Journal articles: 'Contributions in music education'

1

Gleason, Bruce. "Himie Voxman His Contributions to Music Education." Bulletin of Historical Research in Music Education 17, no. 2 (January 1996): 85–97. http://dx.doi.org/10.1177/153660069601700201.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Nettl, Bruno. "What Are the Great Discoveries of Your Field? Informal Comments on the Contributions of Ethnomusicology." Musicological Annual 51, no. 2 (June 17, 2015): 163–74. http://dx.doi.org/10.4312/mz.51.2.163-174.

Full text

Abstract:

This is an attempt to sketch some of the principal discoveries or contributions of the field of ethnomusicology since 1885. These include consideration of the world of music as comprised of musics, the origin of music, universals, the study of music in culture, the relationship of composition and improvisation, the issue of authenticity, and the practical contributions of ethnomusicology to education and social life.

APA, Harvard, Vancouver, ISO, and other styles

3

Sandrina, Milhano. "Fostering Meaningful and Creative Connections in Higher Education: Contributions from Music Education." European Scientific Journal, ESJ 17, no. 26 (August 8, 2021): 27. http://dx.doi.org/10.19044/esj.2021.v17n26p27.

Full text

Abstract:

This paper focuses on contributing to the reflection on the importance of providing opportunities to foster meaningful and creative connections in higher education. In a context of growing plurality, heterogeneity and diversity of backgrounds, languages, cultures, identities, roles, and purpose influences the sociocultural relations and professional interactions that occur and are formed within higher education communities of knowledge and learning, which are explored from the perspective of music education. A narrative approach on participant’s views about their participation in an elective music program was developed inside the framework of informal education. Issues that were discussed the most across the datasets by participants individual accounts are expressed through themes that fall into three broad areas: previous musical experiences, significant influences for music participation, and perceptions of the participation in the music program. Results suggest that the informal music program provided participants with a context for a safe emotional, social, cultural, and musical experience, and thus heterogeneity and diversity are seen as enriching factors. Some considerations are made on the ways through which music can help to foster connections and sense of humanity in higher education. This provides some insights into the relevance of fostering musical participation as part of the cultural responsibility of higher education institutions for participants.

APA, Harvard, Vancouver, ISO, and other styles

4

Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education." British Journal of Music Education 10, no. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

Full text

Abstract:

The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.

APA, Harvard, Vancouver, ISO, and other styles

5

Kelly, Steven N. "A Sociological Basis for Music Education." International Journal of Music Education os-39, no. 1 (May 2002): 40–49. http://dx.doi.org/10.1177/025576140203900105.

Full text

Abstract:

This paper seeks to illustrate that the social contributions of music education are vital to the justification of music in the schools. This position is based on the following: 1) Music behaviors are global behaviors associated with the earliest human existence; 2) If humans have maintained music, then some manner of music education has always been associated with humans; 3) If music is a global behavior, then some form of music education is a global practice; 4) If music and music education are globally associated with humans, it seems appropriate both should be part of a school curriculum.

APA, Harvard, Vancouver, ISO, and other styles

6

Sandoval, Elaine. "Potential contributions of music education to peacebuilding: curricular concerns." Journal of Peace Education 13, no. 3 (September 2016): 238–51. http://dx.doi.org/10.1080/17400201.2016.1234647.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kelly, Steven N. "John Barnes Chance and His Contributions to Music Education." Journal of Historical Research in Music Education 21, no. 1 (October 1999): 21–40. http://dx.doi.org/10.1177/153660069902100103.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Ilari, Beatriz. "Longitudinal Research on Music Education and Child Development: Contributions and Challenges." Music & Science 3 (January 1, 2020): 205920432093722. http://dx.doi.org/10.1177/2059204320937224.

Full text

Abstract:

Based on a comprehensive analysis of 39 studies published in academic journals in the past decade (2010–2020), this article discusses the strengths of current research and the challenges that lie ahead for researchers interested in conducting longitudinal research on music education and child development. Among the strengths of the reviewed studies are multi-year projects, diverse study samples and programs, and a wide range of areas of interest—cognitive and neural to socioemotional and musical development. Challenges for future research are described in relation to three main perspectives. The methodological, the first perspective, tackles future challenges in terms of research approaches, population sampling, randomization, replication, and the lack of cross-cultural longitudinal research. The second perspective, the conceptual-philosophical, focuses on how children, music, and music education have been defined—in deliberate or tacit ways—in longitudinal works, and their implications for both research and practice. The third perspective, the political, focuses on the extent to which research on the effects of music education may be interpreted by some as promoting a neoliberal educational agenda. I conclude the article with suggestions for future research.

APA, Harvard, Vancouver, ISO, and other styles

9

BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 29, no. 3 (November 2012): 279–80. http://dx.doi.org/10.1017/s0265051712000435.

Full text

Abstract:

This is a rather different Editorial. It marks the end of five years of editorship. So, a few valedictory remarks will begin and end this piece. When we first took over co-editing the British Journal of Music Education in 2007–2008, from the distinguished editorship of Stephanie Pitts and Gordon Cox, we introduced ourselves alongside contributing authors in the editorial for Volume 25 with articles in a series tackling the contribution of music education research and theory to practice and so signalled our intention as an editorial team to strengthen further the remit of the journal. In this Volume 29, four years on, we feel very pleased to report a significant increase in submissions to the British Journal of Music Education and a welcome further internationalisation of contributions. We now web publish and feature teacher-researcher and school-based research in each issue. The British Journal of Music Education is now featured in the Thomson Reuters Arts & Humanities Citation Index and the Social Science Citation Index. We both feel privileged to have been given the opportunity of working for this highly regarded journal whose reputation has continued to grow and strive to strengthen connections between research and practice, and offer informed and passionate engagement with music education research for empowerment and advocacy.

APA, Harvard, Vancouver, ISO, and other styles

10

Chiţu, Alexandru, and Ioan Bradu Iamandescu. "Contributions to music play selection for music therapy on the patients with hypertension and coronary." Romanian Medical Journal 63, no. 3 (September 30, 2016): 237–42. http://dx.doi.org/10.37897/rmj.2016.3.10.

Full text

Abstract:

In one tentative selection of music songs for music therapy for the hypertensive and coronary patients, the authors tried to evaluate the predilection for this patients for one music with fast tempo which is contraindicate because the activation of sympathetic tone with hypotensive effect and with increasing myocardial oxygen consumption effect. Preferences for fast or slow tempo music were evaluated in 200 subjects (four groups of patients: hypertension, coronary heart disease, non-cardiac + a control group of healthy subjects). The attractiveness of the subjects investigated for music was performed by awarding marks from 1 to 10 couples of the 6 songs heard (fast vs. slow). Statistical processing of differences between the averages of 4 groups showed significantly increased preference for fast music group coronary (p <0.01) and hypertension (p <0.05). The opinion of the authors is to advise these patients to listen predominant cardiac slow classical music (especially baroque, with major psychological relaxing effects but also having the effect of decreasing sympathetic hypertension.

APA, Harvard, Vancouver, ISO, and other styles

11

Addison, Richard. "Music and Play." British Journal of Music Education 8, no. 3 (November 1991): 207–17. http://dx.doi.org/10.1017/s0265051700008482.

Full text

Abstract:

The writer looks at the meanings of the word ‘play’ and its properties, and draws attention to the common elements and the differences to be observed in the play of young people and adults respectively. He applies these observations to music, giving examples.He then considers how classroom teachers have used some of the ‘play’ principles in their work, and introduces the idea of drawing instrumental teachers into similar patterns of action – to be fully developed in the other articles in this group. He summarises recent writings on the subject and his own practical contributions over the last few years.

APA, Harvard, Vancouver, ISO, and other styles

12

Erdal, Gulsen G. "Aşık Veysel in Village Institutions and his Contributions to Music Education." Procedia - Social and Behavioral Sciences 116 (February 2014): 1449–53. http://dx.doi.org/10.1016/j.sbspro.2014.01.414.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Ogawa, Masafumi. "American Contributions to the Beginning of Public Music Education in Japan." Bulletin of Historical Research in Music Education 12, no. 2 (July 1991): 113–28. http://dx.doi.org/10.1177/153660069101200203.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Campbell, Patricia Shehan. "How Musical We Are: John Blacking on Music, Education, and Cultural Understanding." Journal of Research in Music Education 48, no. 4 (December 2000): 336–59. http://dx.doi.org/10.2307/3345368.

Full text

Abstract:

The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.

APA, Harvard, Vancouver, ISO, and other styles

15

Peggie, Andrew. "A report of a National Conference for Head Teachers, Education Officers, Governors, Parents, Teachers and Heads of Music Services organised jointly by Music for Youth and the Music Education Council." British Journal of Music Education 11, no. 3 (November 1994): 181–90. http://dx.doi.org/10.1017/s026505170000214x.

Full text

Abstract:

On Monday and Tuesday July 4 and 5,1994, a national conference was held at the Queen Elizabeth Hall, London, concurrently with the annual National Festival of Music for Youth. Organised jointly by Music for Youth and the newly renamed Music Education Council, and supported by the Times Educational Supplement, it aimed to address questions of support and provision for music education and the maintenance of quality in music education in the light of changing national structural and funding circumstances in the UK. This report outlines the platform speakers' contributions in precis form, together with an overview of the emerging themes and issues identified during both presentations and question/discussion sessions.

APA, Harvard, Vancouver, ISO, and other styles

16

Simoni, Mary. "Project Lovelace: unprecedented opportunities for music education." Organised Sound 8, no. 1 (April 2003): 57–60. http://dx.doi.org/10.1017/s1355771803001067.

Full text

Abstract:

Project Lovelace is a school-based programme for students aged twelve to eighteen years interested in learning about making music by using technology. The programme is designed to encourage equal and equitable participation by male and female students through instruction in technology-enhanced music performance, improvisation, composition, analysis and notation. Project Lovelace is named in honour of the contributions of the female mathematician Ada Augusta, Countess of Lovelace, who in 1842 predicted that computers could be used for musical composition (Roads 1996).The goals of Project Lovelace are to develop collaborative-based methods for gender-balanced school music technology programmes, amass a gender-balanced repertoire suitable for school music technology programmes, nurture creativity and analytical skills in music technology, and conduct a longitudinal study that documents the changing attitudes and perceived competencies of participating students and teachers.The motivation to initiate Project Lovelace was the timely convergence of two vexing issues perennially facing music technology programmes in higher education, specifically at the University of Michigan: the proportionally small number of female applicants to university music technology programmes and the need to continually upgrade or replace laboratory equipment. Why not allocate second-generation university laboratory equipment to the schools with the intent of building school-based music technology curricula that lead to a gender-balanced university applicant pool?

APA, Harvard, Vancouver, ISO, and other styles

17

Varner, Edward. "Holistic Development and Music Education: Research for Educators and Community Stakeholders." General Music Today 32, no. 2 (September 10, 2018): 5–11. http://dx.doi.org/10.1177/1048371318798829.

Full text

Abstract:

Many educators and parents remain unaware of the value of music and the arts beyond obvious, natural entertainment contexts and find it easy to devalue music and arts programing. This article presents a concise review of significant research that demonstrates strong correlations between the study of music and arts as academic disciplines that improve the development of literacy, language, and math skills while also providing a natural link to improved social and emotional competencies. The material is presented to better inform and aid general music specialist efforts to share the academic value of music for students while highlighting distinct contributions to improved emotional, intellectual, and social areas of cognition that other academic disciplines may not achieve as effectively.

APA, Harvard, Vancouver, ISO, and other styles

18

Miller, Leon K., and Amy Eargle. "The Contributions of Development versus Music Training to Simple Tempo Discrimination." Journal of Research in Music Education 38, no. 4 (1990): 294. http://dx.doi.org/10.2307/3345226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Gul, Gulnihal, and Bilgehan Eren. "The Effect of Chorus Education in Disadvantageous Groups on the Process of General Education—Cultural Awareness and Socializing: The Sample of Gypsy Children." Journal of Education and Learning 7, no. 1 (October 16, 2017): 125. http://dx.doi.org/10.5539/jel.v7n1p125.

Full text

Abstract:

Many reasons such as social exclusion, economic insufficiency, and prejudice make it difficult for Gypsy children to reach qualified education and cause their expectations for the future to be minimized. Yet, it is considered that the property of “inclination to music”, linked especially with Gypsies, will positively affect the motivations of Gypsy children for the school and their academic achievement and thus music education and chorus education performed in this context will make considerable contributions to the education process of the children.In this context, with a pilot classroom selected from the 4th grades in a primary school all of whose students consist of Gypsy children, chorus education studies have been carried out for an academic year. In accordance with the results obtained from the research, it has been reached the end of the fact that chorus education studies have made positive contributions to the general education, cultural awareness and socialization process of Gypsy children included in the disadvantageous groups and presenting Gypsy children with the opportunities that they can turn the music permanently present in their daily lives into an advantage in educational terms is quite important.

APA, Harvard, Vancouver, ISO, and other styles

20

Kindall-Smith, Marsha, Constance L. McKoy, and Susan W. Mills. "Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice." International Journal of Music Education 29, no. 4 (October 11, 2011): 374–86. http://dx.doi.org/10.1177/0255761411421075.

Full text

Abstract:

The authors propose that best practices in music education require a conceptual understanding of music teaching and learning based on a perspective of social justice and equitable access for all students. Examinations of the relationship between the tenets of culturally-responsive teaching and three dimensions of music teaching and learning (musical content, instruction, and context) are presented: (1) historically, through the identification of neglected African American contributions to Appalachian music; and (2) pedagogically, through the chronicling of social justice content and culturally-responsive instruction as taught in an urban university and public middle school. The implications of issues of power and social justice for music education are further contextualized within the lens of critical pedagogy to uncover possibilities for a 21st century canon of music teacher preparation that will maximize the potential to transform music education practice.

APA, Harvard, Vancouver, ISO, and other styles

21

Prest, Anita. "Cross-cultural understanding: The role of rural school–community music education partnerships." Research Studies in Music Education 42, no. 2 (January 18, 2019): 208–30. http://dx.doi.org/10.1177/1321103x18804280.

Full text

Abstract:

The inclusion of local Indigenous knowledge, pedagogy, and worldview in music education is increasingly relevant to music educators globally. This article contributes to the extensive body of knowledge already written on the subject by focusing on the contribution of such inclusion to localized societal change. My doctoral study examined the growth and contributions of bridging social capital to rural community vitality in British Columbia (BC), Canada via three school–community music education partnerships. I found that the members of one of those partnerships, the International Choral Kathaumixw Festival in Powell River, BC, engaged in ongoing cultural dialogue with local Tla’amin First Nation members over a 30-year period in order to foster meaningful inclusion of local cultural practices in that festival. This cultural dialogue ultimately contributed to more harmonious social, cultural, political, and economic relationships between settler and Tla’amin First Nation populations. The mandate of the festival, the ongoing music making activities that featured Tla’amin themes and cultural participation, the large contingent of local community volunteers and performers, and the physical commons created by music making all contributed to a shift in relations between the community of Powell River and the Tla’amin First Nation. I offer that the bridging social capital fostered by this partnership may provide insight and direction for music educators globally who wish to promote Indigenous cultural practices in their schools. A bridging social capital or relational approach based on long-term reciprocity with local Indigenous culture bearers may help music educators work towards more culturally appropriate/responsive curriculum and pedagogy in their practice.

APA, Harvard, Vancouver, ISO, and other styles

22

Bolaji, David. "Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 58–68. http://dx.doi.org/10.4314/ijah.v9i1.6.

Full text

Abstract:

This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music. Key Words: Hard Work, Philosophical Perspective, Art Music and African Music

APA, Harvard, Vancouver, ISO, and other styles

23

Hanson, Josef. "Evolutionary Music Education: Robert W. Claiborne and The Way Man Learned Music (1927)." Journal of Historical Research in Music Education 41, no. 1 (July 27, 2018): 33–54. http://dx.doi.org/10.1177/1536600618790095.

Full text

Abstract:

The purpose of this study was to explore and document The Way Man Learned Music (1927), a method written by lawyer, Marine captain, educator, and political leader Robert Watson Claiborne (1888–1966). Drawing influence from Ernst Haeckel and G. Stanley Hall’s theories of recapitulation, Claiborne designed a comprehensive and sequential method where students engage in primitive stages of music-making by building and playing their own instruments, including drums, pan pipes, and small marimbas. Storytelling, dance, folk music from around the world, and performance of authentic Western art music combine to form a dramatic rendering of global musical life. As such, the method bears a strong resemblance to the more widely celebrated contributions of Satis Coleman (1876–1961). Analysis of primary and secondary sources as well as interview data illuminated the complexity of Claiborne’s path to music education. Namely, Claiborne’s homosexuality, which formed the basis of an inconclusive court-martial trial impelling his departure from military service, complicated his ability to find work as a lawyer, spurring him to pursue music education. Although a product of its time, Claiborne’s method serves as a testament to active, experiential learning that is child-centered.

APA, Harvard, Vancouver, ISO, and other styles

24

Jorgensen, Estelle R. "Roots and Development of the International Society for the Philosophy of Music Education (1985–2015)." Journal of Historical Research in Music Education 39, no. 1 (April 7, 2017): 25–50. http://dx.doi.org/10.1177/1536600617703724.

Full text

Abstract:

This history traces the roots and development of the International Society for the Philosophy of Music Education (1985–2015). Taking a cross-disciplinary approach to historiography based on autobiographical reflection grounded in documentary evidence, it focuses on the people, events, and contributions of the society and the symposia out of which it grew and with which it was associated. Among the themes in this account are the American roots of the symposia, their growing internationalization and institutionalization, the founding of the Philosophy of Music Education Review and the International Society for the Philosophy of Music Education, evolving symposia structures, a democratic process of governance, the mentoring of philosophers and leaders in the community, and initiatives to strengthen the philosophical preparation of doctoral students in music education.

APA, Harvard, Vancouver, ISO, and other styles

25

Zdravić-Mihailović, Danijela. "Meeting music pedagogy and music psychology: Contribution to the study of contemporary professional music education." Artefact 6, no. 1 (2020): 33–48. http://dx.doi.org/10.5937/artefact6-29227.

Full text

Abstract:

This paper discusses the research of psychologists and pedagogues which are committed to issues of professional music education. The statement of Ksenija Radoš (2010) that the psychologist-researchers and music pedagogues pass each other on the same way, and that they go on parallel paths toward the same goals, encountering the same obstacles, and yet never really meet, is the starting point for the review of the relationship between these disciplines. as the first step of our research, the definition of a 'common way' is imposed, and then testing the connection of current issues of music education and music psychology. according to our understanding, there are several important reasons for the mentioned situation in music education: focusing music pedagogy on general music education and 'late' awakening of pedagogy of professional music education as a special scientific discipline; obsolescence of the curriculum of professional music education and insufficient cooperation between music pedagogues and psychologists-researchers. Interplay of these disciplines, implemented through the planned conducted research that focuses on the problems of professional music education, could be an important support for the development and improvement of specific areas of music pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

26

Glynne-Jones, Marjorie. "A Report from the Third Biennial Conference of UK Council for Music Education and Training Managing New Forms of Provision of Music Support Services." British Journal of Music Education 10, no. 3 (November 1993): 263–70. http://dx.doi.org/10.1017/s0265051700001807.

Full text

Abstract:

The third biennial British Music Educators' Conference, ‘New Skills for a New Era’, organised by the UK Council for Music Education and Training, was held at Stoke Rochford, Lincolnshire, in July 1993. One of the conference days focused on 'Managing New Forms of Provision of Support Services'. This report is a collation of notes from speakers, whose contributions are included, as they spoke, in the first person and flipchart notes from participants' discussion groups.

APA, Harvard, Vancouver, ISO, and other styles

27

Medlin, Douglas Sam, and Polly Carder. "The Eclectic Curriculum in American Music Education: Contributions of Dalcroze, Kodaly, and Orff." Notes 49, no. 1 (September 1992): 164. http://dx.doi.org/10.2307/897243.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Howe, Sondra Wieland. "Julius Eichberg: String and Vocal Instruction in Nineteenth-Century Boston." Journal of Research in Music Education 44, no. 2 (July 1996): 147–59. http://dx.doi.org/10.2307/3345667.

Full text

Abstract:

Julius Eichberg (1824-1893) made valuable contributions to the development of music education through his string and vocal instruction in Boston. Educated in Europe, Eichberg was a violin professor in Geneva before immigrating to the United States in 1857. He directed the Boston Museum Concerts 1859-1866 and composed four operas. In 1867, he founded the Boston Conservatory, developed its string department, and published string method books and chamber music. In the Boston public schools, Eichberg taught high school vocal music, supervised music for the entire school system, and taught teacher-training courses. Boston s school system became a model for other school systems. The annual Music Festivals in Boston, with Eichberg conducting choruses and orchestras, brought the schools positive publicity. Eichberg also composed choral works for his school choruses and edited music textbooks. Eichbergs work in string education and high school choral music laid foundations for programs in the twentieth century.

APA, Harvard, Vancouver, ISO, and other styles

29

Sample, Duane. "Frequently Cited Studies as Indicators of Music Education Research Interests, 1963-1989." Journal of Research in Music Education 40, no. 2 (July 1992): 153–57. http://dx.doi.org/10.2307/3345564.

Full text

Abstract:

The purpose of this study was to examine the reference pages of three research journals, the Journal of Research in Music Education (JRME), the Bulletin of the Council for Research in Music Education (BCRME), and Contributions to Music Education (CME), from their inceptions through 1989 to determine which research studies were cited most frequently and could be recognized as important and influential I used a reverse chronological approach to reveal 27 articles with 10 or more citations. Most of the articles were published in the 1970s, and there was a correlation of .29 between number of citations and years in print. A majority of these studies are experimental, and more than a third of them deal with tempo and intonation. This perspective on the research base in music education, as reflected in selected journals, can assist researchers in determining those research areas that have received considerable attention and in identifying topics that have had less intensive investigation.

APA, Harvard, Vancouver, ISO, and other styles

30

Rodríguez-Sánchez, Andrea, Oscar Odena, and Alberto Cabedo–Mas. "Using life histories with sound postcards to investigate a music programme for social reconstruction in Colombia." British Journal of Music Education 35, no. 2 (March 4, 2018): 177–90. http://dx.doi.org/10.1017/s0265051717000298.

Full text

Abstract:

This article outlines the development of an appropriate research approach, including methods from diverse disciplines, for researching the Colombian state-funded social music programme Music for Reconciliation (Música para la Reconciliación). After outlining the Colombian context and the literature, a pilot with ten participants is discussed. Findings show the contributions of sound postcards as part of life histories for capturing the experiences of displaced people in a country recovering from war. Their evocative capacity enriched the interviewees’ narrative, illustrating diverse sonorous landscapes throughout their lives that evidenced the changes generated by both the violence and programme participation. The conclusions offer suggestions for readers based in the arts, health, social sciences and beyond, interested in the uses of music and music education for other-than-musical purposes.

APA, Harvard, Vancouver, ISO, and other styles

31

Thorpe, Vicki. "Assessing complexity. Group composing for a secondary school qualification." British Journal of Music Education 34, no. 3 (September 7, 2017): 305–20. http://dx.doi.org/10.1017/s0265051717000092.

Full text

Abstract:

This article examines a unique music curriculum and assessment environment through the findings of a practical action research project carried out in secondary schools. I address two current international educational issues: the relationship between formal and informal learning in music, and how individuals’ contributions in collaborative groups might be summatively assessed. Following this I present a model of group composing and explain how it was used as a pedagogical tool in secondary music classrooms. The purpose of this was to help students and their teacher to conceptualise collaborative composing, thereby leading to a clearer understanding and more valid assessment of the processes in which they were engaged.

APA, Harvard, Vancouver, ISO, and other styles

32

Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

Full text

Abstract:

American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.

APA, Harvard, Vancouver, ISO, and other styles

33

Sheridan, Megan M. "The Kodály Concept in the United States: Early American Adaptations to Recent Evolutions." Journal of Historical Research in Music Education 41, no. 1 (July 6, 2018): 55–72. http://dx.doi.org/10.1177/1536600618787481.

Full text

Abstract:

Zoltán Kodály, a Hungarian composer, ethnomusicologist, and music educator, is widely known for his philosophical and pedagogical contributions to music education. The purpose of this article was to trace the development of the Kodály movement in the United States from its implementation in the 1960s to present day. Questions that guided the research were (1) Who was Zoltán Kodály and what was his philosophy of music education? (2) Who were some of the American music educators who initially implemented the Kodály concept in the United States and what role did they play in the spread of the concept? and (3) How has the Kodály concept evolved in the United States? Following an overview of Kodály and his philosophy, the contributions of Mary Helen Richards, Denise Bacon, Lois Choksy, and Sr. Lorna Zemke during the early years of the Kodály movement are discussed. The evolution of the Kodály concept is discussed in relation to the work of Lois Choksy, Ann Eisen and Lamar Robertson, John Feierabend, Susan Brumfield, and Mícheál Houlahan and Philip Tacka. A conclusion includes suggestions for the advancement of the Kodály concept, including the need for research on the methods of the approach.

APA, Harvard, Vancouver, ISO, and other styles

34

Hedden, Debra Gordon, George N. Heller, Jere T. Humphreys, and Valerie A. Slattery. "Alice Carey Inskeep (1875-1942): A Pioneering Iowa Music Educator and MENC Founding Member." Journal of Research in Music Education 55, no. 2 (July 2007): 129–47. http://dx.doi.org/10.1177/002242940705500204.

Full text

Abstract:

The purpose of this study was to examine the professional contributions of Alice Carey Inskeep (1875-1942), who contributed significantly to music education through her positive and effective teaching, supervising, community service, and leadership in music education. Inskeep was born in Ottumwa, Iowa, and taught for five years in that city's school system after graduating from high school. She served as music supervisor in Cedar Rapids, Iowa, for most of the remainder of her career, where she provided progressive leadership to the schools and community. She was one of three people appointed to plan the initial meeting in Keokuk, Iowa, for what eventually became MENC: The National Association for Music Education, and she was one of sixty-nine founding members of the organization in 1907. The Keokuk meeting served as an impetus for Inskeep to travel to Chicago, where she studied with several notable music educators. Later, she sat on the organization's nominating committee, the first Educational Council (precursor to the Music Education Research Council) board of directors, and provided leadership to two of the organization's affiliates, the North Central Division and the Iowa Music Educators Association. She served as a part-time or summer faculty member at Iowa State Normal School and Coe College in Cedar Falls and Cedar Rapids, Iowa, respectively, and the American Institute of Normal Methods in Evanston, Illinois, and Auburndale, Massachusetts.

APA, Harvard, Vancouver, ISO, and other styles

35

Griffiths, Austin. "Playing the white man’s tune: inclusion in elite classical music education." British Journal of Music Education 37, no. 1 (November 26, 2019): 55–70. http://dx.doi.org/10.1017/s0265051719000391.

Full text

Abstract:

AbstractThis study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn from the 2017/18 concert seasons of 10 major English orchestras, 1 week’s play lists from two classical music radio broadcasters and the programmes from the last four London Promenade seasons. The study found that female and BME students were well represented in elite music education, but they were very poorly represented in the professional repertoire, where 99% of performed pieces were by white composers and 98% by male composers. Applying Bourdieu’s concepts of doxa and illusio, the study concluded that inclusion in classical music in England allowed female and BME musicians to play, but structures in the field maintained a repertoire that continues to be white and male and does not recognise the contributions of female and BME composers. This suggests that inclusion for female and BME musicians is limited and the field continues to promote white and male dominance in its cultural values.

APA, Harvard, Vancouver, ISO, and other styles

36

Wilkins, Margaret Lucy, and Caroline Askew. "The University of Huddersfield Department of Music Project: Women Composers, 12th–20th Centuries." British Journal of Music Education 10, no. 3 (November 1993): 181–87. http://dx.doi.org/10.1017/s026505170000173x.

Full text

Abstract:

Many women have led successful lives as professional musicians, but their contributions to our cultural heritage have largely been ignored. This article describes a project, at the University of Huddersfield, designed to redress the balance by systematically presenting the case for the work of women composers to be recognised in the University's History of Music courses and Compositional Studies lectures.

APA, Harvard, Vancouver, ISO, and other styles

37

Bunt, Leslie. "Music therapy with children: a complementary service to music education?" British Journal of Music Education 20, no. 2 (July 2003): 179–95. http://dx.doi.org/10.1017/s0265051703005370.

Full text

Abstract:

This article is divided into three parts. In Part I a brief description of a music therapy session will highlight some key features of a music therapy approach with children. The session will be used as a springboard for a short survey of some theoretical perspectives that underpin music therapy practice. Part II will outline the development of music therapy in the UK and the current range of work with children. Some evidence of music therapy's effective contribution to the development of the whole child will be drawn from published research and case material. Part III will place music therapy in wider social, musical and cultural contexts, outlining some contemporary challenges including closer collaboration with music educators and researchers.

APA, Harvard, Vancouver, ISO, and other styles

38

FAUTLEY, MARTIN, and REGINA MURPHY. "Editorial." British Journal of Music Education 30, no. 1 (February 21, 2013): 5–6. http://dx.doi.org/10.1017/s0265051713000016.

Full text

Abstract:

Although not the first activity that we have undertaken as incoming editors, nonetheless this editorial marks our first published statement of recognition of this, and of how we see out responsibilities and policies with regard to our custodianship of the British Journal of Music Education. We would like to begin by playing tribute to our immediate predecessors, Pamela Burnard and Gary Spruce, in whose hands the journal has flourished, with increasing contributions from all corners of the world. Together they have steered the journal through to its current internationally recognised form. We are also aware that we step into positions held by very significant figures in music education, from the early days of John Paynter and Keith Swanwick onwards. We therefore approach this task with both humility and awe, but also firm resolve to take the journal and its role in music education onwards.

APA, Harvard, Vancouver, ISO, and other styles

39

Mans, Minette. "To Pamwe or to Play: the Role of Play in Arts Education in Africa." International Journal of Music Education os-39, no. 1 (May 2002): 50–64. http://dx.doi.org/10.1177/025576140203900106.

Full text

Abstract:

Based on ongoing field research into Namibian music and dance, this article deliberates on play as an important component of childhood and an important element of Namibian performance. Considering that socialization is often described as the fundamental goal of African education, and that play is central to Namibian musical performances, this article investigates traditional functions of music as a means of socialization. Because play reflects and responds to societal value systems, the meaning of play is briefly explored, and the characteristics of play in Namibia are described in detail. The paper then proposes the increased use of play in African music education and advances the proposition in terms of the construction of a musical world and identity. The construction of a person's musical world is described in terms of the mental templates formed by a specific cultural group and by the environmental rules of play, which establish the meta-communicative frame. The article concludes with a summary of general contributions play, as a means of learning, being, and expressing can make to music education.

APA, Harvard, Vancouver, ISO, and other styles

40

Ellis, Phil, and Rosemary Dowsett. "Microelectronics in Special Education." British Journal of Music Education 4, no. 1 (March 1987): 17–24. http://dx.doi.org/10.1017/s0265051700005702.

Full text

Abstract:

The place of music in the general school curriculum has undergone considerable change in the last few years. During the 1970s, the Schools Council Project ‘Music in the Secondary School Curriculum’ identified a number of approaches, all having a common philosophy – to engage all children in practical musical activity of an expressive, aesthetic nature. More recently, the HMI document ‘Curriculum Matters 4 – Music from 5 to 16’ has brought many of the ideals of this project into sharp focus, with its emphasis on composing, performing and listening as practical, integrated activities. The aims of music education, as stated in this document, highlight the changing direction of music in the curriculum; and the new GCSE should reflect this, so becoming a more relevant examination for a broader cross-section of pupils than has hitherto been possible.With this changing emphasis in mainstream education, it is worth considering if any developments are possible in terms of general music activities for children with special needs. Is it possible for them to experience a more practical music curriculum; to engage in the process of composition and have heightened listening experiences as a result? Here microelectronics can make a significant contribution, just as it is beginning to do in mainstream education. By using some of the new technologies, pupils with a variety of handicaps are able to explore, create and perform a wide range of music.

APA, Harvard, Vancouver, ISO, and other styles

41

Sanders, Paul D. "Calvin E. Stowe's Contribution to American Music Education." Journal of Historical Research in Music Education 24, no. 2 (April 2003): 128–42. http://dx.doi.org/10.1177/153660060302400202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Jauset-Berrocal, Jordi-Angel, Irene Martínez, and Elena Añaños. "Music learning and education: contributions from neuroscience / Aprendizaje musical y educación: aportaciones desde la neurociencia." Cultura y Educación 29, no. 4 (October 2, 2017): 833–47. http://dx.doi.org/10.1080/11356405.2017.1370817.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Šporčič, Anamarija. "Book Review: Words, Music and Gender (Michelle Gadpaille and Victor Kennedy, eds.)." ELOPE: English Language Overseas Perspectives and Enquiries 18, no. 1 (June 21, 2021): 213–15. http://dx.doi.org/10.4312/elope.18.1.213-215.

Full text

Abstract:

Words, Music and Gender is a collection of 17 contributions by scholars hailing from a variety of academic backgrounds, enabling the volume to cover an impressive array of ways in which gender, words and music intersect and intertwine.

APA, Harvard, Vancouver, ISO, and other styles

44

Spencer, Piers. "Reflections on my time as a joint editor." British Journal of Music Education 25, no. 3 (November 2008): 245–52. http://dx.doi.org/10.1017/s0265051708008085.

Full text

Abstract:

Piers Spencer and William Salaman edited the BJME between 1998 and 2002. During this period, a number of articles they published gave positive accounts of developments in instrumental teaching and learning, composing and creative music-making, and the increasing role of technology. Less happy findings emerged from investigations into singing and vocal work, into culture and the promotion of equal opportunities, and into the way the ‘official’ curriculum seemed to be increasingly at odds with students' experience of music outside schools. During his period as editor, Piers Spencer worked in a variety of institutions and his personal experience told him that, despite the highly critical tone of some contributions, there remains cause for optimism about the future of musical education, both in the UK and internationally.

APA, Harvard, Vancouver, ISO, and other styles

45

Robinson, Jennifer. "Australian super veteran secondary school music teachers: Motivated and valuable." International Journal of Music Education 38, no. 2 (February 6, 2020): 226–39. http://dx.doi.org/10.1177/0255761420902870.

Full text

Abstract:

Veteran teachers are defined as having over 15 years’ teaching experience. This research introduces a new career stage of ‘super veteran’ for music teachers that have worked for 30 plus years and seeks to identify the influences on, and contributions of, Australian secondary school music teachers of this career stage. This article reports on survey data gathered in a larger qualitative study that contained a national survey and interviews. The analysis of the interview data in the larger study is yet to be completed. Likert-type scale questions were used for demographic data collection and open-ended questions explored influences on music teacher work practice. Of the responses, 32 were from super veteran secondary school music teachers. These teachers were motivated by working with students and felt valued by them and their parents. Super veterans continued to be engaged in professional development, found work–life balance a constant challenge and many were planning to continue teaching. This research has implications for school leaders in encouraging, valuing and utilising the expertise of super veteran secondary school music teachers. It suggests tailoring professional development for this career stage, gives feedback on the implementation of new curriculum and indicates strategies for stress management and work–life balance.

APA, Harvard, Vancouver, ISO, and other styles

46

Grashel, John W., and Anne Lowe. "Contributions of School Music Educators to the Research Literature as Published in the Journal of Research in Music Education, 1953–1993." Bulletin of Historical Research in Music Education 16, no. 2 (January 1995): 122–35. http://dx.doi.org/10.1177/153660069501600203.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Ceylan, Hasan Can, Naciye Hardalaç, Ali Can Kara, and Fırat Hardalaç. "Automatic Music Genre Classification and Its Relation with Music Education." World Journal of Education 11, no. 2 (April 16, 2021): 36. http://dx.doi.org/10.5430/wje.v11n2p36.

Full text

Abstract:

Because the classification saves time in the learning process and enables this process to take place more easily, its contribution to music learning cannot be denied. One of the most valid and effective methods in music classification is music genre classification. Given the rapid progress of music production in the world and the significant increase in the number of data, the process of classifying music genres has now become too complex to be done by humans. Considering the successful results of deep neural networks in this field, the aim is to develop a deep learning algorithm that can classify 10 different music genres. To reveal the efficiency of the model by comparing it with others, we make the classification using the GTZAN dataset, which was previously used in many studies and retains its validity. In this article, we use a convolutional neural network (CNN) to classify music genres, taking into account the previous successful results. Unlike previous studies in which CNN was used as a classifier, we represent music segments in the dataset by mel frequency cepstral coefficients (MFCC) instead of using visual features or representations. We obtain MFCCs by preprocessing the music pieces in the dataset, then train a CNN model with the acquired MFCCs and determine the success of the model with the testing data. As a result of this study, we develop a model that is successful in classifying music genres by using smaller data than previous studies.

APA, Harvard, Vancouver, ISO, and other styles

48

Paşca, Eugenia Maria. "History and Modernity in Artistic Education from Romania." Review of Artistic Education 18, no. 1 (March 1, 2019): 347–52. http://dx.doi.org/10.2478/rae-2019-0039.

Full text

Abstract:

Abstract The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.

APA, Harvard, Vancouver, ISO, and other styles

49

Abril, Carlos R., and Brent M. Gault. "Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents." Music Educators Journal 107, no. 1 (September 2020): 43–48. http://dx.doi.org/10.1177/0027432120944216.

Full text

Abstract:

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

APA, Harvard, Vancouver, ISO, and other styles

50

Fautley, Martin, Victoria Kinsella, and Adam Whittaker. "Models of teaching and learning identified in Whole Class Ensemble Tuition." British Journal of Music Education 36, no. 03 (October 28, 2019): 243–52. http://dx.doi.org/10.1017/s0265051719000354.

Full text

Abstract:

AbstractThe Whole Class Ensemble Tuition (WCET) is a model of teaching and learning music which takes place in many English primary schools. It is a relative newcomer to music pedagogy in the primary school. In the groundbreaking study reported in this paper, two new models of teaching and learning music are proposed. These are (a) Music education starts with the instrument and (b) Music education takes place via the instrument. Conceptualised descriptions of classroom music pedagogies are not commonplace, and so this paper makes a significant contribution to the music education research literature by delineating, describing and labelling two of these with reference to the WCET programme. These distinctions are of international significance and are useful to describe differences between programmes, which constitutes a major contribution to music curricula discussions. The paper concludes that clarity on the purposes of teaching and learning is fundamental to effective musical pedagogy and that this is a matter that education systems worldwide should be considering.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Contributions in music education'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles