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Journal articles on the topic 'Adolescents and musical practices'
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1
Shaw, Julia T. "“The Music I Was Meant to Sing”." Journal of Research in Music Education 64, no. 1 (February 9, 2016): 45–70. http://dx.doi.org/10.1177/0022429415627989.
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This article is based on a multiple embedded case study, the purpose of which was to explore adolescent choral students’ perceptions of culturally responsive pedagogy (CRP) in three demographically contrasting choirs of an urban nonprofit children’s choir organization. The case presented here focused on an after-school choir situated in a Puerto Rican enclave, where a multiethnic teacher designed instruction that was responsive to a community with a significant migrant and immigrant Hispanic population. Adolescents perceived their teacher’s culturally responsive practice as honoring their own cultural backgrounds while also expanding their cultural and intellectual horizons. Although the students generally perceived their choral experiences to be culturally responsive, they also identified potential barriers to practicing CRP. Perceived barriers related to the complexity of students’ cultural identities and challenges inherent in practicing CRP equitably given constraints on instructional time. By encouraging style shifting between performance practices associated with diverse musical genres and meaningfully bridging students’ musical experiences at home and school, the culturally responsive learning environment explored in this study fostered connections between students’ musical and cultural identities.
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Kaczmarek, Stella. "Mental practice of musically gifted adolescents." Roczniki Psychologiczne 22, no. 4 (June 29, 2020): 353–71. http://dx.doi.org/10.18290/rpsych.2019.22.4-4.
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In the last decade, the growing interest in the subject of musicians’ mental practice has produced a significant increase in research on mental and instrumental practice. More than half of all the studies concerns professional musicians, and relatively little research is conducted on children or adolescents. The article will describe research on the mental practice of teenagers attending music schools in Poland and Germany. Questionnaire surveys answer the question of whether young people use mental practice, how they do it, and what the content of mental training while practicing an instrument is. The analysis suggests that gifted adolescents from both countries (1) do not use mental rehearsal very often and (2) use mental practice strategies in a similar way. What they differ in is the frequency of using mental practice as an integral part of their instrumental learning, using musical-analytical strategy, and the quality of mental practice. The study indicates the need to teach mental practice and its importance in increasing the effectiveness of instrumental practice.
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Pruett, Kyle D. "First Patrons: Parenting the Musician." Medical Problems of Performing Artists 19, no. 4 (December 1, 2004): 154–59. http://dx.doi.org/10.21091/mppa.2004.4025.
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This discussion of the parental influences on musicians’ development begins with a review of the high-stress environment of the 21st-century family, including the increasing burdens on parents’ time and the increasing influence of the media. The author provides a list of transcultural qualities of “good enough” parenting, especially in the context of raising a musical child. Parenthood is regarded as a developmental phase itself, with unique competencies needed to care for children in different age groups, from toddlers to adolescents. A brief discussion of the different motivations, both positive and negative, of parents for involvement in their children’s music making is included. Parental factors that promote durable musicianship are high levels of emotional and material support, provision of informal musical practice (“playing around”) in early life, and the presence of a musically inclined parent. Parents should stay engaged throughout their children’s musical careers, including fostering a healthy relationship with teachers.
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Ilari, Beatriz. "Musical Parenting and Music Education: Integrating Research and Practice." Update: Applications of Research in Music Education 36, no. 2 (June 21, 2017): 45–52. http://dx.doi.org/10.1177/8755123317717053.
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Although teachers work constantly with parents, discussions concerning parental roles in children’s music learning are often left at the margins in music teacher training programs. The aim of this article is to offer a review of musical parenting research from an ecological perspective. Bronfenbrenner’s bioecological theory of human development is used as a lens to examine musical parenting research concerning infants, school-aged children, and adolescents. Issues pertaining to contemporary parenting in the Western world such as intensive parenting and concerted cultivation are also considered as they relate to parental music cognitions and behaviors. Implications for research and practice in music education are outlined at the end.
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Schaefer, Mary Beth, Sandra Schamroth Abrams, Molly Kurpis, Charlotte Abrams, and Madeline Abrams. "Pandemic meaning making: messing toward motet." English Teaching: Practice & Critique 20, no. 2 (January 19, 2021): 261–74. http://dx.doi.org/10.1108/etpc-07-2020-0073.
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Purpose In this child–parent research study, three adolescents theorize their meaning-making experiences while engaged in exclusive online learning during a three-month stay-at-home mandate. The purpose of this study is to highlight youth-created understandings about their literacy practices during COVID-19 in order to expand possibilities for youth-generated theory. Design/methodology/approach This child–parent research builds upon a critical dialectical pluralist (CDP) methodology, which is a participatory research method that looks to privilege the child as a co-researcher at every stage of the inquiry. In this research study, the adolescents work together to explore what it means to create and learn alone and then with others via virtual platforms. Research team discussions initially were scaffolded by the parent–researchers, and the adolescents developed their analyses individually and together, and their words and insights situate the findings and conclusions. Findings The musical form of a motet provides a metaphor that three adolescents used to theorize their meaning-making experiences during the stay-at-home order. The adolescents determined that time, frustration, and space were overarching themes that captured the essence of working alone, and then together, in messy, orchestrated online ensembles. Originality/value In this youth-centric research paper, three adolescents create understandings of their meaning-making experiences during the stay-at-home order and work together to determine personal and pedagogical implications.
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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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Bolshakova, Julia, Sergey Bolshakov, and Vadim Prokofiev. "MEANS AND METHODS OF PREVENTION AND CORRECTION OF DEVIANT BEHAVIOR OF ADOLESCENTS BY MEANS OF ART EDUCATION AND CULTURAL STUDIES." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 515–27. http://dx.doi.org/10.17770/sie2021vol4.6206.
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The article deals with the tasks of using art education in the process of organizing training. The research is devoted to the disclosure the pedagogical potential of art education. The research reveals the directions of art education and cultural studies based on theoretical analysis. The study reveals the effect of art education and cultural studies in the correction of deviant and delinquent behavior of young people and adolescents. The article summarizes the available means and techniques of art education, such as music, art, dance, theater and many others. The study analyzes the principles of choosing specific art forms in the educational process. The study demonstrates that book therapy techniques can be used not only as a preventive program, but also as an early intervention program and a program for correcting deviations. The article reveals the sequence of methodological steps when using the techniques of book therapy. The study of the use of techniques of art education and cultural studies in the correction of deviant and delinquent behavior reveals the effectiveness of the use of various genres of fine art. The creation of a work of art contributes to the socialization of the student, reveals the creative potential, contributes to the process of emotional and social comfort of the student. The analysis of the practices of educational organizations shows the importance of professional experience in the field of art education, demonstrates the discovery of the most effective in the aesthetic sense techniques of artistic processing of material Educational organizations make extensive use of dance art techniques. Musical activity allows adolescents to achieve a certain level of cheerfulness. This is recorded by experimental studies in various countries using music therapy techniques in the educational process. Dance practices are also used by educational organizations. Dance and movement therapy suppresses aggression, replaces destructive forms of behavior with socially adequate forms of expression and the development of alternative action strategies.
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Serrano, Telmo, and Helena Amaral Espírito-Santo. "Music, ballet, mindfulness, and psychological inflexibility." Psychology of Music 45, no. 5 (February 8, 2017): 725–38. http://dx.doi.org/10.1177/0305735616689298.
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Both music and dance training can be conceptualised as mindfulness-like practices due to their focus on the present moment. Mindfulness and music are associated with mental health. However, evidence from dance practice, especially among ballet students, shows an association with mental health problems. Psychological inflexibility involves cognitive fusion, which is an excessive involvement with internal events, leading to experiential avoidance. Since studies analysing these concepts are scarce in music and dance practice, we intended to examine their effects in young music and ballet students. This study involved 113 participants (9 to 16 years old), 64.4% girls, 34.5% with musical training, 29.2% with ballet training, and 36.3% with no training. All participants completed the Child and Adolescent Mindfulness Measure (CAMM) and the Avoidance and Fusion Questionnaire for Youth (AFQ-Y). AFQ-Y scores correlated with months of ballet training. Ballet students had greater psychological inflexibility than music students and students without any training. CAMM scores did not correlate with months of any practice, and did not distinguish between groups of practitioners. These data confirm prior findings that practice of ballet can have a potential impact on mental health by showing that young ballet students exhibit greater psychological inflexibility.
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Carlisle, Katie. "A study of teacher formative influence upon and student experience of social–emotional learning climate in secondary school music settings." British Journal of Music Education 30, no. 2 (April 16, 2013): 223–43. http://dx.doi.org/10.1017/s0265051713000053.
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Conceiving the construct ‘social-emotional learning climate’ as an embodiment of Illeris’ contemporary learning theory, this paper serves dual purposes. First, it examines recent music education literature, which identifies issues of competence and institutionalised pedagogic practice in secondary school music settings that result in adolescents’ inability to target and develop personal locus of control over learning, and the subsequent rejection of the learning environment. Second, it details findings, discussion and pedagogic implications from the author's dissertation study exploring music teacher formative influence upon and student experience of Illeris’ theory of learning process within three Canadian secondary school learning settings integrating informal learning practices.
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Morozova, Nina W., and Irina A. Rastopina. "Studying and Development of the Musical Educational Needs of the Participants of the Pedagogical Process in the Children’s School of Arts." Musical Art and Education 7, no. 2 (2019): 155–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-155-176.
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During the public discussion of the development of additional music education in Russia, the authors of the article propose to turn to the study of the basic and musical-educational needs of students and other participants in the pedagogical process in the children’s art school. The focus of attention is the village school of art or the music school on the outskirts of the big city, serving as one of the few cultural centers in the area and in need of active support from parents and the public. The authors analyze the basic needs of students and their satisfaction in the process of music education, describe risky situations in the education of gifted children and adolescents that require the in tervention of adults, using concrete examples from practice show the positive impact of music education on learning motivation. The results of the study of the musical and educational needs of the subjects of the pedagogical process in rural children’s art school are disclosed, on the basis of which the school has created a promising development program. Primarily, the content and forms of work of the general aesthetic direction of education, as well as the cultural and educational activities of students and teachers, aimed at developing the musical needs of the rural public, have been updated. Children’s activity in choosing the direction of additional education is provided by the school of arts through a trial study of children in various areas of artistic activity. For preschoolers 5-6 years old, the Maestro program was developed.
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Georgieva Fileva – Ruseva, Krasimira. "PERCEPTION OF MUSIC BY HELP OF OTHER ARTS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2391–97. http://dx.doi.org/10.35120/kij28072391k.
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It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened.This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7 - 15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7 - 15], I am examining in this study, by reference to specific examples.The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:- Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;- Education of the style sense, respect, understanding and love to the valuable musical art.Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased.
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Georgieva Fileva – Ruseva, Krasimira. "PERCEPTION OF MUSIC BY HELP OF OTHER ARTS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2391–97. http://dx.doi.org/10.35120/kij29082391k.
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It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened.This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7 - 15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7 - 15], I am examining in this study, by reference to specific examples.The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:- Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;- Education of the style sense, respect, understanding and love to the valuable musical art.Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased.
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Tramonte, Cristiana, and Katarina Grubisic. "Educação musical na Orquestra Escola: interculturalidade e prática social em Santa Catarina / Orchestra School: Music education and social practice." Revista Pedagógica 14, no. 28 (June 6, 2013): 285. http://dx.doi.org/10.22196/rp.v14i28.1368.
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Este artigo apresenta resultados de uma pesquisa de mestrado que busca refletir sobre os aspectos pedagógicos da educação musical de crianças e adolescentes no projeto social “Orquestra Escola”. Este projeto trabalha a educação musical ao formar uma orquestra de cordas e sopro. A pesquisa é uma abordagem qualitativa de caráter etnográfico. Teve como referencial teórico Kleber, (2008), Penna (2008), Souza (2004, 2008), Vigotski (2010). Como resultados parciais, verifica-se que num projeto de orquestra o fazer musical é uma prática social com importantes elementos pedagógicos.
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Ortega-Orozco, Areta, Gabriela Orozco-Calderón, Maura J. Ramírez-Flores, and Azucena Lozano- Gutiérrez. "Age of onset in musical practice on cognitive functioning." Journal of Basic and Applied Psychology Research 1, no. 2 (January 5, 2020): 1–6. http://dx.doi.org/10.29057/jbapr.v1i2.5363.
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Musical processing has been described as a structural and functional plasticity model in which the areas involved and the connections are modified, these changes depend on several variables, including the start of training. The study of music as a neuropsychological phenomenon has become important because it provides information about the possible cognitive benefits. Objective: Describe and compare how musical practice Describe and compare how musical practice affects cognitive functioning in musicians who began their training at an early and late age.affects cognitive functioning in musicians who began their training at an early and late age. Method: Three groups were formed: A group of early professional musicians, a group of late-start professional musicians and a non-musicians control group. The NEUROPSI battery attention and memory were applied individually. Results: In a descriptive way, it was found that the performance profiles of the three groups behave differently and significant differences were found in memory, attention, executive functions and musical perception, especially among musicians who started before adolescence vs non-musicians. Conclutsions: Early musical practice has a favorable impact on tasks that involve attentional processes, executive functions and memory, although the practice can be beneficial throughout life.
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McFerran, Katrina Skewes. "Adolescents and Music Therapy: Contextualized Recommendations for Research and Practice." Music Therapy Perspectives 38, no. 1 (November 18, 2019): 80–88. http://dx.doi.org/10.1093/mtp/miz014.
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Abstract Music therapists have been working with, writing about, and researching their work with adolescents for many decades. This paper provides a reflective review of the research literature in the field that is categorized in three contexts: education, mental health, and community. Grouping knowledge in this way affords a new perspective on how music therapists describe adolescents, including the terms we use to describe them, the types of programs we offer, the approaches to research that are most popular, and the way we talk about the focus of therapy. Distinctions between research in these fields are highlighted, with reference to the beliefs and values that are most congruent with each of these contexts. Following this reflective review on the literature, I provide five recommendations for consideration by researchers and practitioners. These include: determining if and when evidence is an appropriate focus; continuing to seek understanding; not underestimating the value of positive experiences; avoiding an exclusive focus on the music therapist’s perspective; and being realistic about the outcomes of group versus individual therapy. The paper concludes with an illustrative example to emphasize how one adolescent might be “seen” differently in each context.
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Madsen, Clifford K., John M. Geringer, and Katia Madsen. "Adolescent Musicians' Perceptions of Conductors Within Musical Context." Journal of Research in Music Education 57, no. 1 (April 2009): 16–25. http://dx.doi.org/10.1177/0022429409333352.
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Attention to subtle changes in music, whether inadvertent or purposeful, occupies a great deal of practice and rehearsal time for the performer. Regardless of the extremely subtle acoustic changes that have been found to be perceptible within almost all studies, it is the total overall effect that most occupies the individual listener. This study investigated perception of digitally edited performances of Johann Strauss's Blue Danube Waltz, all performed by the Vienna Philharmonic Orchestra with various conductors across an 18-year period. Two groups of string musicians in grades 7 through 12 participated ( N = 104). One group was an intact class; the second was a group of summer camp students. All participants listened to two conditions: (a) audio only and (b) audio-video combination. Results indicated that there were no significant differences between groups and that no one was able to identify correctly that there were five different conductors in the audio-only condition. Results were much the same as earlier research with college students. In addition, many students indicated that there were differences in the audio portions of the two conditions when in fact there were not.
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Gooding, Lori, and Jayne M. Standley. "Musical Development and Learning Characteristics of Students." Update: Applications of Research in Music Education 30, no. 1 (September 1, 2011): 32–45. http://dx.doi.org/10.1177/8755123311418481.
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Development involves progressive changes in knowledge and abilities that occur across the life span. Current research on musical abilities suggests that the development of skills necessary for musicality begins in utero and continues through adulthood. Many of these skills, such as the ability to carry a tune, move in time to music, and respond emotionally to music, progress as part of normal cognitive maturation and development. Others, such as explicit musical knowledge and musical performance, require in-depth learning and practice for future musical development to occur. This article provides a compilation of key musical developmental milestones and learning characteristics from prebirth through adolescence gathered from the research literature. A brief summary of relevant information is provided, as well as charts outlining specific points from the literature.
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Karl, Brian. "Technology in Modern Moroccan Musical Practices." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 790–93. http://dx.doi.org/10.1017/s0020743812000918.
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The proliferation of technologies in use for popular music in Morocco points to cultural interactions beyond the most local or national influences that inform musical practices there. Examining the integration of technologies from outside Morocco—including musical instruments, recording media, and distribution systems—sheds light on negotiations of novelty and difference in contemporary Moroccan social and political life and thus on multiple facets of how late modernity has played out there. Among other broad areas of significance that musical practices help illuminate are the social and economic effects of colonial and postcolonial interactions, including the development of cash economies, globalized exchange, and cultural tourism; nationalist initiatives to define culture; and large-scale migration to Europe and elsewhere in recent decades, following a longer population shift in 20th-century Morocco from primarily rural locales to burgeoning urban centers.
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Fogarty, Mary. "Musical Tastes in Popular Dance Practices." Congress on Research in Dance Conference Proceedings 2012 (2012): 70–75. http://dx.doi.org/10.1017/cor.2012.7.
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This paper explores the relationship between musical tastes and dance practices in popular dance practices. It is based on ideas that emerged from a multisited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often traveled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central.
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Broaring, Jeanetta, Barbara Moscicki, Susan Millstain, Michael Policar, and Charles E. Irvin. "Sexual practices among adolescents." Journal of Adolescent Health Care 10, no. 3 (May 1989): 249. http://dx.doi.org/10.1016/0197-0070(89)90246-5.
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Ivaldi, Antonia, and Susan O'Neill. "Talking ‘Privilege’: barriers to musical attainment in adolescents’ talk of musical role models." British Journal of Music Education 26, no. 1 (March 2009): 43–56. http://dx.doi.org/10.1017/s0265051708008267.
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Using a discursive approach, this study explores the ways that adolescents construct the notion of social status and ‘being privileged’ through their talk about musician role models. Drawing on social identity theory (see Tajfel, 1978), we examined how adolescents moved between the relational ‘in’ and ‘out’ groups of being privileged versus being disadvantaged as a framework for discussing classical and popular musician role models. Seven focus groups were conducted, each composed of male and female adolescent musicians and non-musicians aged 14–15 years. Participants were asked to discuss 19 pictures of famous classical and popular musicians, commenting on whether they were familiar or unfamiliar figures, and whether they were liked or disliked and the reasons why. Through their talk, the adolescents constructed and negotiated a complex understanding of musical subcultures, whereby high levels of expertise and success were perceived within the notion of privilege. Findings suggest that adolescents' perceptions of privilege may act as a barrier or constraint to their exploration of alternative conceptualisations of musical expertise and success, thereby limiting their own musical aspirations.
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Saarikallio, Suvi, Margarida Baltazar, and Daniel Västfjäll. "Adolescents’ musical relaxation: understanding related affective processing." Nordic Journal of Music Therapy 26, no. 4 (February 10, 2017): 376–89. http://dx.doi.org/10.1080/08098131.2016.1276097.
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Povedak, Kinga. "Rockin' the Church: Vernacular Catholic Musical Practices." Journal of Global Catholicism 4, no. 1 (March 6, 2020): 42–63. http://dx.doi.org/10.32436/2475-6423.1066.
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Powell, John S. "Musical Practices in the Theater of Molière." Revue de musicologie 82, no. 1 (1996): 5. http://dx.doi.org/10.2307/947203.
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Veblen, Nora Bryant, Olivia Swedberg Yinger, and Martina Vasil. "Musical Authenticity: Music Therapists’ Perceptions and Practices." Music Therapy Perspectives 39, no. 1 (March 1, 2021): 51–60. http://dx.doi.org/10.1093/mtp/miaa028.
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Abstract Board-certified music therapists (MT-BCs) are expected to provide live music in numerous client-preferred genres, yet often face barriers that prevent them from recreating this music with musical authenticity, defined here as adhering to the expectations of the genre. The purpose of this survey was to investigate the perceptions and practices of MT-BCs (n = 904, 12%) regarding musical authenticity in their own practice. We collected quantitative and qualitative survey data on the importance of musical authenticity, barriers to and strategies for providing music authentically, and the use of electronic technology and the iPad. Descriptive and thematic analyses revealed that MT-BCs value musical authenticity but balance its importance with therapeutic needs and other types of authenticity that are deemed more important. Participants reported that they lacked knowledge of popular genres, functional musicianship, and electronic technology, which created major barriers to providing musical authenticity. Additionally, we found trends related to gender identity and the use of electronic technology in that significantly more male MT-BCs reported using electronic technology compared with female MT-BCs. Overall, however, less than half of the participants reported using either electronic technology or the iPad to increase musical authenticity. With these results in mind, and building on the results of Schippers and Fetterley, we created a model of recontextualization for music therapy practice. This practical tool is intended to guide music therapists to consider multiple issues of authenticity when learning music for clients.
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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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Kim, Eun Hye, and Keon Hee Kim. "A study on musical performance experience of adolescents." Journal of Emotional & Behavioral Disorders 35, no. 1 (March 31, 2019): 139–66. http://dx.doi.org/10.33770/jebd.35.1.7.
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Skerrett, Allison, and Randy Bomer. "Borderzones in Adolescents’ Literacy Practices." Urban Education 46, no. 6 (March 10, 2011): 1256–79. http://dx.doi.org/10.1177/0042085911398920.
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This article examines how a teacher drew on her urban students’ outside-school literacies to inform teaching and learning in a reading/language arts classroom. The following findings are discussed: curricular invitations the teacher offered to students; the teacher’s curriculum development process; the relationships between the genres of students’ outside-school literacies and those of the school; and the subject positionings taken up by the students and the teacher in the classroom. The article demonstrates how teachers may affirm the out-of-school literacies of urban students and connect these literacies to the formal curriculum, thereby enhancing students’ in-school literacy engagement and success.
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May, Janet K., and Ardis W. Koester. "Clothing Purchase Practices Of Adolescents." Home Economics Research Journal 13, no. 3 (March 1985): 226–36. http://dx.doi.org/10.1177/1077727x8501300302.
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Martí. "Beyond Representation: Relationality and Affect in Musical Practices." Journal of Posthuman Studies 3, no. 2 (2019): 159. http://dx.doi.org/10.5325/jpoststud.3.2.0159.
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Derbaix, Christian, and Maud Derbaix. "Intergenerational transmissions and sharing of musical taste practices." Journal of Marketing Management 35, no. 17-18 (October 3, 2019): 1600–1623. http://dx.doi.org/10.1080/0267257x.2019.1669691.
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SMITH, CHRISTOPHER. ":Going for Jazz: Musical Practices and American Ideology." Journal of the American Musicological Society 58, no. 2 (August 2005): 476–88. http://dx.doi.org/10.1525/jams.2005.58.2.476.2.
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Ochoa, Ana María, and Carolina Botero. "Notes on Practices of Musical Exchange in Colombia." Popular Communication 7, no. 3 (July 21, 2009): 158–68. http://dx.doi.org/10.1080/15405700903023400.
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Harris, Louise. "Musical creativity revisited: Educational foundations, practices and research." Music Education Research 22, no. 2 (February 28, 2020): 242–43. http://dx.doi.org/10.1080/14613808.2020.1732318.
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Evans, N. M. "Going for Jazz: Musical Practices and American Ideology." Genre 37, no. 2 (January 1, 2004): 347–49. http://dx.doi.org/10.1215/00166928-37-2-347.
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Gruenhagen, Lisa M. "Developing Musical Creativity through Reflective and Collaborative Practices." Music Educators Journal 103, no. 3 (March 2017): 40–45. http://dx.doi.org/10.1177/0027432116685158.
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Lippit, Takuro Mizuta. "Ensembles Asia: Mapping experimental practices in music in Asia." Organised Sound 21, no. 1 (March 3, 2016): 72–82. http://dx.doi.org/10.1017/s1355771815000394.
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In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigenous musical influences. Ensembles Asia is project that aims to explore these forms of musical experimentations that slip through conventional categorisations of music. The project also tries to cultivate a new network of musicians through playing together in a large improvising ensemble.
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BRACKETT, JOHN. "Examining rhythmic and metric practices in Led Zeppelin’s musical style." Popular Music 27, no. 1 (December 13, 2007): 53–76. http://dx.doi.org/10.1017/s0261143008001487.
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AbstractIn this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used in an effort to show how Led Zeppelin’s flexible conception of rhythm and metre enabled the band to put their own stylistic ‘stamp’ on (i) specific musical genres (‘The Crunge’ and the song’s relation to James Brown-style funk), (ii) their riff constructions (‘Black Dog’ in relation to Fleetwood Mac’s ‘Oh Well’), and (iii) their cover versions (‘Dazed and Confused’). Drawing upon my analytical points, I re-visit the complex issues that persist regarding the possibility that Led Zeppelin even has an ‘original’ or ‘unique’ style given their often overt reliance upon earlier musical models and forms. Therefore, in my conclusion, I argue that the development of any artist or group’s individual style necessarily involves the ability to assimilate and transform pre-existing musical features – features such as rhythm and metre – in novel ways and where issues relating to musical style intersect with influence.
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dos Santos, Andeline, and Claire Wagner. "Musical Elicitation Methods." International Journal of Qualitative Methods 17, no. 1 (October 1, 2018): 160940691879742. http://dx.doi.org/10.1177/1609406918797427.
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Music is an underutilized resource for research in the social sciences. This article presents examples of musical elicitation methods that were used within a study that explored how adolescents who were referred to group music therapy for aggression produced meanings of aggression through the therapeutic process. The study was conducted within a poststructuralist paradigm, particularly using the theoretical thinking tools of Deleuze and Gergen. The elicitation methods discussed include drumming, creating images during music listening, and songwriting. The article argues for the role of musical elicitation methods particularly within research that values a radical relational stance that allows participants to comfortably territorialize the research encounter, and in light of considering the transformative potential of research itself.
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Cheng, Lee, Paulina Wai Ying Wong, and Chi Ying Lam. "Learner autonomy in music performance practices." British Journal of Music Education 37, no. 3 (September 1, 2020): 234–46. http://dx.doi.org/10.1017/s0265051720000170.
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AbstractThe language of music shares a number of basic processing mechanisms with natural languages, yet studies of learner autonomy in music education are rare. This study aims to assess the effectiveness of fostering music students’ learner autonomy in performance practice through a series of curriculum changes. A mixed-methods approach, including a questionnaire survey and semi-structured interviews, was used to investigate two cohorts of music education students (N = 74) from Hong Kong. The analysis reveals the students’ autonomous learner characteristics, including the ability to formulate their own learning strategies, identify both musical and non-musical weaknesses and take appropriate steps to improve their performance skills.
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Weidner, Brian N. "A Grounded Theory of Musical Independence in the Concert Band." Journal of Research in Music Education 68, no. 1 (January 7, 2020): 53–77. http://dx.doi.org/10.1177/0022429419897616.
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Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result of specific instructional practices that utilized cognitive modeling, scaffolded instruction, and authentic, regular, student-led music-making in curricular ensembles to promote student agency and decision making. These instructional practices relied upon preconditions for independence, including musical, social, and 21st-century skills foundations frequently found in large-ensemble classrooms. This study provides a model that can be situated within current large-ensemble practices to support the development of musical independence.
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MATEI ROȘCA, Mirela Larisa. "Musical education or education through music? Transdisciplinary approach to the musical education of the adolescents." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 177–86. http://dx.doi.org/10.31926/but.pa.2019.12.61.42.
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Ovchinnikova, Yulia S. "Pedagogical Meaning of Study of Transformation Musical Practices of Peoples of the World in Modern Education." Musical Art and Education 7, no. 2 (2019): 57–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-57-76.
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Nowadays the Russian education is living a raw of system changes, where formation of student’s personal agency, of skill for learning and for self-development during the whole life, for elaborating the way of actualization of their own intentions are becoming the main tasks of the learning process. The abilities for self-understanding, self-development and self-actualization are connected with a category of personal transformation. The keys for its understanding could be found in the experience of traditional cultures that despite their bent for constancy are full of transformational motifs. The important role in this process belongs to “symbols of transformation”. One of the most effective between them is music that accompanies all the important events of human life in the context of traditional culture. The main mechanism for personal transformation is activity of musical experiencing. The comparative study of traditional cultures gives possibility to offer the following typology of transformational practices of work with musical experiencing: 1. Musical practices for passing the borderline states between dream and wakefulness. 2. Rites of passage and initiation. 3. Practices of individual and joint intoning of experiencing. 4. Healing practices. 5. Transformational practices of storytelling sessions. 6. Rituals of spiritual renovation. 7. Spiritual musical practices in education. 8. Dance transformational practices. In all of them music takes on the role: of internal subjective experience; of “live sound” that influences the whole human organism but not only the acoustic analyzer; of means for symbolization of experiencing; of a way of internal “growing” – from concentration in point of painful experiencing into the wide, endless “Self”; of marker of internal changes; of a metaphor of experiencing activity for transformation of internal world. The study of transformational musical practices in modern education helps to achieve the deeper level in world culture study, to understand the variety, typology and mechanisms of musical influence on a human in different traditions; widens the range of methods for work with musical experiencing; forms pedagogical tools for modern developmental, psychotherapeutic and educational practices; reveals the role of music as means for symbolization of experiencing; shows spiritual foundations of musical traditions of different peoples that form emotional and axiological attitude to them; enriches with wide range of cultural symbols for understanding and composing person’s own life.
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Keller, Damián, and Victor Lazzarini. "Ecologically Grounded Creative Practices in Ubiquitous Music." Organised Sound 22, no. 1 (March 7, 2017): 61–72. http://dx.doi.org/10.1017/s1355771816000340.
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Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active creative partner. A new definition of ubiquitous music is proposed encompassing four components related to the human and the material resources, the emergent properties of musical activities and the design strategies involved in supporting distributed decision making. We highlight the application of embedded-embodied cognition in creative practice, arguing for the adoption of an ecologically grounded framework as an alternative to the mainstream anthropocentric and disembodied acoustic-instrumental paradigms. We discuss the relevance of the new materialist concepts of ecologies and meshworks within artistic creative practice, highlighting the implications of the emergent creativity support methods for context-based composition.
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Hrvatin, Klara. "Alma Karlin’s Musical Miniatures." Poligrafi 24, no. 93/94 (December 18, 2019): 109–35. http://dx.doi.org/10.35469/poligrafi.2019.193.
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The following article serves as an introduction to one of the world’s greatest traveller Alma Maximiliane Karlin (1889–1950) and her music-religion related objects she probably brought from Japan, where she stayed from the beginning of June 1922 to July 1923. Not numerous, but in comparison to similar objects brought from other countries, the largest in number, the collection shows Karlin’s preference for simple instrument miniatures such as are models or miniatures of instruments shamisen, koto, yakumo-goto. Interesting are as well objects, which are indirectly related to Japanese music; ukiyo-e, postcards and small colored prins on postcards, depicting themes related to Japanese traditional instruments, small bronze tengu mask and others.
In order to better define those instruments and find a possible relation of these instruments and their religious practices to Karlin’s life, the article focuses as well on the Karlin’s non-classical travelogue, Slovenian translations of Einsame Weltreise: Die Tragödie einer Frau (Lonely Travel, 1929), in particular where she depicts her travel and stay in Japan. From her collection of instruments and her writings, the author searches how and to what extent Karlin developed a sense of, or was devoted to certain instruments which express some relation to Shinto or Buddhist religious practices.
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Charles, Brigitte. "Boys' and girls' constructions of gender through musical composition in the primary school." British Journal of Music Education 21, no. 3 (November 2004): 265–77. http://dx.doi.org/10.1017/s0265051704005820.
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The purpose of the study is to examine, through interviews and observations, the extent to which 8–10 year old children in a London primary school replicate gendered musical practices and experience gendered musical meanings, and how these may affect their expectations and the specific practices and products of their composition. I also consider how primary school teachers participate in the overarching discourse on gender and music education, by examining their expectations about the nature of girls' and boys' compositions. I analyse my findings in relation to Lucy Green's model of gendered musical meaning and experience. One outcome of the analysis is the development of a concept of ‘female musical subculture’ to interpret girls' and women's participation in the compositional world. Secondly, the findings strongly suggest that in their musical practice, the children in the research are not reproducing ideological assumptions about gendered musical practices, which contradicts how they operate discursively, for their discourse lies within the bounds of gendered musical ideology. Thirdly, the findings also indicate that the teachers are strongly affected by gendered musical ideologies, and have concomitant expectations about the music girls and boys produce.
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Thomas, Natasha. "Community-Based Referential Music Making with Limited-Resource Adolescents: A Pilot Study." Music Therapy Perspectives 38, no. 2 (2020): 112–18. http://dx.doi.org/10.1093/mtp/miaa016.
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Abstract Black/African American adolescents from limited-resource communities face challenges and circumstances that are unique to their racialization and socioeconomic status; this merits community-engaged resources, such as community music therapy, that are equally unique in creating culturally responsive opportunities for limited-resource adolescents to engage socially with peers and experience meaningful success in a safe, supportive environment. The purpose of this study was to pilot and explore the feasibility of and behavioral processes in a community-based referential music-making intervention for limited-resource adolescents labeled as “at-risk.” The methods consisted of a concurrent nested (embedded) mixed methods design based on the principles of participatory actions research (PAR), during which qualitative data were collected during 8 focus group style music-making sessions. Quantitative data assessing self-efficacy were collected prior to first and following the 8th music-making session. The validity of quantitative results was challenged by the lowered reading level of participants and a high amount of mis-labeled (and thus unusable) data. Qualitative data suggest 3 themes, including creating community, artistic prioritization, and pride. All results were impacted by issues, such as inconsistent attendance and malfunctioning recording equipment. Nevertheless, participants expressed a collective desire to share their work with their community group. Discussion points are raised including how participants in this community music therapy-based approach were able to create and direct their own stories. The implementation of community music therapy approaches seems a valuable way to bring authentic representations of limited-resource adolescent participants into clinical practice.
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Tahıroğlu, Koray, Thor Magnusson, Adam Parkinson, Iris Garrelfs, and Atau Tanaka. "Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments." Organised Sound 25, no. 1 (March 4, 2020): 64–74. http://dx.doi.org/10.1017/s1355771819000475.
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This article explores how computation opens up possibilities for new musical practices to emerge through technology design. Using the notion of the cultural probe as a lens, we consider the digital musical instrument as an experimental device that yields findings across the fields of music, sociology and acoustics. As part of an artistic-research methodology, the instrumental object as a probe is offered as a means for artists to answer questions that are often formulated outside semantic language. This article considers how computation plays an important role in the authors’ personal performance practices in different ways, which reflect the changed mode-of-being of new musical instruments and our individual and collective relations with them.
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Conard, L. E., J. D. Fortenberry, and D. P. Orr. "Pharmacists’ attitudes and practices with adolescents." Journal of Adolescent Health 30, no. 2 (February 2002): 93–94. http://dx.doi.org/10.1016/s1054-139x(01)00347-0.
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Conard, L. E., J. D. Fortenberry, G. D. Zimet, and D. P. Orr. "Pharmacists’ contraceptive dispensing practices with adolescents." Journal of Adolescent Health 30, no. 2 (February 2002): 96. http://dx.doi.org/10.1016/s1054-139x(01)00353-6.
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