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1
Whalley, Ian. "Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification." Organised Sound 20, no. 1 (March 5, 2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.
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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. These streams will increase rapidly with the expansion of the Internet of Things (IoT), and with the increasing deployment of algorithmic decision-making and machine learning software. While collated data streams, such as news feeds, are often rendered visually, they are also partly interpreted through embodied cognition that is similar to music and sonic art interpretation. A meeting point for telematic electroacoustic music and real-time data sonification is in affective composition/performance models and data sonification. These allow for the sonic exploration of participants’ place in a matrix of increasingly networked relationships.
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OSTASHEWSKI, MARCIA, SHAYLENE JOHNSON, GRAHAM MARSHALL, and CLIFFORD PAUL. "Fostering Reconciliation through Collaborative Research in Unama’ki: Engaging Communities through Indigenous Methodologies and Research-Creation." Yearbook for Traditional Music 52 (November 2020): 23–40. http://dx.doi.org/10.1017/ytm.2020.7.
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AbstractThis article documents relationships, strategies, and activities involved in developing and carrying out collaborative community-engaged research for reconciliation, based on Indigenous methodologies and research-creation. It documents an example of Indigenous/non-Indigenous collaboration in Unama’ki (also known as Cape Breton, Canada), providing data towards the refinement of models of research designed to foster reconciliation, and contributing to a literature on Indigenous/non-Indigenous collaborations in ethnomusicology and related fields. While revealing some challenges in the process with respect to addressing local needs, it also describes transformations that can be achieved through effective collaboration, including ways in which universities can be involved.
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DE GROOT, ROKUS. "Jonathan Harvey's Quest of Spirit through music." Organised Sound 5, no. 2 (August 2000): 103–9. http://dx.doi.org/10.1017/s1355771800002077.
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In this review of Jonathan Harvey's In Quest of Spirit: Thoughts on Music, special attention is given to the question of how the musical domain may be related to the spiritual one, e.g. by representation (‘giving a picture’, ‘portrayal’), symbolism, parallelism, mediation and ‘overlap’. Harvey's sources and personal experiences are discussed, and the relationships between the different parts the author plays in his book assessed: the spiritual seeker, the thinker about music, and the composer. A possible conflict between spiritual search and professional music composition is pointed out, given an implicit tendency in the former to surrender, and in the latter to mastery and control. One of the questions looked into is how music, especially by articulating contrasts, may convey insight into ‘unity’. Other issues discussed are the possible addiction to music as a spiritual means at the expense of the spiritual quest itself; the alleged special role of electronics and spectrality in the composition of spiritual music; the possibility of developing spiritual listening; and possible modernist overtones in the notion of making progress as a composer while mediating spiritual insights and experiences.
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Rohwer, Debbie. "A narrative investigation of adult music engagement." International Journal of Music Education 35, no. 3 (September 19, 2016): 369–80. http://dx.doi.org/10.1177/0255761416667466.
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The purpose of the current study was to describe the musical life experiences of an active, adult community musician through a narrative investigation. Jon is a musically-engaged retired instrumentalist who shares a trust and respect relationship with the researcher. Through data sources of observations, interviews, emails, journals, and pictures, the story of Jon’s musical past and present was portrayed. Jon has a past as a developing musician who had an extensive family background and support system in music; his present represents a dedicated musician who takes on varied roles across ensembles, and who collaborates with others in musical relationships. This story of an engaged musician in the community may have implications for community musicians and teachers.
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Sudarman, Yos, and Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, no. 1 (March 17, 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.
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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu
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[宁颖], Ning Ying. "Developing a Sense of Place through Minorities' Traditional Music in Contemporary China." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 81–92. http://dx.doi.org/10.30819/aemr.6-6.
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Looking back over the past nearly 70 years since the People’s Republic of China was established, it seems that the meaning of ‘place’ has varied and changed, especially since the turn of the millennium. ‘Place’ usually refers to a specific geographical area, but it can also reference an imagined space – that is, a sense of place is assembled through experience, feeling, perception and identification. To date, Chinese scholars have paid more attention to the close relationship between traditional music and its locale, or the place in which its original owners resided, but there has been little research that moves beyond a geographical conceptualization. However, the dimensions of place in China are more complex when we consider ethnic minorities rather than the majority Han Chinese: minority musicians represent themselves through their music, while the central government emphasizes the integration of diverse cultures within the Chinese nation. Representations of place, and how these relate to music, therefore differ. This chapter examines, using Feld’s and Basso’s (1996) term, what the ‘sense of place’ is for minority musicians, and how within contemporary China musicians and the state have developed different ‘senses of place’.
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Whittam, Julian. "Music, Multimedia and Spectacle: The one-man band and audience relationships in the digital age." Organised Sound 20, no. 3 (November 16, 2015): 349–56. http://dx.doi.org/10.1017/s135577181500028x.
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The one-man band is a highly performative musical practice which combines visual spectacle and musical production. As digital and electronic technologies play an increasingly important role in our lives and change the ways in which music is produced, performed and consumed, the traditional one-man band with a bass drum on his back and cymbals between his knees provides an interesting model through which to examine both our relationship with technology and the importance of embodiment and visual spectacle in developing and maintaining audience/performer relationships. Furthermore, for digital performance artists, the model of the traditional one-man band can provide interesting inspiration for new works.
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Melhuish, Ruth, Catherine Beuzeboc, and Azucena Guzmán. "Developing relationships between care staff and people with dementia through Music Therapy and Dance Movement Therapy: A preliminary phenomenological study." Dementia 16, no. 3 (July 26, 2016): 282–96. http://dx.doi.org/10.1177/1471301215588030.
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Background There is an increasing focus on providing effective psychosocial interventions to improve quality of life in dementia care. This study aims to explore the attitudes and perceptions of staff who participated regularly in Music Therapy (MT) and Dance Movement Therapy (DMT) groups for residents with dementia in a nursing home. Method In-depth interviews were conducted with seven members of care home staff. Data were analysed using interpretative phenomenological analysis. Results A representation modelling the impact of MT and DMT in a nursing care home. Three main themes were identified. 1) Discovering residents' skills and feelings; 2) Learning from the therapists to change approaches to care practice with subthemes: time, space and pace, choice, following the residents' lead; 3) Connection between staff and residents. Conclusion The model indicated that both interventions performed in parallel helped staff to discover residents' skills and feelings. Although it is a small sample size, this study strongly suggests that MT and DMT can have a positive influence in helping care staff to provide a meaningful care environment.
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de Bruin, Leon Rene. "Shaping interpersonal learning in the jazz improvisation lesson: Observing a dynamic systems approach." International Journal of Music Education 36, no. 2 (July 13, 2017): 160–81. http://dx.doi.org/10.1177/0255761417712318.
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Music institutions predominantly utilize the one-to-one lesson in developing and supporting music students’ learning of skill and knowledge. This article explores the effect that interpersonal interaction plays in shaping pedagogical applications between teacher and student. Observing the learning of improvisation within this individualized social context, dynamic systems theory (DST) is used to explore how learning and development of musical improvisation skills are shaped by interpersonal behaviors and learning relationships. Through the dimensions of teacher “action” and “affiliation”, this phenomenological study investigates the interactive behaviors of five expert Australian educator/improvisers and their students. Interpretative phenomenological analysis is utilized to identify modes of behavioral interactions that evolve through dynamic and fluid interplay. Interactive behavior positions and facilitates the delivery of skill, knowledge, teacher attitudes and understandings of the improvisation process. An interpersonal model of behaviors within the instrumental music lesson is posited, and implications for ongoing critical reflection of interpersonal and pedagogical approaches in the one-to-one context are suggested.
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Tripathy, Manaswini, and Mithunchandra Chaudhari. "The Impact of Rock Music on Indian Young Adults: A Qualitative Study on Emotions and Moods." Revista Gestão Inovação e Tecnologias 11, no. 4 (September 16, 2021): 5361–74. http://dx.doi.org/10.47059/revistageintec.v11i4.2566.
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Music has proven to play a vital role in social and emotional development in teenagers and young adults. From contemplation, developing self-identity, understanding interpersonal relationships, and providing possibilities of experience mastery, agency, and self-control with the help of self-directed activities, music helps its audience develop in all aspects of life. In specific, Rock music, since its existence has been more than entertainment, artists expressed themselves and shared their opinions through their musical pieces. Infamous for promoting drugs and alcohol, Rock Music used its platform to enlighten the audience about taboo topics like racism, inequality, and other social issues. This research paper uses a qualitative methodology approach to understand Rock Music listeners’ points of view. Data was collected through ‘in-depth interviews’ of 15 participants hailing from different parts of the country. Rock Music has several positive effects on the listeners. Rock can elevate moods, induce emotions, helps the listeners be more productive and creative with their everyday work, and constantly motivate them to do better in every aspect of life. Rock provides a platform to express feelings and vent out all the angst, especially for those who otherwise do not voice their opinions because of their nature in general. Rock Music has been able to shape personalities, characteristics, and thought processes. Moreover, majorly, Rock Music helps people with anger management.
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Haddon, Elizabeth, and Mark Hutchinson. "Empathy in Piano Duet Rehearsal and Performance." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 140. http://dx.doi.org/10.18061/emr.v10i1-2.4573.
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The multiple definitions of empathy (Batson, 2011) suggest that despite attempts to rationalize terminology its nature might only be understood by those engaged in particular relational experiences. In music, these include the dimensions of co-player relationships as well as empathy concerning the actual piece of music being rehearsed or performed (Laurence, 2009). This article explores the concept of empathy within the construct of the piano duet. Analysis of data created through reflective writing following each of eight rehearsals revealed bodily, verbal, emotional and cognitive empathy concerning increasing instinctive understanding and tacit communication, unspoken conflict resolution, and the development of creative empathy in relation to the piece of music being rehearsed. The findings highlight the importance of empathy in developing fluidity of roles in rehearsal and in the creation of a “safe space” for musical collaboration.
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O’Dair, Marcus, and Robyn Owen. "Monetizing new music ventures through blockchain: Four possible futures?" International Journal of Entrepreneurship and Innovation 20, no. 4 (February 14, 2019): 263–76. http://dx.doi.org/10.1177/1465750319829731.
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The article examines the rapidly developing area of blockchain finance as a potential opportunity for new creative ventures to obtain external investment funding and generate revenues. We focus on the music industry, as an example of how alternative Internet-based finance utilizing blockchain could provide opportunities for start-up funding and ongoing revenue streams. Our pioneering pilot research findings are drawn from literature review and emerging case studies, and are grounded in the academic literature of start-up funding gaps. Although some expect blockchain technology to remove intermediaries, facilitating a direct relationship between artist and fan, initial findings are that intermediation in some form will remain. The article’s central focus is the crucial emerging role of these facilitator organizations – the new breed of financial intermediaries or ‘infomediaries’. We examine this evolving process through adoption and development of financial intermediation theory, exploring the wider financial intermediary concept of incubators and accelerators as expert investors and promoters of new and very early-stage ventures – including artists. The article poses the question of whether blockchain technology offers a new, more cooperative approach for creative ventures, or merely the reinvention of existing corporate structures, for instance, the three major record labels that currently dominate recorded music. The article identifies four possible paths for the adoption of blockchain technology within the music industry, ranging from the anarcho-libertarian to the corporate and from the ‘utopian’ to the ‘dystopian’.
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Yiu-Wai, Chu. "Developing Local Popular Songs in Hong Kong: A Study of the All Cantonese Pop Music Station Format." Media International Australia 105, no. 1 (November 2002): 147–62. http://dx.doi.org/10.1177/1329878x0210500118.
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Taking the case of the All Cantonese Pop Music Station, launched by Commercial Radio of Hong Kong in the late 1980s, this paper investigates the intricate relations among cultural policy, broadcasting institutions and the music industry. Through analysis of this empirical case, the complex relationship between cultural policy and the development of local pop songs is also examined. The major theoretical thrust tackles the important question of whether protective cultural policies are culturally limiting or integral to creating discursive space for indigenous culture to develop.
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Rosmiati, Ana. "Teknik Stimulasi dalam Pendidikan Karakter Anak Usia Dini melalui Lirik Lagu Dolanan." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 71–82. http://dx.doi.org/10.24821/resital.v15i1.801.
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Media musik melalui lirik lagu dolanan anak dapat membantu pembentukan karakater padaanak usia dini. Anak-anak dapat merasakan kehadiran musik sebagai sarana untuk menemani aktivitasdalam bermain. Teknik stimulasi melalui media musik ternyata memiliki dampak positif dalamperkembangan pembentukan emosional anak. Anak-anak bisa terkontrol emosinya dari kebiasaanyang tidak baik. Penelitian ini memakai teknik stimulasi melalui pemaknaan lirik lagu dolanan anakyang dapat membentuk karakter anak pada usia dini. Penelitian ini menggunakan metode deskriptifkualitatif yang mendeskripsikan secara sistematis, faktual dan akurat mengenai fakta-fakta, sifat, sertahubungan antara fenomena yang diselidiki. Penelitian ini mengidentifikasikan contoh pemaknaanlagu dolanan anak yang dapat membantu dalam pembentukan karakter pada anak-usia dini. Anakdapat menggali nilai-nilai kehidupan dari makna pada lirik lagu dolanan berupa nilai pendidikan,pengetahuan, religius, sosial, dan budaya.The Stimulation Technique on the Character Education of Early Age Children through theLyrics of Children’s Song. The music media through the children’s song lyrics can help building the childrencharacter of the early age children. Children can feel the presence of the music as the media for accompanyingthe children’s play activities. The stimulation technique through the music media, in fact, has the positiveimpact in developing the children emotional building. The children are able to control their emotion awayfrom the bad habits. The aim of the research is to find the appropriate stimulation technique through theunderstanding of the children’s song lyrics which can be used to build children character in the early age.This research uses a qualitative descriptive method describing systematic, factual, and accurate informationon the facts, nature, and the relationship between the phenomena investigated. The result of the researchhas been identified by some examples of children’s songs which can help children in their character buildingsince the early age. Children can explore their values of life from the meanings on the children’s song lyricswhich consist of values on education, knowledge, religious, social, and culture.
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de Bruin, Leon R., Paul Williamson, and Emily Wilson. "Apprenticing the jazz performer through ensemble collaboration: A qualitative enquiry." International Journal of Music Education 38, no. 2 (December 11, 2019): 208–25. http://dx.doi.org/10.1177/0255761419887209.
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The one-to-one teacher–student relationship is a common learning configuration within jazz education. However, opportunities to learn through engagement in ensemble performances and industry-level recording opportunities with esteemed jazz performers are rare classroom environments the tertiary jazz music institutions offer. This qualitative study examines ‘real-world’ jazz performance contexts within an Australian tertiary music course, exploring students’ learning experience spanning three diverse collaborative projects. Bandura’s Social Cognition Theory is utilized to elucidate an ecological system of musical development, where learning occurs in a social context within dynamic, reciprocal interactions between learners, environment and students’ adaptive behaviours that are bounded by context, culture and learner history. Findings from pre- and post-participation interviews reveal student and educator perspectives of engaging in authentic experiential learning situations. A stratum of positive influences impacting students included metacognitive, behavioural, emotional affordances, as well as the cultivation of a wider social, environmental and cultural/creative confidence and an expanding collaborative community influencing individuals’ learning decisions. Students and educator participants expressed professional-level expectations, real-world outcomes, and a deeper musical connection and understanding by students of the guest artist/composers’ intention, musical aesthetic and expert band direction. The authors maintain that inclusion of experience-based education and embedding of authentic professional industry experience and creative music-making contexts within educational settings enhance the learning of students and potentially enculturate richer musicianship in students and their developing creative communities.
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Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan." Religions 12, no. 9 (September 13, 2021): 759. http://dx.doi.org/10.3390/rel12090759.
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In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, while also developing novel sensibilities, behaviors, and understandings of Buddhist religiosity that are articulated by global trends in secularism, popular music, and ‘spirituality’. I suggest that they show institutionally marginal but publicly significant transformations in affective relationships with Buddhist religious content in Japan through the mediation of musical sound, which I interpret as indicative of an emerging “structure of feeling”. Overall, this essay demonstrates how articulating the rite of sutra recitation with modern music technologies, including samplers, electric guitars, and Vocaloid software, can generate novel, sonorous ways to experience and propagate Buddhism.
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Kardamis, Kostas. "From Popular to Esoteric: Nikolaos Mantzaros and the Development of his Career as a Composer." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 101–26. http://dx.doi.org/10.1017/s1479409811000085.
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Nikolaos Halikiopoulos Mantzaros (1795–1872) was a noble from Corfu and is better known today as the composer of the Greek national anthem. However, recent research has proved his importance as a teacher and as one of the most learned composers of his generation, renowned, in Italy and France as well as Greece.The aim of this article is to present Mantzaros’ developing relationship as dilettante composer to the emerging European nineteenth-century music and aesthetics, as featured through his existing works and writings. In his early works (1815–27) Mantzaros demonstrates a remarkable creative assimilation of late eighteenth- and early nineteenth-century operatic idioms, whereas his aristocratic social status allowed him an eclectic relationship with music in general. From the late 1820s, Mantzaros also began setting Greek poetry to music, in this way offering a viable solution to the demand for ‘national music’.From the mid-1830s onwards, Mantzaros’ already existing interest in Romantic idealism was broadened, affecting his work and thoughts. He stopped composing opera-related works and demonstrated a dual attitude towards music. On the one hand he continued composing popular music for the needs of his social circle, but on the other he developed an esoteric creative relationship with music. The latter led him as early as the 1840s to denounce the ‘extremities of Romanticism’ and to seek the musical expression of the sublime through the creative use of ‘the noble art of counterpoint’. This way he attempted to propose a re-evaluation of nineteenth-century trends through an eclectic neoclassicism, without neglecting the importance of subjective inspiration and genius.
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Wyse, Lonce, and Jude Yew. "A Real-Time Score for Collaborative Just-in-Time Composition." Organised Sound 19, no. 3 (November 13, 2014): 260–67. http://dx.doi.org/10.1017/s1355771814000247.
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This article explores listening and communications strategies that arise with a collaborative scoring system we are developing for use within improvisational contexts. Performers generate notation on a scrolling score a short time before it is played or rendered into sound. Working a short time in the future allows performers to respond to sound as they would in any improvisatory situation, and yet coordinate their activity through notation in a way typically associated with pre-composed music. The ‘Anticipatory Score’ platform supports the exploration of different kinds of relationships between performers, composers and audience members, and different listening and engagement strategies that affect the musical experience for all participants.
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Ursic, Elizabeth. "Sonic Metaphors: Music, Sound, and Ecofeminist Theology." Feminist Theology 29, no. 3 (May 2021): 247–63. http://dx.doi.org/10.1177/09667350211000606.
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This article explores the relationship between music and ecofeminist theology and investigates how music and sound can advance the development of ecofeminist thought. On a physical level, the act of breathing connects humankind with the earth’s atmosphere and the element of air produces music and sound. On a theological level, traditional church teachings about the power and danger of music have reflected similar warnings about women and nature. Ecofeminist theologian Sally McFague made a persuasive case for metaphorical theology that supported the arts being included in theological development. Religious Studies scholar Heidi Epstein engaged McFague’s metaphorical theology to develop a feminist theology of music and featured female composers including Hildegard of Bingen. I propose that metaphorical theology and music can also connect through the development of sonic metaphors. Sonic metaphors are created with pitch, rhythm, and sound. While most metaphors rely on the eyes to process written text and visual art, sonic metaphors are processed through the ears and offer different pathways for cognition. Sonic metaphors have been underutilized in theology and they offer potential for exploring theological concepts that can be challenging to comprehend through textual or visual means. These metaphors are particularly applicable for developing ecofeminist theology because sound and music can connect our bodies with nature in illuminating ways. I include examples from my own musical background, and I offer suggestions for non-musicians and ecofeminist theologians who want to incorporate sonic metaphors into their own creative theological reflection.
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Everist, Mark. "Wagner and Paris: The Case of Rienzi (1869)." 19th-Century Music 41, no. 1 (2017): 3–30. http://dx.doi.org/10.1525/ncm.2017.41.1.3.
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The French reception of Wagner is often based on the two pillars of the 1861 Tannhäuser production and that of Lohengrin in 1891. Sufficient is now known about the composer's earliest attempt to engage with Parisian music drama around 1840 to be able to understand his work on Das Liebesverbot, Rienzi, Der fliegende Holländer, his editorial and journalistic work for Schlesinger, and his emerging relationship with key figures in Parisian musical life, Meyerbeer most notably. A clearer picture is also beginning to emerge of Wagner's position in French cultural life and letters in the 1850s. Wagner's position in Paris during the 1860s, culminating in the production of Rienzi at the Théâtre- Lyrique in 1869, is however complex, multifaceted, and little understood. Although there were no staged versions of his operas between 1861 and 1869, the very existence of a successful Parisian premiere for an opera by Wagner in 1869—given that there would be almost nothing for two decades after 1870—is remarkable in itself. The 1860s furthermore saw the emergence of a coherent voice of Wagnérisme, the presence of French Wagnéristes at the composer's premieres all over Europe and a developing discourse in French around them. This may be set against a continuing tradition of performing extracts of Wagner's operas throughout the 1860s, largely through the energies of Jules Pasdeloup, who—as director of the Théâtre-Lyrique—was responsible for the 1869 Rienzi as well. These competing threads in the skein of Wagner-reception in the 1860s are tangled in a narrative of increasingly tense Franco-German cultural and political relationships in which Wagner, his works, and his writings, played a key role. The performance of Rienzi in 1869 was embedded in responses to the Prussian-Austrian War of 1866, the republication of Das Judenthum in der Musik in 1869, and the beginnings of the Franco-Prussian War.
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Wolf, Motje, and Sarah Younie. "The Development of an Inclusive Model to Construct Teacher’s Professional Knowledge: Pedagogic content knowledge for sound-based music as a new subject area." Organised Sound 24, no. 3 (November 29, 2019): 274–88. http://dx.doi.org/10.1017/s1355771819000347.
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This article outlines a systematic process for developing the different knowledge domains required for teaching sound-based (electroacoustic) music as a new subject area. As a new area within the discipline of music, teachers are novices to the field. This requires epistemological deconstruction of what knowledge teachers need in this new field. Then the analysis outlines how to develop teachers’ new knowledge, which can be constructed as subject content knowledge (SCK), pedagogic content knowledge (PCK) and technology pedagogic content knowledge (TPACK). This epistemological analysis informed our creation of teaching materials that develop these different knowledge domains and take account of the complex interplay between them. This process was demonstrated through the ElectroAcoustic Resource Site Projects, which first built subject content knowledge and then created teacher’s packs to build pedagogic content knowledge, and a bespoke CPD programme, which embedded their inter-relationships and built technology pedagogic content knowledge. Most importantly, creating the teacher’s packs employed a user-centred design approach, putting teachers and pupils in the centre of the development process, thereby giving them voice. Voice is an integral part of empowerment in our model, which disrupts the hegemonic grip of the academic curriculum dominated by the traditional music canon. This article adds to the knowledge-base regarding how to develop the different domains required for teaching a new subject. We argue that sound-based music is accessible to all teachers and learners, thereby increasing inclusivity. This in turn can radically disrupt ways of teaching music in schools and the model created provides the necessary scaffolding for a paradigm shift in music teaching on an international level.
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Pearson, Lara. "Gesture and the Sonic Event in Karnatak Music." Empirical Musicology Review 8, no. 1 (October 24, 2013): 2. http://dx.doi.org/10.18061/emr.v8i1.3918.
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This paper presents an analysis of the relationship between gesture and music in the context of a Karnatak vocal lesson recorded in Tamil Nadu, South India in September 2011. The study aims to examine instances of correspondence between gesture and sonic event that occur during the lesson. Through this analysis the paper aims to contribute to the wider debate on the factors that determine gesture. Shape and trajectory are used in this study as means of describing and comparing gestures. The teacher’s hand movements are tracked and traced rendering the gestures as static shapes in still images, and developing lines in moving images. The correspondences found between gestures and sonic features are discussed in relation to the physical movement required to produce the music. In addition, the circumstances in which correspondence is not found are analyzed and the extent to which the dynamic form of gesture is also influenced by the phrase as a whole is emphasized.
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Koech, Leonard K. "Relationship between Watching ‘Gengetone’ Music and Drug Abuse among the Youth in Uasin Gishu County, Kenya." East African Journal of Interdisciplinary Studies 3, no. 1 (April 1, 2021): 103–15. http://dx.doi.org/10.37284/eajis.3.1.312.
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Drugs, substance and alcohol abuse by many youths is as a result of various factors. Research conducted in the past have looked at how mass media channels (video and TV) and their influence on abuse of drugs and other substances among the youth. The purpose of this paper is to investigate how drug-related information portrayed on Gengetone music influences drugs and substance abuse among youths in Eldoret town. The research objectives were to investigate how the acceptability level of ‘Gengetone’ music and videos among youths, to examine ways in which ‘Gengetone music lyrics communicate information on drugs, substance and alcohol abuse and establish the effect of listening of Gengetone music on drugs and substance abuse among youths in Uasin Gishu County. The study adopted George Gerbner’s Cultivation Theory. The study utilised descriptive survey. Questionnaires and interviews were utilised to collect data from selected youths aged 20 – 30 years residing in Eldoret town four estates numbering 80 and one county officer in charge of NACADA North Rift office. Analysis of data was done through qualitative (content analysis method) and quantitative approaches (descriptive statistics); The study found out that indeed lyrics, images and videos contained in some Gengetone music promoted drugs, substance and alcohol abuse by young people in the study area. This means that music preference performed a significant role in determining the level of drugs and substance abuse by youth in Eldoret town. This calls for stakeholder involvement in educating the upcoming artist on the importance of developing Gengetone music that is clean and creates awareness on the dangers of youth addiction to drugs, other substances and alcohol.
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Soycan, Merve, and Feyzan Göher Vural. "The relationship between secondary school grade point average scores and musical interest in Turkey." International Journal of Human Sciences 12, no. 2 (December 9, 2015): 1568. http://dx.doi.org/10.14687/ijhs.v12i2.3372.
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<p>In Turkish educational system, students’ secondary school grade point average (GPA) scores constitute the basic criteria in determining the high schools they will next attend. Students, who start their high school careers based on this grade, receive their education together with peers who have similar GPA scores. In these pivotal years which play a significant role in developing character, teenagers not only affect each other through interaction, but also shape their likes and dislikes collectively during this high school period. Music interest in students is also shaped during this process. <em> </em>This descriptive study has been conducted at nine high schools in central Konya. The sample group includes a total of 626 students, 195 of whom are from three high schools with high GPA scores, 193 from three high schools with average GPA scores, and 238 from three high schools with low GPA scores. The results of the study reveal not only certain similarities between the student groups, but also significant difference between the groups in terms of the will to play a musical instrument, the music genres the students prefer to listen, singers and bands the students follow, and whether or not to choose music as a career path.</p>
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Román-Velázquez, Patria. "The embodiment of salsa: musicians, instruments and the performance of a Latin style and identity." Popular Music 18, no. 1 (January 1999): 115–31. http://dx.doi.org/10.1017/s0261143000008758.
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I have attempted to contribute to debates about the body and music through a discussion of how the performance of salsa constructs a particular sense of Latin identity through the bodies of musicians. The embodiment of salsa is proposed as a way of theorising about how body and music are articulated to communicate a particular Latin cultural identity. In considering the relationship between body and music, I have stressed the cultural construction of bodies in the sense in which bodies are not neutral biological essences.Salsa clubs in London have provided a focus for studying the construction of Latin identities as embodied and communicated by performing salsa musicians and how this is informed by specific codes of gender, sexuality and ethnicity. Throughout this essay I have argued that the embodiment of salsa develops through specific practices whereby instruments, performance techniques, vocal sounds, bodily movements and ways of dressing are encoded and experienced as part of a particular Latin identity.I also explained how the existence of essentialist beliefs about a natural Latin body and musical abilities, although a constraint, were challenged by musicians who are making ‘Latin’ music. First, by the involvement of non-Latin musicians in playing salsa, whose practices challenged assumptions about a ‘natural’ relationship between bodies, places and music. Second, through the participation of Latin American musicians and the new styles developing from the interaction between musicians and from having to adapt to different local circumstances. Finally, I mentioned how technological devices, sometimes used to solve practical economic problems, were contributing to the re-making of a Latin music performance and identity in London. I also indicated how the use of both Spanish and English language and the involvement of women in salsa music making were also contributing to a type of salsa and Latin performance.However, whilst musicians have been challenging the idea of essential links between ethnicity, bodies and instruments, the practices through which salsa is embodied have continued to present limitations and expectations for women according to their sexed bodies. Particular expectations about the practices of gender and sexuality became an issue for women in relation to body movements, the use of the voice and instrumental performance. In this paper, focusing on the performance and participation of musicians in the micro setting of a club, I have suggested that women's place in salsa clubs has to be negotiated in relation to what is expected from sexed bodies. This leads me to conclude that unequal relations of power are directly experienced and embodied through gender relations and practices of sexuality and in turn operate as a micro politics of the body.
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Aşan, Kübra, Kerem Kaptangil, and Aysun Gargacı Kınay. "Mediating role of perceived festival value in the relationship between experiences and satisfaction." International Journal of Event and Festival Management 11, no. 2 (April 24, 2020): 255–71. http://dx.doi.org/10.1108/ijefm-11-2019-0058.
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PurposeThe purpose of this paper is to examine the mediating effect of perceived festival value on the relationship between satisfaction and experiences in the context of a music festival. The study presented herein also examined festival experiences based on the experience economy model.Design/methodology/approachA face-to-face survey was performed at the rock music festival Kuzey Fest in Sinop/Turkey, where 336 questionnaires were completed. The statistical analyses conducted to establish the relationship between experiences, perceived value and satisfaction comprised explanatory factor analyses and multiple regression analysis.FindingsThis study showed that the experience economy in the context of music festivals consists of four experience dimensions. According to the findings, the participants had predominantly entertainment and aesthetics experiences through passive participation. The study concluded that there were partial and full mediating roles of perceived festival value in the relationship between some experience dimensions and satisfaction; however, it was also found that escape experiences did not significantly affect satisfaction. Finally, the aesthetics, education, entertainment and festival value variables were important pioneer variables for satisfaction.Practical implicationsThis study provides industry practitioners with meaningful insight on how to build rich festival experiences and satisfaction.Originality/valuePerceived value is a critical factor for developing satisfaction and gaining a competitive edge. While much is known about the effect of festival experiences on satisfaction, there is little research examining festival value within the framework of experiences and satisfaction. This research also provides valuable insights for applying the experience economy within the context of events management.
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Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin." Organised Sound 26, no. 1 (April 2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.
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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.
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Brown, Nicholas G. "Being Among the Living: On the inter-relations between performers, witnesses and environment in As I Have Now Memoyre." Organised Sound 16, no. 2 (June 28, 2011): 176–83. http://dx.doi.org/10.1017/s1355771811000124.
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In this article, I argue that the relationship between performers, audience members, electronic technologies and the wider, physical context of the performance environment may be redefined by developing the ‘concert’ model of electroacoustic performance. I propose that managing proximity between audience members and performers plays a catalytic role in a process through which the human voice may emerge from its status as an ‘instrument’ for the delivery of notated musical ideas to, simply, ‘voice’. To illustrate, I refer to As I Have Now Memoyre, my 2008 installation-performance on the relationship between music, memory and the passing of time. Accordingly, I investigate the way in which a performer is able to assert her ontological reciprocity with the total performance environment by ‘embodying’ the electronic processing, asserting continuity between the electronically mediated performance and the performance rendered by her own unaided body.
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KREGOR, JONATHAN. "Collaboration and Content in the Symphonie fantastique Transcription." Journal of Musicology 24, no. 2 (2007): 195–236. http://dx.doi.org/10.1525/jm.2007.24.2.195.
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Franz Liszt's transcription of Hector Berlioz's Symphonie fantastique has long been recognized for its innovative approach to musical reproduction——that is, its remarkable ability to recreate the sonic nuances of its model. However, the 1830s were a period of intense artistic and professional collaboration with Berlioz, and the genesis of the Symphonie fantastique transcription can thus also be interpreted as emblematic of this developing relationship. In particular, a gestural analysis of the work's content, as it can be recreated in part through Liszt's meticulous performance notation, indicates that the transcription served to reinforce a public perception of Berlioz as composer and Liszt as performer, whereby Liszt guides his audiences through Berlioz's enigmatic compositions by means of kinesic visual cues. Investigation of heretofore unknown manuscript materials suggests that this dynamic was further emphasized in Liszt's other renderings of Berlioz's orchestral works from the period. For various reasons, the transcription's inherently collaborative nature failed to impress audiences outside of Paris. As Liszt embarked in earnest upon a solo career toward the end of the decade and his concert appearances with Berlioz became less frequent, interest in the work waned on the part of both arranger and audience. Moreover, it was in the late 1830s that Liszt began adding several new works to his public repertory, especially opera fantasies, Schubert song arrangements, and weighty compositions by German composers. This decision effectively removed his earlier material——including the all-too-French Symphonie fantastique——from on-stage circulation. Indeed, when Liszt revised the transcription in the 1870s, he eliminated many of extraordinary collaborative elements found in the 1834 version, thereby disassociating it from the arena for which it was created.
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Marjanovic-Shane, Ana, Fran Fox, Bruce Pollack-Johnson, Lisa Pack-Allender, Brian Girard, and Karen Rothschild. "Project learn school community: An educational practice meets an educational activity theory." Zbornik Instituta za pedagoska istrazivanja 38, no. 1 (2006): 25–44. http://dx.doi.org/10.2298/zipi0601025m.
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Project Learn School community is a unique school coop in Philadelphia Founded 30 years ago, Project Learn was created as a cooperative between teachers, parents and students. The main philosophical principle, derived from J. Dewey?s educational theories is the principle of equality between the parties in the educative process. Other guiding philosophical principles are: the emphasis on the unique constellation of abilities of every student creating opportunities for meaningful personal involvement in the learning process, developing a sense of responsibility in students for themselves and for the larger world, and, finally, educating the whole person rather than just teaching academic skills. Although Cultural Historical Activity theory of L.S. Vygotsky was not very well known in the United States at the time of it?s founding, this school embodies several basic principles of Cultural Historical Activity theory. Among them is the principle of social mediation of the relationship between the subject and the object. The same principle is actualized through the rich use of cultural tools and symbols such as very developed programs in art, music and drama, as well as the frequent use of play and play like activities both to motivate and to create a collaborative learning atmosphere. Furthermore, the unique style of governance, where all families participate without delegation of their decision making powers, provides for a powerful model of human relationships, rules and norms believed to be the most beneficial for individual learning and the over all social development.
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Waddell, Terrie. "THE RELATIONSHIP BETWEEN CREATIVITY, IDENTITY, PLACE, AND COMMUNITY RESILIENCE: THE RENAISSANCE OF CLARKSDALE, MISSISSIPPI, UNITED STATES." Creativity Studies 14, no. 1 (May 6, 2021): 175–86. http://dx.doi.org/10.3846/cs.2021.12958.
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This paper examines the relationship between creativity, identity, and place for the small economically challenged Delta City, Mississippi of Clarksdale, United States, a once prosperous manufacturing and farming community. Promoted as the Delta’s epicenter of blues music, over the last twenty years key business stakeholders in the city’s renaissance have been committed to developing local and international awareness of Clarksdale’s historic architecture, culture and blues heritage. It was not until 2008 when economist and town planner John C. Henshall formulated the Downtown Clarksdale Action Plan for Economic Revitalization that the city secured a comprehensive guide to growth. The plan was designed to support downtown infrastructure and tourism through a creatively based strategy, dependent on the tourism potential of blues performances and the imaginative efforts of those invested in the ongoing renewal project. Drawing on incentives aligned with the plan’s objectives, and seven semi-structured interviews with local entrepreneurs and revitalization participants, this paper examines the connection between collaborative creativity, collective identity, connection to place, and community resilience.
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Morris, Carl. "The rise of a Muslim middle class in Britain: Ethnicity, music and the performance of Muslimness." Ethnicities 20, no. 3 (January 11, 2019): 628–48. http://dx.doi.org/10.1177/1468796818822541.
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This paper uses original fieldwork data to examine the role of class and ethnicity in shaping performed identities for Muslim musicians. It claims that the emergence of a Muslim public sphere in Britain – which includes music as one important cultural component – is implicated by dominant notions of Muslimness that are developed in a field of power relations structured by class and ethnicity. The central claim of this paper is that an assertion of middle-class values and tastes can inform notions of Muslimness and that these are interwoven with the differential experiences of diverse Muslim ethnic groups in Britain. As evidence for this, the paper examines the ways in which this relationship between class and ethnicity is manifested in the Muslim public sphere through the performed identities of Muslim musicians. This includes a consideration of the influence of a broadly defined Middle Eastern/middle-class consumer culture on an ‘Islamic pop’ music scene in Britain, as well as the strategic responses – including acquiescence, navigation and resistance – from South Asian and Black Muslim musicians to the dominance of this cultural context. Overall, the paper concludes that the intersectional nature of Muslimness, with particular reference to class and ethnicity, must be examined further to fully understand the developing dynamics of an emergent Muslim public sphere in Britain.
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Schubert, Emery. "Correlation analysis of continuous emotional response to music: Correcting for the effects of serial correlation." Musicae Scientiae 5, no. 1_suppl (September 2001): 213–36. http://dx.doi.org/10.1177/10298649020050s108.
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Publications of research concerning continuous emotional responses to music are increasing. The developing interest brings with it a need to understand the problems associated with the analysis of time series data. This article investigates growing concern in the use of conventional Pearson correlations for comparing time series data. Using continuous data collected in response to selected pieces of music, with two emotional dimensions for each piece, two falsification studies were conducted. The first study consisted of a factor analysis of the individual responses using the original data set and its first-order differenced transformation. The differenced data aligned according to theoretical constraints better than the untransformed data, supporting the use of first-order difference transformations. Using a similar method, the second study specifically investigated the relationship between Pearson correlations, difference transformations and the critical correlation coefficient above which the conventional correlation analysis remains internally valid. A falsification table was formulated and quantified through a hypothesis index function. The study revealed that correlations of undifferenced data must be greater than 0.75 for a valid interpretation of the relationship between bivariate emotional response time series data. First and second-order transformations were also investigated and found to be valid for correlation coefficients as low as 0.24. Of the three version of the data (untransformed, first-order differenced, and second-order differenced), first-order differenced data produced the fewest problems with serial correlation, whilst remaining a simple and meaningful transformation.
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LaFarge, Antoinette, and Robert Allen. "Media Commedia: The Roman Forum Project." Leonardo 38, no. 3 (June 2005): 213–18. http://dx.doi.org/10.1162/0024094054028949.
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The authors discuss what they term “media commedia”: performance works melding comedic performance traditions with new media technologies. They focus on The Roman Forum Project, a series of mixed-reality performance projects they produced whose subject is contemporary American politics and media as seen through the eyes of ancient Romans. They discuss the developing relationship between the Internet and public discourse; their use of avatars to explore the boundaries between performance and identity; their use of the Internet as an improvisational space; and the mise en abyme effects of working with mixed realities (including text-based virtual worlds).
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Brayley, Helen. "Developing language through music." Practical Pre-School 2010, no. 113 (June 2010): 10–11. http://dx.doi.org/10.12968/prps.2010.1.113.48276.
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Fitzpatrick, Joyce J., Ivo L. Abraham, and Jana L. Pressler. "DEVELOPING SCIENTIFIC RELATIONSHIPS THROUGH LEADERSHIP." Nurse Educator 14, no. 1 (January 1989): 6–7. http://dx.doi.org/10.1097/00006223-198901000-00009.
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Steele Royston, Natalie. "Improving Music Teaching through Interpersonal Relationships." Music Educators Journal 103, no. 4 (June 2017): 34–39. http://dx.doi.org/10.1177/0027432117698023.
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Interpersonal relationships are fundamental to learning and human development. To develop a positive and safe classroom environment with student motivation and learning, music educators need to learn to relate and connect effectively with others. This article looks at the importance of the interpersonal relationships in the classroom environment and provides tips for active teachers to improve these relationships and for preservice teachers to observe and reflect on during preparation. As music teachers, the manner in which we connect and relate to our students will teach them much about the art of music but also the art of being a compassionate and caring human being.
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Borshchenko, Nataliia. "USING ART-THERAPY FOR THE FORMATION OF EMOTIONAL STABILITY OF PRESCHOOL CHILDREN." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 159–63. http://dx.doi.org/10.36550/2415-7988-2021-1-195-159-163.
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Progress of science and technique, newest technologies, created in the world not only new possibilities, and also and new difficulties. The alarm level considerably increased yet and through a world pandemic to the coronaviruses. Last days in society spreads an idea about importance of forming the personal psychical and emotional health, beginning from preschool age, as bases of becoming of personality, the most valuable achievement of that is emotional prosperity, are mortgaged exactly in childhood. The purpose of the article consists in describing the problem of forming the emotional firmness of preschool children by art-therapy and maintenance the psychical health of children as a major factor of personality development. Art is the unique type of human activity that represents reality in certainly-perceptible offenses, combining two opposite worlds: the world of fantasy and reality. The first mentions about facilities of the art-therapy treatment was found, possibly, in the days of existence of primitive man. It is important to emphasize that a main task to the art-therapy is not developing creative flairs, but achievement of therapeutic purpose. Analysing potential using of art-therapy in preschool establishments of education with the aim of forming of emotional stability for children, the special attention displaces on the variety of forms of the realization, such as: music-therapy, fairy-tale-therapy, puppet-therapy, painting-therapy, photo-therapy, physical-therapy, drama-therapy. Application of methods of therapy by an art on employments provides development of creative potential of children, enriches the emotional sphere of preschool children, deepens their world view, activates imagination and thinking of children. Art-therapy helps children to find and understand itself, successfully to adapt oneself new environment, be able to influence relationships with children, teachers, parents. Using art-therapy methods in an educational process assists forming of the personality all-round developed and emotionally stability. The prospects for further researches in this area we see in determining the most effective art-therapeutic technologies for individual development and forming sustainable emotional well-being of preschool children.
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Tiwari, Vivek. "Developing Sustainable Relationships Through Organizational Citizenship Behavior." International Journal of Asian Business and Information Management 10, no. 1 (January 2019): 38–54. http://dx.doi.org/10.4018/ijabim.2019010103.
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The article serves the purpose of identifying the behaviors an employee could display resulting in managers' satisfaction and hence strengthening the relationship. To investigate the proposed behaviors in this model, employees' organizational citizenship behavior's (OCB) role as a motivating behavior, was been examined. The sample includes 206 managers/supervisors from different private banks. Using Herzberg's two-factor theory the findings imply that, three types of behaviors, i.e. motivational, indifferent and hygiene can be identified. These findings indicate that of these five established dimensions of OCB, three dimensions (viz. altruism, sportsmanship, and conscientiousness) are motivational in nature; one of the dimensions which is courtesy is under hygiene category; lastly, the fifth one, i.e., civic virtue, is an indifferent type. Overall, it has been found that OCB is a motivational behavior. The results of this study can help employees in understanding what kind of their behaviors causes managers' satisfaction.
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Toh, Ying Pin. "Developing Palliative Care Physicians through Mentoring Relationships." Palliative Medicine & Care: Open Access 4, no. 1 (February 6, 2017): 1–9. http://dx.doi.org/10.15226/2374-8362/4/1/00129.
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Halldórsson, Árni, and Tage Skjøtt‐Larsen. "Developing logistics competencies through third party logistics relationships." International Journal of Operations & Production Management 24, no. 2 (February 2004): 192–206. http://dx.doi.org/10.1108/01443570410514885.
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Reis, Raquel, Caroline Oates, Martina McGuinness, and Dominic Elliott. "Developing BTB relationships through direct marketing: customers' perceptions." Direct Marketing: An International Journal 3, no. 3 (August 21, 2009): 203–21. http://dx.doi.org/10.1108/17505930910985143.
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Yang, Alan, Ellen Li, and Megan Zhao. "Harvard Crooners: Building Intergenerational Relationships Through Participatory Music Making." Journal of Intergenerational Relationships 15, no. 4 (October 2, 2017): 419–22. http://dx.doi.org/10.1080/15350770.2017.1368359.
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Young, Cheri A., Badiah Haffejee, and David L. Corsun. "Developing Cultural Intelligence and Empathy Through Diversified Mentoring Relationships." Journal of Management Education 42, no. 3 (May 23, 2017): 319–46. http://dx.doi.org/10.1177/1052562917710687.
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Given increasing globalization and the foreign-born workforce characterizing many organizations around the world, managers are increasingly called on to effectively manage a culturally diverse workforce. One way to increase the cultural intelligence and empathy of managers was proposed by Ragins, who indicated that mentors in diversified mentoring relationships (DMRs) may become more culturally intelligent and empathic as a result of exposure to the situations and challenges faced by their lower power protégés. To test this proposition regarding the efficacy of DMRs, a quasi-experimental design was employed using an experiential training intervention involving DMRs between primarily White, affluent student mentors and newly resettled refugees to the United States. Grounded in the theoretical foundations of contact theory and DMRs, our findings suggest that DMRs of even limited duration may be influential in increasing cultural intelligence and empathy.
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Dobransky, Nicole D., and Ann Bainbridge Frymier. "Developing teacher‐student relationships through out of class communication." Communication Quarterly 52, no. 3 (June 2004): 211–23. http://dx.doi.org/10.1080/01463370409370193.
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Tyson, Katherine. "Developing Compassionate Communities Through the Power of Caregiving Relationships." Journal of Religion & Spirituality in Social Work 24, no. 1/2 (April 4, 2005): 27–33. http://dx.doi.org/10.1300/j377v24n01_03.
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Harwood, Tracy G. "Developing Buyer-Seller Relationships Through Face-to-Face Negotiations." Journal of Relationship Marketing 4, no. 3-4 (February 21, 2006): 105–22. http://dx.doi.org/10.1300/j366v04n03_07.
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Weimer, Kristina R. "Maximizing Mentoring Relationships." General Music Today 32, no. 2 (October 20, 2018): 12–17. http://dx.doi.org/10.1177/1048371318805226.
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The purpose of this article is to provide strategies for music teacher mentors and mentees to use to proactively develop and strengthen their relationships—whether they are assigned by an administrator or begin organically—to enhance the overall mentoring experience, making it mutually beneficial for mentor and mentee. Strategies include using communication and collaboration, building reciprocity between parties, expanding professional networks, and developing personal relationships. Intentional efforts to communicate, reflect, share, overcome challenges, and spur professional development enrich the mentoring experience for both parties.
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Kristanto, Wisnu. "Javanese Traditional Songs for Early Childhood Character Education." JPUD - Jurnal Pendidikan Usia Dini 14, no. 1 (April 30, 2020): 169–84. http://dx.doi.org/10.21009/141.12.
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Character education in early childhood is not new, and character education is also not just a transfer of knowledge, but something that needs to be built early on through various stimula- tions. This study aims to develop the character of early childhood through audio-visual media with traditional Javanese songs. Using educational design-based research to develop audio-visual media from traditional songs, this media was tested in the field with an experimental design with a control group. Respondents involved 71 kindergarten students from one experimental class in one control class. The data revealed that character education in children shows the average value of the experi- mental class is higher than the control group, this means character education in children can be built through traditional songs. Further research can be done to improve the character of early childhood through a variety of media that interests children.
Keywords: Early Childhood, Character Education, Javanese Traditional Songs Media
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