Relevant bibliographies by topics / Formal music education

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Formal music education'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Formal music education"

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Berbel Gómez, Noemy, and Maravillas Díaz Gómez. "Formal and non-formal education. A meeting point in music education." Aula Abierta 42, no. 01 (December 31, 2014): 47. http://dx.doi.org/10.17811/rifie.42.2014.47-52.

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Rose, Andrea M. "A Place for Indigenous Music in Formal Music Education." International Journal of Music Education os-26, no. 1 (November 1995): 39–54. http://dx.doi.org/10.1177/025576149502600104.

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Ng, Hoon Hong. "Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning." Research Studies in Music Education 42, no. 1 (October 2, 2018): 56–76. http://dx.doi.org/10.1177/1321103x18774345.

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Informal pedagogy is closely associated with popular music practices, its methods known to engage students in authentic music learning that develops critical and independent thinking skills, social skills, creativity and self-identity, among others. However, formal and non-formal pedagogies also have relevant roles to play in popular music learning in the classroom, though their roles and interactions with informal pedagogy may require exploration. A recent survey conducted in Singapore schools suggests that a significant number of music teachers have never engaged their students in popular music practices, and they have no confidence in adopting appropriate pedagogies to effectively enable popular music learning. This article seeks to address the issue by reviewing relevant pedagogies and how they are employed in popular music programmes in two Singapore secondary schools. I will first examine the current discussion on formal, non-formal and informal pedagogies and their implications for music teaching and learning. Secondly, I will relate the discussion to two empirical case studies which adopt these learning approaches in popular music classes to examine their applications and how they interact in actual classroom situations. Based on this, I will suggest that a synthesis of these pedagogies in constant, complementary dialogue within and beyond the classroom paves the way towards a complete and holistic curriculum and learner experience.
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Folkestad, Göran. "Formal and informal learning situations or practices vs formal and informal ways of learning." British Journal of Music Education 23, no. 2 (June 29, 2006): 135–45. http://dx.doi.org/10.1017/s0265051706006887.

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During the last decade there has been an awakening interest in considering not only formalised learning situations within institutional settings, but also all the various forms of informal musical learning practices outside schools. Informal musical learning outside institutional settings has been shown to contribute to important knowledge and aspects of music education. In this article, I will examine research studies which in different ways focus on formal and informal learning situations and practices or formal and informal ways of learning. I will consider the relationship between music education as praxis (music pedagogy) and as research, and the relationship between these two facets of music education and the surrounding society. I will identify four different ways of using and defining formal and informal learning, respectively, either explicitly or implicitly, each one focusing on different aspects of learning: (i) the situation, (ii) learning style, (iii) ownership, and (iv) intentionality. Formal – informal should not be regarded as a dichotomy, but rather as the two poles of a continuum; in most learning situations, both these aspects of learning are in various degrees present and interacting. Music education researchers, in order to contribute to the attainment of a multiplicity of learning styles and a cultural diversity in music education, need to focus not only on the formal and informal musical learning in Western societies and cultures, but also to include the full global range of musical learning in popular, world and indigenous music in their studies.
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Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.
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Hargreaves, David J. "Intercultural perspectives on formal and informal Music learning." DEDiCA Revista de Educação e Humanidades (dreh), no. 1 (March 1, 2011): 53–66. http://dx.doi.org/10.30827/dreh.v0i1.7152.

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This paper reviews some of the changes and developments that have occurred in music education over the last decade, following Hargreaves and North’s (2001) international review. I describe some recent developments in England, in which change has been very rapid, and in which education has had a high political profile, and then consider the three main issues which emerged from our international review, namely curriculum issues; the aims and objectives of music education; and the relationship between music in and out of school. I go on to describe two theoretical models which were developed as a result of my work with the Qualifications and Curriculum Authority (QCA) in England: these are models of the different opportunities in music education, and of its intended outcomes. The first of these reveals the importance of the differences between formal and informal music learning, both of which can take place inside as well as outside schools. I conclude by reflecting on the power and ubiquity of music in young people’s everyday lives, which mean that music education policy should reflect and capitalize upon this power.
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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.
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Suharyanto, Agung. "Sejarah Lembaga Pendidikan Musik Klasik Non Formal di Kota Medan." Gondang: Jurnal Seni dan Budaya 1, no. 1 (December 1, 2017): 6. http://dx.doi.org/10.24114/gondang.v1i1.5967.

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Tjong Sce Yin (founder of the first music school in Medan) and Tjong A Fie Mansion (the first school house in Medan) with the name of Medan Music School renamed the Pure Music Institute (LMM) and now renamed the Conservatory Music Medan. In addition to the above three things, also can not be separated from some non-formal music education institutions that organize classical music education in Medan that is Melody Music Studio (Musical Field), Musika Era, Music Rhythm and Institute of Music Education (LPM) Farabi Medan .
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Stankutė, Judita. "IN THE WORTEX OF NON - FORMAL ART EDUCATION." ŠVIETIMAS: POLITIKA, VADYBA, KOKYBĖ / EDUCATION POLICY, MANAGEMENT AND QUALITY 1, no. 3 (December 10, 2009): 39–42. http://dx.doi.org/10.48127/spvk-epmq/09.1.39b.

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Judita Stankutė, a member of the journal's editorial board, talks to Rita Urniežiene, the director of the Rietavas Art School and the leader of the Rietavas mixed choir Jūrava. The current Rietavas Art School started operating as a branch of the Plungė Children's Music School in 1967. In 1970 the Rietavas Children's Music School, which was still operating in the time of Duke Bogdan Oginskis, was restored.
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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.
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Dissertations / Theses on the topic "Formal music education"

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Feichas, Heloisa Faria Braga. "Formal and informal music learning in Brazilian higher education." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10020512/.

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Garibay, Oscar. "Towards a hybrid approach to mariachi education - Bridging the gap between formal and informal transmission of musical culture." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10264114.

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Mariachi programs have gained interest and acceptance among music educators in most regions of the United States. Successful mariachi programs are energizing students and creating positive relationships between the schools and their communities. Mariachi programs are growing as more students identify and connect with this Mexican folkloric music. An example of a flourishing mariachi program can be found in the Las Vegas Clark County School District, which has seen its program grow from 250 students to over 3,000 since 2002. Considering that the Hispanic population is expected to reach about 106 million in 2050, about double what it is today, the potential for mariachi instruction in public schools will likely follow these growing population trends. However, due to the highly stylized idiomatic music that is mariachi, music educators not familiar with its innate teachings might hinder the art form at a pedagogical level. This research paper explores three current approaches to mariachi pedagogy in U.S. public education: informal, formal, and a hybrid approach between the two aesthetics. The hybrid approach will be the basis of rehearsal practice in preparing for “Señor Trompetas” in my graduate recital to test its efficacy to teaching authentic mariachi music.

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Westrupp, Sérgio Luiz. "Representações sociais de música em processos de educação musical formal e não formal de uma escola de educação básica." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1517.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation has as the general objective to understand how the social representations of music, that permeate the social relationships of a Basic Education city school in the interior of Santa Catarina state in Brazil, link with formal and non formal practices of music teaching developed. The specific objectives aimed at understanding how the identity processes of all the investigated subjects relate with the music teaching and learning processes in the context of that school, and identifying and analyzing the several social representations of music constituted and shared by subjects involved direct and indirectly in the musical practices. The qualitative methodology was adopted under the drawing of a case study with an ethnographic approach. The instruments of data collection were individual and focus-group semi-structured interviews with the several participants of the research, documental analysis and participant observation. The data were analyzed under the theoretical framework of the social representations in the perspective of the social psychology by the triangulation among the discursive analysis of the participant subjects, the analysis of the music class plans and the notes of the field diary. The outcomes evidence strong relationship among the music representations constituted and shared by all the participants of this research, their musical identities and the pedagogic practices of the music teaching promoted in the music classes and in the band rehearsal. This specific context of music education shares consensual and contradictory social representations of music promoting the dilution of the borders among the processes of formal and non formal education constituted through a strong complimentary relationship among both
Esta dissertação tem como objetivo geral compreender como as representações sociais de música que permeiam as relações sociais de uma escola de educação básica de um município do interior do Estado de Santa Catarina se relacionam com as práticas formais e não formais do ensino de música nela desenvolvidas. Os objetivos específicos buscaram compreender como os processos identitários de todos os sujeitos investigados se relacionam com os processos de ensino e aprendizagem da música desencadeados no contexto desta mesma escola e identificar e analisar as diversas representações sociais de música constituídas e compartilhadas por sujeitos envolvidos direta e indiretamente nas práticas musicais desta escola. Adotou-se a metodologia qualitativa sob o desenho de um estudo de caso do tipo etnográfico. Os instrumentos de coleta de dados foram entrevistas individuais e grupo-focal semiestruturadas com os vários participantes da pesquisa, análise documental e observação participante. Os dados foram analisados sob o referencial teórico das representações sociais na perspectiva da psicologia social mediante a triangulação entre a análise discursiva dos sujeitos participantes, análise dos planos de aula de música e as anotações do diário de campo das observações. Os resultados apontam para a forte relação entre as representações de música constituídas e compartilhadas por todos os participantes desta pesquisa, suas identidades musicais e as práticas pedagógicas do ensino de música promovidas nas aulas de música e no ensaio da banda. Este contexto específico de educação musical compartilha de representações sociais de música tanto consensuais como contraditórias de forma a promover a diluição das fronteiras entre os processos de educação formal e não formal ali constituídas por meio de uma forte relação de complementaridade entre ambas
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Benedetti, Kátia Simone. "O processo de socialização musical primária : aprendizagem e conhecimentos musicais do cotidiano e a educação musical formal - uma abordagem sócio-histórica /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95149.

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Orientador: Dorotéa Machado Kerr
Banca: Marisa Fonterrada
Banca: Luis Soares de Camargo
Resumo: Este trabalho pretende apresentar uma possível abordagem teórica para as questões que o conhecimento musical cotidiano impõe à Educação Musical Formal. A intenção é propor uma leitura interpretativa desse conhecimento, a partir dos fundamentos teóricos das obras de Agnes Heller, Berger & Luckmann e Lev Vigotski. A partir dessa fundamentação teórica, pretende-se analisar a natureza e as especificidades da esfera social cotidiana e do conhecimento musical cotidiano a ela pertencente, situando o lugar e o papel desse conhecimento no processo formal de ensino-aprendizagem de música. Utilizando alguns dos conceitos desses teóricos ligados ao materialismo histórico, discute-se como esse conhecimento musical informal/espontâneo pode ser abordado do ponto de vista teórico (filosófico e sociológico); qual a importância dele para as crianças; qual sua função e suas influências no aprendizado formal de música; e como tem sido tratado, ou considerado, nos currículos das escolas formais. Para delimitar o que é cotidiano e conhecimento cotidiano foram utilizados os conceitos de Heller das esferas cotidiana e não-cotidiana da vida social humana e formas de pensamento cotidianas; para problematizar a questão do aprendizado espontâneo cotidiano e sua importância para a formação do indivíduo foi utilizado o conceito de socialização primária de Berger & Luckmann; para discutir a questão da relação entre o conhecimento cotidiano, o desenvolvimento cognitivo e o aprendizado escolar, são utilizados os conceitos de apropriação, aprendizagem e desenvolvimento de Vigotski; para situar essas questões na área da educação e da pedagogia são utilizados alguns pressupostos da Pedagogia Histórico-Crítica, aqui representada pelas as idéias dos filósofos Dermeval Saviani e Newton Duarte.
Abstract: Abstract. This work intends to introduce a possible theorist approach for the questions that the everyday music knowledge imposes to Formal Music Education. The purpose is to propose an interpreting reading about this knowledge, using the theorist foundation of authors Agnes Heller, Berger & Luckmann and Lev Vigotski. From this theorist foundation, this works intends to analyze the particularizations of everyday life and its musical knowledge, situating the place and function of this knowledge to the formal music teaching-learning. Using some concepts of this authors related of the historic materialism, examines how this informal music knowledge can be approached by the theorist view (philosophical and sociological); what this importance to the children; what its influence and function to the formal music learning; and how it has approaching by the formal music education. The Heller's concepts of social everyday space and everyday forms of thoughts were used to situate what is everyday life and everyday knowledge; the Berger & Luckmann's concept of primary socializing was using to situate the importance of spontaneous everyday learning to the human formation; the Vigotski's concepts about learning and development were using to examines the relations between the everyday knowledge, cognitive development and formal education; at last, this work uses some concepts of the Critic-Historic Pedagogy, represented here by education philosophers Dermeval Saviani and Newton Duarte, to situate these questions in the educational area.
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Carvalho, Letícia Sandra Araújo. "O ensino informal e não-formal de música: metodologia e práticas pedagógicas para o ensino informal e não-formal de música percussiva." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28659.

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O tema desta dissertação versa sobre o ensino informal e não formal de música. Este trabalho aborda o uso de metodologias informais e os ambientes não formais para o ensino de música percussiva. Foi realizada uma reflexão crítica baseada na Revisão de Literatura sobre o tema e uma abordagem metodológica qualitativa que permitiu a identificação de autores que abordam as temáticas a cerca das metodologias e dos materiais pedagógicos musicais, que tendem a contribuir no processo de ensinoaprendizagem de música. O objetivo foi valorizar as práticas musicais e percussivas transmitidas informalmente nos espaços não formais. A pertinência do tema justifica-se devido à experiência da autora como professora de música em escolas públicas no Brasil e em ONGs Brasil / Portugal. Conclui-se, ao fim da pesquisa, que são muitos os materiais pedagógicos que podem ser adotados para o ensino de música, como sejam: objetos alternativos; instrumentos tradicionais ou adaptados e até mesmo o corpo. Ressalta-se ainda a importância dos ambientes não formais que promovem atividades pedagógicas musicais; Informal and Non-Formal Teaching of Music: Methodology and Pedagogical Practices for Informal and Non-Formal Teaching of Percussive Music ABSTRACT: The theme of this dissertation is about informal and non-formal music education. This work addresses the use of informal methodologies and non-formal environments for teaching percussive music. A critical reflection was carried out based on the Literature Review on the topic and a qualitative methodological approach that allowed the identification of authors who approach the themes around musical methodologies and pedagogical materials, which tend to contribute to the music teaching-learning process. The objective was to value musical and percussive practices transmitted informally in non-formal spaces. The pertinence of the theme is justified due to the author's experience as a music teacher in public schools in Brazil and in NGOs in Brazil / Portugal. It is concluded, at the end of the research, that there are many pedagogical materials that can be adopted for teaching music, such as: alternative objects; traditional or adapted instruments and even the body itself. It is also emphasized the importance of non-formal environments that promote musical pedagogical activities.
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Msimango, Linda Nombuso Pearl. "An investigation into the relevance of formal training in music education to jazz teaching in South Africa." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7974.

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Includes bibliographical references (leaves 90-99).
The primary objective of the study was to investigate the necessity of equipping professional jazz teachers with general music educational principles. A sample was drawn from the students and lecturers at three selected tertiary institutions. The secondary objective was to determine who is deemed competent to teach jazz at tertiary institutions: professional players, professional players with a teacher-training qualification in jazz, or both. Three of the tertiary institutions in South Africa that offer jazz as part of their curricula were chosen: the University of Cape Town, the University of Natal, Durban, and the Technikon Natal. A questionnaire survey and interviews were utilised as the means of collecting information about issues concerning jazz education. A quantitative research design was used to analyse the results obtained from the questionnaires. The results were tabulated in basic descriptive statistical form and the interviews were qualitatively analysed. In addition, five hypotheses were formulated and tested using chi-square tests. A number of the interviewees supported the idea of equipping professional jazz teachers with general music educational principles; however, there were those who felt that their experience in the field was sufficient to enable them to be competent jazz teachers. The results from both the student questionnaire and lecturer interviews indicated that a combination of both professional players and professional players with a teacher- training qualification are needed. It was recommended that further research on jazz education should be undertaken to account for issues relating to teacher training in music education in South Africa. A curriculum that suits students and professional players who are interested in becoming competent jazz educators should be developed.
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Murray, Eric A. "Tradition and Innovation in the Pedagogy of Brazilian Instrumental Choro." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1365782281.

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Rotta, Daltro Cardoso. "O hip-hop (en) cena : problematicas acerca do corpo, da cultura e da formação." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253221.

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Orientador: Elisa Angotti Kossovitch
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta dissertação que ora apresento tem como campo de problemáticas algumas práticas de socialização de bairros periféricos, e encontra no movimento hip-hop um grande campo de experimentação. De grande influência na cultura da Juventude contemporânea, o hip-hop engendra discursos carregados de preocupação com os cenários de segregação social e cultural vivenciadas pelas periferias urbanas, além de produzir por meio de seções exaustivas de treinamento, um corpo apto ao desenvolvimento de uma arte dotada de uma potência singular de encenar, por meio de gestos, composição corporal e movimento, um certo estilo de viver marcado por um cenário de falta, de precariedade e preconceito, porém não carente de inventividade. Diria que são corpos potentes que trazem consigo as marcas da exclusão social e uma certa ousadia de encenar, na forma de uma arte das ruas, uma estética da existência. Retraço, desta maneira, a trajetória de formação de dois grupos de hip-hop da cidade de Pelotas/RS: os Piratas de Rua Creew e a Banca C.N.R. Por meio de estratégias etnográficas como a observação participante, registro em diário de campo e depoimentos orais. Problematizo suas trajetórias, que vão da socialização como uma prática de lazer periférico, até uma organização que garante aos seus atores um importante dispositivo de formação e reinserção social
Abstract: This paper has as field of problems some practices of socialization of outlying neighborhoods, and it possesses the hip-hop culture as a great experimentation field. Of great influence in the contemporary Youth's culture, the hip-hop engenders speeches loaded of concern with the sceneries of social and cultural segregation lived by the urban peripheries, besides producing through exhausting sections of training, a capable body to the development of an art endowed with a singular potency of staging, through gestures, corporal composition and movement, a certain style of living marked by a lack scenery, of precariousness and prejudice, however no lacking of inventiveness. I would say that they are potent bodies that they bring the marks of the social exclusion and a certain daring of staging, in the form of an art of the streets, an aesthetics of the existence. I aim at, in this research, the path of formation of two groups of hip-hop of the city of Pelotas/RS: Street Pirates Crew and C.N.R. Rappers. Through ethnography strategies as the participant observation, registration in field diary and oral depositions. I problematize their paths, that space of the socialization as a practice of outlying leisure, until an organization that guarantees to their actors an important formation device and social insert
Mestrado
Educação, Sociedade, Politica e Cultura
Mestre em Educação
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Ferreira, Gabriel Nunes Lopes. "A influÃncia do Projeto Jardim de Gente na reinvenÃÃo do cotidiano dos jovens do Bom Jardim: um estudo de caso no curso de PrÃtica de Conjunto." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13868.

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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior
O presente trabalho aborda a educaÃÃo musical em espaÃos nÃo formais de ensino e como esses espaÃos contribuem para a educaÃÃo musical na periferia de Fortaleza. A pesquisa tem como objetivo compreender, sob a perspectiva dos estudantes, a importÃncia dos cursos de MÃsica realizados pelo Projeto Jardim de Gente. O Projeto à desenvolvido no Bairro Bom Jardim, nas instalaÃÃes do Centro Cultural Bom Jardim. O referencial teÃrico principal da pesquisa està baseado em Bourdieu, com seus estudos sobre jogos de poder e classes sociais; Certeau, com sua pesquisa sobre cotidiano; e Koellreutter, com sua proposta de EducaÃÃo Musical. Como abordagem metodolÃgica, foi realizado um estudo de caso no curso de PrÃtica de Conjunto. Foram escolhidos e entrevistados dez estudantes que participaram do curso no perÃodo de 2010 a 2013. AlÃm dos relatos dos dez estudantes, foram utilizados como fontes de evidÃncias os planejamentos do curso e tambÃm o Projeto PolÃtico PedagÃgico do Jardim de Gente, este Ãltimo desenvolvido de maneira coletiva com participaÃÃo da comunidade, estudantes, professores e coordenaÃÃo do Projeto. Assim, o curso de PrÃtica de Conjunto assume o papel de um espaÃo de mudanÃas de percepÃÃes com relaÃÃo à prÃtica musical e tambÃm com relaÃÃo Ãs atividades cotidianas dos estudantes. De acordo com os resultados, o Projeto surge como um espaÃo de democratizaÃÃo do saber musical, reinventando o cotidiano de seus frequentadores.
This paper discusses music education in non-formal spaces of education and how these spaces contribute to the musical education on the outskirts of Fortaleza. The project aims the understanding of the importance of music courses held by the Project Jardim de Gente (Garden of People) through the studentsâ perspective. The project is developed in the neighborhood of Bom Jardim, the premises of the Bom Jardim Cultural Center. The main theoretical framework of the research is based on Bourdieu, with his studies on power games and social classes; Certeau, with his research on everyday life; and Koellreutter, with its proposal for Music Education. As a methodological approach, a case study in the course of Joint Practice was made. Ten students who participated in the course in the period 2010 to 2013 were chosen and interviewed. In addition to this, course planning and the Pedagogical Political Project of Garden of People (Projeto PolÃtico PedagÃgico do Jardim de Gente) were used as sources of evidence, the latter was developed collectively with the participation of the community, students, teachers and coordination of the Project. Thus, the Practice course comes as perceptions of space changes with respect to musical practice and also in relation to daily students activities. According to the results, the project appears as a democratization of musical knowledge, reinventing the daily lives of its attendees.
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Chen, Hong. "Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5922.

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The purposes of this study were to explore the preference of the Chinese undergraduate music majors (N = 27) for Chinese Xi-Qu and Western opera audiovisual examples, the reasons for preference, influence of familiarity on preference, and the relationship between preference ratings and the emotions as detected by FaceReader. The mixed research method, convergent parallel design, was used to explore this topic in depth. As Xi-Qu and opera integrate multiple art forms, eight audiovisual examples (Xi-Qu, n = 4, opera, n = 4) were selected as the stimuli to show the characteristics of the two genres. The participants watched the audiovisual examples individually and responded to a questionnaire meanwhile their facial expressions were recorded for FaceReader analysis. The semi-structured interviews were administered to collect qualitative data pertaining to participants’ general opinions about the musical examples, familiarity, reasons for preference, and the emotions encompassing when watching the musical examples. Descriptive and inferential statistics were used to analyze the data obtained from the questionnaire. The facial expressions video files were analyzed by FaceReader. The qualitative data obtained from interviews were coded to find themes. The quantitative findings suggested that the operatic examples received higher mean preference ratings than the Xi-Qu examples. The top three preferred examples were all operatic pieces while the three least preferred examples were Xi-Qu pieces. Results of one-way ANOVA showed that the difference among the preference mean ratings showed the statistical significance, F (7, 208) = 14.15, p < .01. The operatic examples also received higher familiarity ratings than Xi-Qu examples. The difference among the familiarity mean ratings also showed the statistical significance, F (7, 208) = 2.99, p < .01. The preference and familiarity ratings showed a modest but statistically significant relationship (r = .45, p < .01). A statistically significant relationship was found between the preference ratings and tempo (r =. 23, < . 01). Furthermore, singing was always among the top three most liked elements in the operatic examples, but singing was always among the top three most disliked elements in the four Xi-Qu examples despite that singing was also among the top three liked elements in two Xi-Qu examples. Numerical FaceReader results showed a strong negative relationship between “angry” and preference (rho = -.976, p < .01). The moderate relationship was found between “sums of negative emotions” and preference (rho = .741, p < .05). No statistically significant relationship was found between valence and preference and between arousal and preference. The results of temporal FaceReader analysis showed that the participants’ emotional response to the audiovisual examples changed with the unfolding visual and audio information. The qualitative analysis revealed a model of Xi-Qu and opera preference. The model contained the factors influencing preference for Xi-Qu and opera, including personal factors, cultural and environmental factors, visual factors, musical factors, and musical response. Formal voice training was the most reliable indicator of preference for operatic examples. Familiarity gained through guided listening instead of random repetition was positively related preference for Xi-Qu examples. The unexpected findings were the influence of religion and static perspective on preference for music. Implications and recommendations were discussed, and the suggestions for future research were included.
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Books on the topic "Formal music education"

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Green, Lucy. Music, informal learning and the school: A new classroom pedagogy. Burlington, VT: Ashgate, 2007.

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1937-, Thomas Judith A., and Katz Susan A. 1939-, eds. The word in play: Language, music, and movement in the classroom. 2nd ed. Baltimore: P.H. Brookes Pub., 2004.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports of the National Fund for Medical Education, for fiscal years 1994 through 1997. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Society Daughters of the American Colonists for fiscal year 1999. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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Division, United States General Accounting Office Accounting and Information Management. Federally chartered corporation: Review of the financial statement audit report for the Aviation Hall of Fame for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Non Commissioned Officers Association of the United States of America, Incorporated, for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Jewish War Veterans of the United States of America, National Memorial, Incorporated, for fiscal year 1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports of the National Fallen Firefighters Foundation for years 1993-1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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Book chapters on the topic "Formal music education"

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Ekadu-Ereu, Peter. "Karimojong indigenous education and the effect of the non-formal education curriculum and contemporary forces of change." In Music Education in Africa, 216–29. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-14.

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Dickens, Luke, and Douglas Lonie. "Rehearsal Spaces as Children’s Spaces? Considering the Place of Non-formal Music Education." In Informal Education, Childhood and Youth, 165–83. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137027733_11.

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Lonie, Douglas, and Luke Dickens. "Are You Listening? Voicing What Matters in Non-Formal Music Education Policy and Practice." In Children’s Emotions in Policy and Practice, 174–88. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137415608_11.

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Varvarigou, Maria. "Nurturing Personal and Collaborative Creativity Through Group Playing by Ear from Recordings in Formal Music Education." In Artistic Thinking in the Schools, 175–93. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8993-1_10.

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Nguyen, Thomas. "Gamification and Formal Practice: A Pilot Study on Gamification’s Contributions to Kindergarten Students’ Musical Practice." In Music Technology in Education, 103–29. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.108.ch4.

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Practice is, and will always be, one of the fundamental ways of attaining musical skills. However, the efficiency of skill acquisition will be dependent on the quality and quantity of musical practice. On the one hand, a learner can be dedicated in their practice, seeking guidance to improve their own weaknesses and strategize their practice time, reminding us of formal practice. On the other hand, a learner can lack dedication or even be amotivated by practicing without effort or goals, reminding us of informal practice. This pilot study explores how gamification can potentially contribute to formal practice and song acquisition, incorporating game elements like reward systems, level gaining, competition, cooperation, storytelling, and goals into a ukulele and song course. This intervention design tested kindergarten teaching students (n = 60) at Queen Maud University College (DMMH) of Early Childhood Education.
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Lapidus, Benjamin. "Latin music education in new york." In New York and the International Sound of Latin Music, 1940-1990, 3–53. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0001.

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This chapter details the longstanding formal and informal Latin music education settings and networks in New York City, as well as some of the ways in which the musicians benefited from them. It introduces three Puerto Rican women, from the 1920s through 1950s, who taught some of the greatest pianists to emerge from the New York scene. The chapter then presents a Panamanian pianist and a Cuban flautist who imparted musicianship, theory, and piano lessons to countless musicians who were influential performers, composers, and arrangers. The Afro-Latin folkloric music scene in New York was an incubator for musical innovation and preservation; musicians from across ethnic groups have studied, performed, and recorded ritual and folkloric genres. New York City, unlike sites within the Caribbean, offered a wide range of formal and informal study opportunities for musicians from throughout the Caribbean. It explores some of the institutions that served as meeting grounds for musicians, and provided both rehearsal and performance opportunities for aspiring musicians.
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Støckert, Robin, Andreas Bergsland, and Anna Xambó. "The Notion of Presence in a Telematic Cross-Disciplinary Program for Music, Communication and Technology." In Music Technology in Education, 77–101. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.108.ch3.

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This chapter examines how students in a two-campus, cross-disciplinary program in Music, Communication and Technology (MCT) experience the sense of presence of peer students and teachers, some physically co-localized while others are present via an audiovisual communications system. The chapter starts by briefly delineating the MCT program, the audiovisual communications system and the learning space built around it, named the Portal, and the research project SALTO which frames the current study. We then review research literature on presence relevant to this particular context and use this as a basis for the design of an online survey using a combination of Likert items and free text response. Our main findings, based on responses from the 16 students who participated in the survey, are that the mediating technologies of the Portal affect the experience of presence negatively, but that formal learning scenarios are less affected than informal scenarios that require social interaction.
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Cremata, Radio. "A Model for Online Music Education." In Research Anthology on Developing Effective Online Learning Courses, 193–216. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8047-9.ch012.

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This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.
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Kokotsaki, Dimitra. "Engagement and Creativity in Music Education." In Advances in Multimedia and Interactive Technologies, 295–309. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0270-8.ch014.

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The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.
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Kokotsaki, Dimitra. "Engagement and Creativity in Music Education." In Student Engagement and Participation, 418–32. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2584-4.ch020.

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The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.
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Conference papers on the topic "Formal music education"

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Maragani, Meyltsan, Stefanny Pandaleke, and Markus Wibowo. "Strategy of Non Formal Music Education in Disruptive Era." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302098.

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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Gabnyte, Giedre. "Music Education Innovations as a Condition for Development of Non-formal Education: Learning in a Group." In 13th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2020. http://dx.doi.org/10.22616/reep.2020.006.

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Michalec, Lukasz, and David A Banks. "Information Systems Development Methodologies and all that Jazz." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2805.

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This paper explores the relationships between jazz and the development of information systems. Similarities are drawn between music in general and information systems development methodologies and jazz is taken as a specific focus. The idea of music as an information system in its own right is outlined. As systems development methodologies move from formal approaches towards more ad hoc forms, the lessons that can be learned from jazz, such as improvisation and shared meaning, may become increasingly useful.
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Gabnyte, Giedre. "COMMUNICATION AND COLLABORATION AS A SIGNIFICANT FACTOR OF PEDAGOGUES� PROFESSIONAL MOTIVATION: THE CONTEXT OF NON-FORMAL MUSIC EDUCATION IN LITHUANIA." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s07.004.

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Körei, Attila. "Using Formal Concept Analysis in Education." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.055.

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Kokkinidis, Kostas, Theodoros Mastoras, Athanasia Stergiaki, and Paraskevi Kritopoulou. "Gesture Recognition & Chanting Assessment For Byzantine Music Learning." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.806.

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Recent works related to digital self-instruction environments, present scarce efforts to provide combined instruction for gestural and vocal skills. Based upon a recently introduced learning and teaching method of vocal music, this research utilizes existing technologies to achieve the development of such a learning environment. The presented system administers the learning experience in order to improve the motion, sound and rhythm related skills of the student. Student performance is compared with a pre-recorded instructor performance in order to provide customized feedback that bespeaks the flaws of the former performance. Motion and sound-capturing technologies are combined, and related feature extraction algorithms are applied. The gestural and vocal features of the instructor performance are compared off-line to those of the student performance, in order to detect the differences, while the tempo is indicated through gestures. The system evaluates constantly the performances in order to provide visual feedback based on their differences. The aim is for the student to reproduce the instructor performance in an approximate manner. An assessment formula for the student performance is proposed and tested for its validity and accuracy. The selected musical genre on which this system was applied is Byzantine music, since its complexity and variety tests the existing sound recognition algorithms.
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Reports on the topic "Formal music education"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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