Academic literature on the topic 'General music appreciation programme'
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Journal articles on the topic "General music appreciation programme"
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McAulay, J., M. Block, V. Booth, and A. Cowley. "520 AN EVALUATION OF VIRTUAL MUSIC THERAPY TO PATIENTS ON AN ACUTE HEALTH CARE OF OLDER PEOPLE WARD DURING THE COVID-19 PANDEMIC." Age and Ageing 50, Supplement_2 (June 2021): ii8—ii13. http://dx.doi.org/10.1093/ageing/afab116.13.
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Abstract Introduction Music therapy has been shown to reduce anxiety and social isolation for elderly patients in the acute hospital setting. At Nottingham University Hospital NHS Trust a programme of live, face-to-face music has been delivered by Wellspring Music on Healthcare of Older Peoples wards since 2015. In response to COVID-19, face-to-face delivery was stopped and a virtual method was proposed. This project investigated feasibility of virtual live music delivery. Method Twelve, two-hour music therapy sessions were delivered by Wellspring Music to 41 patients over six weeks. The validated Arts-obs tool was used by staff members facilitating the sessions to record observations of patient mood, relaxation, and distraction from the ward setting on Likert scales. Patient, ward staff, and facilitator feedback were also recorded. Qualitative and quantitative analyses were conducted by an Occupational Therapist. Results Data from the Arts-obs tool showed that thirty-two patients had an observable improvement in mood, seven had no mood change, and two presented a slightly worsened mood. Fourteen patients were fully engaged with the music therapy, sixteen were partially engaged, and eleven were focussed on the hospital environment. Thirty-four patients were visibly more relaxed, and seven showed no change. Patient feedback ranged from gratitude and expressions of enjoyment of the session to finding it too loud. Ward staff feedback ranged from appreciation to finding the music too distracting. The Wellspring musician and staff facilitators reported occasional loss of internet connection, and patients sometimes focusing on the facilitator rather than the musician. Conclusion It is feasible to deliver virtual music therapy to inpatients on Health Care of Older People wards. Feedback shows that this was largely acceptable to staff and patients. Improvements in mood, relaxation and distraction were found.
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Leung, Bo-Wah. "Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou." Impact 2021, no. 7 (September 14, 2021): 18–20. http://dx.doi.org/10.21820/23987073.2021.7.18.
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It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.
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Honing, Henkjan, Carel ten Cate, Isabelle Peretz, and Sandra E. Trehub. "Without it no music: cognition, biology and evolution of musicality." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140088. http://dx.doi.org/10.1098/rstb.2014.0088.
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Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. Music, by contrast, can be defined as a social and cultural construct based on that very musicality. One critical challenge is to delineate the constituent elements of musicality. What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? Progress in understanding the evolution of music cognition depends upon adequate characterization of the constituent mechanisms of musicality and the extent to which they are present in non-human species. We argue for the importance of identifying these mechanisms and delineating their functions and developmental course, as well as suggesting effective means of studying them in human and non-human animals. It is virtually impossible to underpin the evolutionary role of musicality as a whole, but a multicomponent perspective on musicality that emphasizes its constituent capacities, development and neural cognitive specificity is an excellent starting point for a research programme aimed at illuminating the origins and evolution of musical behaviour as an autonomous trait.
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Rohwer, Debbie, Don D. Coffman, and William Dabback. "A description of New Horizons Band assistants’ perceptions and experiences." International Journal of Community Music 13, no. 3 (December 1, 2020): 333–44. http://dx.doi.org/10.1386/ijcm_00024_1.
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The purpose of the current study was to describe the perceptions and experiences of New Horizons Band assistants in terms of learning, skill transfer and pedagogical preparation. The participant population for this study was 35 past student teacher-assistants from three New Horizons bands, one in Texas, one in Florida and one in Virginia. There were ten open-ended items on the questionnaire that asked about student assistant perceptions and experiences. Participants noted the growth they experienced from serving as a band teaching assistant in a New Horizons programme, describing their appreciation for lifelong learning, exposure to the complexity of how to teach to a variety of learners, and experience with the challenges of pacing with adults and blunt feedback from programme participants. The article concludes with a discussion of possible collegiate preparatory experiences that could broaden the teacher training experience for college programmes.
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Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo, and Daniele Zavagno. "Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts." Psihologija 50, no. 3 (2017): 285–306. http://dx.doi.org/10.2298/psi1703285a.
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According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ?figurative? and ?abstract? can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting?s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.
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Duarte-García, Mario Alberto, and Jorge Rodrigo Sigal-Sefchovich. "Working with Electroacoustic Music in Rural Communities: The use of an interactive music system in the creative process in primary and secondary school education." Organised Sound 24, no. 3 (November 29, 2019): 228–39. http://dx.doi.org/10.1017/s135577181900030x.
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This article describes a project intended to promote access to electroacoustic music for children and teenagers aged 6 to 15 years in a socially and educationally disadvantaged rural community in Michoacán, Mexico. It explores an educational model of teaching, learning and creation of electroacoustic music through the use of music technology and pedagogy based on constructivism and Paulo Freire’s ideas on education as a practice of freedom. It provides a pedagogical reflection on the processes of learning and appreciation of this new music. The project includes the use of an interactive music system – implemented in MaxMSP using a mobile phone OSC app to control space and its interaction with timbre, pitch and duration – as an aid in the classroom and its implementation in an educational programme with a social impact. The research covered in this article could be taken into account to deliver new music education in rural communities with similar socioeconomic circumstances.
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Sun, Xiaoliang. "Research of Mobile Learning System for Music Appreciation Class Based on Cloud Computing." Advanced Materials Research 774-776 (September 2013): 1790–93. http://dx.doi.org/10.4028/www.scientific.net/amr.774-776.1790.
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The application of cloud computing technology provides a new idea to the development of mobile learning. The applications based on cloud computing is focus on the solution of music appreciation class in the paper. The design of mobile learning system for music appreciation class based on cloud computing is proposed and the related concepts of cloud computing is briefly introduced. The topology of the system is given. In the end, it shows deeply mobile learning system class based on cloud computing is the urgency of education development. It can provide the better services of music appreciation class.
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Balls, Michael. "Richard Clothier: An Appreciation." Alternatives to Laboratory Animals 35, no. 5 (October 2007): 531–37. http://dx.doi.org/10.1177/026119290703500501.
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The career of Richard Clothier is reviewed in the light of his long-standing collaboration with Michael Balls and Laurens Ruben at the University of East Anglia (UEA), the University of Nottingham, and Reed College, Portland, Oregon, USA. It began with work at UEA on the aetiology of the lymphosarcoma of Xenopus laevis, followed by studies on the effects of exposure to N-nitroso- N-methylurea on T-cell functions, which led to many contributions to comparative immunology. This was followed by the establishment of the FRAME Research Programme, which led to participation in extensive studies on the development of in vitro cytotoxicity tests and their application in acute and topical toxicity testing. A FRAME Trustee since 1983, Richard Clothier was a co-founder, and subsequently Director, of the FRAME Alternatives Laboratory in the University of Nottingham Medical School, where he led successful collaborations with a number of industrial partners and, in particular, with the European Centre for the Validation of Alternative Methods (ECVAM).
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Nedelcuț, Nelida, Ciprian Gabriel Pop, and Ioana Chiorean. "17. The Level of Musical Competency Training: A Comparative Study of Full-Time and Distance Students." Review of Artistic Education 19, no. 1 (April 1, 2020): 140–48. http://dx.doi.org/10.2478/rae-2020-0017.
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AbstractEstimating the level of competency training at the end of a university programme aims, in the competency-based learning, at a certification of the training’s outcomes. This research wishes to evaluate the degree of specific competency training for a Bachelor programme in music organized by the Gheorghe Dima National Academy of Music from Cluj-Napoca in different forms of learning, namely full-time and distance learning. By means of a questionnaire which measures the appreciation of students on a scale from 1 to 5 we interviewed 60 students who measured their own professional training based on the competencies approved on a national level for music as major subject. We analyzed descriptors characteristic of certain development levels of the key competencies for three specific content areas: the theoretical, methodological, and artistic areas. The main findings of the research, following a comparative analysis of the implementation of programme-specific competencies, reveal superior outcomes in the case of distance students in the development of competencies belonging to the field of performance, the practical activity carried out during the learning process, at their place of work and through participation in artistic productions, thus motivating the students’ interest in acquiring and improving certain specific skills and abilities. The theoretical knowledge and consolidation of the musical language represent the priorities of the full-time students and, by means of a statistical comparison, we highlighted different answers for the results of the questionnaire meant for the assimilation of competencies for each of the descriptors analyzed in this study.
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BELLA, S. DALLA, I. PERETZ, L. ROUSSEAU, N. GOSSELIN, J. AYOTTE, and A. LAVOIE. "Development of the Happy-Sad Distinction in Music Appreciation." Annals of the New York Academy of Sciences 930, no. 1 (June 2001): 436–38. http://dx.doi.org/10.1111/j.1749-6632.2001.tb05763.x.
Full textDissertations / Theses on the topic "General music appreciation programme"
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Hoek, Elizabeth Antoinette. "South African unit standards for a general music appraisal programme at NQF levels 2-4, with special reference to ensemble specialisation for available instruments." Thesis, University of Pretoria, 2001. http://hdl.handle.net/2263/30172.
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Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.
Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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CHANG, SHU-HUA, and 張書華. "An Action Research of Using Creative Music Appreciation Instruction in the Sixth Grade General Music Classes." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/95088217799161327285.
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碩士國立臺南大學
音樂學系音樂科教學碩士班
105
This thesis was to study creativity-based music appreciation teaching for sixth-year elementary students. The teaching materials were based on three musical compositions, Peter and the wolf, The Nutcracker, 12 Variations on "Ah vous dirai-je, Maman", from two major units “Tell A Story With Your Music” and “New Perspective On Music” in Han-Li version textbook of Fine Art & Liberal Art published in 103 R.O.C. year for sixth-year students. The main research tool was the instructional program consisted of fifteen sections designed by this author, including the strategies of music appreciation teaching and creative thinking, which were summarized in literature review of this thesis, as well as music appreciation learning activities created by this author. This was a qualitative action research. The research participants were the sixth-grade elementary students of this author in Class A at Happy Elementary School, Qi-gu District, Tainan City, in the second semester in 104 R.O.C. year. The research materials were collected by videotaping, learning sheets, teacher record sheet, post-teaching reflection sheet, collaborative teaching observation form, and student self-evaluation sheet. After analyzed, used in teaching practice, and carefully systemized, the result showed that: 1. A positive and friendly learning environment made students devoted to creativity-based music appreciation activities. 2. Creativity-based music appreciation teaching ignited students’ passion toward music appreciation, enhanced their understanding of musical concepts, and cultivated their exploring thinking ability. 3. Spiral learning activities escalated students from unknowingly hearing music to critically analyzing music even to composing music. 4. Integrating creative learning activities from easy to advance into the content of music appreciation was an effective way to vitalize music appreciation teaching. 5. The teaching strategies co-opting visual, audio, and touch were very helpful to implement creativity-based music appreciation teaching. 6. Teachers shall use Scaffolding guidance to help students and adjust teaching progress if necessary during creativity-based music appreciation teaching. 7. To conduct musical composition activities with sheet music, it is necessary that participants already received basic skills of writing and reading sheet music. 8. Encouragement-based diverse assessment was essential creativity-based music appreciation teaching. At the end of this thesis, it proposed few suggestions for music educators and researchers as future reference.
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WANG, YA-JHEN, and 王雅嫃. "An Action Research of Critical Thinking in Music Appreciation Lessons in Fifth Grade General Music Classes." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/98045622656973898365.
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碩士國立臺中教育大學
教師專業碩士學位學程
104
Abstract The purpose of this study was to investigate the performance of fifth grade students using critical thinking skills in music appreciation lessons. In addition, the problems encountered and possible solutions found by the music teacher were discussed in this study. The data were collected from observing, interviewing, concept mapping and testing fifth-graders at a small elementary school in Miaoli County. The researcher designed a 11-week lesson plan with only 2 students in the class. Through the instruction process, the researcher reflected and modified the lesson plans to meet students' needs. There were three critical thinking techniques used in this study, including theme identification, comparison and contrast, and criteria of judgment during instruction. Findings of this action research are as follows: 1. Students' critical thinking skill of theme identification was improved as they identified instrumental timbre. 2. The approach of using visual learning to assist with audio learning enhanced students' recognition of comparison and contrast on music. 3. Utilizing appropriate musical terminology promoted students to express their musical ideas. 4. The music teacher’s positive attitude, especially open-mined, was helpful for students to build their criteria of judgments in music. 5. Group works with cooperative learning guided and connected students making more links on their concept mapping. 6. Given an appropriate scaffolding instruction, students obtained confidence. 7. Students showed positive attitude on the use of concept mapping in music appreciation lessons. 8. Critical thinking in music appreciation lessons should be continuously modified and adapted to meet students' learning needs. Moreover, the researcher made several recommendations for music teaching, educational administration, and future research. Keywords: critical thinking, music appreciation lessons, concept mapping, elementary general music class
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i-zu, choa, and 趙怡如. "A Study on the Music Appreciation Curriculum Plan of General Education in Universities." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/87765998132313709008.
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碩士國立臺灣師範大學
音樂研究所
93
The purpose of the study is to investigate music appreciation curriculum of general education in universities. According to the planning principles, teaching designs, teaching materials, pedagogy, teaching resources and assessment of present music appreciation courses of general education. The study is made via questionnaires, interviews and literature discussing to bring up a strategy of music appreciation curriculum that conforms to the idea and character of general education. The study is presented to be the references for the researches devoted to general music courses. The findings are provided below: 1. Course Planning: Before drawing up the courses, it is necessary to understand music aptitudes and learning requirements of students from different departments. Besides, we should also emphasize on the music essence and teaching system to reach an integrated, diverse, daily-used, local and international principle of general education. We should guide students to achieve the aesthetic creation level of music appreciation. Therefore, the distinguishing general art courses and culture of schools will be built. 2. Teaching Design: Teachers should know students’ abilities of music appreciation previously. In addition, it’s also important to understand students’ opinions and interests, then the learning styles of art, culture, society and living can be integrated to precede teaching design. Finally, team teaching and lecture courses can be held by means of the skills of other teachers and scholars. Thus, students can get diverse and integrated knowledge of art. 3. Teaching Materials: The contents of teaching materials should be based on students’ needs, social trends, campus, etc. It’s also important to diversify and to strengthen the connection among all units and to respect the order and system of music teaching. 4. Teaching Implement: Putting micro teaching method into practice and conducting teaching activities with self-identity are both significant. Art resources of communities are also helpful to static and dynamic teaching modes. 5. Assessment: The assessment should be diverse and can be applied in daily life. It must contain the ability before learning, learning process and effect evaluation. Besides, the assessment has to include the ability, judgment and practice of appreciation to understand students’ performance of cognition, emotion and skills. 6. The profession and perception of teachers: Teachers should know the concept and meaning of general education thoroughly and guide students to develop lifetime learning. In addition, teachers should devote themselves to the development of music appreciation and academic researches. Furthermore, the usage and integration of technology and morals should be provided. Based on the result of the study, the research came to the recommendations for education administration and future researchers to be the references of policies, teaching and other studies.
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趙怡如. "A Study on the Music Appreciation Curriculum Plan of General Education in Universities." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/18828963742706742959.
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碩士國立臺灣師範大學
音樂學系
93
Abstract The purpose of the study is to investigate music appreciation curriculum of general education in universities. According to the planning principles, teaching designs, teaching materials, pedagogy, teaching resources and assessment of present music appreciation courses of general education. The study is made via questionnaires, interviews and literature discussing to bring up a strategy of music appreciation curriculum that conforms to the idea and character of general education. The study is presented to be the references for the researches devoted to general music courses. The findings are provided below: 1. Course Planning: Before drawing up the courses, it is necessary to understand music aptitudes and learning requirements of students from different departments. Besides, we should also emphasize on the music essence and teaching system to reach an integrated, diverse, daily-used, local and international principle of general education. We should guide students to achieve the aesthetic creation level of music appreciation. Therefore, the distinguishing general art courses and culture of schools will be built. 2. Teaching Design: Teachers should know students’ abilities of music appreciation previously. In addition, it’s also important to understand students’ opinions and interests, then the learning styles of art, culture, society and living can be integrated to precede teaching design. Finally, team teaching and lecture courses can be held by means of the skills of other teachers and scholars. Thus, students can get diverse and integrated knowledge of art. 3. Teaching Materials: The contents of teaching materials should be based on students’ needs, social trends, campus, etc. It’s also important to diversify and to strengthen the connection among all units and to respect the order and system of music teaching. 4. Teaching Implement: Putting micro teaching method into practice and conducting teaching activities with self-identity are both significant. Art resources of communities are also helpful to static and dynamic teaching modes. 5. Assessment: The assessment should be diverse and can be applied in daily life. It must contain the ability before learning, learning process and effect evaluation. Besides, the assessment has to include the ability, judgment and practice of appreciation to understand students’ performance of cognition, emotion and skills. 6. The profession and perception of teachers: Teachers should know the concept and meaning of general education thoroughly and guide students to develop lifetime learning. In addition, teachers should devote themselves to the development of music appreciation and academic researches. Furthermore, the usage and integration of technology and morals should be provided. Based on the result of the study, the research came to the recommendations for education administration and future researchers to be the references of policies, teaching and other studies.
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Grove, Johanna Petronella. "Music education unit standards for southern Africa : a model and its application in a general music appraisal programme." Thesis, 2002. http://hdl.handle.net/2263/30173.
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In the process of reform and development in South Africa, set in motion after its first democratic elections (1994), educators have the unique opportunity to re¬think, re-plan and re-structure the music education system holistically within the context of formulating unit standards now required by the South African Qualifications Authority (SAQA) for all learning areas. This thesis addresses two aspects in this process, against the background of the broader MEUSSA (Music Education Unit Standards for Southern Africa) Research Project, namely the development of a model for music education in Southern Africa and its application in a General Music Appraisal Programme (GMAP) for all learners. The MEUSSA Model, developed in this thesis, captures and displays the key elements necessary to compile unit standards across the board in music education, as identified by the author and endorsed by the MEUSSA team. These standards are grouped together in a musically logical way under collective headings. The three-dimensional model in the form of a cube can be manipulated according to the needs of the specific music practice involved, at the same time keeping the broader context of music education in Southern Africa in perspective. The MEUSSA Model is intended by the author to keep the standards generating process together cohesively. The author implements the MEUSSA Model in the GMAP, which she compiled with the aim of providing a general music education background for all learners in Southern Africa. The learning outcomes (unit standards) address music-¬specific skills, knowledge and attitudes with their related assessment criteria.Thesis (DMus)--University of Pretoria, 2006.
Music
unrestricted
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Sprankle, Jason B. "Faculty perceptions of music In general studies courses in South Carolina two-year colleges." Thesis, 2015. https://hdl.handle.net/2144/16253.
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Prior research has raised questions about different kinds of Music in General Studies (MGS) courses offered at two-year colleges, but few have addressed faculty perceptions related to student learning outcomes (SLO) and institutional missions. In principle, there is a demand on educational institutions to be accountable for SLOs, but two-year colleges present special accountability problems, because they serve multiple missions within each institution. MGS faculty perspectives can provide baseline data needed to demonstrate the ways in which MGS courses contribute to meeting the needs of students, the community, and the institutional missions.
This study serves a broader goal of familiarizing readers with faculty perspectives on music education in two-year colleges. More specifically, it contributes to understanding how student learning outcomes of MGS courses are incorporated in light of blended missions as well as the challenges created by serving blended missions within a single music course. The following questions guide the research and focus on South Carolina, two-year college music faculty perspectives on MGS courses: (1) How do instructors of MGS courses describe the primary learning goals of students enrolled in MGS courses? (2) What student learning outcomes do instructors of MGS courses identify for measurement in their MGS courses? (3) How do the instructors' perceptions shape MGS content, textbook selection, and SLOs? (4) How are student learning outcomes measured in MGS courses? (5) How do instructors of MGS courses perceive the purpose of MGS within the institutional mission of their respective colleges? Following within case and cross case analysis of interview data, findings indicated that participants tended to emphasize "identifying the elements of music using correct terminology" as the most important SLO in MGS courses. All participants considered "performing music" the least important SLO. The majority reported their institutional missions as "blended" (transfer and vocational) and perceived MGS courses to be aligned with institutional missions.
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Bernard, Justin. "Notes de programme : une histoire, des pratiques et de nouveaux usages numériques." Thesis, 2019. http://hdl.handle.net/1866/23958.
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Depuis leur émergence au milieu du XIXe siècle, les notes de programme, contenant des informations parfois détaillées sur les œuvres qui s’apprêtent à être jouées, n’ont eu de cesse de s’adresser au public de concerts. Les besoins sont multiples, voire même divergents : donner des outils de compréhension intelligibles aux novices, qui découvrent la musique de compositeurs du passé ou de compositeurs actuels, et en même temps susciter la curiosité d’auditeurs déjà initiés, qui approfondissent ainsi leurs connaissances et leur culture personnelle. Il en va des notes de programme comme d’autres outils de vulgarisation musicale, partagés entre la volonté de rendre la musique classique accessible à tous et le devoir de rigueur musicologique auquel les connaisseurs sont en droit de s’attendre.
Dans cette thèse, nous allions la théorie à la pratique. Outre les résultats d’une enquête réalisée en octobre 2017 dans le cadre de trois concerts produits par l’Orchestre symphonique de Montréal (ci-après, OSM) et qui porte notamment sur l’appréciation des notes de programme, nous présentons une série de courtes vidéos de vulgarisation que nous avons préparée pour l’OSM, au cours de la saison 2015-2016. La réalisation de ces nouveaux outils numériques s’appuie sur l’analyse d’un vaste corpus de notes de programme dont nous avons dégagé les tendances et les cas plus particuliers.
Des résultats que nous avons obtenus, il ressort que le public de l’OSM, loin d’être homogène, est formé d’auditeurs aux attentes très diverses. Pour beaucoup, les notes de programme sont jugées adaptées à la situation du concert, mais elles génèrent aussi des réactions critiques : trop détaillées pour certains, ou bien pas assez approfondies pour d’autres. Bien qu’ils aient acquis des formations et des connaissances musicales diverses, les membres du public semblent du moins s’accorder sur leur intérêt pour la musique, expliquée par l’analyste. C’est à cet intérêt, correspondant aussi aux exigences de la discipline musicologique, que les notes de programme viennent répondre. La question reste de savoir comment décrire l’objet musical afin de répondre aux besoins de chacun. Dans cette thèse, nous cherchons à proposer une solution.Since their appearance in the mid-nineteenth century, program notes, sometimes containing detailed information on the works that are about to be performed, have continued to meet audiences needs during concerts. They respond to a wide range of needs: providing intelligible comprehension tools for laymen and laywomen, who discover the music of the past and of the present, while arousing the curiosity of well-accustomed listeners, who increase their knowledge and cultivation. This goes for program notes as well as other music appreciation tools, torn between the desire to make classical music accessible to all and, on the other hand, the rigorous approach to musicology that is expected from connoisseurs. In this thesis, we combine both theory and practice. In addition to an inquiry, conducted in October 2017 as part of three concert nights at the Orchestre symphonique de Montréal (hereafter, OSM) – an inquiry which gives us an idea of how program notes are regarded by concert audiences –, we will display a series of short open educational videos that we produced for the OSM, during the 2015-2016 season. The work necessary for these new digital tools is partly based on the analysis of a large body of former program notes from which we have identified a number of trends and specific cases. The results of the inquiry show that the OSM’s audience, far from being homogeneous, is made up of listeners who bear very different expectations. According to many, the program notes are considered appropriate for one’s concert experience. However, they may also spring critical reactions among concertgoers: either too detailed, tedious for some, or somewhat dull for others. Although audience members have different musical backgrounds and scales of knowledge, both novices and connoisseurs seem to share a common interest in the music itself, which needs to be explained through means of analysis. This interest is being fulfilled by program notes, in line with the requirements of musicological research. The question remains: how can one describe a work of music in order to meet the needs of everyone? In this thesis, we try to find appropriate answers to this matter.
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Milette, Marie-Catherine. "Évaluation de la mise en œuvre du programme d’activités parascolaires musicales La classe enchantée." Thesis, 2020. http://hdl.handle.net/1866/25136.
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Les activités parascolaires sont de plus en plus reconnues comme un contexte favorisant le développement positif des jeunes, et ce, particulièrement pour les jeunes en milieu défavorisé. Toutefois, l’efficacité de ces interventions varie selon les programmes, leur contexte d’implantation, ainsi que les caractéristiques et l’engagement des jeunes. La présente étude se situe dans l’évaluation du programme La classe enchantée (CE), un programme d’activités parascolaires musicales offert depuis 2017 aux élèves de 4e année d’une école primaire montréalaise pluriethnique en milieu défavorisé. La CE vise spécifiquement à influencer positivement l’épanouissement des jeunes par l’apprentissage collectif de la musique ainsi que par un accès démocratique à ce programme. De façon à mieux comprendre le fonctionnement et les conditions optimales d’implantation de cette initiative novatrice, la présente étude a comme objectif général d’évaluer la mise en œuvre du programme. De façon plus précise, le premier objectif est de décrire le programme et d’identifier les obstacles et facilitateurs en lien avec son implantation. Le deuxième objectif vise ensuite à relever les composantes essentielles de la mise en œuvre favorisant l’engagement des jeunes, et plus largement, leur développement positif.
Les données ont été recueillies sur un peu plus de deux ans auprès de quatre groupes d’acteurs, soit les participants, leurs parents, les enseignants de musique ainsi que l’équipe de direction du programme, et ce, principalement à partir d’entrevues. Dans une visée formative, les analyses descriptives et thématiques ont permis de dresser un portrait détaillé de la mise en œuvre de la CE et de ses facteurs d’influence à partir de la structure d’ensemble du modèle psychoéducatif. Parmi ceux-ci, l’instabilité du financement est ressortie comme étant un obstacle constant avec lequel la direction doit composer. Les résultats mettent également en valeur l’importance des enseignants, de la relation qu’ils créent avec les jeunes, mais également de leur expérience avec la clientèle qui est déterminante pour l’instauration d’un climat propice aux apprentissages. Enfin, certaines aptitudes de la direction ainsi que l’ajout d’une coordination à l’interne ressortent comme étant particulièrement importants au sein du programme pour que les acteurs de sa mise en œuvre s’ajustent efficacement aux obstacles rencontrés et répondent aux besoins des jeunes. L’étude dégage également des réflexions quant à l’utilisation de la structure d’ensemble du modèle psychoéducatif comme outil d’évaluation de la mise en œuvre.Extracurricular activities are increasingly recognized as a context that promotes youth positive development, especially for those living in disadvantaged areas. However, the effectiveness of these interventions varies from one program to another, based on their implementation context, and according to youth characteristics and commitment. This study is part of the evaluation of the La classe enchantée (EC), an extracurricular music program offered since 2017 to 4th graders attending a multi-ethnic Montreal school located in a disadvantaged area. The EC specifically aims to positively influence youth development through collective music learning as well as through a democratic access to the program. In order to better understand the functioning and optimal conditions for implementing this innovative initiative, the present study aimed as a general objective to evaluate the implementation of the program. More specifically, our objectives were to describe the program and identify the obstacles and facilitators related to its implementation, as to identify the essential implementation components promoting youth engagement and positive development. Data were collected over two years among four groups of actors, namely the participants, their parents, the music teachers, and the program management team. Data were mainly collected from interviews. We relied on the psychoeducational model to draw a detailed portrait of the implementation of EC using descriptive and thematic analysis. Among the main factors associated with the program implementation, funding instability has emerged as a constant barrier for the management team. Our results also highlight the importance of the teachers and the relationship they create with their students, but also their experience with the clientele, which was decisive for the creation of an efficient learning climate. Finally, the management team skills as well as the addition of internal coordination stand out as being particularly important to allow program promoter to effectively adjust to obstacles and better meet student needs. The study also highlights important insight regarding the relevance of the psychoeducation model as an implementation tool as well as broader recommendations on the implementation of extracurricular activity programs.
Books on the topic "General music appreciation programme"
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Luban-Plozza, Boris. Musik und Psyche: H[e]oren mit der Seele. Basel: Birkh[e]auser Verlag, 1988.
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Morphologie des œuvres pour piano de Liszt: Influence du programme sur l'évolution des formes instrumentales. Paris: Editions Kimém, 1996.
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Ridout, Godfrey. A concert goer's companion to music: Programme notes of the Toronto Symphony Orchestra. Toronto, Canada: G.V. Thompson Music, 1996.
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Levene, Donna B. Music through children's literature: Theme and variations. Englewood, Colo: Teacher Ideas Press, 1993.
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Fétis, François-Joseph. Music explained to the world (1844): How to understand music and enjoy its performance. Clifden: Boethius, 1985.
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Lindeman, Carolynn A. MusicLab: An introduction to the fundamentals of music. Belmont, Calif: Wadsworth Pub. Co., 1989.
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Machlis, Joseph. The enjoyment of music: An introduction to perceptive listening : Joseph Machlis with Kristine Forney. 6th ed. New York: W.W. Norton, 1990.
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Kristine, Forney, ed. The enjoyment of music: An introduction to perceptive listening. 8th ed. New York: Norton, 1998.
Find full textBook chapters on the topic "General music appreciation programme"
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Hansen, Bethanie L. "Big-Picture Planning and Backward Mapping." In Teaching Music Appreciation Online, 53–80. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698379.003.0003.
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In the second section, Planning the Course, readers who need to develop online courses will find sequential guidance and sample planning documents to aid in large-scale thinking, curriculum selection, and general course development. This section includes chapters that guide readers on writing course objectives and learning outcomes, backward mapping, determining how to narrow down what will be taught, writing or choosing curriculum, navigating textbooks and open educational resources (OERs), and considering online methods and strategies. Each chapter in this section targets course development and design to support online music appreciation instructors as they create, transfer, or refresh online music appreciation courses.
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Snyder, Timothy. "Kazimierz Kelles-Krauz, 1872–1905: A Polish Socialist for Jewish Nationality." In Polin: Studies in Polish Jewry Volume 12, 257–70. Liverpool University Press, 1999. http://dx.doi.org/10.3828/liverpool/9781874774594.003.0018.
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This chapter discusses Kazimierz Kelles-Krauz, a pioneering sociologist and the major theorist of the Polish socialists (Polska Partia Socjalistyczna, or PPS). Most Polish socialists identified themselves with a past in which Poles ruled other nationalities, whereas Jewish socialists had no territorial identity and only an extremely distant tradition of statehood. Each party saw the other's programme as misguided and potentially counter-productive, and as supporting rather than challenging tsarist rule. These deep differences between Jewish and Polish socialists in tsarist Russia demanded creative and courageous solutions, which were usually lacking. The single exception on the Polish side was Kelles-Krauz. His unusually sympathetic appreciation of the predicaments of Jewry in central and eastern Europe allowed him to see points of common history and common interest between Jews and Poles, and led him to a pioneering explanation of the rise of modern nationalism in general.
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Reed, Christopher Robert. "The Rise of Black Chicago’s Culturati." In Roots of the Black Chicago Renaissance, 15–41. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0002.
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Chicago emerged two decades after its Great Fire of 1871 to host America's second world's fair, and with it witnessed the birth of a Black cultural movement along with the city's general rebirth. First in the performing arts, then progressing slower in the visual and literary arts, the next four decades beheld the rise of the foundational elements of a Black Chicago Renaissance somewhat paralleling that in Harlem but in an asymmetrical fashion. While the tempo of aesthetic evolution through two distinct periods was imbalanced, overall progress appeared: with a transformation in the class structure, bringing necessary Black patronage to the forefront; an intelligentsia to spur interest and appreciation in the fine arts; and impressive, awe-inspiring creative production in painting, sculpture, photography and music.
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Carter, Laura. "The ‘History of Everyday Life’ on BBC Radio." In Histories of Everyday Life, 89–127. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868330.003.0004.
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The second part of this book, which starts with this chapter, is about the ‘history of everyday life’ in practice. This opening chapter is about the broadcasting of history on BBC radio before the 1960s, drawing on programme schedules, scripts, and production documents. The ‘history of everyday life’ flourished as part of the BBC’s educational, citizen-making project, underpinned by the ethos of John Reith, the BBC’s first Director-General between 1922 and 1938. This chapter reveals how the ‘history of everyday life’ was bound up with the concentration of female talent within the inter-war BBC and the emergence of new radiophonic technologies during the 1930s. Sound effects, music, and femininity helped to construct a genre of ‘light’ social history broadcasting, designed to appeal to ordinary listeners across both schools and general programming. This trend is highlighted through a focus on the work of Rhoda Power, a BBC educationaist. A particular shift is identified during the period from the 1940s to the 1960s, when history content on the radio became stratified between the ‘expert’ and the ‘popular’ due to gendered and professionalizing impulses within the BBC. As a consequence, the ‘history of everyday life’ came to be regarded as history for leisure in the post-1945 period.
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Norton, Jacqui. "The Diggers’ Festival, Organising a community festival with political connotations." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2631.
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This chapter examines the organisation of a community festival from an ethnographic perspective drawn from the festival organiser’s viewpoint. It will provide some context on the reasons for founding the Diggers’ Festival and examine key issues and difficulties surrounding the launch and development of a small festival that relates to historical political activities in the market town of Wellingborough, Northamptonshire, UK. As we shall see, most current political festivals in the UK tend to be events launched to commemorate historical milestones that have a political resonance. The chapter will make specific reference to the festival’s funding, audiences and branding, concluding with recommendations on how to move the festival forward. During 2010 the author was asked by the Independent Socialists of Wellingborough (ISW) to organise an evening event to commemorate the 17th century radicals known as the Diggers. As an individual with socialist leanings, the author agreed to promote the first event, which was held during March 2011, and was launched and branded as the Wellingborough Diggers’ Festival. Even though it was in its infancy arguably only an evening event with two professional performers, Ian Saville, a magician who promotes himself as ‘Magic for Socialism’ (Saville, n.d.), and well-established local folk and Americana band The Old Speckled Men, booked, it was felt necessary to launch the festival name and the branding, with the aim being to produce a steady growth into the fourth or fifth years. It was essential to raise awareness of the identity and purpose of the festival amongst like-minded individuals, the local community and people from surrounding areas. The fourth festival grew from being organised solely by the author to having a committee of an additional five volunteers who coordinated an afternoon fringe event based in a town centre public house with three live music artists/bands, including punk/poet Attila the Stockbroker. A writer who had written historical fiction for teenagers, including one that takes its inspiration from Gerrard Winstan- ley and the Diggers, was invited as a guest speaker to present her work in the local library. The local museum hosted a week long display on the Diggers including a copy of the declaration and a copy of a field map dated 1838 identifying the location of the Bareshanks field (the site of the Wellingborough digger community). The programme for the evening event commenced with a local author Alan Moore (V for Vendetta, Watchmen) as a key speaker, followed by performances by two professional live bands with ‘left’ tendencies. In addition to the general considerations of organising a festival, for instance audience, budget, funding, licensing, entertainment and promotion, coordinating a festival with such strong socialist values was going to be a challenge because of the political connotations.
Conference papers on the topic "General music appreciation programme"
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Xu, Yi-Jing, Zhe Zhang, and Jian-Hua Zhang. "University General Education and Music Appreciation." In 2014 International Conference on Management Science and Management Innovation (MSMI 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/msmi-14.2014.46.
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