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Journal articles on the topic 'Activités musicales'
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1
Barrère, Anne. "L’éducation à l’épreuve des activités juvéniles : de nouveaux défis professionnels." Phronesis 2, no. 2-3 (August 21, 2013): 4–13. http://dx.doi.org/10.7202/1018069ar.
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L’article s’interroge sur la manière dont l’institution scolaire est aujourd’hui mise en question dans son projet de formation par les activités juvéniles, dans une sphère extrascolaire où ils jouissent d’une grande autonomie. Ces activités électives (numériques, musicales, sportives…) réalisent une éducation informelle où les adolescents forgent leur caractère, alors même que l’école n’a plus de modèle lisible de projet éducatif. À partir d’une enquête qualitative réalisée auprès d’une centaine d’adolescents français, on dégagera différentes épreuves qui forment les adolescents dans cette sphère, avant de montrer comment elles mettent en question les finalités, mais aussi les modalités de fonctionnement de l’école.
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Tripier-Mondancin, Odile, and Frédéric Maizières. "Répertoires vocaux enseignés de la maternelle à la fin du collège, en « éducation musicale » en France." Les Cahiers de la Société québécoise de recherche en musique 15, no. 1 (October 28, 2015): 19–32. http://dx.doi.org/10.7202/1033792ar.
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Dès les débuts de l’enseignement de la musique, dénommé « éducation musicale » dans l’école généraliste française, le chant apparaît comme l’une des deux activités principales. Même si aucun répertoire n’a jamais été véritablement imposé, des orientations institutionnelles successives ont pu mettre l’accent sur des idéologies politiques, morales, ou encore, sur la chanson en tant qu’outil au service de la langue (Alten 1995). Mais aujourd’hui, alors que l’on parle de culture commune au sein de l’école, qu’en est-il des répertoires enseignés en France ? Quel est l’impact des pratiques musicales sociales de référence et de la culture des enseignants sur le répertoire qu’ils choisissent ? Deux enquêtes nationales inter-académiques à visée descriptive/compréhensive adressées simultanément aux enseignants du premier degré (école primaire ; n=935) et du second degré (collège ; n=104) permettent de mettre en évidence, certaines caractéristiques du répertoire chanté dans les classes de la maternelle à la fin du collège. On relève notamment l’utilisation assez constante de la chanson française des années 1945-1968, soit celle des auteurs-compositeurs-interprètes de larive gaucheparisienne. Les résultats montrent également des liens entre l’école primaire et le collège : la récurrence de certains auteurs tend à montrer une certaine continuité de l’école primaire au collège. Des différences assez nettes, apparaissent notamment au niveau de certaines catégories musicales (chanson enfantine à l’école primaire, répertoire jazz et savant au collège). Les critères de choix (le texte à l’école primaire, la question de la faisabilité vocale dans les deux cas et les notions musicales au collège) témoignent à la fois d’enjeux différents d’un cycle à l’autre, mais aussi de la spécificité des enseignants qui ont en charge cet enseignement (enseignant généraliste à l’école primaire et enseignant spécialisé au collège).
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Andreatta, Moreno. "Une introduction musicologique à la recherche « mathémusicale » : aspects théoriques et enjeux épistémologiques." Circuit 24, no. 2 (August 13, 2014): 51–66. http://dx.doi.org/10.7202/1026184ar.
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Cette contribution se propose de présenter certains aspects théoriques et discuter quelques enjeux épistémologiques des recherches menées par l’auteur dans le domaine des rapports entre mathématiques et musique. Après une introduction générale sur le contexte de la recherche « mathémusicale » à l’Ircam et la place du projet misa (Modélisation informatique des structures algébriques en musique) au sein des activités de recherche de l’équipe Représentations musicales, nous discutons le problème de la formalisation algébrique de la théorie des ensembles de classes de hauteurs (Set Theory) et de la théorie transformationnelle (Transformational Theory), deux paradigmes analytiques dont nous avons étudié les aspects théoriques et computationnels à travers une démarche de modélisation informatique des structures et processus musicaux. L’analyse musicale basée sur les ensembles de classes de hauteurs et leurs transformations soulève des questions philosophiques intéressantes, notamment dans ses rapports avec la phénoménologie et les sciences cognitives. En particulier, en confrontant notre point de vue musicologique avec la phénoménologie, nous pouvons avancer l’hypothèse d’une pertinence de la catégorie de « structuralisme phénoménologique » dans une relecture/réactivation de la tradition structurale en analyse musicale.
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La France, Albert. "Les femmes musiciennes sous les Bourbon d’après les documents inédits de Marie Bobillier." Canadian University Music Review 16, no. 1 (March 1, 2013): 60–73. http://dx.doi.org/10.7202/1014416ar.
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À sa mort en 1918, Marie Bobillier (pseud. Michel Brenet) a laissé au Département des manuscrits de la Bibliothèque nationale à Paris un nombre impressionnant de notes, de citations et de relevés qu’elle avait accumulés au cours de sa carrière et qui, pour la plupart, demeurent inédits. Dans un dépouillement de ces volumes, l’auteur a extrait les citations, les rapports et les commentaires des auteurs des trois derniers siècles, tous sous le thème « femmes musiciennes ». Il en résulte un éventail assez étonnant des activités musicales des femmes de l’ancien régime sous les rois Bourbon, une espèce de sondage du passé à partir duquel tirer quelques conclusions plus éclairées. Malheureusement, le travail n’a servi qu’à confirmer ce que d’autres ont déjà conclu, à savoir que les femmes des XVIIe et XVIIIe siècles n’avaient qu’un rôle secondaire en musique, tout comme dans les autres aspects de la société, soit artistique, politique ou social. Il faudra attendre le XXe siècle pour que les femmes puissent commencer à prendre leur juste place dans les rangs de la profession musicale.
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Blackburn, Philip. "American Composers Forum." Circuit 14, no. 2 (February 15, 2010): 67–76. http://dx.doi.org/10.7202/902315ar.
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Philip Blackburn dresse un portrait de l’American Composers Forum, organisation fondée en 1973 et qui a permis la création d’un réseau de diffusion de la nouvelle musique aux États-Unis. L’ACF compte 1 700 membres et soutient des projets de création basés sur l’étroite collaboration entre les créateurs, les interprètes et la communauté. Il s’agit donc de soutenir la carrière des compositeurs en intégrant leurs oeuvres aux activités culturelles des communautés. Non seulement l’ACF permet aux oeuvres de circuler, mais elle assure leur création dans le cadre d’expériences musicales qui répondent aux besoins artistiques des communautés d’accueil. Il se crée alors un véritable marché de la nouvelle musique.
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Schumacher, Jérôme A. "L’intégration de sites web d’hébergement de vidéos dans l’enseignement de l’instrument : usages et pratiques pédagogiques." Les Cahiers de la Société québécoise de recherche en musique 17, no. 1 (April 17, 2018): 61–70. http://dx.doi.org/10.7202/1044670ar.
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Alors que les sites d’hébergement de vidéos enregistrent de plus en plus d’utilisateurs de tous âges (Barry et collab. 2016 ; Sweeny 2009 ; Whitaker, Orman, et Yarbrough 2014), plusieurs travaux de recherche en éducation reconnaissent leur importance et leur influence dans le domaine de l’enseignement et de l’apprentissage (Buzzetto-More 2015 ; Dougan 2014 ; Whitaker, Orman et Yarbrough 2014). YouTube par exemple, fait depuis plusieurs années l’objet d’études et d’évaluations scientifiques tant au niveau de son utilisation que de son contenu (Kruse et Veblen 2012 ; Rudolph et Frankel 2009 ; Schumacher 2015 ; Waldron 2009, 2011 et 2013). Si les résultats de ces études mettent en évidence une valeur ajoutée non négligeable, notamment dans l’engagement des étudiants, la compréhension des notions, et leur satisfaction (Buzzetto-More 2015), peu de recherches se consacrent à l’influence de l’intégration de ces plateformes sur les pratiques pédagogiques des enseignants. La présente contribution porte sur les modifications des pratiques déclarées des professeurs d’instrument de différentes écoles de musique et institutions musicales de la Suisse romande suite à l’intégration de plateformes de vidéos dans leur enseignement. Cette recherche qualitative, basée sur une trentaine d’entretiens semi-dirigés et d’entrevues de groupe, met en évidence des modifications dans les pratiques d’enseignement à plusieurs niveaux : activités proposées à l’élève, organisation de l’espace, registres de la communication didactique, évaluation, et styles didactiques. Elle illustre que la progression didactique d’un tutoriel de piano (« Le blues au piano et aux claviers, les bases pour bien débuter ») est essentiellement linéaire et que de tels artefacts considèrent l’apprenant comme un sujet épistémique. Enfin, elle met en évidence les compétences nécessaires aux professeurs et aux élèves afin que l’intégration de cette technologie dans les salles de cours et studios de musique soit réussie.
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MARTÍNEZ-CASTILLA, PASTORA, RUTH CAMPOS, and MARÍA SOTILLO. "Enhanced linguistic prosodic skills in musically trained individuals with Williams syndrome." Language and Cognition 11, no. 3 (August 15, 2019): 455–78. http://dx.doi.org/10.1017/langcog.2019.27.
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abstractIndividuals with Williams syndrome (WS) present prosodic impairments. They are also interested in musical activities. In typical development, a body of research has shown that the linguistic prosodic skills of musically trained individuals are enhanced. However, it is not known whether, in WS, musical training is also associated with enhanced prosodic performance, a question this study sought to answer. We compared the performance on linguistic prosodic tasks among seven musically trained and fourteen musically untrained individuals with WS, and typically developing peers. Among those with WS, musically trained participants outperformed their musically untrained counterparts on the perception of acoustic parameters involved in prosody, the understanding of questioning and declarative intonation, and the comprehension of prefinal contrastive stress. The results suggest that musical training facilitates prosodic performance in WS. Our findings also suggest common processing mechanisms for acoustic parameters involved in both prosody and music, and that positive music-to-language transfer effects could take place in WS. We discuss the implications of these results for intervention purposes.
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Mili, Isabelle. "Créativité et didactique dans l’enseignement musical." Éducation et francophonie 40, no. 2 (February 5, 2013): 139–53. http://dx.doi.org/10.7202/1013819ar.
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Dans l’enseignement des arts, créativité et liberté de l’élève sont souvent associées. Le présent article s’interroge pourtant sur la fonction des contraintes dans les activités créatrices menées en classe, en particulier dans des activités d’improvisation et de composition. Le processus de dévolution, d’abord conceptualisé par les didacticiens des mathématiques, est ici examiné dans l’enseignement musical. Qu’implique ce processus, par lequel l’apprenant prend en charge des directions de recherche et des choix, de la part de l’enseignant, dans le cadre d’une séquence musicale consacrée à des productions originales? C’est une des questions centrales traitées ici.
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García Gil, Desirée, and Consuelo Pérez Colodrero. "Monográfico: Música y Educación: Una mirada femenina." Revista Electrónica de LEEME, no. 44 (December 4, 2019): 85. http://dx.doi.org/10.7203/leeme.44.16208.
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Resulta evidente que cualquier experiencia musical transmite significados relacionados con el género, de tal suerte que, desde la creación a la percepción, pasando por la interpretación, el aprendizaje y la enseñanza, todos los procesos musicales producen ideologías y transmiten connotaciones derivadas de esta perspectiva. La exploración de las relaciones de género a través de música, no obstante, no irrumpió en la investigación hasta la década de 1970, particularmente en el ámbito anglosajón, donde un reducido pero relevante número de especialistas, generalmente activistas del Feminismo, introdujo esta novedosa categoría de estudio como complemento y oposición al tipo de aproximación que sobre el hecho musical se estaba realizando por aquel entonces.
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Duchesneau, Michel. "« Critiques musicaux de jadis et de naguère ». Raymond Bouyer, la musique et l’art (« Anthologie du phem » / Musicographes, 1)." Revue musicale OICRM 4, no. 2 (February 8, 2018): 176–88. http://dx.doi.org/10.7202/1043227ar.
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Écrivain et critique d’art, Raymond Bouyer (1862-1939?) aura une activité de chroniqueur musical intense notamment au Ménestrel de 1898 à 1939. S’interrogeant notamment sur la pratique de la critique musicale, Bouyer publie dans Le Ménestrel en 1909 une série d’articles sur la situation de la critique musicale face à l’histoire de la critique d’art. Convoquant le monde grec qui occupe depuis un certain temps déjà l’esprit des musiciens, le critique se penche sur une généalogie de la critique pour en tirer un certain nombre de conclusions sur la critique moderne, rappelant qu’elle possède au moins une constante : l’autoréférentialité (« en dépit des progrès de l’érudition, chaque époque de l’art juge à son point de vue… c’est humain ! »).
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Liikkanen, Lassi A. "Musical activities predispose to involuntary musical imagery." Psychology of Music 40, no. 2 (June 27, 2011): 236–56. http://dx.doi.org/10.1177/0305735611406578.
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Meškić, Indira. "THE ROLE AND SIGNIFICANCE OF COUNTING-OUT RHYMES IN THE DEVELOPMENT OF MUSICAL ABILITIES IN PRE-SCHOOL CHILDREN." Zbornik radova 15, no. 15 (December 15, 2017): 163–70. http://dx.doi.org/10.51728/issn.2637-1480.2019.15.163.
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The aim of this paper was by relying on the relevant theoretical sources to enlighten the role and significance of counting-out rhymes in the development of preschool children’s musical abilities. The starting point was the fact that contemporary music pedagogy more often maintains the stance that all children are quite musically talented and capable of performing musical activities, although their achievements are of unequal quality. It is emphasized that a child’s musical ability is demonstrated through musical sensibility (hearing which implies sensitivity for the height and strength of musical tones, the sound colors, the relationship between tones based on their length) and the arousal of interests in music (which as a cognitive, emotional and voluntary reaction of a child to music can be interpreted as children's musicality). It is also pointed out that counting-out rhymes, as a type of musical activities, present the child’s most musical poetic, rhythmic and metric creativity, and that their specificity is that the counting-out rhymes stand out as children's creativity mirroring the beauty (educational, emotional, aesthetic) in the unbreakable bond between the creators and the performers of the same content within the same age range. Furthermore, it is highlighted that children interact with each other creating musical content and musical activity, and the specificity of such collaboration is that some counting-out rhymes reflect the environment (the region) in which a child as a creator lives, so, not rarely, the same counting-out rhyme undergoes a change when transferred to another environment, and thus it appears as a new version (variant) of the same counting-out rhyme. The special importance of counting-out rhymes is observed in the correlation with other contents and children activities.
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Lei, Lih-Wei, and Cheng-Fang Huang. "Learning english through musicals: a case study of social economically disadvantaged aboriginal students in Eastern Taiwan." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 204–10. http://dx.doi.org/10.3366/ijhac.2012.0049.
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This study explores the possibility of using musicals to teach English with instructional VCD for following practice, and investigates whether it helps social economically disadvantaged aboriginal students overcome their difficulties with English and enhance their learning motivation. A series of surveys and interviews were conducted to investigate the influence of this intervention. The results showed that about 90 per cent of responded students in the intervention group considered learning English through musical interesting and it helped them to be more confident in English. About 80 per cent of students indicated that they would actively practice English through ways such as imitating singers to sing an English song. About 60 per cent of students felt more comfortable speaking English loudly and were less afraid of talking to others in English. Further comparison show that there was a significant difference between students who participated (n=39) and who didn't participate (n=15) in the English musical programme. Only about 60 per cent of those in the control group would actively learn English. Being unaware of the English musical programme, only half of the students considered learning English through acting interesting. The results of this exploratory study show musicals can provide the opportunity for the students to use language meaningfully and appropriately. The use of drama activities in second language learning helps the learners to be more imaginative, creative and less frustrated as they become more confident in the process of learning English as a second language.
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De Oscar, Sergio Candico, and Celso Augusto Dos Santos Gomes. "O uso de recursos tecnológicos e linguagem musical na aproximação de pais e filhos: uma experiência no 1º ciclo de educação musical." Texto Livre: Linguagem e Tecnologia 12, no. 3 (September 8, 2019): 37–48. http://dx.doi.org/10.17851/1983-3652.12.3.37-48.
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RESUMO: O presente artigo descreve um estudo de caso que foi desenvolvido em uma escola pública de música do Estado de Minas Gerais. A pesquisa teve como objetivo avaliar o uso do ambiente virtual de Aprendizagem Moodle na aproximação dos pais no desenvolvimento musical de estudantes do 1º ciclo do curso de educação musical, voltado para o atendimento de crianças de 6 a 8 anos. Nesse ciclo, as crianças são introduzidas ao mundo dos estudos musicais e necessitam de todo o suporte para que se sintam confortáveis. Muitas vezes a falta de conhecimentos musicais dos pais impossibilita o apoio aos filhos, que acabam ficando desmotivados e, muitas vezes, chegam até a trancar seus cursos. Neste artigo são apresentados os resultados da pesquisa que inclui a condução de entrevistas, realização de atividades no ambiente educativo virtual e a análise de relatórios de acesso dos participantes, fornecidos pela própria plataforma EaD. Como resultado, verificou-se que essa ferramenta pode contribuir significativamente na aproximação dos pais no acompanhamento dos aprendentes em suas atividades musicais e por consequência na motivação e na aprendizagem dos estudantes. Além disso, constatamos crescimento nos indicadores de proficiência musical dos alunos por meio da avaliação de habilidades e competências específicas, bem como uma sensível redução na evasão.
PALAVRAS-CHAVE: ambientes virtuais de aprendizagem; musicalização infantil; recursos tecnológicos didáticos; família e escola.
ABSTRACT: This paper describes a case study that was developed in a public music school in the state of Minas Gerais. The research aimed at assessing the use of the Moodle platform to approach parents in the musical development of students from the 1st cycle of the music education course, aimed at attending children from 6 to 8 years old. In this cycle, children are introduced to the world of music studies and need all the support to make them feel comfortable. Often, the parents' lack of musical knowledge makes it impossible to support their children, who become unmotivated and often even lock up their courses. This article presents the results of the research that includes conducting interviews, conducting activities in the virtual educational environment and analyzing access reports of participants, provided by the e-learning platform itself. As a result, it was found that this tool can contribute significantly in bringing parents closer to the learners' accompaniment in their musical activities and consequently in students’ motivation and learning. In addition, we found growth in students' musical proficiency indicators through the assessment of specific skills and competences, as well as a marked reduction in dropout.
KEYWORDS: virtual learning environments; children's musicalization; didactic technological resources; family and school.
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Limin, Wei. "Diagnosis of creative self-realization of undergraduates in musical art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 150–55. http://dx.doi.org/10.33310/2518-7813-2019-66-3-150-155.
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The article presents a methodology for diagnosing experimentally identifying a vivid vividness of the formations of creative self-realization of the magistrates of the musical mystery in the process of the choir-choir movement. Today’s master student of musical mystery in Prague has expanded the horizons of musically-vikonavsky, musically-creative talents, be aware of alternative musical and pedagogical activities, deny your own selfrealization, and learn more about the Criteria have been introduced to the testimonials of the pre-approved approval. The following methods were implemented: methods of nutrition, ranking; diagnostic experiment. By a method of conducting a diagnostic experiment, a voucher of a vivid vividness of the formations of creative selfrealization of magistrates of a musical mystery was formed. So, we conducted a questionnaire with masters of the musical mystery in order to ensure that they are put before creative self-realization. Dalі, the students were blown away for profiling, according to the world’s significance, the components of creative self-realization (cognitivemotivational, gnostic-tsilovy, communicative-constructive, techno-design, creative-design). There was a great deal of discussion with the knowledge of respondents from day to day, the significance of the structure of the previous construct. Prospects for fake science rozvidok vbacha вmo in the development of experimental models of creative self-realization of magistrants of musical mystery. From now on, an analysis of the results of our achievement so that I can actualize respect for the fact that the period of fierce joining the masters of the musical mystery is characterized by their need for creative self-realization. Vrakhova’s students, on purpose, looked at selfsustainability and student initiative, as well as indicators of their creative self-realization from the choir choir.
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Albernaz, Pablo De Castro, and Indira Viana Caballero. "O projeto Anna Eserenka: performances e intercâmbios de saberes musicais na Universidade Federal de Roraima (UFRR)El proyecto Anna Eserenka: performances e intercambios de conocimientos musicales en la Universidad Federal de Roraima (UFRR)The Anna Eserenka project: performances and exchanges of musical knowledge at the Roraima Federal University (UFRR)." REMEA - Revista Eletrônica do Mestrado em Educação Ambiental 35, no. 3 (December 20, 2018): 297–313. http://dx.doi.org/10.14295/remea.v35i3.8611.
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O projeto Anna Eserenka, cadastrado no Programa de Extensão Universitária da UFRR (PROEXT2015), foi idealizado por jovens integrantes da banda Cruviana, criada em 2011 por alunos do Curso de Gestão Territorial Indígena, vinculado ao Instituto Insikiran. Contando com a participação de membros de duas comunidades situadas na Terra Indígena Raposa Serra do Sol (RR), e com o apoio do movimento indígena e da comunidade universitária em geral, esse projeto realiza diversas atividades que concebem a prática musical como forma de “intercâmbio” de saberes, criando possibilidades de vivências de musicalidades indígenas e não-indígenas. O objetivo deste trabalho é refletir sobre a experiência musical concebida pelos alunos indígenas e, a partir da sugestão de Seeger (2015), pensar esses intercâmbios e performances musicais como “modalidade preferencial para muitos processos sociais”, enfatizando o caráter criador e comunicacional da música nas Terras Baixas da América do Sul.
El proyecto Anna Eserenka, registrado en el edicto PROEXT2015 de la UFRR, fue concebido por jóvenes integrantes de la banda Cruviana, creada en 2011 por alumnos del Curso de Gestión Territorial Indígena, vinculado al Instituto Insikiran. El proyecto cuenta con la participación de miembros de dos comunidades situadas en la Tierra Indígena Raposa Serra do Sol (RR), y el apoyo del movimiento indígena y de la comunidad universitaria en general. Así, sus miembros realizan diversas actividades que conciben la práctica musical como forma de "intercambio" de saberes, creando posibilidades de vivencias de musicalidades indígenas y no indígenas. El objetivo de este trabajo es reflexionar sobre la experiencia musical concebida por los alumnos indígenas a partir de la sugerencia de Seeger (2015), de pensar esos intercambios y performances musicales como "modalidad preferencial para muchos procesos sociales", enfatizando el carácter creador y comunicacional de la música en las Tierras bajas de América del Sur.
The Anna Eserenka project, registered in the UFRR’s University Extension Program (PROEXT2015), was conceived by young members of the band Cruviana, created in 2011 by students of the Indigenous Territorial Management undergraduate course linked to the Insikiran Institute. With members from two communities located in Raposa Serra do Sol Indigenous land (RR) and with the support of the indigenous movement and the university community in general, this project carries out several activities that conceive musical practice as a form of knowledge exchange, creating possibilities for the experience of indigenous and non-indigenous musicalities. The purpose of this article is to reflect on the musical experience conceived by indigenous students and, based on Seeger (2015), to think of these musical exchanges and performances as “a preferential modality for many social processes”, emphasizing the creative and communicational character of music in the Lowlands of South America.
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Tinti, Francesca. "la musica e il potenziamento dei prerequisiti di apprendimento." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 1, no. 1 (June 11, 2016): 315. http://dx.doi.org/10.17060/ijodaep.2015.n1.v1.94.
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Riassunto: Premessa: La musica viene utilizzata come canale elettivo nella prevenzione dei disturbi di apprendimento. Il DSA è una disabilità specifica dell'apprendimento, di origine neurobiologica, che interessa uno specifico dominio di abilità (lettura, scrittura, calcolo). Il corso di propedeutica musicale è stato rivolto a bambini dai 4 ai 6 anni, fascia di età in cui la diagnosi di DSA non può ancora essere effettuata ma si possono individuare i bambini a rischio attraverso la valutazione dei prerequisiti di apprendimento. Obiettivo: intervenire in maniera preventiva sulle difficoltà di apprendimento, attraverso il potenziamento dei prerequisiti necessari, con attività propedeutica musicale nella scuola d'infanzia. Metodo: il campione esaminato è composto da 50 bambini appartenenti ad una popolazione d'età compresa dai 4 ai 6 anni. Al campione è stato somministrato il test per la valutazione dei prerequisiti di apprendimento, il Prcr-2 di Cornoldi (2009), prima e dopo il trattamento, riguardante uno specifico metodo di propedeutica musicale con attività di pre-scrittura e pre-lettura delle 7 note (nel pentagramma) durato per 4 mesi. Conclusioni: i dati ottenuti evidenziano come l' attività musicale correli positivamente col miglioramento dei prerequisiti di apprendimento.PAROLE CHIAVE: Musica, DSA, Prerequisiti di apprendimento, Prevenzione. Abstract: The music is used as an elective channel in the prevention of learning disorder.SLD (Specific Learning Disorder) is a specific learning disability of neurobiological origin, characterized by a lack in a specific learning ability (reading , writing, computing). The preparatory music course was intended for children aged 4 to 6 years, that is the age in which the diagnosis of DSA cannot yet be done but we can still identify children at risk through the evaluation of the prerequisites for learning. Objective: preventative intervention on learning difficulties through the enhancement of prerequisites for reading and writing using preparatory music, during preschool years. Method: The examined sample consists of 50 preschooler aged 4 to 6. The Prcr2 Cornoldi test (2010) had been administered to the sample, before and after the treatment, which consisted in a 4 months project of preparatory musical activities based on pre-writing and pre-reading the 7 notes (on the staff). Conclusions: The data obtained show that the musical activities correlates positively with the positive evolution of the pre-requisites of learning. Keywords: Music, LSD, learning prerequisites, Prevention
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Dumais, Mélanie, Audrey Fortin, and Denise Beaudry. "L’expression musicale en réadaptation." Intervention 22, no. 1-2 (December 1, 2010): 93–98. http://dx.doi.org/10.7202/045033ar.
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Une activité d’expression musicale est offerte au Centre de réadaptation Lucie-Bruneau (CRLB) pour les personnes atteintes de sclérose en plaques et leurs proches. Cette activité utilise les qualités créatives et émotives de la musique pour faciliter le contact et la prise de conscience du potentiel personnel chez les personnes impliquées. L’activité vise à sensibiliser la famille aux nombreux changements bio-psycho-sociaux en lien avec la sclérose en plaques et à améliorer l’extériorisation authentique des sentiments et des besoins des participants. Enfin, l’atelier a pour objectif de faciliter l’émergence de stratégies d’action pour réagir face à la maladie. Après une courte présentation de la clientèle, de l’établissement et de l’activité, les auteurs tentent de tracer les grandes lignes des enjeux psychosociaux d’une telle offre de services.
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Escrivà-Llorca, Ferran. "Conversaçiones de Música a finals del segle XVI: el cas de l’acadèmia de Joan de Borja i Castro." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 9, no. 9 (June 12, 2017): 312. http://dx.doi.org/10.7203/scripta.9.10349.
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Resum: Aquest article s’insereix dins del conjunt d’investigacions sobre la Cort dels Habsburgs. L’estudi de les acadèmies musicals és poc conegut. A partir d’algunes investigacions sobre acadèmies literàries, l’article focalitzarà en l’acadèmia musical que Joan de Borja i Castro tenia a Madrid. En aquest sentit, si el mecenatge literari cortesà ja és un tema amb múltiples variants, l’aproximació al patrocini d’altres activitats artístiques, com el cas de la música, ho és encara més. En les següents pàgines s’aprofundirà en les diverses facetes erudites de Joan de Borja amb el fil conductor de les acadèmies, com a centre d’intel·lectualitat, de creació i promoció cultural i també personal. Per aquesta acadèmia van passar alguns dels personatges del món musical ibèric més important de l’època com Francisco Guerrero o Tomás Luis de Victoria. Aquest article pretén mostrar la importància d’aquesta acadèmia com un punt neuràlgic del mecenatge musical de les darreres dècades del segle XVI. Paraules clau: Joan de Borja, Borja, acadèmies, Habsburgs, Música, Madrid Abstract: This work is part of the research on The Court of Habsburg in Modern Era. The study of music academies is not quite known. From few works on literary academies, this article will focus on the music academy that of Juan de Borja i Castro hold in Madrid. In this way, if the courtly literary patronage is already an issue with multiple variants, the approach to other artistic activities, such as the music, it is even more. In the following pages, it will delve into the various aspects of erudition of Juan de Borja with the thread of the academies, as a centre of intellectual, creative and cultural promotion and personal. Some of the most important composers of the Iberian World of that time, such as Francisco Guerrero or Tomás Luis de Victoria, were involved in this academy. The article aims to show the relevance of this cenacle as a focal point of the musical patronage in the last decades of the 16th century Spain. Keywords: Joan de Borja, Borja, academies, Habsburgs, Music, Madrid
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Carneiro, Italan. "Perspectivas de futuro do corpo discente do Curso Técnico Integrado em Instrumento Musical do IFPB - Campus João Pessoa." Revista Principia - Divulgação Científica e Tecnológica do IFPB 1, no. 49 (June 2, 2020): 43. http://dx.doi.org/10.18265/1517-03062015v1n49p43-52.
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<p class="p1">This work reflects about the future perspectives of the student body from the Integrated Technical Course in Musical Instrument of the Federal Institute of Paraíba, Campus João Pessoa. This census type research addressed the entire student body through the application of questionnaires. Based on open and closed questions, we investigated the students’ future claims regarding their future activities, musicals, professional performance and higher education. The data raised allowed us to understand a number of factors related to students’ future projects that explain part of their interests and demands. The results achieved may support important pedagogical interventions that bring the school universe closer to the local social context.</p>
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Bianchini, Laura, and Michelangelo Lupone. "The Activities of Centro Ricerche Musicali." Leonardo Music Journal 2, no. 1 (1992): 111. http://dx.doi.org/10.2307/1513219.
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Sanchis Francés, Raül. "Connexions entre el ball i la prostitució en la tardor medieval: fembres pecadrius, reis arlots i çabies." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 16 (December 13, 2020): 300. http://dx.doi.org/10.7203/scripta.16.19232.
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Resum: En aquest estudi es constaten les estretes relacions existents durant la tardor medieval entre les fembres pecadrius i la pràctica del ball: per una banda, als ravals i els prostíbuls, controlats algun temps per la figura del rei Arlot, i per l’altra, a l’entorn de la cort, sota el redós de les classes dirigents. A més, s’hi analitzen impostos com la tarquena o tarchana (tarcón en castellà), que gravava les activitats de les çabies o sabies (prostitutes musulmanes) i les intervencions musicals dels joglars en les noces i les sambres del col·lectiu sarraí.Paraules clau: ball, prostitutes, rei Arlot, çabies, tarquena, edat mitjanaAbstract: This study shows the close relationship between the sinful females (fembres pecadrius) and the practice of dance during the medieval autumn: on the one hand, in the slums and brothels, controlled by the figure of King of Harlots for some time, and on the other, in the Court, under the shelter of the ruling classes. In addition, it analyses impositions such as the tarquena or tarchana (also tarcon, in Castilian), which taxed the activities of the çabies or sabies (Muslim prostitutes) and the musical interventions of the minstrels at weddings and zambras of the Saracen collective.Keywords: dance, prostitutes, king of Harlots, çabies (Muslim Prostitutes), tarquena (Tax), Middle Ages
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Lisboa, Tania, Caitlin Shaughnessy, Angela Voyajolu, and Adam Ockelford. "Promoting the Musical Engagement of Autistic Children in the Early Years Through a Program of Parental Support: An Ecological Research Study." Music & Science 4 (January 1, 2021): 205920432110173. http://dx.doi.org/10.1177/20592043211017362.
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Some autistic children display an intuitive capacity to reproduce and restyle the musical stimuli that they encounter in their environments. Music also offers a safe space for the development of social competencies and, across the spectrum, musical interventions are regarded as an effective way of promoting engagement with others. Yet, there is a lack of empirically researched music programs for parents and carers of children with autism. In this study, 11 families with autistic children incorporated music making into everyday life, supported by researcher-practitioners and framed by resources outlining musical activities based on the Sounds of Intent in the Early Years framework. Assessment of video data and interviews revealed that the new resources were flexible enough to be adapted to each child and they helped parents to build confidence to engage with their children musically. It was found that children had an increased interest and engagement in music as well as in joint play, which impacted positively on their musical and social development. The interpersonal music spaces created by the parents provided opportunities for unlocking expressiveness and interactive behavior, which in turn supported verbal development, emotional regulation and social interaction. These findings have implications for arts-in-health research and highlight the potentially crucial role of parents as mentors for their child’s musical development. The study further demonstrates that specialist musical training is not a requirement to develop parent–child engagement in music making at home.
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Moral-Bofill, Laura, Andrés López de la Llave, and María Carmen Pérez-Llantada. "Relationships between High Ability (Gifted) and Flow in Music Performers: Pilot Study Results." Sustainability 12, no. 10 (May 24, 2020): 4289. http://dx.doi.org/10.3390/su12104289.
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Flow state is a positive mental state during which people are highly motivated and absorbed in their activity. This construct has been linked to the creative personality. Creative people differ from each other, but what they share is that they love what they do due to the pure pleasure they derive from their activity. We studied the possible relationship between people with high ability (HA) who dedicate themselves to music (students or professionals) and the flow state that occurs while they are engaged in musical activities (concert or informal event). The “Flow State for Musical Performers” (Estado de Fluidez para Intérpretes Musicales—EFIM) was used in this study. The scores of musicians with HA were compared with those of musicians who are not identified as HA. The study used a sample of 101 Spanish people (HA 28.7%, general population 71.3%). No significant statistical differences were identified in any of the EFIM subscales, except regarding the Loss of Self-Consciousness. This suggests a relationship between HA and the experience of flow, particularly with regard to loss of self-consciousness, but also with characteristics of the creative personality (capacity for enjoyment, attention and learning). Limitations of the study and future lines of research are presented.
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Kemp, Anthony. "Kinaesthesia in Music and its Implications for Developments in Microtechnology." British Journal of Music Education 7, no. 3 (November 1990): 223–29. http://dx.doi.org/10.1017/s0265051700007828.
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This paper takes the view that kinaesthesia, processes involving neuro muscular sensation, should be the central and unifying component in any psychological model for music learning. It maintains that engagement in music activities, which consciously encourages the processes of kinaesthesia, helps to bring about the closer association of thinking and feeling. The paper develops the notion that this form of musical ‘knowing’, which is based on the interrelationships between muscular, perceptual and cognitive awareness, is the essential ingredient of musically sensitive and imaginative behaviour. Having established these principles, the paper explores those recent developments in music microtechnology which appear to support and develop these processes.
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Vuckovski-Minevska, Jelena, and Aleksandar Stojadinovic. "National musical creativity in extracurricular activities." Godisnjak Pedagoskog fakulteta u Vranju 8, no. 1 (2017): 343–48. http://dx.doi.org/10.5937/gufv1701343v.
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Smith, Amanda Page. "Musical Activities to Promote Phonemic Awareness." Perspectives: Journal of the Early Childhood Music & Movement Association 8, no. 1 (June 1, 2013): 13–16. http://dx.doi.org/10.1386/ijmec_0234_1.
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Sedeño-Valdellós, Ana. "Proyectos musicales y nuevas formas de la visualidad performativa: el álbum visual Black is King de Beyoncé." Hipertext.net, no. 22 (May 25, 2021): 75–84. http://dx.doi.org/10.31009/hipertext.net.2021.i22.07.
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Black is King (2020), producto mediático secuela de El rey Leon (2019), es el nuevo proyecto de Beyoncé en colaboración con Disney, tercer álbum visual de su carrera y una propuesta narrativa globalizadora de naturaleza promocional dirigida a crear una experiencia mediática y cultural del artista para sus fans y oyentes. El videoclip musical mantiene su centralidad en el ecosistema mediático actual y ha conseguido adaptarse a las líneas de desarrollo de la comunicación transmedia. El álbum visual supone un formato en expansión en la industria de la música que permite organizar a largo los mensajes y alimentar una narrativa personal o texto-estrella para los artistas musicales. Black is King ha servido a Beyoncé para crear un storytelling que continúa el camino de otros trabajos anteriores, conecta con posiciones activistas frente a la comunidad afroamericana y materializa una experiencia visual y vivencial que tiene en la performance visualizada uno de sus componentes claves.
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Caballero, Carlo. "Patriotism or Nationalism? Fauré and the Great War." Journal of the American Musicological Society 52, no. 3 (1999): 593–625. http://dx.doi.org/10.2307/831793.
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Even though Gabriel Fauré's contemporaries championed his music as quintessentially French, Fauré distanced himself from policies of national exclusion in art, and his own construction of French musical style was cosmopolitan. This essay summarizes Fauré's political choices during the Great War, explains his motives, and indicates how some of his decisions affected French musical life. Fauré's outspoken preface to Georges Jean-Aubry's La Musique française d'aujourd'hui provides one key to the composer's position. Jean-Aubry, following Debussy, reckoned as authentically French only musical styles attached to pre-Revolutionary traditions. Fauré felt that such a narrow characterization of French music falsified the diversity of the historical record. His preface therefore takes issue with Jean-Aubry's book and insists that German composers had played an irrefutable role in the formation of modern French music. We may understand Fauré's-and other composers'-wartime decisions in terms of a distinction between patriotism and nationalism. Composers such as Fauré, Bruneau, and Ravel emerge as patriots. Debussy, who sought to purify French music of foreign contamination, emerges as a nationalist. Both nationalism and patriotism call on collective memory and experience, but nationalism exercises its power protectively and tends toward exclusion, while patriotism, favoring political over ethnic determination, tends toward inclusion. Fauré's patriotism emerges through the evidence of the preface; charitable activities; his refusal to sign a French declaration calling for a ban on contemporary German and Austrian music; and his attempt to unite the Société Nationale and the Société Musicale Indépendante. Fauré's wartime music, in contrast to his writings and activities, evades connections with historical events and raises methodological questions about perceived relations between political belief and artistic expression.
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Varlamova, T. P. "CONCERTMASTER'S MULTIFUNCTIONAL ACTIVITIES IN THE DOMRA CLASS." Arts education and science 1, no. 1 (2021): 15–23. http://dx.doi.org/10.36871/hon.202101002.
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The article is dedicated to theoretical examination of psychological and pedagogical qualities and basic professional skills of a concert pianist. The complete musical creativity of a concert pianist assumes achieving the artistic result and creation of a qualitatively new product in any area of musical art. In this regard, the article reveals the forms and particularities of performing collaboration at the special instrument class; examines the basic functions of the interaction between the subjects of the pedagogical process; it highlights the problems of intensifying the creative work on a piece of music related to the search for concrete artistic means for disclosing the composer's intentions. It is emphasized that the musical ensemble requires communication under the condition of coordinated understanding of different parts and ability to achieve a common goal through joint efforts. Direct and efficient contact occurs during the implementation of an interpretation plan, joint musical experience while solving a creative problem. Depending on the student's endowment various traditional subject forms and methods of work in the special instrument class are considered. Undoubtedly, the mastery of the concertmaster requires from the pianist versatile musical and performing abilities, artistic skills, acquaintance with all musical instruments. The success of joint playing depends on creative activity, emotional responsiveness, richness of imagination, initiative, flexibility of performing talent and creative fantasy of each partner.
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Nagorna, G. "RESEARCH ACTIVITIES AS FORMATION FACTOR OF MUSICAL THINKING OF PERSONALITY." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 30 (2018): 46–52. http://dx.doi.org/10.28925/2311-2409.2018.30.4652.
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The article reveals the problem of organizing research activities of students of musical universities as the main factor influencing the formation of their musical thinking. To achieve this goal, music education is transformed as a holistic process of musical research based on reflexive modeling, and musical research as a musician’s self-critical research activity. It is found that only in a systematic study by future musicians of facts, phenomena, circumstances of the musical process, it is possible to develop generalized skills to determine and achieve the goal of musical research, develop value-methodological strategy and tactics of relations in the process of interaction with the subjects of this research, self-assess the results of their research activities. In addition, development of musical thinking of personality is aimed at achieving its professional reasonableness as a universal quality, providing understanding and comprehension of the holistic process of musical research and determining mastering the value-methodological culture. In the process of the research, the following is undertaken: the methodology of the criterion-value approach is substantiated as the leading strategy of the personality-activity approach to students of music universities in the process of development of their musical thinking; the types of research activities (reasonable, organizational-informational, creatively transformative, evaluating) and their interrelation on the basis of the principles of unity of the universal and particular, simple and complex are revealed; the research self-critical activity of the future musician is revealed as a criterion of the truth of his musical thinking, aimed at mastering the professional reasonableness of the individual; analysed the role of the reflexive control of the formation of musical thinking of the individual and the holistic process of musical research. The involvement of future musicians in research self-critical activity, as well as the implementation of the reflexive control of the process of development of musical thinking, provided significant positive changes in the levels of development of this thinking. If reflexive management of the process of development of musical thinking contributed to the development of rational and creative individuality, then reflexive modeling of the holistic process of musical research made it possible to achieve self-management of the student’s personality, which led to the development of dialogical thinking, actualization of the independence of professional ideas, judgments, inferences, activation of self-criticism, priority to solving complex problems . As a result of the study, the appropriateness of the realization of the personality-activity approach to students of musical universities in the process of development of their musical thinking are derived: the increase in the effectiveness of the implementation of the personal-activity approach to students during the formation of their musical thinking depends on the degree of implementation of the reflexive management of the integral process of musical research; the achievement of the goal and result of the development of musical thinking — mastering professional reasonableness of a musician — is determined by the degree of effectiveness of the implementation of the personality-activity approach in the process of formation of the specified thinking with future musicians.
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Deslyper, Rémi. "Les pratiques musicales « populaires » contemporaines, une activité juvénile sous influence parentale et scolaire." Agora débats/jeunesses 68, no. 3 (2014): 41. http://dx.doi.org/10.3917/agora.068.0041.
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Bermell, María Ángeles. "Aportacions de l'experiència musical i el moviment a l'educació." Comunicació educativa, no. 21 (January 1, 2008): 41. http://dx.doi.org/10.17345/comeduc200841-48.
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La responsabilitat en la formació del professorat sempre serà un tema atractiu per als investigadors de l’educació. En aquests moments hi ha respostes a les limitacions de l’ensenyament tradicional, però hi ha altres àrees de coneixement amb experiències pràctiques que no es podran reforçar a l’escola per manca de disponibilitat horària, i això suposa un dèficit respecte a les necessitats del món infantil. La didàctica de l’expressió musical aporta coneixements interrelacionats amb habilitats i actituds, que donen lloc a una formació en competències. Això fa que el professor especialista en música, a més a més, pugui estimular un seguit de processos i capacitats mitjançant les activitats musicals. Tal i com es troba actualment aquesta especialitat, podrem justificar-la mitjançant màsters. Mentrestant, avancem estudis que confirmen la importància de la vivència de la música conjuntament amb el moviment, des de les edats més primerenques.
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Caliga, Marina. "7. A Model of Integrality of Musical and Teaching Activities at the Lesson of Musical Education." Review of Artistic Education 11, no. 1 (March 1, 2016): 58–65. http://dx.doi.org/10.1515/rae-2016-0007.
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Abstract In this article the author investigates and applies accumulated experience in music education through the methodological integrality of musical didactic activities at musical education lesson. In this regard, musical didactic activities are not only pedagogical acts of transmission of musical knowledge, but their mission is the living of sound messages, the discovery of self through art and student integration through musical didactic activities. Integrating through musical didactic activities, students discover, create, analyze, summarize, compare, apply, reflect, operating various mechanisms of musical didactic activities, becoming not only the receiver, but also the subject of musical works.
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Pacheco, Mike, Heather Glynn Crawford-Ferre, and Henry King. "Musical notes." Teaching Children Mathematics 24, no. 6 (April 2018): 358–59. http://dx.doi.org/10.5951/teacchilmath.24.6.0358.
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Mathematics provides an important way to inform and interpret music. For example, because of a mathematical breakthrough (better ways to calculate the twelfth root of 2), Johann Sebastian Bach was able to write in every key. This set of problems is intended to facilitate interdisciplinary connections and reasoning with music. Math by the Month features collections of short activities focused on a monthly theme. These articles aim for an inquiry or problem-solving orientation that includes four activities each for grade bands K–2, 3–4, and 5–6.
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Qianyi, Pan, Regina Savchenko, and Yuliia Savchenko-Shlapak. "EVELOPMENT OF THE CREATIVITY OF ADOLESCENTS IN LEARNING MUSICAL ACTIVITIES." Innovative Solution in Modern Science 5, no. 49 (August 22, 2021): 52. http://dx.doi.org/10.26886/2414-634x.5(49)2021.4.
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The article examines the specificity of the development of creativity of adolescent students in educational musical activities. Various interpretations of the concept of "creativity" in relation to the peculiarities of adolescence of schoolchildren are analyzed. The creative nature of educational musical activity and its connection with the artistic nature of musical art are traced. The influence of problem learning methods, in particular situations of choice in educational musical activity, on development of creativity of adolescent schoolchildren. A specially designed situation of choice puts adolescents in conditions associated with the need to give preference to one of the options, to make an independent conscious choice. Key words: creativity, adolescence, educational musical activity, problem learning, situation of choice.
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Blackburn, Carolyn. "Young children’s musical activities in the home." Education 3-13 45, no. 6 (June 22, 2017): 674–88. http://dx.doi.org/10.1080/03004279.2017.1342320.
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Holt, Fabian. "Kreuzberg Activists: Musical Performance as Social Vehicle." Popular Music and Society 30, no. 4 (October 2007): 469–92. http://dx.doi.org/10.1080/03007760701546349.
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Stramkale, Ligita. "STUDENTS’ PERSPECTIVES ON THE IMPLEMENTATION OF MUSICAL ACTIVITIES IN PRESCHOOL EDUCATION." Journal of Education Culture and Society 9, no. 2 (September 5, 2018): 109–16. http://dx.doi.org/10.15503/jecs20182.109.116.
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Aim. The aim of the study is to find out students’ perspectives on the necessity, readiness and disturbing factors of implementing musical activities in preschool. The theoretical part of the paper describes the particularity of preschool teachers’ work, the children’s interest in musical activities, and the benefits of implementing musical activities in preschool.
Method. The empirical study involved 168 students (N=168), of which 132 students (N=132) are already working as preschool teachers in parallel with their study at the university. The study identified three questions: why do preschool teachers use musical activities? What factors prevent a preschool teacher from using musical activities? Is there a relationship between the competence of a preschool teacher in the field of music and the implementation musical activities in preschool? In order to answer the study questions, a questionnaire consisting of twelve statements was created, which had to be assessed on a four-point Likert scale.
Results and conclusion. As a result of the analyses of the data obtained in the study, it was ascertained that preschool teachers use musical activities to make children happy and improve their abilities. The use of musical activities is connected with preschool teacher’s willingness to do that. One of the key factors that hinder the implementation of musical activities is an insufficient material base in the preschool. The study also found that there is a correlation between the competence of a preschool teacher in the field of music and the implementation of musical activities.
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Temmerman, Nita. "An investigation of the music activity preferences of pre-school children." British Journal of Music Education 17, no. 1 (March 2000): 51–60. http://dx.doi.org/10.1017/s0265051700000140.
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Life attitudes to, level of involvement with and success in musical learning are all tied to first musical experiences. Consequently an important objective in the planning of any musical programme for young children is to acknowledge their interests in and attitudes to different musical activities. The purpose of this investigation was to determine young children's attitudes to musical activities included in their pre-school musical programme. In particular it sought to discern if preferences exist for certain activities. What emerged from the investigation is that pre-school children generally appear to respond favourably towards involvement in all musical activities but that preferences do exist for moving and playing based activities.
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Niemtsova, Liliya. "Forms and methods of organizing extracurricular musical and educational work." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 7(138) (July 27, 2021): 87–91. http://dx.doi.org/10.31392/npu-nc.series15.2021.7(138).18.
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The article is devoted to the review and analysis of forms and methods of organization of extracurricular music-educational work, which would promote the development of children, the formation of their musical culture, creative attitude to life and art. As well as these forms and methods will contribute to the development of patriotism and students’ aesthetic. Extracurricular music-educational work complements music lessons and aims to expand the musical horizons of children, deepen their knowledge, as well as improve performance skills and abilities. The organization of extracurricular musical activities involves compliance with certain guidelines. The success of a variety of work combined to develop musical skills depends largely on how well students master and feel the need for different musical activities. The obtained musical skills of the participants have a way out: together they prepare themed evenings, concerts, perform at holidays and reviews. This gives them the opportunity to feel the need and importance of the ability to own a musical instrument. In the process of teaching singing, the teacher solves many problems related to the development of students' voices and the acquisition of vocal and choral skills and abilities necessary for artistic expression. With choral singing activists, you can prepare an article for the school wall newspaper, in which to talk about the importance of creating a choir, the prospects for its development and immediate tasks; draw up a colorful poster announcing the organization of the choir, where to indicate the days and hours of listening to all who wish to sing.
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Bach, Laurent, Rémy Guichardaz, and Éric Schenk. "Technologie blockchain et intermédiation dans l’industrie musicale." Revue Française de Gestion 47, no. 294 (January 2021): 173–93. http://dx.doi.org/10.3166/rfg.2021.00512.
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Les évolutions technologiques récentes ont entraîné une remise en cause des activités d’intermédiation des acteurs dominants de l’industrie musicale. Après une réorganisation de leurs ressources et de leurs compétences, ces dernières ont su redéployer leurs fonctions autour de stratégies à 360°. Parmi les technologies émergentes, la blockchain est souvent présentée comme un outil de désintermédiation. En effet, elle permet de stocker des informations ou d’effectuer des transactions sans recourir à un organe central de contrôle. À l’aide d’une méthodologie qualitative, cet article propose une analyse prospective de l’impact de la blockchain sur l’intermédiation au sein de l’industrie musicale.
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Hennion, Antoine. "Loving music: From a sociology of mediation to a pragmatics of taste." Comunicar 17, no. 34 (March 1, 2010): 25–33. http://dx.doi.org/10.3916/c34-2010-02-02.
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This contribution provides an account of musical taste as a meaningful accomplishment and a situated activity, with its tricks and bricolages, instead of reducing it to a game of social difference and identity. Taste is a problematic modality of attachment to the world. In such a pragmatist conception it is analyzed as a reflexive activity, corporeal, framed, collective, equipped, depending on places, moments and devices, which simultaneously produces the competencies of a music lover and a repertoire of objects. To be explained, it needs the sociologist to concentrate on gestures, objects, bodies, media, devices and relations engaged. Taste is a performance. Playing, listening, recording, making others listen…, all those activities amount to more than the actualization of a taste «already there». They are redefined during the action, with a result that is partly uncertain. Thus amateurs’ attachments and ways of doing things both engage and form subjectivities, and have a history, irreducible to that of the works. Understood in this way, as reflexive work performed on one’s own attachments, the amateur’s taste is no longer considered an arbitrary election to be explained by hidden social causes. Rather, it is a collective technique, whose analysis helps to understand the way we make ourselves sensitized, to things, to ourselves, to situations and to moments, while simultaneously reflexively controlling how those feelings might be shared and discussed with others. Esta contribución ilustra el gusto musical como un logro significativo y una actividad situada, con sus trucos y artimañas, en lugar de reducirla a un juego de identidad y diferenciación social. El gusto es una modalidad problemática de vinculación al mundo. En esta concepción pragmática, se analiza como una actividad reflexiva, corpórea, estructurada, colectiva, equipada, dependiente de los sitios, los momentos y los dispositivos; lo que simultáneamente produce las competencias de un amante de la música y un repertorio de objetos. Explicar el gusto exige que el sociólogo se concentre en los gestos, los objetos, los cuerpos, los medios, los dispositivos y las relaciones involucradas. El gusto es un comportamiento. Reproducir, escuchar, grabar, hacer que otros escuchen música… todas esas actividades vienen a ser algo más que la realización de un gusto que «ya existía». Todo ello se redefine durante la acción y el resultado es, en parte, incierto. Así, la vinculación de los aficionados y la forma de hacer las cosas se combinan, forman subjetividades y tienen una historia que no se puede reducir a la de las obras. Entendido de esta manera, como trabajo reflexivo conducido sobre la base de las vinculaciones propias, el gusto del aficionado ya no se considera una elección arbitraria que es explicada por razones sociales ocultas. Más bien, es una técnica colectiva, cuyo análisis ayuda a entender la manera en la que nos hacemos sensibles a las cosas, a nosotros mismos, a las situaciones y los momentos, mientras en paralelo controla reflexivamente la forma en que esos sentimientos pueden ser compartidos y discutidos con los demás.
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Zoller, Mary B. "Use of Music Activities in Speech-Language Therapy." Language, Speech, and Hearing Services in Schools 22, no. 1 (January 1991): 272–76. http://dx.doi.org/10.1044/0161-1461.2201.272.
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Musical activities stress nonverbal forms of communication and often surpass physical, cultural, intellectual, and emotional limitations. Actively using music in learning experiences involves the whole child through incorporation of rhythm, movement, and speech. Within the public school setting, traditional communication training methods can be supplemented with musical activities. General application and specific uses of music within speech-language therapy will be described.
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Sung, Su-mi, and Jee-hea Baek. "The effects of outdoor musical activities on young children’s musical creativity and happiness." Journal of Korea Open Association for Early Childhood Education 23, no. 2 (April 30, 2018): 95–120. http://dx.doi.org/10.20437/koaece23-2-05.
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Stolić, Jasmina. "The development of preschool children's musical abilities through specific types of musical activities." Research in Pedagogy 5, no. 2 (2015): 31–44. http://dx.doi.org/10.17810/2015.14.
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Nevriana, Alicia, Pandu Riono, Tri Budi W. Rahardjo, and Adji Kusumadjati. "Lifetime Musical Activities and Cognitive Function of the Elderly." Kesmas: National Public Health Journal 7, no. 7 (February 1, 2013): 304. http://dx.doi.org/10.21109/kesmas.v7i7.28.
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Decreasing cognitive function of the elderly is one of the most common problems that might affect their quality of life. Music is an element that is believed to be able to contribute to the quality of life of the elderly. However, whether musical activities that are done throughout the life span related to cognitive function is unclear. In this research, we evaluated the association between lifetime musical activities and cognitive function. Fifty three older adults from three nursing homes in East Jakarta were selected and interviewed regarding their characteristics and lifetime musical activities. Cognitive function was also measured using Mini Mental State Examinaion (MMSE). The results of this preliminary study revealed that a possibility of an association between lifetime musical activities and cognitive function of the elderly was indicated. The result also showed that the participants who were not actively involved in musical activities during their lifetime were twice more likely to develop cognitive function impairment than the elderly who were actively involved in musical activities, after being adjusted by the characteristics. These correlational results suggest the beneficial effect of musical activities throughout the life span on cognitive functioning for the elderly.Penurunan fungsi kognitif merupakan salah satu masalah umum pada lanjut usia yang mampu memengaruhi kualitas hidup mereka. Musik merupakan sebuah elemen yang dipercaya mampu berkontribusi terhadap kualitas hidup mereka. Meski demikian, hubungan antara aktivitas musikal yang dilakukan sepanjang hidup dan fungsi kognitif lansia belum diketahui secara pasti. Pada penelitian ini, hubungan antara aktivitas musikal sepanjang hidup dan fungsi kognitif dievaluasi. Lima puluh tiga lansia penghuni panti tresna werdha di Jakarta Timur dipilih dan diwawancarai terkait karakteristik dan aktivitas musikal sepanjang hidup mereka. Fungsi kognitif juga diukur menggunakan MMSE. Hasil penelitian ini menunjukkan adanya kemungkinan asosiasi antara aktivitas musikal sepanjang hidup dan fungsi kognitif lansia. Hasil penelitian juga menunjukkan bahwa partisipan yang tidak aktif melakukan aktivitas musikal sepanjang hidupnya dua kali lebih berpeluang untuk mengalami gangguan fungsi kognitif dibandingkan dengan mereka yang aktif melakukan aktivitas musikal, sete-lah disesuaikan dengan karakteristiknya. Hasil korelasi ini mengisyaratkan pengaruh bermanfaat dari aktivitas musikal sepanjang hidup terhadap fungsi kognitif lansia.
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Olefyr, Valentyna. "THE DEVELOPMENT OF SCHOOLCHILDREN’S INDIVIDUALITY DURING MUSICAL ACTIVITIES." Psychological journal 6, no. 10 (October 30, 2020): 29–37. http://dx.doi.org/10.31108/1.2020.6.10.3.
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The article stresses importance to develop schoolchildren’s individuality. Scientific psychological and pedagogical works on the problem of individuality development were reviewed and it has been determined that the examined phenomenon can be formed if it is helped by positive motivation and effective goal-setting, adequate self-esteem, a sense of self-worth, the desire for self-knowledge and self-development, the optimal level of anxiety, developed self-control and self-regulation, a formed subjective position at learning. At the same time, the involvement of schoolchildren into musical activities has a positive effect on such personal qualities that characterize their individuality, including creativity, spiritual and moral culture, moral ideas, emotional sensitivity, cultural tolerance, general educational actions, self-knowledge, experience of interpersonal interactions, mental skills. The performed review has revealed that special scientific studies on the development of schoolchildren’s individuality during musical activities are absent. The formation of an individuality is a complex multidimensional, rather long-time process, but it can be accelerated with corresponding psychological conditions (such as the optimal level of anxiety, adequate self-esteem, positive motivation for learning, effective goal-setting, developed self-control and self-regulation, creativity, positive experience of interpersonal interaction) and with special means. The educational-developmental musical tasks with elements of social-psychological education, aimed at development at schoolchildren of self-cognition, a positive attitude towards themselves, emotional balance, the ability to set goals independently and achieve them, self-regulation, high volitional qualities against impulsivity, good voluntary attention, cognitive interests, creative abilities, communication skills, benevolence, sensitivity, tolerance are, at the same time, an effective means developing their individuality.
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Barro, Santiago J., Tiago M. Fernández-Caramés, and Carlos J. Escudero. "Enabling Collaborative Musical Activities through Wireless Sensor Networks." International Journal of Distributed Sensor Networks 8, no. 3 (January 2012): 314078. http://dx.doi.org/10.1155/2012/314078.
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ZHYVYUK, Andriy, and Ruslana DAVYDYUK. "NADDNIPRYANSKA UKRAINE EMIGRANTS MUSICAL ACTIVITIES IN VOLYN VOIVODESHIP." Східноєвропейський історичний вісник, no. 12 (September 5, 2019): 116–25. http://dx.doi.org/10.24919/2519-058x.12.177543.
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