amount of practice undertaken by boys and girls, the practice strategies adopted and motivation to practise. A sample of 2027 girls and 1225 boys aged 6–19 years, ranging in level of expertise from beginner through to conservatory entrance level, playing instruments representative of the classical and popular instruments played in the UK completed a self-report Likert scale questionnaire. There were no statistically significant gender differences in weekly practice time or motivation to practise. Factor analysis of statements relating to practice revealed seven factors. There were statistically significant gender differences in relation to the adoption of systematic practice strategies (girls were more systematic), concentration (boys perceived they had higher levels of concentration) and immediate correction of errors (girls reported more immediate correction). There were no statistically significant gender differences in relation to the organisation of practice, the use of recordings and a metronome, the use of analytic strategies, and the adoption of ineffective practice strategies although for this factor there was a statistically significant interaction between gender and level of expertise.
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Puusaari, Maria. "“Leading” as a mode of interaction and communication in contemporary music performance-practice". Trio 10, nr 1 (10.07.2021): 40–64. http://dx.doi.org/10.37453/trio.110125.
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In this paper, I discuss “leading” in the performance-practice of contemporary music. First, I take a brief view on the development of music from the second half of the 20th century until today to highlight some of the challenges of leading the contemporary music repertoire. I survey existing research on interaction, communication and leadership in ensemble playing and use this viewpoint to briefly explore aspects of leadership and other roles in playing in a contemporary chamber ensemble without a conductor. Finally, I describe my own practice of leading as a violinist through three case studies in the contemporary music repertoire. Based on Leman’s theory of expressive alignment and enactment processes (2016), I approach leading as a multimodal, crossmodal and multidirectional interactive process. I divide leading into temporal and expressive leading techniques that are used to communicate different temporal and expressive musical features. I argue that leading techniques must be practiced and embedded in body language as separate, instrument-specific playing techniques. In addition to leading techniques, I provide temporal, sensorimotor, acoustical, instrument-specific and socio-cultural aspects that affect leading practices.
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Feige, Daniel Martin. "Jazz als künstlerische Musik". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, nr 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.
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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
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Magaudda, Paolo. "When materiality ‘bites back’: Digital music consumption practices in the age of dematerialization". Journal of Consumer Culture 11, nr 1 (marzec 2011): 15–36. http://dx.doi.org/10.1177/1469540510390499.
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Dematerialization of artefacts and material objects is a relevant issue in consumer studies, especially when we consider the ongoing changes regarding the consumption of cultural goods. This article adopts a theory-of-practice approach to analyse the consequences of dematerialization on the practices of digital music consumption. From an empirical point of view, the article is based on data collected during research into the appropriation of digital music technologies and based on 25 in-depth narrative semi-structured interviews with young Italian digital music consumers. The analysis mainly focuses on the appropriation of three specific technologies involved into the contemporary consumption of music: the iPod, the external hard drive and the vinyl disc. In order to understand the role of materiality in the age of dematerialization, the article adopts the ‘circuit of practice’, an explicative model that enables empirical analysis and that is aimed at highlighting the changing relationships between materiality and social practices. The analysis shows that music digitalization does not mean less materiality in the actual practice of listeners, that material ‘stuffs’ still occupy a relevant position in digital music, and that materiality nowadays seems to ‘bite back’, being even more crucial in shaping consumers’ practices.
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Currie, Ruth, Jo Gibson i Chi Ying Lam. "Community music as intervention: Three doctoral researchers consider intervention from their different contexts". International Journal of Community Music 13, nr 2 (1.06.2020): 187–206. http://dx.doi.org/10.1386/ijcm_00019_1.
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There is a rising critique of the process and position of decision-making across music interventions, which has been evidenced through the MUSOC research network debates that we, as doctoral students, have participated in. In this article, we specifically discuss ‘intervention’ as ‘deliberate strategies that seek to enable people to find self-expression through musical means’ (Bartleet and Higgins 2018: 3). We offer three perspectives from three different intervention contexts: community music in schools, organizational settings and music-making workshops. Through this article, we share and reflect on our experience with intervention and decision making within our practice. We give specific focus to: how intentions and motivations underpinning interventionist practice manifest in different contexts; how this is currently informed by the decision-making structures through which community music is practised in each context; and, the extent to which dominant modes of practice have potential to disempower participants, including how they are reinforced and re-enacted through this process. Finally, we suggest that how we talk about intervention across peers, and how we enact it through our practice as practitioners and researchers is possibly misaligned. This warrants further consideration if explorations of the term ‘intervention’ are to feed into discussion and action for responsible practice.
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Ansdell, Gary, Brit Ågot Brøske, Pauline Black i Sara Lee. "Showing the way, or getting in the way? Discussing power, influence and intervention in contemporary musical-social practices". International Journal of Community Music 13, nr 2 (1.06.2020): 135–55. http://dx.doi.org/10.1386/ijcm_00016_1.
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This article presents a broad discussion of power and influence within contemporary participatory music practices in relation to practices of intervention. The discussion is presented through the respective experience and professional perspectives of music therapy, music education and community music – each illustrated by current practice examples and their accompanying dilemmas; and covering both local and international projects. In a shared closing discussion, the four authors review the key question: whether professional influence and power in participatory music practices ‘shows the way’ or ‘gets in the way’. They conclude that intervention takes place on a continuum, in different ways, and to different degrees and levels. What is vital is to retain practical and ethical reflexivity on the dimensions of intervention as a practice that can offer both creative opportunities, but which can also be part of subtly oppressive power relationships.
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Batubara, Junita. "DESTINASI: Kolaborasi Kreatif Musik Digital, Puisi dan Tari". Resital: Jurnal Seni Pertunjukan 22, nr 1 (23.09.2021): 1–11. http://dx.doi.org/10.24821/resital.v22i1.5866.
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This research discusses the implementation of a music score into a collaboration of digital music, dance and poetry. The integration of the three arts is done by symbolizing human life from birth to adulthood. The researcher, as the creator of this Destination composition, intends to add to his repertoire by combining three different arts, namely, digital music, dance and poetry. This compositional work was created using qualitative, practice-based, practice-led and ethnographic methods. The process of making this work is by analyzing music score data taken from the results of field exploration and in combination with poetry and dance script data and then processed into the laboratory desk. The result is the creation of collaborative digital music, dance and poetry, based on the culture of human life and the author's background and life experiences. The work reflects the symbols of human life which are revealed in the poem entitled Directions of Life. Initially, Destination's composition work was a composite work created using cross-cultural (combination) elements of Western music, and Malay music (gendang Malay). Furthermore, the work is processed into a collaboration that is carried out with a combination of motion, emotion, voice intonation and digital music. The result of the collaboration of Destination's compositions is to produce a performance that combines three different arts where music is the main focus in bringing out ideas and concepts of body movement and voice intonation from dancers and poetry readers. The ability to relate ideas or ideas to a musical concept, producing a new work with the collaboration of three different arts which can be used by musicians, practitioners, and educators in Indonesia. Penelitian ini mendiskusikan implementasi sebuah skor musik menjadi kolaborasi musik digital,seni tari dan puisi. Penggabungan ketiga seni tersebut dilakukan dengan cara symbol kehidupan manusia dari mulai lahir hingga dewasa. Peneliti sebagai pencipta karya komposisi destinatioan ini bermaksud untuk menambah repertoar dengan menggunakan penggabungan tiga seni yang berbeda yaitu, musik digital, tari dan puisi. Karya komposisi ini diciptakan dengan menggunakan metode kualitatif, practice-based, practice-led dan ethnographic. Proses pembuatan karya tersebut dengan melakukan analisa data skor musik yang diambil dari hasil eksplorasi lapangan dan kombinasi dengan data script puisi dan tari kemudian diolah ke dalam desk laboratory. Hasilnya adalah terciptanya kolaborasi karya seni musik digital, tari dan puisi, berdasarkan budaya kehidupan manusia dan latar belakang penulis dan pengalaman kehidupan penulis. Di dalam karya tersebut mencerminkan symbol-symbol kehidupan manusia yang terungkap dalam puisi yang berjudul Arah Kehidupan. Awalnya Karya komposisi Destination merupakan karya penggabungan yang diciptakan menggunakan silang budaya (kombinasi) elemen-elemen musik Barat, dan musik melayu (gendang melayu). Selanjutnya karya tersebut diolah menjadi sebuah kolaborasi yang dilakukan dengan perpaduan gerak, emosi, intonasi suara dan musik digital. Hasil dari kolaborasi karya komposisi Destination adalah menghasilkan sebuah pertunjukan perpaduan tiga ilmu seni yang berbeda dimana musik sebagai fokus utama dalam memunculkan ide-ide dan konsep gerakan tubuh dan intonasi suara dari penari dan pembaca puisi. Kemampuan untuk mengaitkan idea atau gagasan terhadap sebuah konsep musik, menghasilkan sebuah karya baru dengan kolaborasi tiga seni yang berbeda dimana bisa digunakan oleh musisi, praktisi, dan edukator di Indonesia.
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Serrano, Telmo, i Helena Amaral Espírito-Santo. "Music, ballet, mindfulness, and psychological inflexibility". Psychology of Music 45, nr 5 (8.02.2017): 725–38. http://dx.doi.org/10.1177/0305735616689298.
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Both music and dance training can be conceptualised as mindfulness-like practices due to their focus on the present moment. Mindfulness and music are associated with mental health. However, evidence from dance practice, especially among ballet students, shows an association with mental health problems. Psychological inflexibility involves cognitive fusion, which is an excessive involvement with internal events, leading to experiential avoidance. Since studies analysing these concepts are scarce in music and dance practice, we intended to examine their effects in young music and ballet students. This study involved 113 participants (9 to 16 years old), 64.4% girls, 34.5% with musical training, 29.2% with ballet training, and 36.3% with no training. All participants completed the Child and Adolescent Mindfulness Measure (CAMM) and the Avoidance and Fusion Questionnaire for Youth (AFQ-Y). AFQ-Y scores correlated with months of ballet training. Ballet students had greater psychological inflexibility than music students and students without any training. CAMM scores did not correlate with months of any practice, and did not distinguish between groups of practitioners. These data confirm prior findings that practice of ballet can have a potential impact on mental health by showing that young ballet students exhibit greater psychological inflexibility.
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Tan, Melvyn, i Sandra P. Rosenblum. "Piano Practice". Musical Times 130, nr 1754 (kwiecień 1989): 215. http://dx.doi.org/10.2307/966471.
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McCaldin, Denis, i Norman del Mar. "Performance Practice". Musical Times 133, nr 1795 (wrzesień 1992): 463. http://dx.doi.org/10.2307/1002383.
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Bradshaw, Susan, Glenn Gould i Kevin Bazzana. "Key Practice". Musical Times 139, nr 1864 (1998): 62. http://dx.doi.org/10.2307/1003474.
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