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Sularso, Sularso. "Pendekatan literasi musik: Upaya mengetahui persepsi mahasiswa pendidikan guru sekolah dasar tentang keragaman budaya musik Indonesia." Wiyata Dharma: Jurnal Penelitian dan Evaluasi Pendidikan 10, no. 1 (August 7, 2022): 1–7. http://dx.doi.org/10.30738/wd.v10i1.12745.
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Bagi mahasiswa pendidikan guru sekolah dasar, pembelajaran musik menjadi matakuliah wajib yang harus dituntaskan. Dalam masyarakat multikultural, siswa pendidikan guru sekolah dasar harus memahami khasanah musik Indonesia secara baik. Persoalannya adalah mahasiswa pendidikan guru sekolah dasar tidak secara spesifik mengambil jurusan musik, sehingga rata-rata mereka tidak memiliki pengetahuan literasi musik secara memadai. Perspektif literasi musik tradisional ini dimaksudkan untuk membantu mahasiswa sekolah dasar dalam memahami hubungan antara musik tradisional dan pendidikan musik multikultural. Signifikansi penelitian ini terletak pada pentingnya perspektif literasi musik tradisional dalam membantu semua mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Berpijak pada persoalan tersebut, maka penelitian ini bertujuan untuk mengetahui persepsi mahasiswa pendidikan guru sekolah dasar dalam kaitannya dengan keragaman budaya musik Indonesia dengan pendekatan literasi musik. Data diperoleh melalui observasi, dan wawancara. Data yang dikumpulkan meliputi data-data pengetahuan musik tradisi, respon pengindraan musik, hingga perhatian mahasiswa terhadap fenomena musik tradisi disekitarnya. Hasil klasifikasi ketiga jenis data tersebut selanjutnya dianalisis dengan pendekatan literasi musik. Hasilnya adalah bahwa pendekatan literasi musik tradisional dapat membantu mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Kontribusi penelitian ini terletak pada pembentukan perspektif baru tentang pentingnya peningkatan literasi musik tradisional Indonesia sebagai upaya untuk melestarikan identitas dan semangat multikultural bagi calon guru sekolah dasar di Indonesia. Music literacy approach: An effort to find out the perceptions of elementary school teacher education students about the diversity of Indonesian music culture Abstract: For elementary school teacher education students, learning music is a compulsory subject that must be completed. In a multicultural society, elementary school teachers' education students must understand the repertoire of Indonesian music well. The problem is that elementary school teacher education students do not specifically major in music, so on average, they do not have adequate knowledge of musical literacy. This traditional music literacy perspective is intended to assist elementary school students in understanding the relationship between traditional music and multicultural music education. The significance of this research lies in the importance of the traditional music literacy perspective in helping all elementary school teacher education students in constructing knowledge about Indonesian traditional music. Based on these problems, this study aims to determine the perceptions of elementary school teacher education students in relation to the diversity of Indonesian music culture with a musical literacy approach. Data was obtained through observation and interviews. The data collected includes data on knowledge of traditional music, musical sense responses, and students' attention to the phenomenon of traditional music around them. The results of the classification of the three types of data are then analyzed using a musical literacy approach. The result is that the traditional music literacy approach can help elementary school teachers educate students in constructing knowledge about Indonesian traditional music. The contribution of this research lies in the formation of a new perspective on the importance of increasing literacy in traditional Indonesian music as an effort to preserve the identity and multicultural spirit of prospective elementary school teachers in Indonesia.
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Standford, Patric, Malcolm Carlton, and Peter Fletcher. "School Music." Musical Times 128, no. 1737 (November 1987): 630. http://dx.doi.org/10.2307/965525.
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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Kelley, Jamey, and Steven M. Demorest. "Music Programs in Charter and Traditional Schools." Journal of Research in Music Education 64, no. 1 (February 19, 2016): 88–107. http://dx.doi.org/10.1177/0022429416630282.
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Since the arrival of the first charter school in Minnesota in 1991, charter schools have become one of the largest movements in educational reform. In recent years, research has emerged that has compared the effectiveness of charter schools with their traditional school counterparts. The purpose of this study was to compare the extent of music offerings between charter schools and traditional public schools in the same urban district and geographic location within the city. Results indicated that while all schools in the sample offered significantly less music than national averages, significantly more charter schools offered music during the school day. Charter schools were more likely to offer traditional music (band, choir, orchestra) as electives. Schools with music programs, regardless of school type, had higher test scores and higher attendance rates even when controlling for differences in socioeconomic status between music and non music schools. Results are discussed in terms of their implications for the charter school movement, arts education policy, and suggestions for future research.
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Yunita, Ayu Tresna, Ayub Prasetiyo, and Aditya Tri Anggara Astanta. "Implementasi Materi Musik Berdasarkan Kurikulum Tematik 2013 Sekolah Dasar di Kecamatan Sewon Bantul Yogyakarta." PROMUSIKA 9, no. 1 (September 7, 2021): 39–50. http://dx.doi.org/10.24821/promusika.v9i1.5774.
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Berdasarkan Peraturan Menteri Pendidikan dan Kebudayaan Republik Indonesia No. 81A Tahun 2013 tentang Implementasi Kurikulum 2013, maka sekolah dari tingkat Sekolah Dasar hingga Sekolah Menengah Tingkat Atas mulai memberlakukan kurikulum 2013. Kurikulum tematik 2013 untuk Sekolah Dasar terdiri dari kompetensi inti dan kompetensi dasar. Pembelajaran seni khususnya seni musik termasuk dalam mata pelajaran Seni Budaya dan Prakarya (SBDP). Penelitian tentang implementasi pelajaran seni musik berdasarkan kurikulum tematik 2013 di sekolah dasar yang berada di kecamatan Sewon Bantul Yogyakarta bertujuan untuk mengetahui bagaimana pelaksanaan pengajaran pendidikan SBDP khususnya seni musik dan apakah hasil kompetensinya bisa tercapai. Penelitian ini menggunakan metode penelitian kuantitatif. Tujuh Sekolah Dasar diambil sebagai sampel populasi dari total duapuluh tiga Sekolah Dasar di Kecamatan Sewon, Bantul, Yogyakarta. Informasi informasi dikumpulkan dengan menggunakan kuesioner dan wawancara. Pengajaran SBDP seni musik yang diajarkan oleh guru kelas, hasilnya belum sesuai dengan capaian kompetensi pada kurikulum 2013. Hal ini antara lain disebabkan karena kurang adanya pelatihan atau diklat tentang pengajaran seni musik sekolah dasar bagi guru kelas dan guru pengampu SBDP tidak memiliki latar belakang pendidikan seni khususnya seni musik. Kendala dan kesulitan bisa diatasi antara lain dengan membuat metode atau modul pengajaran music untuk sekolah dasar, mengadakan workshop, seminar dan pelatihan seni musik.AbstractImplementation of Music Material Teaching Based on Thematic Curriculum 2013 in Elementary School in Sewon Bantul District, Yogyakarta. Based on the Regulation of the Minister of Education and Culture of the Republic of Indonesia No. 81A of 2013 concerning the Implementation of the 2013 Curriculum, schools from Elementary to Senior High level began to apply the 2013 Curriculum. The 2013 thematic curriculum for Elementary School consists of core competencies and essential competencies. Learning art, especially music, is included in Cultural Arts and Crafts (SBDP). Research on the implementation of music lessons based on the 2013 thematic curriculum in several elementary schools in the Sewon district of Bantul Yogyakarta aimed to find out how SBDP education teaching, especially the art of music, and whether the competency result by achieved. This study used quantitative research methods. Seven out of twenty-three elementary schools were chosen as population samples in Sewon District, Bantul, Yogyakarta. Information was collected using questionnaires and interviews. The results of SBDP teaching of music art taught by classroom teachers are not following the competency achievements in the 2013 curriculum. The partly due to the lack of training or education and training on teaching music art for elementary school teachers, and SBDP teachers themselves do not have an art education background, especially music. This paper suggested solutions to overcome obstacles and difficulties by making methods or modules for teaching music at the elementary school level, holding workshops, seminars, or training in the art of musicKeywords: implementation; 2013 curriculum; music
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Ho, Wai-chung. "Musical learning: Differences between boys and girls in Hong Kong Chinese co-educational secondary schools." British Journal of Music Education 18, no. 1 (March 2001): 41–54. http://dx.doi.org/10.1017/s0265051701000134.
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This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.
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Moeradi, Vista Amabile, and Yudi Sukmayadi. "Music Course Learning Program Analysis: Study at Indra Music School Bandung." Edumaspul: Jurnal Pendidikan 8, no. 1 (March 1, 2024): 816–19. http://dx.doi.org/10.33487/edumaspul.v8i1.7650.
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Terselenggaranya pendidikan formal tentu perlu adanya dukungan tambahan sebagai upaya peningkatan tumbuh-kembang anak, salah satunya dengan pendidikan non-formal pada lembaga kursus musik. Artikel ini bertujuan menganalisis program pembelajaran kursus musik yang diselenggarakan oleh Indra Music School Bandung. Pendekatan kualitatif digunakan dengan metode analisis deskriptif dimana data dikumpulkan melalui observasi dan wawancara, kemudian dianalisis melalui teknik reduksi, verifikasi, dan ditarik kesimpulannya. Hasil penelitian mengungkap terdapat dua kurikulum yang digunakan Indra Music School, yaitu kurikulum independen hasil rancangan dan pengembangan lembaga itu sendiri serta kurikulum ABRSM. Proses pembelajarannya tidak memanfaatkan teknologi, hanya menggunakan buku sebagai pedoman pembelajaran. Penelitian ini diharapkan dapat memberikan pemahaman komprehensif terkait penyelenggaraan kursus musik pada lembaga-lembaga lainnya.
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Árnason, Kári, Árni Árnason, and Kristín Briem. "Playing-Related Musculoskeletal Disorders Among Icelandic Music Students: Differences Between Students Playing Classical vs Rhythmic Music." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 74–79. http://dx.doi.org/10.21091/mppa.2014.2017.
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Most research studies investigating the prevalence of musculoskeletal disorders affecting musicians and music students have focused on classical music, while less is known about their prevalence in other music genres. The purpose of this study was to document cumulative and point prevalence of playing-related musculoskeletal disorders (PRMD) among music students in Iceland and, specifically, to identify differences between those studying classical vs rhythmic music. We hypothesized that students of classical music would report more frequent and more severe musculoskeletal disorders than students involved in rhythmic music, as classical instruments and composition typically require more demanding, sustained postures during practice and performance. A total of 74 students from two classical music schools (schools A and B) and 1 rhythmic school (school C) participated in the study by answering a questionnaire assessing PRMDs. The results showed that 62% of participants had, at some point in their musical career, suffered a PRMD. The cumulative prevalence was highest in music school A (71.4%) and lowest in music school C (38.9%). A statistically significant difference was identified between the cumulative prevalence of PRMD from schools A and B combined compared to music school C (p=0.019). Over 40% of participants reported a “current PRMD,” and a significant difference was identified between the three schools (p=0.011), with the highest point prevalence being registered in music school A (66.6%) and the lowest in music school C (22.2%). The prevalence of PRMDs among Icelandic music students was high. The difference found between students who play classical vs rhythmic music may be explained by different demands of the instruments and composition on playing posture.
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Lamont, Alexandra, David J. Hargreaves, Nigel A. Marshall, and Mark Tarrant. "Young people's music in and out of school." British Journal of Music Education 20, no. 3 (October 29, 2003): 229–41. http://dx.doi.org/10.1017/s0265051703005412.
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This article examines the perceived and documented problems of school music, particularly at secondary level, through a study of young people's music in and out of school. Four issues are explored: teachers' approaches to music in school; pupils' levels of engagement in musical activities in and out of school; pupils' attitudes to music in and out of school; and pupils' aspirations in music. A Pupils' Music Questionnaire was administered to 1,479 pupils in Years 4, 6, 7 and 9 (aged 8–14 years) from 21 schools in England; Teacher Interviews were conducted with 42 head teachers and teachers responsible for music in all these schools; and follow-up Music Focus Groups were conducted with 134 pupils from the original sample. In contrast to earlier research, both teachers and pupils across the sample demonstrated very positive attitudes towards music, whilst also acknowledging constraints on good practice. Music listening formed an important part of pupils' lives, but music making was more prominent than suggested by previous research. Commitment to musical activity seemed more robust out of school than in school, and it is suggested that involvement in musical activity may be transitory for some children and adolescents.
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Vogel, Dorothy. "“Are You Only an Applauder?” American Music Correspondence Schools in the Early Twentieth Century." Journal of Research in Music Education 62, no. 4 (November 10, 2014): 446–61. http://dx.doi.org/10.1177/0022429414554230.
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The purpose of this study was to examine correspondence schools of music in the early twentieth century. Advertisements in widely circulated household and music periodicals and archival copies of courses from Siegel-Myers Correspondence School of Music, United States School of Music, American College of Music, and others were examined. Research questions focused on course offerings, faculty, recruitment, and reputation of the schools. The study also examined the advantages and disadvantages of this first generation of distance education and implications for current distance education practices today. Results revealed that correspondence schools of music had more breadth and, in some cases, depth than previous research had indicated. Instruction at numerous schools was offered on a wide variety of instruments, including voice, as well as in music history, music theory, and music teacher education. One of the prominent teacher education resources was Frances Elliott Clark’s Course in Public School Music offered through Siegel-Myers Correspondence School of Music. Instruction reached a wide demographic, including segments of the population without alternate access to music education. This rich history shows that distance education has been and will remain a viable and valuable option for accessing music education.
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Stålhammar, Börje. "School and Music-school Collaboration in Sweden." British Journal of Music Education 14, no. 3 (November 1997): 237–50. http://dx.doi.org/10.1017/s0265051700001224.
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How do we channel teenagers' interest in music? What guides our music teaching today, and what possibilities are there for development and change? These questions have given me occasion to take a closer look at the situation of music teaching today.Many teachers have asked themselves how we in the comprehensive school and the music school can look after the zest and creative power which are often exhibited by teenagers when they perform music freely, not under the direct control of a teacher. I have also, on quite a number of occasions during lessons, registered resignation and tedium on the part of pupils.The consequence has been drop-out from music school – sometimes experienced as a relief both by teacher and pupil. Despite the fact that the educational orientation has been based on a ‘musical encounter’ between teacher and pupil, this encounter has not occurred (or has sometimes occurred with a difference which certainly might have been corrected). But the pupil's great interest in music has not diminished – great interest, that is, in music as the pupil understands the term!
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Fitriani, Yulianti. "Model Pembelajaran Seni Musik melalui Lesson Study: Studi Kasus di SDN Jawilan, Serang." Resital: Jurnal Seni Pertunjukan 15, no. 2 (March 15, 2015): 126–38. http://dx.doi.org/10.24821/resital.v15i2.847.
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Artikel ini dilatar-belakangi persoalan pembelajaran seni musik di SDN Jawilan Kab. Serang. Di SD ini penyelenggaraan pendidikan seni belum memperoleh perhatian yang cukup baik dari guru. Hal ini dapat dilihat dari pembagian alokasi waktu pembelajaran dan keterlibatan guru kelas yang tidak memiliki latar belakang pendidikan seni (musik). Dampak yang muncul, rata-rata siswa belum memiliki kemandirian dalam berkreativitas dan kurang berpartisipasi aktif dalam kegiatan musik baik di sekolah maupun di luar sekolah. Untuk memperbaiki persoalan tersebut dirasa perlu meminjam Lesson Study yang di dalamnya terdapat metode, pendekatan dan strategi pembelajaran sebagai pola untuk membelajarkan seni musik agar dapat memberikan alternatif sudut pandang terhadap persoalan metode yang tepat guna dan terencana dalam pengajaran pendidikan musik di SD, termasuk paradigma membelajarkan musik secara hakiki. Hasil yang diperoleh dapat memberikan alternatif sebagai dasar pengembangan pembelajaran seni musik. The Model of Music Learning through a Lesson Study: A Case Study in Jawilan Elementary School, Serang. The learning problems of music lessons at Jawilan Elementary School in Serang becomes the mainly source of the research background in this article. The implementation of art education in this school has not gained enough attention from teachers. It can be seen from the distribution of the allocated time of learning and the involvement of classroom teachers who do not have sufficient background in art education (music). The appearing impact shows that the average of students do not have any independence in creativity and have less-active participation in the activities of musical arts either in school or outside the school. However, solving the problem is necessary to do by using a Lesson Study as a pattern (approaches, strategies, and methods of learning) to teach music that can be used as an alternative point of view in developing methods and organizing the appropriate ones, including the paradigm of teaching music at school essentially. The results obtained from the activity may provide the alternative method as a basis for the development of learning music at school.
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Howe, Sondra Wieland. "Julius Eichberg: String and Vocal Instruction in Nineteenth-Century Boston." Journal of Research in Music Education 44, no. 2 (July 1996): 147–59. http://dx.doi.org/10.2307/3345667.
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Julius Eichberg (1824-1893) made valuable contributions to the development of music education through his string and vocal instruction in Boston. Educated in Europe, Eichberg was a violin professor in Geneva before immigrating to the United States in 1857. He directed the Boston Museum Concerts 1859-1866 and composed four operas. In 1867, he founded the Boston Conservatory, developed its string department, and published string method books and chamber music. In the Boston public schools, Eichberg taught high school vocal music, supervised music for the entire school system, and taught teacher-training courses. Boston s school system became a model for other school systems. The annual Music Festivals in Boston, with Eichberg conducting choruses and orchestras, brought the schools positive publicity. Eichberg also composed choral works for his school choruses and edited music textbooks. Eichbergs work in string education and high school choral music laid foundations for programs in the twentieth century.
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Franceschi, Ivana. "The Influence of Piano Students’ Sociodemographic Characteristics, Motivation, and Self-Efficacy on Their Achievements and Aspirations for Continuing Music Education." Nova prisutnost XX, no. 3 (November 16, 2022): 587–601. http://dx.doi.org/10.31192/np.20.3.8.
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Motivation, self-efficacy and certain personality traits are important factors for the success of piano students, and they also influence student aspirations for further music education. In addition to these factors, the paper studies certain sociodemographic characteristics, as predictors of the continuation of music education. The aim of the research was to examine the aspirations and predictors of piano pupils to pursue music education. The research was conducted in the following schools: »Josip Hatze« Music School in Split, »Ivan Matetić Ronjgov« Music School in Rijeka, and the three largest music schools in Zagreb, »Pavao Markovac« Music School, »Vatroslav Lisinski« Music School, and »Elly Bašić« Music School. The respondents were 215 piano students aged 12‒18. The closedended research questionnaires included five subscales adapted for the purposes of this research, along with a new scale of piano practice efficacy, which represents a contribution to piano pedagogy. This paper explains many motivational factors, self-effective practice, and certain sociodemographic characteristics that affect students’ performance and aspirations, while participation in school competitions and international awards were found to be the most important factors for enrolling at music academies. Finally, in terms of explaining success and aspirations for further education, we can also highlight the importance of educational structure, parental support, and primary school performance.
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Lucas Hamann, Keitha. "Music at Lincoln Junior High (Minneapolis) and the Lincoln Junior High Girls’ Band: 1923—1940." Journal of Research in Music Education 58, no. 1 (April 2010): 55–74. http://dx.doi.org/10.1177/0022429410362076.
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Examination of the music opportunities available to students in the junior high schools of the early twentieth century lends historical perspective to current challenges facing middle level music educators. This article describes the specific music offerings at Lincoln Junior High School in Minneapolis, Minnesota, from the school opening in 1923 to 1940, when financial challenges forced the reorganization of the music program. In many ways, the music curriculum at Lincoln Junior High School in Minneapolis was exemplary of the music experiences found in other junior high schools. The required curriculum was based on the general music model of the elementary school and included music appreciation and a strong emphasis on the development of music reading skills. Extracurricular “clubs” provided performance opportunities for young adolescent musicians. Choruses focused on preparing large-scale productions such as operettas and musicals, while instrumental groups participated in contests and festivals. Performances for school assemblies and civic groups provide evidence of the importance of connections to the community for junior high schools. The formation of the Girls’ Band at Lincoln in 1924 was unusual. In the absence of direct evidence, I postulate possible explanations for the founding of this unique ensemble.
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Domagała, Jarosław. "Janusz Miketta – organizer and reformer of music education in Poland." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 11–26. http://dx.doi.org/10.5604/01.3001.0014.2310.
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Janusz Miketta (1890-1954) – Polish musicologist, pedagogue and music life organizer. He studied philosophy at the University of Warsaw. He completed his music studies at the Music Institute in Warsaw and in Leipzig, as well as at the F. Chopin Higher Music School in Warsaw. Next, he was the principal of the Music School in Warsaw and from 1919 – the director of the Music Society and the S. Moniuszko Music School in Lublin. In 1924, he started his teaching career at the F. Chopin Higher Music School in Warsaw and later at the M. Karłowicz Music School in Warsaw. In the years 1926–1931, he was a desk officer for music affairs in the Ministry of Religious Denominations and Public Enlightenment and from 1931 – the secretary of the Local Sightseeing Society in Warsaw and Stanisławów. From 1945 to 1948, he was the head of the Music Education Section of the Music Department in the Ministry of Culture and Art and the chairman of the Program Committee of Music Education in the above-mentioned Ministry. Based on Janusz Miketta’s own concept of music education, the Ministry of Culture and Art issued a directive of 7 December 1945 on a special system of music education. Music schools in Poland were divided into vocational ones (lower, middle and higher) and those providing music appreciation classes. This three-stage structure made it possible to adjust teaching program to new needs and select a specialization based on the degree of a pupil’s talent. As a result of reforms introduced in the 1949/1950 school year, schools providing music appreciation classes were liquidated, though the three-layer structure of the school system was maintained. This schooling system, with minor changes, is still in operation in Poland. In the years 1948-1954, Miketta was a professor of the State Higher Music School in Cracow.
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Dobrota, Snježana, Antonija Vrančić, and Ivana Križanac. "Attitudes of primary school teachers in Croatia toward Music as a school subject / Stališča osnovnošolskih učiteljev na Hrvaškem do glasbe kot šolskega predmeta." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (June 30, 2021): 13–27. http://dx.doi.org/10.26493/2712-3987.17(34)13-27.
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The paper explores the influence of years of work experience, professional qualifications, additional music education, engaging in music activities in leisure time, and going to the theatre/classical music concerts on the attitudes of primary school teachers toward the school subject Music. The research was conducted on a sample of primary education teachers from all Croatian counties (N = 233), using a questionnaire composed of two parts: The General Data Questionnaire and Attitudes Toward Music as a School Subject. The results confirm that primary school teachers with fewer years of work experience have more positive attitudes toward the Curriculum of Music Education for Primary Schools and for Grammar Schools in the Republic of Croatia, while in other aspects of attitudes no difference was found. Furthermore, no differences were found in the attitudes of primary school teachers toward the subject Music with regard to their professional qualifications. Primary education teachers who have attended additional music classes, who engage in music activities in leisure time and who often attend theatre/classical music concerts, consider Music to be an important school subject that relaxes the students, and consider themselves more competent to teach music. The obtained results have significant implications in terms of music pedagogy, with regard to organizing the music education of preservice primary teachers and their lifelong learning.
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Orieščiková, Helena. "Music therapy or music philetics in school?" Kultura - Przemiany - Edukacja 8 (2020): 162–73. http://dx.doi.org/10.15584/kpe.2020.8.11.
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The paper is focused on explaining the concepts of music therapy and music philetics at school. Music philetics is defined as an artistic - pedagogical discipline with a very close relationship with music therapy. It tries to create his own, new ways, procedures with the basis in music therapy, but require a different procedure and approach within the implementation. Music philetics is a newly emerging discipline standing on the border of music education and music therapy. It is beneficial in schools where teachers use different working methods with music, rhythm, and voice. The text deals with comparing concepts and explanations of the primary missions of both music therapy and music philetics in the educational process.
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Hedgecoth, David M. "Collaborations: Partnerships Create Success for Charter School Students." Music Educators Journal 105, no. 2 (December 2018): 51–56. http://dx.doi.org/10.1177/0027432118804868.
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A unique partnership between public charter schools, a civic chamber orchestra, and university school of music has brought music instruction to middle school students in central Ohio. This collaborative endeavor can serve as a model for charter schools administrators wishing to expand their curricular offerings to include music and other arts instruction.
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Hardwick-Franco, Kathryn Gay. "Music Education In Remote Rural South Australian Schools: Does A Partnership With A Non-Government Organisation Work?" Australian and International Journal of Rural Education 28, no. 1 (December 9, 2017): 104–20. http://dx.doi.org/10.47381/aijre.v28i1.161.
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Schools in rural South Australia are remote from opportunities for students and teachers to engage in music learning and professional development. This aim of this research project was to investigate the degree to which partnerships between rural schools and non-government organisations (NGOs) can be effective and meet this need. Anderson and White (2011) note that partnerships in education, both in Australia and elsewhere, continue to be a prominent policy feature, as a preferred way of working to deal with key challenges for schools. This project employed a participant-observation methodology that incorporated methods of survey and invitational semi-structured interviews. It explored the ways in which schools benefited from partnering with a non-for-profit organisation in music education. Project results indicate that the quality of partnerships between an NGO (Musica Viva) and rural schools (government and non-government) have a positive impact on: student and teacher learning of music; the advancement of teachers’ music pedagogy and; student, teacher and community wellbeing. Importantly, this positive impact occurred in rural and remote schools with significant numbers of vulnerable, disadvantaged and disengaged students. Conclusions may be used to inform the development and strengthening of school-NGO partnerships to improve the quality of music education in rural schools. The project also offers itself as an example of how future investigations of school-NGO partnerships more generally might be pursued.
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ÜSTÜN, Hamza. "EXAMINATION OF TURKISH MUSIC ELEMENTS IN PRIMARY SCHOOL MUSIC LESSON BOOKS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 30 (March 15, 2022): 96–106. http://dx.doi.org/10.31567/ssd.580.
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In Turkey, music lessons start from the pre-school period and continue until the twelfth grade. While music teachers conduct the lesson in secondary and high school periods, this lesson is carried out by classroom teachers in primary school. Classroom teachers apply the knowledge they have learned within the scope of the music education course they have taken in the faculties they study at in primary schools. It is of great importance for primary school teachers to be able to teach the departments related to teaching Turkish music in primary schools, which has a wide range of music education. In this research, it is aimed to examine the fields of Turkish music teaching in the 1st, 2nd, 3rd and 4th grade music textbooks prepared to be taught in primary schools within the music lesson curriculum published in 2018. In this context, four books written separately for each level in 2019 formed the study group of the research. In the research, the document analysis method, one of the qualitative research methods, was used. The data were analyzed with the document analysis method. During the data collection process, the sub-fields of Turkish music departments in the textbooks for all levels were determined as Turkish folk music, Turkish classical music, mehter music and religious music. According to the findings obtained as a result of the research, it has been determined that Turkish folk music is mostly included among the fields related to Turkish music teaching in the textbooks, and the examples given are associated with the listening-speaking learning field. It has been concluded that there are various activities promoting Turkish music instruments at all levels, important composers of Turkish music are included, and folk dances are used in teaching our traditional music. Suggestions for improvement were made regarding the Turkish music teaching sections in the books. It has been concluded that a spiral teaching strategy has been developed in terms of teaching Turkish music in the textbooks and in this case it will be beneficial for the continuity of the teaching. It is thought that the study will be beneficial for classroom teachers who are conducting music lessons in primary schools.
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Hou, Zongchen, Chulan Xue, and Ruicong Ma. "Research of public and private junior high schools’ music teachers’ classroom teaching decision-making under China’s music curriculum standards." SHS Web of Conferences 157 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202315701015.
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In the 11th anniversary of the issuance of Compulsory Education Music Curriculum Standards, this study aims to investigate the application of new curriculum standards in the teaching decision-making of junior middle school music teachers in China by means of questionnaire survey and semi-structured interview. A total of 54 public middle school music teachers and 46 private middle school music teachers responded to the survey within three months. Through the t-test of SPSSAU, the results show that junior high school music teachers apply the curriculum standards in different degrees in teaching decision-making. Public and private junior middle school music teachers have different application of music curriculum standards, and private schools do not pay enough attention to music curriculum standards. In a word, to strengthen the teacher decision-making level; Truly implement the aesthetic education goal of “Music Curriculum Standards”.
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Qiao, Zhenghao. "Research on the Application of Ethnic Music Promotion in Primary School Music Education under the Threshold of Core Literacy." Lecture Notes in Education Psychology and Public Media 2, no. 1 (March 1, 2023): 528–35. http://dx.doi.org/10.54254/2753-7048/2/2022372.
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Core literacy is an important concept in the context of the reform of the new curriculum standards and the basic requirement of education reform. Primary education is an important educational stage in a person's life, which has a foundation and laying role in the cultivation of students' literacy. Primary school music is an important part of quality education. The latest music curriculum standards point out the importance of traditional ethnic music culture. Primary school music education actively promotes national music is of great significance to the promotion of traditional Chinese culture. In recent years, there are still problems in the promotion of ethnic music in primary school music education, such as primary school students' low awareness of ethnic music and preference for popular music. the limited teaching level of music teachers. the single national music teaching materials suitable for primary school students, and the lack of popularization of ethnic music in society. This article will expound on the significance of promoting ethnic music in the primary school stage, starting from the concept of core literacy. As well as analyze the problems existing in the promotion of ethnic music in the primary school stage from the three aspects of students, schools, and society, and propose corresponding solutions
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Ružić, Vesna, and Ines Cvitković Kalanjoš. "Interest of Primary School Students in Music." Magistra Iadertina 16, no. 2 (March 14, 2022): 23–39. http://dx.doi.org/10.15291/magistra.3644.
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Teaching music, which is carried out in primary school education through the subject Music Culture plays a major role and forms students’ musical competences as part of the cultural development of students. Listening is the only activity in music that includes an aesthetic level, so the level of aesthetic education depends on the amount of time devoted to this activity. The interest of children in music has the greatest influence on the cultural environment, but the influence of the family is even greater, no matter how accessible listening to music is with mass media. Attitude towards music is mostly inherited from parents. This paper discusses the interest of primary school students for music and what type of music they are opting for. The research was carried out by survey involving pupils from 1st to 4th grade in two primary schools in the area of Koprivnica-Križevci County. The aim and task of the research was to determine possible problems both in teaching Music Culture and the musical life of students and try to find a solution to them, so that they would be more interesting and useful to the students and to awaken students’ interest. A descriptive method was used during the study and as the subject of the survey research. We assumed that the interest of primary school students is high and that their interest is moving in the direction of folk and turbo folkmusic. A survey conducted in the two schools of Koprivnica-Križevci County showed that the majority of students of these schools have a positive approach to music, but also observed differences between the school in urban and the school in the rural area.
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Chen, Yu. "Review of Interactive Teaching Methods of Music in Junior Middle Schools." Asian Journal of Education and Social Studies 50, no. 2 (January 23, 2024): 49–59. http://dx.doi.org/10.9734/ajess/2024/v50i21258.
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At present, music teaching in junior high schools is gradually highlighting the importance and development trend of interactive teaching. This study provides an in-depth analysis of all aspects of interactive teaching of music in junior middle schools through a multi-faceted research perspective, providing richer insights and methods for improving the quality of teaching. The art of teacher-student interaction in junior high school music classroom teaching under the new curriculum reform was discussed, and the core role of interaction in teaching was explained in detail. Researchers have conducted in-depth studies on teacher-student interactive teaching strategies in junior high school music classes, providing more practical guidance for actual teaching. In terms of revealing the problems and countermeasures of music teaching in junior high schools, researchers have put forward more specific suggestions. In the process of in-depth exploration of interactive teaching of music in junior high schools, researchers realized the actual current situation of interactive teaching in online music classes and revealed various challenges and opportunities in online teaching. This article advocates improving the effectiveness of music teaching in junior middle schools through interactive teaching and injecting richer vitality into education. At the same time, researchers have focused on in-depth discussions on interactive teaching strategies in junior middle school music appreciation classes, providing systematic theoretical support for cultivating students' music appreciation abilities. They also paid attention to the application of interactive teaching models in junior high school music teaching, which provided profound inspiration for the construction of active interactive teaching models. Starting from the core literacy background, researchers conducted in-depth research on the interaction methods between teachers and students in junior high school music classes, and provided specific operational plans for the implementation of literacy education. Paying attention to the new form of teacher-student interaction in improving the musical literacy of junior high school students provides strong empirical research support for cultivating students' comprehensive literacy. Through in-depth research on the interactive teaching model of junior high school music classes, it provides experienced practical guidance for building a more interactive teaching framework. To sum up, the current research on interactive teaching of music in junior high schools involves many aspects such as teaching strategies, problems and countermeasures, online teaching, multimedia applications, and core competencies. These studies not only provide profound theoretical support for junior high school music teaching, but also provide rich experience and inspiration for practical teaching. In the future of music education, interactive teaching will continue to play a positive role in promoting, opening up broader possibilities for cultivating students' comprehensive literacy. Based on the latest references, this article conducts an in-depth study of interactive teaching methods of music in junior high schools, providing a solid theoretical foundation for subsequent research.
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Salek, Melissa. "Music for All? A Comparison of Florida Middle School Music Enrollment in Traditional, For-Profit, and Nonprofit Charter Schools." Research Perspectives in Music Education 22, no. 1 (2022): 46–62. http://dx.doi.org/10.55814/e81c3f3c.
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Fatmawati, Erna. "KEBIJAKAN SEKOLAH DALAM PENDIDIKAN KARAKTER DENGAN KEGIATAN SENI MUSIK ANGKLUNG DI SD ISLAM TERPADU AL – KHAIRAAT." Spektrum Analisis Kebijakan Pendidikan 9, no. 1 (January 19, 2021): 92–102. http://dx.doi.org/10.21831/sakp.v9i1.17039.
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AbstrakPenelitian ini bertujuan untuk mendeskripsikan dan mengetahui kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung di SD Islam Terpadu Al–Khairaat, yang meliputi 1) kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung 2) nilai-nilai karakter yang dihasilkan dalam kegiatan seni musik angklung 3) dampak kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung. Penelitian ini merupakan penelitian kualitatif dengan pendekatan studi kasus. Teknik analisis data menggunakan model Miles dan Huberman yaitu dengan langkah reduksi data, penyajian data, verifikasi dan penegasan kesimpulan. Uji keabsahan data pada penelitian ini menggunakan triangulasi teknik dan triangulasi sumber.. Hasil penelitian menunjukkan bahwa. (1) Kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung diimplementasikan merujuk empat aspek yaitu: komunikasi, sumberdaya, sikap dan struktur birokrasi, (2) Nilai – nilai karakter yang dihasilkan dalam kegiatan seni musik angklung ada lima nilai yaitu disiplin, bersahabat, tanggungjawab, peduli sosial, dan cinta tanah air (3) Dampak kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung yaitu berdampak pada perubahan perilaku positif pada siswa. Kata kunci: kebijakan sekolah, pendidikan karakter, seni musik, dan angklung AbstractThis research aims to describe and understand the school's policy in character education with angklung music art in the SD Islam Terpadu Al – Khairaat, which includes 1) school policies in character education with art activities angklung music 2) character values are produced in the activity of angklung music art 3) The impact of school policy in character education with angklung music art activities. This research is a qualitative study with a case study approach. Data analysis techniques using the Miles and Huberman models are data reduction steps, data presentation, verification and conclusion confirmation. Test the legality of data on this study using triangulation techniques and triangulation resources. The results showed that. (1) The policy of school in character education with the activities of Angklung music is implemented to refer to four aspects namely: communication, resources, attitudes and bureaucracy structure, (2) value-the value of the character produced in the art of music activities angklung There are five values that are discipline, friendly, responsibility, social care, and love of Homeland (3) Impact of school policy in character education with the activities of Angklung music art that affects the change of positive behaviour in students.Keywords: school policy, character education, music art, and angklung
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Kai Ti, Sun, and Kwan Yie Wong. "The Impact of Popular Music Teaching in Music Classrooms: Perspectives of Malaysian Primary School Music Teachers." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 5 (May 21, 2024): e002826. http://dx.doi.org/10.47405/mjssh.v9i5.2826.
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The music curriculum standards for Malaysian government primary schools are based on the concept of developing musical skills and providing students with the right values through music education. Malaysian Chinese National Type Primary Schools, as a type of government primary school in Malaysia, has also compiled its music curriculum in accordance with the government's standards and guidelines. With the current development of media technology, popular music has flooded every corner of life, and this situation poses new challenges to music education in schools. Malaysian Chinese community, as the second largest ethnic group in Malaysia, deserves to be noticed for its current status and outcome of music education. This study aims to understand the impact of popular music on music education in National-Type Chinese primary schools from the perspective of teachers. This study was conducted through semi-structured interviews with six teachers from different National-Type Chinese primary schools in Kuala Lumpur to explore the impact of popular music on students' learning the school music curriculum. The study's results indicated that music teachers' perspectives towards popular music and their students' preference for it were positive and accepting. However, they also express concerns about its detrimental effects on students' learning outcomes in music class. Therefore, this study argues that it is necessary to enhance teacher training, increase the number of professional teachers, and innovate teaching methods in order to meet the requirements of the curriculum standards for students' music learning, and to balance the contradiction between students' musical preferences and music education in schools.
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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (May 19, 2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.
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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the teaching and learning of Music and Dance. Using the cultural theory of Education as the theoretical framework, and a case study research design, participants were drawn from the pupils, the music teacher as well as the headteacher of the school. Interview and observation were the main instruments for the data collection. It was revealed that teaching of music and dance in the Tamale International School was a problem due to the fact that the school is one of the Western colonized schools with much historical orientation on Western music thereby relegating African music to the background. Attitudes of pupils towards the study of African music component of the music and dance syllabus being negative due to their religious background and the orientation received from their parents. Situated within the cultural education theory, the paper concludes that when students are given the opportunity to learn traditional music very often at school, it will help them to know theirs as Africans and embrace it in spite of their orientations from their religious background.
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Fan, Xumei, Ning Jiang, and Ashlee Lewis. "Factors associated with fourth graders' music knowledge assessed by SCAAP." International Journal of Music Education 38, no. 4 (June 3, 2020): 644–56. http://dx.doi.org/10.1177/0255761420926664.
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This study investigated factors associated with fourth graders' music knowledge assessed by the South Carolina Arts Assessment Program (SCAAP). Participants included 2,683 fourth-grade students nested within 35 elementary schools in South Carolina, United States. Hierarchical Linear Modeling (HLM) was used to examine both the student-level factors, including gender and ethnicity, and the school-level factors, including school ranking, poverty level, and participation in SCAAP. Results indicated that students' gender, ethnicity, school ranking, and school poverty were significantly associated with students' music scores. There was a statistically significant interactive effect of gender and school ranking and poverty on students' music scores. The findings could inform music teachers, school administrators, and educational policy makers to acknowledge these factors, adopt differentiated music instructional strategies, provide resources, and support students from diverse backgrounds in order to enhance students' learning outcomes in music education.
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Lasauskienė, Jolanta, and Gintarė Jasionienė. "The Tendencies of Middle School Age Students’ Leadership in Music Activity." Pedagogika 115, no. 3 (September 10, 2014): 232–46. http://dx.doi.org/10.15823/p.2014.040.
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Contemporary music education particularly emphasises the objective to humanise the process of education, i.e., to focus on the individuality of the learner, to stimulation of his / her self-expression and abilities to assume the role of a leader. The article analyses the expression of leadership of basic school learners (aged 14–16) in music activity, which was explored during the research conducted in Alytus basic schools. The significant difference was established between the high level of importance of all the empirical features of manifestations of leadership (initiative, creativity, artistry, innovation) and a considerably lower level of expression of these empirical features in music activity. This substantiates the topicality of the chosen theme and possibilities of enhancing expression of leadership in basic schools.
 The object of the research: the tendencies of middle age school students‘ leadership in music activity.
 The aim of the research: to highlight the tendencies of middle age school students’ leadership in music activity.
 The characteristics of the sample. The research sample embraced 8–10th formers from Alytus “Šaltiniai” Basic School (n = 152) and “Dainava” Basic School (n = 86). The total number of school learners in the survey equaled 238 respondents (117 females and 121 males).
 The following conclusions are drawn in the article:
 On the basis of the insights of researchers, in this article leadership is determined as an integral individuality of personality, which is manifested in music activities through initiative, creativity, artistry and innovation of music activity (singing, music playing, creation): initiative reveals itself through fluency in singing, focused music playing, consistency of creation; creativity – individuality of singing, expressiveness of playing music, originality of creation; artistry is seen through depth of singing, focused playing, substantiation of creation; innovation – through non-standard singing, original style of playing, variety of creation.
 The analysis of expression of middle school age students’ leadership revealed that school learners’ leadership in music activity was most frequently expressed through innovation (originality of playing), creativity (individuality of singing), initiative (fluency in singing) and artistry (focused playing), i. e., through quality of music performance (singing and playing music).
 Most difficulties are encountered when school learners have to self-dependently arrange, create music, to analyse and improve own musical compositions independently and with help of a teacher. Such results have been partially predetermined by limited experience of music creative activities of senior school learners.
 The research revealed that the level of leadership expression of middle age school learners’ leadership in music activity is not high because of the established insufficient level of components of music arrangement (improvisation, creation of musical compositions).
 The significant difference was established between the importance of all the empirical features of manifestations of leadership (initiative, creativity, artistry, innovation) and the level of expression of these features in practical music activity. This demonstrates the topicality of the chosen theme and possibilities of development of expression of school learners’ leadership through music activity in general education schools.
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Shaw, Brian P. "Music Education Opportunities in Ohio K–12 Public and Charter Schools." Journal of Research in Music Education 69, no. 3 (February 8, 2021): 303–20. http://dx.doi.org/10.1177/0022429420986123.
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The purpose of this study was to examine which Ohio schools offered curricular music courses and the rates at which students participated in those courses. The analysis involved descriptive statistics, analysis of variance, logistic regression, and partially nested multilevel modeling using data from the Ohio Department of Education ( N = 3,222 schools). The investigation revealed that charter schools offered music courses far less often than public schools. However, in charter schools that did offer music, students participated at higher rates than those in public schools. Nearly all public schools featured music classes. The exception was high schools in the highest poverty urban neighborhoods, 31% of which had no curricular music. Students identified as Black, Hispanic, or indigenous were more likely to attend schools without music programs. Elementary students enrolled in an average of 1.00 music classes per year, whereas middle and high school students enrolled in 0.67 and 0.35 music classes per year, respectively. Suburban districts saw the greatest decline in music participation as students progressed to high school. Urban schools with greater percentages of white, non-Hispanic students had higher music enrollment rates.
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Supiarza, Hery. "Preservation Of Keroncong Music Through Music Learning At SMP Santa Angela Bandung." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 31–39. http://dx.doi.org/10.15294/jsm.v10i1.46797.
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This study discusses the preservation of keroncong music through music learning at Santa Angela Junior High School in Bandung. Keroncong is a type of hybrid music, native to Indonesia, the result of acculturation between Portuguese music and Indonesian local music. Keroncong experiences a setback at the present time, especially among the younger generation. Through teaching and learning activities in schools one way keroncong music can be sustainable and developed. The focus of the problem that was studied included the keroncong music learning material, the learning methods used and the evaluation techniques used from the keroncong music extracurricular activities in Santa Angela Junior High School Bandung. This research uses a descriptive method with a qualitative approach. Based on research findings, learning keroncong music in extracurricular activities in Santa Angela Junior High School Bandung refers to three main materials namely the skill of playing the keroncong instrument, the skill of playing the keroncong rhythm, the keroncong songs. The benefit of this research is that it can provide innovation in learning keroncong music in schools as an effort to preserve and revitalize one of Indonesia's original music.
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Barrett, Margaret S., Katie Zhukov, Joanne E. Brown, and Graham F. Welch. "Evaluating the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music." Psychology of Music 48, no. 1 (August 16, 2018): 120–36. http://dx.doi.org/10.1177/0305735618790355.
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This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.
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Davis, Virginia W. "The Meaning of Music Education to Middle School General Music Students." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 61–77. http://dx.doi.org/10.2307/40319330.
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Abstract The purpose of this study was to investigate the meaningfulness of music education to middle school students in general music classrooms. A survey instrument was created by gathering middle school students responses to an open-ended question regarding the general music (non-performance) class in which they were enrolled. After pilot testing, the Music Meaning Survey (MMS) was administered to general music students in grades 6 through 8 (N = 762) from nine middle schools across 8 states. The results of the MMS were factor analyzed using principal components analysis and a varimax rotation. According to the MMS, subjects did ascribe meaning to music education. The meaning students derived from music education could be assimilated into four categories: Vocational (career-oriented outcomes). Academic (music theory and history), Belongingness (social interactions between students), and Agency (self-esteem, motivation, and emotional development). The primary conclusion that can be drawn from this study is that for middle school general music students, music class can be a meaningful and multifaceted experience.
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Jones, Sara K. "Making Music: A community–school music partnership." Arts Education Policy Review 121, no. 2 (March 20, 2019): 63–73. http://dx.doi.org/10.1080/10632913.2019.1584136.
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Clark, Ivone Fraiha. "Supporting Music Education in Elementary Schools in a Low-Income Rural Area." Education Research International 2022 (January 29, 2022): 1–8. http://dx.doi.org/10.1155/2022/6532825.
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The purpose of this generic qualitative inquiry was to describe parents and educators’ attitudes toward the sustainability of music education in elementary schools in a low-income rural area. Sources for this research included interviews, focus groups, and observations. Participants were principals, parents, and teachers from four elementary schools and three parent-teacher organizations (PTOs) in a small district in a low-income rural area in the southeast United States. Data were analyzed through open coding to describe details on maintaining music in this elementary school. The themes emerged were reasons for supporting music education in elementary schools and principals’ leadership in overcoming economic challenges in music education. Findings indicated that efforts to maintain music in a school program are motivated by the evident impact on students’ academic performance and everyday activities. The results confirmed that educators’ determination and leadership skills are the support for music in the school curriculum.
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Bucura, Elizabeth. "Pathways of school and community music: Towards lifelong musicianship." Journal of Arts & Communities 13, no. 1 (June 1, 2022): 47–63. http://dx.doi.org/10.1386/jaac_00038_1.
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In this article I survey ways community music (CM) and school music might be considered as related and connected pathways in individuals’ unique musical lives. School, while existing within communities, is considered a separate space for music teaching and learning, yet is one avenue by which musical participation can broadly occur within and among a variety of community spaces. Music teachers in schools can consider how the purposes and practices of CM might relate to goals of lifelong musicianship, thereby informing school music. I include background on CM and school music in the United States and discuss purposes that can underlie varied CM endeavours. I propose a loose definition for CM, provide examples and discuss differences among school music and CM leadership in each domain. I encourage broadened purposes for school music and an appeal to the human need for music, with a value for space to make one’s own meanings as music learners and, broadly, to engage with the world as musical people. When acknowledged by music educators as valid, purposeful and connected within as well as outside the classroom, CM can potentially become meaningfully connected to everyday lives in society, perhaps furthering the ways in which society regards musicianship.
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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.
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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.
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Hentschke, Liane. "Students’ motivation to study music: The Brazilian context." Research Studies in Music Education 32, no. 2 (December 2010): 139–54. http://dx.doi.org/10.1177/1321103x10386674.
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This article presents the results of the Brazilian component of an international research project entitled ‘Meanings of music for students in school-based and non-school musical activities’ across eight countries. This research aimed to investigate the importance and the meaning assigned by students to musical activities developed in school and non-school contexts. The method consisted of a survey, involving 21,975 students from eight countries (Brazil, China, Finland, Hong Kong, Israel, Mexico, South Korea, and the USA), which was based on the Eccles and Wigfield’s expectancy-value model for motivation. The Brazilian sample consisted of 1848 students from the 6th grade of fundamental education to the 3rd grade of high school, from 11 cities of the Rio Grande do Sul state. These students belonged to three different cohorts of music learning. Those who had: (a) music in schools and as an extra-school activity; (b) music as a school subject; (iii) music as an outside school activity. Data collection was carried out through a 38-item questionnaire about the students’ profile and their opinions on interest, importance, difficulty, utility, competence and confidence in relation to arts, science, physical education (PE), mathematics, Portuguese, and music. Data were examined using mixed-design Analyses of Variance (ANOVAs). Results show that the degree of interest, importance and utility of music increased as the students progressed through schooling, which contradicts data generated from this study in most of the other countries. Despite the interest of Brazilian students in music, arts and PE, they considered Portuguese, mathematics and science to be more important and useful. When compared to other countries, the results show that Brazilian students demonstrated a great value for music, despite the differences in the learning contexts of the three groups. Those students who only studied music in schools showed the lowest levels of interest, importance and utility.
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Xueya, Zhang, Lv Yingxuan, Wang Ting, and Xie Dingzi. "Investigation of the Status of Music Teaching in Middle School under the Background of "Art into the Middle School Entrance Examination" in Dejiang County, China." Journal of Education, Society and Behavioural Science 37, no. 2 (April 9, 2024): 58–66. http://dx.doi.org/10.9734/jesbs/2024/v37i21307.
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Aesthetic education is an indispensable part of all-round quality education. Art education belongs to the category of aesthetic education and is an important content and way to implement aesthetic education. Music education is a form of education with music art as the medium and aesthetics as the core. In October, 2020, the general offices of the General Office of the Central Committee of the CPC and the State Council issued the Opinions on Comprehensively Strengthening and Improving Aesthetic Education in Schools in the New Era, which put forward the requirement of bringing art subjects into the pilot reform of senior high school entrance examination. The implementation of the new policy of "art entering the senior high school entrance examination" is a brand-new challenge to junior high school music teaching. In order to better implement the policy of "art entering the senior high school entrance examination", it is necessary to understand the current situation of junior high school music teaching. In this study, 241 junior high school students in four middle schools in Dejiang County, Guizhou Province were investigated from three aspects: their attitude towards music, the basic reasons for liking music and the mastery of basic music skills, and then the data were statistically analyzed by Excel and SPSS software. Based on the analysis results of the previous part, combined with the requirements of "Art Entrance Examination", this paper puts forward that we should pay more attention to music courses, enrich the content of music courses and strengthen the teaching of basic music knowledge.
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Petraglia, Marcelo Silveira, and Erika de Andrade Silva. "WALDORF SCHOOLS MUSIC EDUCATION APPROACH AS INSPIRATION FOR WORK IN OTHER CONTEXTS." ERAS | European Review of Artistic Studies 4, no. 3 (September 30, 2013): 1–15. http://dx.doi.org/10.37334/eras.v4i3.134.
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Brazil has, since 2008, been the seat of heated debates on putting music back into public and private schools. Recent legislation (Law 11.769) declared music a required subject in all Brazilian schools from preschool through high school. Much has been discussed, however, as to the professionals who will take on this challenge, the methodology and content involved as well as the role of music in the schools. Here, I present some personal observations and reflections based on experiences during my career as a music educator in a Waldorf school as well as a professor in Music Education programs at two universities in São Paulo State. In supervising student teachers or giving pedagogy courses, I am witness to innumerous queries from musicians and music educators having to do with the return of music to the schools. This paper describes the intent the music education curriculum used inside Waldorf schools. Waldorf education in Brazil has an over 50-year history since its beginnings in 1955. The many trails already forged offer possibilities and recommendations for Music Education both in traditional schools as well as in educational social programs. This text offers a brief description of Waldorf pedagogy and will describe the music curriculum used from preschool through high school. I also discuss the human formation of teachers, of their knowledge, abilities, attitudes and skills. Finally, I present suggestions for possible applications of these experiences for music education in other contexts.
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Ewell, Philip. "Music theory à la Leningrad: an interview with Tatiana Bershadskaya." Contemporary Musicology, no. 4 (2019): 121–64. http://dx.doi.org/10.56620/2587-9731-2019-4-121-164.
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For over sixty years Tatiana Bershadskaya has played a central role in music and music theory in Russia. Specifically, she is the undisputed leader of the so-called “Leningrad School” of music theory, which arose in contradistinction to the strong influence of Moscow, and what is often called the “Moscow School,” in the twentieth century. For much of the twentieth century there was a certain tension between these two schools, with the more-famous Moscow School often outshining its northern counterpart. The Leningrad School traces its roots back to Boleslav Yavorsky, who worked primarily in and around Moscow, and had little to do with St. Petersburg. Yet both schools owe their existence, for the most part, to developments that took place in nineteenth-century St. Petersburg. Beginning with Rimsky-Korsakov, there was a strong pull toward harmonic functionalism in the works of Russian music theorists. This culminated in the works of Gregori Catoire, Igor Sposobin, and others, who essentially founded the “Moscow School” of music theory in Russia in the 1920s and 1930s. Bershadskaya represents another Russian music-theoretical tradition, which stemmed from the work of Yavorsky and, subsequently, Boris Asafiev, Christopher Kushnarev, and Yuri Tiulin, the latter two with whom she studied. In this work, in an introductory essay, the author contextualizes these two schools of music theory, and the role that Bershadskaya and her predecessors played in their formation. After the introductory essay the author offers an extensive interview that he conducted with Bershadskaya at her apartment invSt. Petersburg, from February 15, 2018, in which she discusses her life in and her views on music and music theory.
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Temmerman, Nita. "An investigation of undergraduate music education curriculum content in primary teacher education programmes in Australia." International Journal of Music Education os-30, no. 1 (November 1997): 26–34. http://dx.doi.org/10.1177/025576149703000104.
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Primary school music experiences have been shown to impact not only on future adult attitudes to, but also interest and participation in music. Unfortunately, the current policy and practice of music in primary schools is still perceived to be unsatisfactory. According to teachers this can be attributed in the main to their undergraduate university training in music education. Music educators have a key role to play in breaking the apparent current cycle of unsatisfactory (or no) music practice at the primary school level. This paper investigates what curriculum content is currently included in compulsory undergraduate university music education programmes. It asks teacher educators, in light of recent research, to reflect critically on the adequacy of their current curriculum to prepare beginning teachers to teach primary school music.
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Kibici, Volkan Burak. "An Analysis of the Relationships between Secondary School Students' Creativity, Music Achievement and Attitudes." International Journal on Social and Education Sciences 4, no. 1 (January 15, 2022): 87–100. http://dx.doi.org/10.46328/ijonses.304.
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This study aimed to investigate secondary school students’ music achievement, attitudes towards music and creativity based on the variables of gender, school type, grade level and achievement. A causal-comparison design was used for this study. 246 secondary school students studying in some schools in Mersin and Konya provinces were randomly selected by using convenience sampling method. Data were collected through Kaufman Creativity Test, Music Achievement Scale and Music Lesson Attitude Scale. Data were analyzed using independent samples t-test, one-way analysis of variance and regression analysis techniques. The results revealed that female students had higher creativity scores based on attitude towards music lessons and artistic performance. Significant differences were found in music achievement, attitude and creativity mean scores in terms of school type, grade level and achievement of students. Finally, there were significant relationships between the creativity levels of secondary school students and their music achievements and attitudes. Considering the results obtained, suggestions for implementation were provided.
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Bayley, Jonathan G., and Janice Waldron. "“It’s never too late”: Adult students and music learning in one online and offline convergent community music school." International Journal of Music Education 38, no. 1 (August 23, 2019): 36–51. http://dx.doi.org/10.1177/0255761419861441.
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This study is the third and final part of a longitudinal ethnographic investigation of music learning and teaching of the Online Academy of Irish Music (OAIM), an Irish music “school” situated in both online ( www.oaim.ie ) and offline (Doolin, County Clare, Ireland) contexts. We first examined the online OAIM through teacher narratives in 2011. In the second part of the study, we explored the OAIM through students’ perspectives at the OAIM’s first offline Irish flute summer school retreat week in July 2013. In this third part and final part of the study, we attended the OAIM’s offline tin whistle school week in October 2015 in Ennis, Ireland. The purpose of this part of the study was to continue our investigation of adult music learners who learned Celtic music through the OAIM, as it has continued to evolve as an online and offline convergent community music school. Findings indicate that the adult participants benefited from learning music through a combination of aural/oral, observational, and written notation in both online and offline contexts, but had differing perspectives as to what worked for them and what did not. As an online and offline convergent school, the OAIM offers an intriguing model of music learning and teaching for school music contexts and community music schools.
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Huang, Yushan. "What Is the Purpose of Primary School Music Education?" Research and Advances in Education 2, no. 2 (February 2023): 23–29. http://dx.doi.org/10.56397/rae.2023.02.02.
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Music education in primary school is necessary. Music education in primary schools is believed to bring benefits such as rounded personalities, expanded children’s abilities, the development of future musicians, and increasing equality in society. Primary school music education is a way to develop the brain, a way to expand children’s abilities, a way to train future musicians and a way to a better society. Music can tap the imagination of citizens. Music education has the power to witness and feel different lives, a strong engagement and a more sympathetic understanding of different individuals and cultures in the world. From the point of view of schools and teachers, the fundamental purpose of primary school music education is that it contributes to the development of human imagination and common morality. Music education fosters imagination, which is essential for citizens of the world. Art, represented by music education, cultivates judgment and sensitivity, which is reflected in the choice of civic behavior. The musical memory of a country and a people can be seen as part of the culture that shapes not only the overall goals in social life, but also the aspirations and aspirations of citizens in society.
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Abril, Carlos R., and Brent M. Gault. "The State of Music in the Elementary School." Journal of Research in Music Education 54, no. 1 (April 2006): 6–20. http://dx.doi.org/10.1177/002242940605400102.
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This study is an examination of school principals' perceptions of the elementary school music curriculum. A survey, mailed to 350 elementary school principals (61% response rate), was designed to answer the following questions: What are principals' perceptions of music learning outcomes and broad educational goals that result from school music instruction at their respective schools? How do they believe these should exist in ideal conditions? Is there a difference between principals' ratings for current and ideal conditions? To what degree do certain variables affect the music program? Results revealed that principals were generally satisfied with their music programs' ability to meet music education standards and broad educational goals. However, significant differences between the current and ideal conditions imply that they believe improvement is possible. Principals reported that the No Child Left Behind Act, budgets, standardized tests, and scheduling had the most negative effects on their music programs. September 15, 2005 November 30, 2005
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Mandagi, Preasly, Meyny Kaunang, and Sri Sunarmi. "MANAJEMEN PEMBELAJARAN MUSIK DI MANADO INDEPENDENT SCHOOL." KOMPETENSI 2, no. 06 (December 15, 2022): 1419–27. http://dx.doi.org/10.53682/kompetensi.v2i06.4782.
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Tujuan penelitian untuk memberikan penjelasan mengenai manajemen pembelajaran musik di Manado Independent School yang beralamat di Jl. Walanda Maramis, Kelurahan Kolongan Tetempangan, Kecamatan Kalawat Minahasa Utara. Penelitian ini mengacu pada bentuk penelitian analitis deskriptif mengenai manajemen pembelajaran musik. Penelitian ini bermaksud mengkaji mengenai Manajemen Pembelajaran Musik di Manado Independent School dengan menggunakan pendekatan kualitatif. Pengunaan pendekatan kualitatif ini dengan tujuan menguraikan fenomena yang diamati serta konteks makna yang melingkupi suatu realita. Dalam penelitian ini terdapat tiga tahap penelitian yang akan ditempuh penulis yaitu tahap pra lapangan, tahap pekerjaan lapangan dan tahap pasca lapangan. Obyek dalam penelitian ini adalah manajemen pembelajaran music di Manado Independent School, sedangkan narasumber, yaitu seluruh guru-guru music di Music and Arts Department di Manado Independent School, serta siswa yang dalam hal ini berperan sebagai informan utama, adalah sebagai subyek penelitian ini. Pengumpulan data dalam penelitian ini adalah menggunakan metode wawancara dan studi dokumenter (Documentary Study). Analisis data yang dilakukan dimulai dari menelaah berbagai sumber data mulai dari data primer dan sekunder yang bersumber dari wawancara, observasi yang ditulis dalam catatan lapangan, foto, diskografi audio-video, dan catatan atau literatur lainnya yang berhubungan dengan topik penelitian, kemudian dibaca, dipelajari, dibandingkan dan disesuaikan dengan pandangan – pandangan umum serta pendapat narasumber, kemudian mengadakan penyalinan, pemilihan dan reduksi data dengan jalan membuat abstraksi. Selanjutnya, data disusun dalam satuan – satuan, di adakan pemeriksaan keabsahan data dan membuat interpretasi data. Selanjutnya dibuat kesimpulan dan dipaparkan kembali dalam uraian yang lebih detail.
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Bubeníčková, Daniela, and Marie Slavíková. "Music Education in a Small Rural School." Paedagogia Musica 5 (2023): 45–58. http://dx.doi.org/10.24132/zcu.musica.2023.05.45-58.
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The article deals with the issue of small rural schools and the possibilities of teaching music education in these schools. Small rural schools are schools with a small number of classes, where two or three school years are taught simultaneously in one classroom. Most of the time, these schools are established in small villages, at the primary school level. Teaching in small schools has its specificities, some of which can be seen as strengths and some as weaknesses in the teaching process. Today, in many countries, more and more young families are moving to the countryside to raise their children closer to nature. It can therefore be expected that interest in setting up small rural schools will increase. The article introduces the personal experience of the author of the thesis, who teaches all music education classes at a small rural school in the Czech Republic. We present here brief results of a research conducted in the form of a questionnaire among 34 teachers of small-class schools. The conclusions from her research are interpreted by the author of the thesis in such a way as to inspire other teachers of music education in small-class schools and possibly also teachers of full primary schools who are interested in the idea of pupils of different ages working together for a common musical outcome.