Academic literature on the topic 'Country music – Instruction and study'
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Journal articles on the topic "Country music – Instruction and study"
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Hendel, Catherine. "Behavioral Characteristics and Instructional Patterns of Selected Music Teachers." Journal of Research in Music Education 43, no. 3 (October 1995): 182–203. http://dx.doi.org/10.2307/3345635.
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The purpose of this study was to (a) identify factors that contribute to effective music teaching; (b) examine the relationship of teacher-defined traits, which emerge qualitatively, to operationally defined characteristics of effective instruction resulting from quantitative research; and (c) explore the complementary nature of qualitative and quantitative methods. Nine experienced, elementary specialists from three regions of the country were observed, taped, and interviewed; student interviews and instructional documents supplemented the data. Qualitative evaluation and quantitative measures were used for analysis. Although operational definitions were modified for elementary teachers, results revealed instructional patterns that supported previous research in teacher magnitude and sequential patterns of instruction. Analysis of sequential patterns resulted in categorical expansion of complete/incomplete patterns. Qualitative evaluation revealed personal values relative to teaching. Combined analyses disclosed high-intensity behaviors and permitted more specific interpretation. Findings may be useful for teacher training and evaluation among experienced specialists.
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Bulgren, Christopher W. "Jail Guitar Doors: A case study of guitar and songwriting instruction in Cook County Jail." International Journal of Community Music 13, no. 3 (December 1, 2020): 299–318. http://dx.doi.org/10.1386/ijcm_00026_1.
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Jail Guitar Doors USA (JGD USA) is an initiative that provides guitars and songwriting instruction in correctional facilities. Founded in 2009, JGD USA is currently in 100 jails, prisons and youth facilities with a waiting list of 50. This study examined the phenomenon of JGD USA in Cook County Jail (Chicago, Illinois) and was guided by the following research question: How do participants describe their experiences in the case of JGD USA in Cook County Jail? Participants consisted of six adult male residents. Other data sources included interviews with the class teacher, the jail administrator who implemented JGD USA, Billy Bragg (founder of the original JGD) and Wayne Kramer (founder of JGD USA). This study employed instrumental case study methodology in order to explore a real-world phenomenon of guitar instruction in jail. Data sources included observation, a focus group interview, four semi-structured phone interviews and examination of lyrics and chord structure. Data were coded for emergent themes. Analysis of data sources revealed themes of group dynamics, expression, flow and intrinsic motivation. Other findings included insights related to the benefits of guitar and songwriting instruction in correctional settings.
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Smith, Camille M. "Access to String Instruction in American Public Schools." Journal of Research in Music Education 45, no. 4 (December 1997): 650–62. http://dx.doi.org/10.2307/3345429.
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This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.
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Nichols, Jeananne, and Brian M. Sullivan. "Learning through dissonance: Critical service-learning in a juvenile detention center as field experience in music teacher education." Research Studies in Music Education 38, no. 2 (September 18, 2016): 155–71. http://dx.doi.org/10.1177/1321103x16641845.
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Though many pre-service music teachers have received exemplary instruction in their high school music programs, these programs may not be representative of the social, cultural, and economic diversity of their broader communities. This insularity may hinder their perceptions of their community as they step into an increasingly diverse school environment. The Champaign County Juvenile Detention Center (CCJDC) Arts Project was adopted as a critical service-learning course in order to introduce pre-service music teachers to students and ways of teaching that may be different from what they typically encounter through their university field experiences. Participants in the project designed and facilitated music and arts experiences with the incarcerated youth once per week over an entire semester. In this case study we examine the experiences of six pre-service music teachers who participated in the CCJDC Arts Project during 2012, looking for moments of “dissonance,” which Kiely defines as incongruities between participants’ past experiences and the challenging reality they encounter through the project. Entry into the facility, interactions with the youth at the facility, and the musical practices shaped by the needs of the facility all worked in tandem to challenge participants’ latent expectations and beliefs about their community, and to heighten their awareness of the sociocultural systems that shape their future students, their developing teaching practices, and their own privileged positions in school and society.
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Khosravishakib, Mohammad. "Essential of Cultural (literature, Art, Music, customs …) Negotiation as a Resources of Smart and soft Power in Age of Globalization." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 101. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.101.
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One imperative form of public negotiation and soft authority is cultural negotiation so that contains of concepts, facts, art and additional facets of culture between people in way to shared understanding. The determination of cultural negotiation is for external country to cultivate a considerate of the population's principles and organizations in determination to shape expansive maintenance for financial and administrative aims. Cultural negotiation could reveal the depth of a public; with the intention of in other opportunity generates encouragement and effects. It can suppose that cultural negotiation flask and does a significant character in accomplishing general security purposes. This cultural diplomacy conventionally has helped to accomplish affairs between positions and other gatherings by instructing and modeling external strategy, so as to eventually organizes and acquires detailed condition and benefits in the global ground. This paper will study the process of cultural cooperation witch has been developed to increase lenient control and take how cultural negotiation has improved to the contemporary world and also encourage greater association within the peoples of other countries.
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Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (March 28, 2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.
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The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
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Buonviri, Nathan O. "Successful AP Music Theory Instruction: A Case Study." Update: Applications of Research in Music Education 36, no. 2 (August 2, 2017): 53–61. http://dx.doi.org/10.1177/8755123317724326.
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The purpose of this case study was to examine the instructional approach of a highly successful Advanced Placement Music Theory teacher. I visited the participant’s class twice a week for 14 weeks, taking field notes, conducting interviews, and collecting instructional artifacts. Analysis of qualitative data revealed three main themes: classroom atmosphere, instructional strategies, and the Advanced Placement exam. The participant’s classroom atmosphere was built on effective pacing, student rapport, and an active, open learning environment. His instructional strategies included offering individual attention to students, asking questions to model thinking, and connecting sight to sound. He used the Advanced Placement exam as both an instructional guidepost and motivational tool. Implications for music educators include the need to focus on specific approaches conducive to successful theory teaching, which may share both similarities and differences with approaches they use when directing ensembles.
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신지혜. "A Study of Verbal Instruction and Modeling in Music Teaching." Journal of Future Music Education 1, no. 2 (December 2016): 39–56. http://dx.doi.org/10.36223/jnafme.2016.1.2.003.
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Rizqiani, Diyah Ayu. "LANGUAGE POLICIES IN THE FORMER COLONIZED COUNTRIES: A COMPARATIVE STUDY." UAD TEFL International Conference 1 (November 20, 2017): 154. http://dx.doi.org/10.12928/utic.v1.163.2017.
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Colonialism shapes the history of a country. The language policy of a former colonized country could be seen as a mirror to see the long history of colonialism. The colonizers have strong influence in establishing the education system and language instruction used at school. In this case, language as the important element in education system could be seen as manifestation of colonialism. The language instruction in the classroom is usually the official language of the country. Some former colonized countries proudly used English as academic language. On the other hand, there are other former colonized countries which use their indigenous language as the language instruction in the classroom. By comparing these two different language policies would also give different effects to their cultural and national identity. The aims of this paper are explaining the language policies, analyzing the effect of colonialism on education system, and describing the relation between language policy and nationalism.
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Salvador, Karen. "Assessment and individualized instruction in elementary general music: A case study." Research Studies in Music Education 41, no. 1 (May 3, 2018): 18–42. http://dx.doi.org/10.1177/1321103x18773092.
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Elementary general music teachers have differing perspectives on the meaning and value of assessment, and few studies have examined how the results of assessment are applied in the classroom. In this case study, I investigated how one elementary general music teacher used information from assessments to individualize instruction. Over the course of seven weeks of observation, think-alouds, interviews, and reading the teacher’s journals, I discovered that my guiding questions had implied a simplistic, linear relationship of assessment and differentiation of instruction—that assessment led to individualization. Rather than the direct relationship my questions anticipated, Ms. Stevens’ music teaching was more like a tapestry that included nearly omnipresent threads of assessment and individualized instruction—threads that were often so interwoven as to be somewhat indistinguishable. This article describes the reciprocal, spiraling, intertwined nature of individualized assessment, teaching, and learning in Ms. Stevens’ classroom. I also discuss the related emergent themes of normalizing independent musicking and structuring open-response activities, which were impacted and undergirded by Ms. Stevens’ beliefs regarding the musicality of all children and the purpose of music education.
Dissertations / Theses on the topic "Country music – Instruction and study"
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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.
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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.
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Jones, Jason David. "Elementary music teacher perception and instruction of subdivision| A mixed methods study." Thesis, The University of Texas at San Antonio, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10151305.
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The purpose of this mixed methods study was to explore elementary music teacher perspectives of subdivision and its instructional value in the general music classroom. This study aims to answer the questions: (a) How does the perceived definition of subdivision influence instruction? (b) How do elementary music teachers relate subdivision to other concepts? (e) How does training and professional development influence teacher perception? Elementary general music teachers (N=26) from an inner-city Title 1 school district in Central Texas participated in a descriptive survey. Results indicated that while participants explained that important relationship between subdivision and other concepts and marked it as extremely significant (88%), they ranked it seventh out of eight and allotted less than five minutes for instruction during lessons. In addition, the greatest influence on teacher perception of subdivision was the amount of training in Dalcroze Eurhythmics, Kodály and Orff Schulwerk, While Kodály teachers primarily related subdivision to rhythm, and thought that it was too complicated for young students, Orff and Dalcroze teachers were more likely to teach it in every concept. This study along with previously conducted studies suggest that elementary music teachers believe that subdivision aids in student learning. However, elementary music teachers appear to be hesitant to utilize subdivision during instruction.
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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.
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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Kertz, Marjorie I. "A gift of music." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/766.
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McMillan, James F. "The curricular dysfunction between the administration of instrumental music and suitability of teaching materials in English secondary schools /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65402.
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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.
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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Montocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.
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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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Newton, Mark Brian. "A remote interactive music keyboard tuition system." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1004860.
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A networked multimedia system to assist teaching music keyboard skills to a class is described. Teaching practical music lessons requires a large amount of interaction between the teacher and student and is thus teacher intensive. Although there is a range of computer software available for learning how to play the keyboard, these programs cannot replace the guidance of a music teacher. The possibility of combining the music applications with video conferencing technology for use in a keyboard class is discussed. An ideal system is described that incorporates the benefits of video conferencing and music applications for use in a classroom. A design of the ideal system is described and implemented. Certain design and implementation decisions are explained and the performance of the implementation examined. The system would enable a music teacher to effectively teach a music class keyboard skills.
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Glover, Richard. "Music of sustained tones." Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/9612/.
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This thesis accompanies the portfolio of compositions written between 2006 and 2010 and discusses both the overall theoretical concepts, and the specific musical tools, that lie behind their construction. Chapter 1 presents theories of perceptual grouping mechanisms and temporality in reductive music, and applies these to the transformational surface layer from the sustained tones in my music. The use of repetition and gradual process in my music is explored, leading to the application of a decentralised approach towards my structural models. The notion of a 'closure spectrum' contextualises my own music with others, and facilitates a discussion of the teleological nature of my music. Chapter 2 describes the tools which are used in the application of these concepts; in particular, the use of harmony, glissando, duration, use of instruments and notation are reviewed. The individual portfolio pieces are discussed in chapter 3, detailing the various employments of the these tools in different instrumental contexts. This chapter also demonstrates the overall refinement in my compositional approach which took place throughout the doctoral course: my gradual shift towards simpler processes, indeterminacy in notation, and extended note-duration. Less successful aspects of these pieces are also considered in the context of this evolution, along with those aspects which were retained and employed in future pieces. The conclusion evaluates the overall progression, and discusses areas for future development which have arisen from my own research through composition.
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Pruitt, Cenate. "Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11142006-165343/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Wendy Simonds, committee chair; Romney Norwood, Charlie Jaret, committee members. Electronic text (80 p.) : digital, PDF file. Description based on contents viewed June 26, 2007. Includes bibliographical references (p. 74-76).
Books on the topic "Country music – Instruction and study"
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Gindick, Jon. Country & blues harmonica for the musically hopelessful [sic]. [California?]: Blues Harmonica Jam Camp Press, 2011.
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Hansen, Jonathan. Mel Bay's Country piano photo chords. Pacific, Mo: Mel Bay Publications, 2006.
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Lindeen, Mary. Cool country music: Create & appreciate what makes music great! Edina, Minn: ABDO Pub., 2008.
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Lindeen, Mary. Cool country music: Create & appreciate what makes music great! Edina, Minn: ABDO Pub., 2008.
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Carr, Joe. Mel Bay's school of-- country guitar: Advanced rhythm, steel bends & hot licks. Pacific, MO: Mel Bay Publications, 2008.
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Steelman, Ray. Learn to play the harmonica Nashville style. New Market, Ala. (7249 Winchester Rd., New Market, Ala. 35761): Steelman Music Enterprises, 1991.
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Gerini, Glen. Guitar papers, the informed guitarist. Chicago, Ill. (4310 W. Marquette Rd., Chicago 60629): Triple G Music, 1986.
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Popular singing: A practical guide to pop, jazz, blues, rock, country and gospel. London: A. & C. Black, 2006.
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Robert, Kimball, and Emmet Linda, eds. The complete lyrics of Irving Berlin. New York: A.A. Knopf, 2001.
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Marques, Jaqueline Soares, and Jusamara Souza. "Musical formation of popular singers in Brazil: A case study with singers who sing in pairs música sertaneja – Brazilian country music." In Contemporary Popular Music Studies, 203–12. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_19.
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Peck, Reece. "Containing “Country Music Marxism”." In News on the Right, 47–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190913540.003.0003.
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This chapter tracks the populist stylistic resonances between country western music and Fox News Channel programming. Using country musician John Rich’s 2009 song “Detroit” as a case study, it demonstrates how Fox News employed a unique mix of tabloid aesthetics and populist epistemic appeals to conscribe potentially progressive interpretations of Rich’s song. In doing so, the chapter illuminates how Fox endows its conservative political news brand with affective power and social meaning. Tracking the migration of country style from the music sector to the news sector, it elucidates how political-taste alignments factor into conservative news cultures. The chapter concludes with a call for greater scholarly attention to the way conservative news actively partisanizes national taste divisions while relying on those very divisions in framing news coverage.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.
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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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Conway, Colleen M. "Teaching Applied Music." In Teaching Music in Higher Education, 193–208. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.003.0010.
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Chapter 10 is based on responses from applied music faculty around the country as well as responses from undergraduate students regarding applied lesson study. Quotes from both applied faculty and undergraduate students are included throughout the chapter. I have tried to represent the voice of the applied teacher in this chapter as a way of honoring the very specific culture that is created in each unique applied studio. Issues presented include scheduling logistics, pianists, choosing repertoire and materials, juries and auditions, practicing and motivation. Stories written by applied faculty as well as students from around the country are used to illustrate the characteristics of successful applied teachers.
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Buhari-Gulmez, Didem. "Rap Music in Turkey." In Advances in Media, Entertainment, and the Arts, 204–20. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1986-7.ch011.
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Benefiting from the theoretical debate between grobalization and glocalization, this chapter aims to shed light on the emerging role of rap music as an alternative venue for political communication in a polarized country, Turkey. The chapter will discuss the political contributions of the selected underground Turkish rappers – Norm Ender, Sagopa Kajmer and Rapzan Belagat – on the public debate in the country about identity, human rights, and other socio-political issues that go beyond the traditional “Kemalist versus Kurdish”, “Kemalist versus Islamist”, and “Islamist versus Kurdish” divide. This study suggests that the Turkish rap and its varieties reflect a complex set of interactions between the local and the global in line with the glocalization approach.
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Korngold, Erich Wolfgang, and David Brodbeck. "Recollections of Zemlinsky from My Years of Study." In Korngold and His World, translated by Elisabeth Staak and David Brodbeck, 193–200. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.003.0008.
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This chapter contains Erich Korngold's personal reflections on his former teacher, Alexander Zemlinsky. Zemlinksy was an Austrian composer and conductor who enjoyed an outstanding reputation as a private music teacher in late Habsburg Vienna. He is perhaps best remembered in this capacity for the counterpoint instruction he gave to his future brother-in-law Arnold Schoenberg. For a brief time, beginning in 1900, Zemlinsky taught Alma Schindler, with whom he had a love affair in the period before she began the relationship that would lead, in March 1902, to her marriage to Gustav Mahler. Among the last—and certainly the most precocious—of Zemlinsky's Viennese students was Erich Wolfgang Korngold, whose lessons were initiated in 1908 and continued for upward of two years until Zemlinsky departed Vienna to become the music director of Prague's New German Theater.
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Marevesa, Tobias, and Esther Mavengano. "Investigating the Readiness of a Developing Country to Adopt Blended Learning as a Pedagogical Approach During the COVID-19 Pandemic." In Re-Envisioning and Restructuring Blended Learning for Underprivileged Communities, 240–53. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6940-5.ch013.
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Face-to-face as a model of instruction is most preferred by instructors in Zimbabwe and particularly those at Great Zimbabwe University. Lecturers at this institution feel more comfortable and confident delivering their content through lectures. Therefore, the transformation from face-to-face instruction to blended learning is a challenge that requires serious academic conversations. Knowles' adult learning theory is utilised in this study to interrogate the preparedness and readiness of both staff and students at the Great Zimbabwe University to pave the way for a pedagogical shift from face-to-face instruction to blended learning in the context of COVID-19 pandemic. The major contention in this study is that the conception of blended learning and its didactical and pedagogical approach is still a problematic transition for instructors at the Great Zimbabwe University. It was concluded that while this may be the case, blended learning could still be a panacea to the problems of the outbreak of coronavirus disease.
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Jackson, B. Jane. "Encountering Unfamiliar Educational Practices Abroad." In Handbook of Research on Study Abroad Programs and Outbound Mobility, 137–62. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0169-5.ch006.
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As internationalization efforts intensify across the globe, the number of students who are studying outside their home country for part of their tertiary education has increased significantly. The vast majority of students from East Asian nations (Hong Kong SAR, Japan, Korea, Macau SAR, Mainland China, and Taiwan) study in a second language while abroad, with English the most common medium-of-instruction. As institutions of Higher Education (HE) in other regions compete for students from this part of the world, increasingly, questions are being raised about what students gain from outbound mobility programs. Scholars have drawn attention to the need for systematic empirical research that critically examines the experiences of student sojourners in order to determine the most effective ways to support and enhance their learning (e.g., linguistic, cognitive, social, academic, (inter)cultural, and professional).
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Akutsu, Taichi, Kazuya Amano, Kimie Hirahara, Kumiko Kishi, Eriko Osuga, Hirotaka Terada, and Machiko Yoda. "Bring the Power of Music Into Education." In Advances in Early Childhood and K-12 Education, 19–35. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch002.
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This study aims to utilize music to improve learners' motivation, communication, as well as all subject matters other than music, and to nurture human resources that will contribute to the creation of “symbiosis” society. By creating a new teaching learning model for recurrent education for in-service P-12 teachers in Japan, the study specifically presents several model classes to let the participating teachers plan the “Utilizing Music.” For training, they use active learning methods such as PBL with core communication among students. The data were gathered by asking all of the participants to answer an open-ended questionnaire after each session and to analyze their sample lesson plans after they received the instruction. Findings suggests that there were certain resistances in teachers to change their teaching to be more interdisciplinary and shifted to kyosei-based; however, most of the participants absorbed the proposed idea and created lessons in a new direction.
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Dos Santos, Luis Miguel. "How Do International Students Study for Their University Degree Programme Using Technologically-Assisted Tools and Platforms?" In Advances in Educational Marketing, Administration, and Leadership, 140–61. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8279-4.ch009.
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Due to the current education trend, many students, including traditional-age, non-traditional, returning, evening, and adult students, move from traditional on-campus study to distance learning and online education. The current COVID-19 pandemic offers opportunities for these colleges and universities to expand their channel to international students who cannot come on-campus due to the recommendation of social distancing and the self-quarantine policy. However, it is important to capture the students' comments and opinions, particularly international students who are looking for the living experience in an overseas country. With the tools of qualitative inductive survey and interview sessions, the researcher collected 63 valid data from the Chinese international students. This study provided the blueprint for school leadership, department heads, policymakers, faculty members, and students who are interested in reforming the current curriculum and instruction.
Conference papers on the topic "Country music – Instruction and study"
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Lou, Shi-Jer, Yi-Zhen Zhu, Kuo-Hung Tseng, Yuan-Chang Guo, and Ru-Chu Shih. "A Study of Computer-Assisted Instruction on Music Appreciation: An Example of Chinese Musical Instruments." In 2009 Ninth IEEE International Conference on Advanced Learning Technologies (ICALT). IEEE, 2009. http://dx.doi.org/10.1109/icalt.2009.62.
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Jayanti, Ova, and Rosmawati Lubis. "Murottal Music on Dysmenorrhea Pain Among Students in Madrasah Aliyah Sultan Hasanudin, South Jakarta." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.05.
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ABSTRACT Background: The incidence of dysmenorrhea is more than 50% among women in every country. In the United States, an average of 60% with the highest prevalence of dysmenorrhea is among adolescent girls, 15% of whom have severe dysmenorrhea. Dysmenorrhea that is not treated properly can interfere with daily activities. Non-pharmacological handling by listening to murottal music can cause the brain to emit theta waves which cause a sense of calm. This study aimed to examine the murottal music on dysmenorrhea pain among students in Madrasah Aliyah Sultan Hasanudin, South Jakarta. Subjects and Method: This was an experimental study with one group pretest-posttest designs. Total of 32 students were enrolled in this study. The dependent variable was dysmenorrhea pain. The independent variable was murottal music. The data were analyzed using Wilcoxon Test. Results: Before the murottal music intervention, 16 students (50%) had mild pain, 12 students (37.5%) felt moderate pain, and 4 students (12.5%) felt severe pain. After the murottal music intervention, 29 out of 32 students felt pain decreased, the intensity felt was in a state of not pain to moderate pain, and it was statistically significant (p<0.001). Conclusion: The murottal music decrease the dysmenorrhea pain among students in Madrasah Aliyah Sultan Hasanudin, South Jakarta. Keywords: adolescents, dysmenorrhea, murottal music Correspondence: Ova Jayanti. Department of Health Sciences, Universitas Nasional Jakarta, Indonesia. DOI: https://doi.org/10.26911/the7thicph.05.05
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Moreira, Darlinda, and Gabriel Antão. "“Nobody is strange”: mobility and interculturality in higher education from the viewpoint of a group of Portuguese international music students." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5329.
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The benefits of mobility are often related to the development of skills and competences on the adaptation to new environments and organizational forms, foreign languages, and cultures in general. In the specific case of the international students, mobility enhances the view of the institution of higher education as a global and intercultural learning space, which promotes the exchange of ideas, resources and opportunities for experimentation, global citizenship and professional opportunities. Nowadays we assist to a rising number of international students, a fact that deserves special attention and makes us turn our interest to what our own (Portuguese) international students believe as being important not only in their actual experience, but also relevant in its intercultural dimension and their academic and professional success. Henceforth, after theoretical considerations about mobility and the intercultural experiences amidst the internationalization of higher education institutions, our communication presents part of the results of a broader study focused on viewpoints and perspectives of a group of Portuguese international music students, about their intercultural experience in a foreign country ant its relationship with academic success.
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Kedar, Amir, Sander Sein, Naida Ademović, Panagiotis Panetsos, Pavel Ryjáček, Amos Duke, and José C. Matos. "Developing case studies for implementing COST TU1406 Quality Control plan procedure for typical highway bridges." In IABSE Symposium, Guimarães 2019: Towards a Resilient Built Environment Risk and Asset Management. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/guimaraes.2019.0531.
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<p>An extensive work was done by COST TU1406 working groups (WG) 1,2 and 3 for preparing a guidance document for Quality Control Plan (QCP) of road bridges. WG 1, 2 and 3 reports named 'Performance Indicators for Roadway Bridges', 'Performance Goals for Roadway Bridges' and 'Establishment of a quality control plan' are already published. Based on these documents and the work done to-date, a new procedure for implementing the developed guidelines for the preparation of QCP for roadway bridges was developed by WG4 members in order to unify the method used and to validate the outcomes of the developed QCP. At the first stage, a set of common highway bridge prototypes were identified including girder, frame, arch and truss bridges. A database was created where each participating country has identified local bridges for developing of the case studies. Nine out of sixty bridges where selected for the first stage of preparing an example of QCP and the case study reports were compared with an objective to validate the outcomes. A guideline document was prepared with unified instruction on how to develop the national case study per country. The typical case study includes few stages which are defined based on the work done by WG1, 2 and</p><p>3. The stages includes data collection, element identification and grouping, defining vulnerable zones, damage processes and failure modes, selecting and evaluating performance indicators (PIs) and calculating key performance indicators (KPIs), establishing demands, creating QCP scenarios and comparing them by spider diagrams. First outcomes of the prototypes case study reports are now being updated to reflect the final version of WG3 report and together with the guidelines document will be distributed among participating countries to enable the benchmarking process for the full set of bridges representing Europe common highway bridge topologies.</p>
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Reed, Shad A., Bret P. Van Poppel, and A. O¨zer Arnas. "An Undergraduate Fluid Mechanics Course for Future Army Officers." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45422.
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The mission of the United States Military Academy (USMA) is “To educate, train, and inspire the Corps of Cadets so that each graduate is a commissioned leader of character committed to the values of Duty, Honor, Country; professional growth throughout a career as an officer in the United States Army; and a lifetime of selfless service to the nation.” [1] The academic program at the USMA is designed to meet the intellectual demands of this mission statement. One very unique aspect of this academic program is the requirement that each cadet take a minimum of five engineering courses regardless of his or her major or field of study. Because of this requirement, nearly one-third of every graduating class take Fluid Mechanics. The Fluid Mechanics course taught in the USMA’s Department of Civil and Mechanical Engineering differs from others throughout the country for two primary reasons: 1) Within every class there is a mixture of cadets majoring in engineering and those who are in other majors, such as languages, history, and political science, 2) Each cadet will be commissioned as a Second Lieutenant in the United States Army immediately upon graduation, [2] and [3]. In this course cadets learn about fluid mechanics and apply the principles to solve problems, with emphasis placed upon those topics of interest to the Army and Army systems that they will encounter as future officers. The course objectives are accomplished through four principal methods. The first is through engaging, interactive classroom instruction. Cadets learn about the principles of fluid statics, conservation laws, dimensional analysis, and external flow; specialized topics, such as compressible flow and open channel flow have also been integrated. The second method is through hands-on laboratory exercises. Pipe friction, wind tunnels, and smoke tunnels are examples of laboratories in which cadets take experimental measurements, analyze data, and reinforce concepts from the classroom. The third method occurs in the “Design of an Experiment” exercise. In groups, cadets design their own experiment—based upon an Army parachutist—that will predict the coefficient of drag of a parachute system. The fourth method is a hands-on design project that culminates in a competition. In teams, cadets build a water turbine to lift a weight on a pulley from ground level to a designated height. Competition categories include the torque competition, in which maximum lifted weight determines the winner and the power competition judged by minimum time to lift a designated weight. This project, implemented within the curriculum prior to formal instruction on the design process, requires cadets to develop their own design process through analysis, experimentation, and trial and error.
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Albert, Blace C., and A. O¨zer Arnas. "Integration of Gas Turbine Education in an Undergraduate Thermodynamics Course." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30153.
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The mission of the United States Military Academy (USMA) is “To educate, train, and inspire the Corps of Cadets so that each graduate is a commissioned leader of character committed to the values of Duty, Honor, Country; professional growth throughout a career as an officer in the United States Army; and a lifetime of selfless service to the nation.” [1] In order to accomplish this mission, USMA puts their cadets through a 47-month program that includes a variety of military training, and college courses totaling about 150 credit-hours. Upon completion of the program, cadets receive a Bachelor of Science degree and become Second Lieutenants in the United States Army. A very unique aspect of the academic program at USMA is that each cadet is required to take a minimum of five engineering classes regardless of their major or field of study. This means that about 500 cadets will have taken the one-semester course in thermodynamics. The thermodynamics course taught at USMA is different from others throughout the country because within every class there is a mixture of cadets majoring in engineering and those that are in other majors, i.e. languages, history [2]. Topics on gas turbine machinery have been integrated into this unique thermodynamics course. Because the cadets will encounter gas turbines throughout their service in the Army, we feel that it is important for all of the students, not just engineering majors, to learn about gas turbines, their operation, and their applications. This is accomplished by four methods. The first is in a classroom environment. Cadets learn how actual gas turbines work, how to model them, and learn how to solve problems. Thermodynamics instructors have access to several actual gas turbines used in military applications to aid in cadet learning. The second method occurs in the laboratory where cadets take measurements and analyze an operational auxiliary power unit (APU) from an Army helicopter. The third method occurs in the form of a design project. The engineering majors redesign the cogeneration plant that exists here at West Point. Many of them use a topping cycle in this design. The final method is a capstone design project. During the 2001–02 academic year, three cadets are improving the thermodynamic laboratories. Among their tasks are designing a new test stand for the APU, increasing the benefit of the gas turbine laboratory through more student interaction, and designing a web-based gas turbine pre-laboratory instruction to compliment the actual laboratory exercise.
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Aydın Akaydın, Ayşegül. "Online Instagram Concerts and Changing Perception of Space During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.026.
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COVID-19 (coronavirus), which emerged in Wuhan, China, spread all over the world in a short time. World Health Organization (WHO) declared a pandemic on the 11th of March 2020, when the first case was seen in Turkey. According to the data of the World Health Organization, the COVID-19 virus has been seen in 114 countries and 4,291 people have died so far. Strict measures began to be taken in our country after the case was seen. First of all, schools were provided for online education transition. Later, entertainment venues were closed, and sports matches were suspended. As a result, during the pandemic period, various events, especially concerts, were broadcasted online on different platforms such as YouTube, Instagram, and Facebook. In this study, online Instagram concerts in the period of April-May 2020, by the time the cases first increased in Turkey, will be examined. The transformation of the concept of space has accelerated with the pandemic period. This transformation acting based on the assumption that music concerts, where concrete space is significant, are separated from time and space with new media technologies. Henri Lefebvre's concept of space is emphasized, and the decentralization of concert venues is explained over the concept of time, and space of flows proposed by Manuel Castells. In the study, a focus group study was conducted with 8 people who attended Instagram concerts in the specified time interval, and the data obtained were compared with the theoretical level and tried to be verified.
Reports on the topic "Country music – Instruction and study"
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Atuhurra, Julius, and Michelle Kaffenberger. System (In)Coherence: Quantifying the Alignment of Primary Education Curriculum Standards, Examinations, and Instruction in Two East African Countries. Research on Improving Systems of Education (RISE), December 2020. http://dx.doi.org/10.35489/bsg-rise-wp_2020/057.
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Improvements in instructional coherence have been shown to have large impacts on student learning, yet analysis of such coherence, especially in developing countries and at a systems level, is rare. We use an established methodology, the Surveys of Enacted Curriculum (SEC), and apply it to a developing country context to systematically analyze and quantify the content and coherence of the primary curriculum standards, national examinations, and actual teaching delivered in the classroom in Uganda and Tanzania. We find high levels of incoherence across all three instructional components. In Uganda, for example, only four of the fourteen topics in the English curriculum standards appear on the primary leaving exam, and two of the highest-priority topics in the standards are completely omitted from the exams. In Tanzania, only three of fourteen English topics are covered on the exam, and all are assessed at the “memorization” level. Rather than aligning with either the curriculum standards or exams, teachers’ classroom instruction is poorly aligned with both. Teachers tend to cover broad swathes of content and levels of cognitive demand, unrelated to the structure of either the curriculum standards or exams. An exception is Uganda mathematics, for which standards, exams, and teacher instruction are all well aligned. By shedding light on alignment deficits in the two countries, these results draw attention to a policy area that has previously attracted little (if any) attention in many developing countries’ education policy reform efforts. In addition to providing empirical results for Uganda and Tanzania, this study provides a proof-of-concept for the use of the SEC methodology as a diagnostic tool in developing countries, helping education systems identify areas of instructional (in)coherence and informing efforts to improve coherence for learning.
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Komba, Aneth, and Richard Shukia. Accountability Relationships in 3Rs Curriculum Reform Implementation: Implication for Pupils’ Acquisition of Literacy and Numeracy Skills in Tanzania’s Primary Schools. Research on Improving Systems of Education (RISE), March 2021. http://dx.doi.org/10.35489/bsg-rise-wp_2021/065.
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This study responded to one key research question: What are the accountability relationships between the actors in implementing the 3Rs curriculum reform? A qualitative research approach informed the study, using key informant interviews, focus group discussion and document review. The data were analysed using thematic and content analysis. The study established that the key actors in implementing the 3Rs curriculum are the government institutions and the development partners. These actors provide teaching, learning materials and support in the provision of in-service teacher training. Yet, the pupils’ and teachers’ materials prepared by the donor programmes were never authorised by the Commissioner for Education. The study also found that the implementation of the 3Rs was very uneven across the country, with some regions receiving support from both the government and donors, and others receiving support from the government only. Consequently, schools in areas that were exposed to more than one type of support benefited from various teaching and learning materials, which led to confusion regarding when to use them. Moreover, the initiatives by several donors exclusively focus on public schools, which use Kiswahili as the medium of instruction and hence, there existed inequality across the various types of schools. Furthermore, the funds for implementing the reform were provided by both the development partners and the government. The Global Partnership for Education (GPE)—Literacy and Numeracy Education Support (LANES) Program— provided a large proportion of the funds. However, the funds remained insufficient to meet the training needs. As a result, the training was provided for only few days and to a few teachers. Consequently, the sustainability of the reform, in the absence of donor funding, remains largely questionable.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.