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1
Eppstein, Ury. "Musical Instruction in Meiji Education. A Study of Adaptation and Assimilation." Monumenta Nipponica 40, no. 1 (1985): 1. http://dx.doi.org/10.2307/2385000.
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Ergasheva, Guli I., and Zahriddin X. Haitqulov. "A Study Of Machine Translation Theories And Methods." American Journal of Social Science and Education Innovations 2, no. 09 (September 30, 2020): 665–70. http://dx.doi.org/10.37547/tajssei/volume02issue09-102.
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The demand for language translation has greatly increased in recent times due to increasing cross-regional communication and the need for information exchange. Most material needs to be translated, including scientific and technical documentation, instruction manuals, legal documents, textbooks, publicity leaflets, newspaper reports etc. Some of this work is challenging and difficult but mostly it is tedious and repetitive and requires consistency and accuracy. It is becoming difficult for professional translators to meet the increasing demands of translation. In such a situation the machine translation can be used as a substitute. This paper intends to study methods and techniques of Machine Translation (MT). Through the following points: History of MT, Statistical MT, Types of MT, and evaluation of MT.
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Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (March 28, 2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.
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The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
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Dick, Thomas P., Gloria S. Dion, and Craig L. Wright. "Connecting Research to Teaching: Case Study: Advanced Placement Calculus in the Age of the Computer Algebra System." Mathematics Teacher 96, no. 8 (November 2003): 588–96. http://dx.doi.org/10.5951/mt.96.8.0588.
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The widespread availability of such powerful software as computer algebra systems (CASs) marks the latest chapter in the ongoing story of technological evolution and its implications for mathematics education. The existence of CASs should force us to think carefully and reexamine ideas regarding curriculum and instruction (what and how we teach) and assessment of student learning (what and how we evaluate). We can gain some insight from considering the experience of the College Board's Advanced Placement Program. Advanced Placement (AP) calculus can serve as a case study of a program that has had to come to grips with a variety of CAS-related issues in curriculum, instruction, and assessment.
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Chen, Steve Shihong, and J. Richard Dennis. "Linking Different Cultures by Computers: A Study of Computer-Assisted Music Notation Instruction." Journal of Educational Technology Systems 21, no. 3 (March 1993): 207–24. http://dx.doi.org/10.2190/cyr8-7en1-ldme-cru0.
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CAMNI, which stands for Computer-Assisted Music Notation Instruction, is self-educational software designed and developed with HyperCard. This program features interactive hypermedia (inter-linked musical notation knowledge, musical tempo controlled by the user, the use of digital sounds and animation), multiple representation mode (the staff notation, the number notation, the letter name of notes and the piano keyboard, four representations are linked and can be switched from one to another easily or presented at the same time in terms of a user's need), graphical user interface “GUI,” context-sensitive-sound icon (the use of a sound icon in lesson navigation and sub-index design), direct manipulation (pointing and clicking objects to interact with the program), and self-directed but computer-context-sensitive-guided environment (multi-path navigation characterized by an author-designed but user-defined and individualized learning approach). The CAMNI was specifically designed for Chinese students who would like to study the staff notation whether or not they have background with the number notation (the traditional Chinese musical notation system).
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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Bergonzi, Louis. "Effects of Finger Markers and Harmonic Context on Performance of Beginning String Students." Journal of Research in Music Education 45, no. 2 (July 1997): 197–211. http://dx.doi.org/10.2307/3345580.
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This study is an investigation of the effects of finger placement markers (FPMs) and I harmonic context on the left-hand technique, intonation performance skills, and overall musical performance skills of sixth-grade beginning string students. Central to this study was the question of how a tactile/visual reference and an aural reference influence the development of string intonation performance skills. Subjects were assigned to research conditions in a 2 ? 2 factorial design (FPMs by harmonic context). Students received 90 minutes of weekly, heterogeneous-group instruction from the same teacher and used researcher-prepared audio home practice tapes to accentuate their class experience. Subjects with FPMs played significantly more in tune than those who did not have FPMs. Students whose instruction and practice were accompanied by harmonic background demonstrated a higher degree of overall musical performance ability. Differences were significant even after adjusting for musical aptitude. There were no differences in left-hand technique. Results of this study endorse the theoretical and practical support for the use of these teaching techniques in beginning string instruction.
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Woody, Robert H. "The Effect of Various Instructional Conditions on Expressive Music Performance." Journal of Research in Music Education 54, no. 1 (April 2006): 21–36. http://dx.doi.org/10.1177/002242940605400103.
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This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that musicians can accommodate all three types of instruction used in the study and that each has strengths and weaknesses related to the characteristics of the music being performed and the musicians themselves. Additionally, analysis of the verbal reports suggested that musicians may use a cognitive translation process whereby they convert metaphor/imagery information into more explicit plans for changing the expressive musical properties of their performance (e.g., loudness, tempo, articulation). August 22, 2005 January 30, 2006
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Wheeler, B. L. "The Relationship Between Musical and Activity Elements of Music Therapy Sessions and Client Responses: An Exploratory Study." Music Therapy 5, no. 1 (January 1, 1985): 52–60. http://dx.doi.org/10.1093/mt/5.1.52.
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Ghetti, Claire M., Bente Johanne Vederhus, Tora Söderström Gaden, Annette K. Brenner, Łucja Bieleninik, Ingrid Kvestad, Jörg Assmus, and Christian Gold. "Longitudinal Study of Music Therapy’s Effectiveness for Premature Infants and Their Caregivers (LongSTEP): Feasibility Study With a Norwegian Cohort." Journal of Music Therapy 58, no. 2 (January 15, 2021): 201–40. http://dx.doi.org/10.1093/jmt/thaa023.
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Abstract Premature infants and their parents experience significant stress during the perinatal period. Music therapy (MT) may support maternal–infant bonding during this critical period, but studies measuring impact across the infant’s first year are lacking. This nonrandomized feasibility study used quantitative and qualitative methods within a critical realist perspective to evaluate the feasibility, acceptability, and suitability of the treatment arm of the Longitudinal Study of music Therapy’s Effectiveness for Premature infants and their caregivers (LongSTEP) (NCT03564184) trial with a Norwegian cohort (N = 3). Families were offered MT emphasizing parent-led infant-directed singing during neonatal intensive care unit (NICU) hospitalization and across 3 months post-discharge. We used inductive thematic analysis of semi-structured interviews with parents at discharge from NICU and at 3 months and analyzed quantitative variables descriptively. Findings indicate that: (1) parents of premature infants are willing to participate in MT research where parental voice is a main means of musical interaction; (2) parents are generally willing to engage in MT in NICU and post-discharge phases, finding it particularly interesting to note infant responsiveness and interaction over time; (3) parents seek information about the aims and specific processes involved in MT; (4) the selected self-reports are reasonable to complete; and (5) the Postpartum Bonding Questionnaire appears to be a suitable measure of impaired maternal–infant bonding. Parents reported that they were able to transfer resources honed during MT to parent–infant interactions outside MT and recognized parental voice as a central means of building relation with their infants. Results inform the implementation of a subsequent multinational trial that will address an important gap in knowledge.
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Asiyanbola, A. A., and Mohammed Ademilokun. "Literacy and Language of Instruction in Nigeria: A Case Study of Integrated Science Teaching in Selected Primary Schools." International Journal of Literacy, Culture, and Language Education 4 (August 1, 2015): 123–37. http://dx.doi.org/10.14434/ijlcle.v4i0.26921.
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Research has proven beyond a reasonable doubt that children can acquire knowledge better in their mother tongue (MT) or language of immediate environment (LIE) rather than in the second language (L2), which is often a colonial master’s language, but also the recognized official language in the country. The present paper explores the functions of both the Indigenous language or mother tongue (e.g., Yoruba) and the official language (English) in the dissemination of education, particularly in the primary schools in Nigeria. It also discusses the policy statements on the two languages and their social realities or practices in the educational set‐ups operating in the country. Using six private and public primary schools as a case study in Southwestern Nigeria, we found that codeswitching between English (L2) and Yoruba (MT) could be more effective than either of the languages alone, and that the MT or LIE should never be jettisoned in the education of the child, especially in teaching subjects other than English, such as Integrated Science.
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McKnight, Curtis C., Kenneth J. Travers, and John A. Dossey. "Twelfth-Grade Mathematics in U.S. High Schools: A Report from the Second International Mathematics Study." Mathematics Teacher 78, no. 4 (April 1985): 292–300. http://dx.doi.org/10.5951/mt.78.4.0292.
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What mathematics is taught to twelfth grade students in high schools in the U.S. who are enrolled in at least their fourth year of college preparatory mathematics? What are the teachers like who provide this instruction? How do they spend their time? How do the students spend their time? How well do the students do? What are their attitudes toward mathematics? Do they gain much in mathematics achievement during the year? How does their achievement compare with that of students at the end of secondary schooling in other countries? How do they compare with twelfth-grade college preparatory mathematics students of twenty years ago?
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Carmon, Yehudith, Aryeh Wohl, and Shmuel Even-Zohar. "The Musical Notes Method for Initial Reading Acquisition." Journal of Cognitive Education and Psychology 7, no. 1 (January 2008): 81–100. http://dx.doi.org/10.1891/194589508787381935.
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A century of experimental approaches to reading instruction has not significantly reduced initial reading acquisition problems. Though researchers continue to identify more and more symptoms of deficiencies, they have, to date, come up with but few solutions. Reading instruction traditionally begins with the particular components of a specific language. In this study, we investigate a method that begins with general, basic reading components common to all written alphabetical languages, including musical notation. We propose to introduce reading by using an original and simple musical vehicle, the Toy Musical Notes (TMN) method. After creating a primary reading scheme through music, verbal reading becomes much easier. Our method was tested on 150 preschool children, who participated in three intervention programs: TMN, conventional music, and a control group, which had a non-musical intervention program. Pre- and posttests were administered with follow-up assessments in reading development conducted in the first grade. The results reflected significant achievements for the TMN group on all reading parameters: number of mistakes, vocal reading time, velocity, and comprehension. Applying this method allowed us to use children’s natural musical interest to help them learn to read and comprehend better.
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Petosa, Rita L. "The Benefits of Computer Programming in Developing Algorithmic Thinking." Mathematics Teacher 78, no. 2 (February 1985): 128–30. http://dx.doi.org/10.5951/mt.78.2.0128.
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Our school has not adopted a computer literacy course. Instead, we have opted to direct students’ interest in computers toward the study of mathematics. That is, we have infused an ongoing component of instruction in computer programming into our mathematics curriculum with interesting results.
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Kelly, Steven N. "Effects of Conducting Instruction on the Musical Performance of Beginning Band Students." Journal of Research in Music Education 45, no. 2 (July 1997): 295–305. http://dx.doi.org/10.2307/3345588.
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The purpose of this study was to investigate the effects of conducting instruction on 151 beginning band students' individual rhythmic performance, group rhythmic performance, group performance of legato and staccato, and group performance of phrasing and dynamics. Eight beginning band ensembles, representing diverse cultural and ethnic backgrounds, were randomly selected for the study. Beginning band students and their ensembles were randomly assigned to experimental and control groups. After all subjects were pretested, the experimental bands received 10 minutes of basic conducting instruction per class during a 10-week period. Posttest results demonstrated that individuals in the experimental bands improved significantly more than did individuals in the control bands (p < .001) in their rhythmic performance. Bands in the experimental group improved their rhythm-reading and phrasing abilities (p < .01) more than bands in the control group. No differences were found with regard to legato and staccato, dynamic performance, or overall performance. It was concluded that conducting was a useful tool in teaching rhythm and phrasing in an ensemble setting.
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Nurhasanah, Ayu, and Erfan Erfan. "PELAKSANAAN PEMBELAJARAN DARING SENI BUDAYA DI SMP NEGERI 17 PADANG." Jurnal Sendratasik 9, no. 2 (September 25, 2020): 35. http://dx.doi.org/10.24036/jsu.v9i1.109504.
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This study aims to describe online instruction of Culture and Arts especially in Music subject matter in class VII.5 at SMP Negeri 17 Padang. This is a qualitative research using a descriptive analytic approach. The research instrument used was the researcher itself and was assisted by supporting instruments such as writing tools, cameras, and cellphones. The data were collected through literature study, interviews, and documentation.Based on the results of the study, it can be concluded that the implementation ofonline instructionin the subject matter of simple musical instruments in class VII.5 at SMP Negeri 17 Padang is using the Whatsapp Group media recommended by the Principal of SMP Negeri 17 Padang. This is a way to deal with online learning so that learning activities can be continued even though it is conducted in distance. The planning step for learning simple musical instrument is not optimally conducteddue to the fact that the teacher does not create lesson plans for online instruction.The implementation of online learning in the subject matter of simple musical instrumentcontinues to run smoothly even though the learning process faces various obstacles. The learning outcomes of Culture and Arts for grade VIIin the subject matter of simple musical instruments are less effective and less optimal. This is due to the fact that learning activities conducted do not pay attention to standards of preparing online learning materials.Key word: Instruction, Online, Simple musical instruments
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Weidner, Brian N. "A Grounded Theory of Musical Independence in the Concert Band." Journal of Research in Music Education 68, no. 1 (January 7, 2020): 53–77. http://dx.doi.org/10.1177/0022429419897616.
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Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result of specific instructional practices that utilized cognitive modeling, scaffolded instruction, and authentic, regular, student-led music-making in curricular ensembles to promote student agency and decision making. These instructional practices relied upon preconditions for independence, including musical, social, and 21st-century skills foundations frequently found in large-ensemble classrooms. This study provides a model that can be situated within current large-ensemble practices to support the development of musical independence.
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Stipančević, Nataša, and Jovana Milošević. "The influence of music culture teaching on the social-emotional development of younger school-age children." Norma 25, no. 2 (2020): 281–98. http://dx.doi.org/10.5937/norma2002281s.
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The social-emotional development of young school-age children is, in different theoretical studies, often linked with different influences of music in its cultural, entertaining, educational, and other contexts. In the context of formal education, music is included in the education and development of children mostly through the organization and realization of musical culture instruction. Considering the numerous influences of music and musical culture, both on the life of a man seen from a general perspective, and on a child, it is significant and interesting to study the topic of the influence of musical culture instruction on the different segments of young school-age children development, considering the numerous specificities that come with this age, where the beginning of formal education could be the most important one. The main focus of the research conducted for the needs of the paper was to examine the existence of differences in the opinions of the parents of young school-age children, towards the role of musical culture instruction content on the social-emotional development of their children. The key results of this research indicate that the respondents have a mostly positive opinion towards different segments of music culture teaching in the context of their children's social-emotional development. Parents whose children are involved in extracurricular music activities have a more positive opinion about the impact of the content of music culture classes on the social-emotional development of their children compared to parents whose children do not attend extracurricular activities.
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Bautista, Alfredo, Ma del Puy Pérez Echeverría, J. Ignacio Pozo, and Bárbara M. Brizuela. "Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 181–202. http://dx.doi.org/10.1177/0022429409343072.
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Musical scores are some of the most important learning tools for musicians’ acquisition of musical knowledge. However, despite their educational relevance, very little is known about how music students conceive of these cultural external representations. Given that these conceptions might act as mediators of students’ learning approaches, the importance of knowing these conceptions seems evident in order to eventually change them. The general aim of this investigation was to study the conceptions of piano students at Spanish music conservatories by adopting a developmental-instructional perspective. The participants were 215 students at intermediate and tertiary degree levels, representing three levels of the collapsed variable age— level of instruction. Data were collected by means of a written open-ended task and analyzed by means of descriptive, parametric, and nonparametric statistical methods.The findings suggested that (a) students’ conceptions were more sophisticated at higher age and education levels, (b) each developmental-instructional group typically focused on different musical aspects, which reflected an inclusive and hierarchical logic, and (c) five increasingly sophisticated conceptions could be identified among these students.
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Weaver, Aurora J., Matthew Hoch, Lindsey Soles Quinn, and Judith T. Blumsack. "Across-Channel Auditory Gap Detection." Music Perception 38, no. 1 (September 2020): 66–77. http://dx.doi.org/10.1525/mp.2020.38.1.66.
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In studies of perceptual and neural processing differences between musicians and nonmusicians, participants are typically dichotomized on the basis of personal report of musical experience. The present study relates self-reported musical experience and objectively measured musical aptitude to a skill that is important in music perception: temporal resolution (or acuity). The Advanced Measures of Music Audiation (AMMA) test was used to objectively assess participant musical aptitude, and adaptive psychophysical measurements were obtained to assess temporal resolution on two tasks: within-channel gap detection and across-channel gap detection. Results suggest that musical aptitude measured with the AMMA and self-reporting of music experiences (duration of music instruction) are both related to temporal resolution ability in musicians. The relationship between musical aptitude and/or duration of music training is important to music educators advocating for the benefits of music programs as well as in behavioral and neurophysiological research.
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O’Leary, Emmett James. "The ukulele and YouTube: A content analysis of seven prominent YouTube ukulele channels." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 175–91. http://dx.doi.org/10.1386/jpme_00024_1.
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This study is a content analysis of seven prominent ukulele instruction YouTube channels examining the following elements: (1) types of videos on channels, (2) musical content included, (3) teaching strategies used in videos and (4) audience engagement. Tutorial videos were the most common type of video produced and viewed across the channels. Musical content was diverse, including 988 unique songs by 545 unique artists, with 79 per cent of songs and 74 per cent of artists appearing on only one channel. The most viewed tutorials often included songs with connections to the ukulele in popular culture. Video characteristics and teaching methods were similar across all channels, and each taught using a direct instruction method. Channels had engaged audiences who actively commented and voted on videos through the YouTube platform. Findings are discussed in connection to prior research on the ukulele, learning on and through YouTube, and media studies.
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Driscoll, Virginia D., Jacob Oleson, Dingfeng Jiang, and Kate Gfeller. "Effects of Training on Recognition of Musical Instruments Presented through Cochlear Implant Simulations." Journal of the American Academy of Audiology 20, no. 01 (January 2009): 071–82. http://dx.doi.org/10.3766/jaaa.20.1.7.
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Background: The simulation of the CI (cochlear implant) signal presents a degraded representation of each musical instrument, which makes recognition difficult. Purpose: To examine the efficiency and effectiveness of three types of training on recognition of musical instruments as presented through simulations of the sounds transmitted through a CI. Research Design: Participants were randomly assigned to one of three training conditions: repeated exposure, feedback, and direct instruction. Study Sample: Sixty-six adults with normal hearing. Intervention: Each participant completed three training sessions per week, over a five-week time period, in which they listened to the CI simulations of eight different musical instruments. Data Collection and Analysis: Analyses on percent of instruments identified correctly showed statistically significant differences between recognition accuracy of the three training conditions (p< .01). Results: those assigned to the direct instruction group showed the greatest improvement over the five-week training period as well as sustained improvement after training. The feedback group achieved the next highest level of recognition accuracy. The repeated exposure group showed modest improvement during the first three-week time period, but no subsequent improvements. Conclusions: These results indicate that different types of training are differentially effective with regard to improving recognition of musical instruments presented through a degraded signal, which has practical implications for the auditory rehabilitation of persons who use cochlear implants.
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Hopkins, Michael T. "The Effects of Computer-Based Expository and Discovery Methods of Instruction on Aural Recognition of Music Concepts." Journal of Research in Music Education 50, no. 2 (July 2002): 131–44. http://dx.doi.org/10.2307/3345817.
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This study presents a comparison of the effectiveness of computer-based expository and discovery methods of instruction for fostering the aural recognition of selected musical concepts. The expository method (EM) contained the instructional sequence (a) definition of the concept, (b) examples, (c) practice exercises. The discovery method (DM) contained the instructional sequence (a) examples, (b) practice exercises, (c) opportunity to verbalize discovery, (d) definition of the concept. The DM group spent more time than the EM group working with the software (p = .03). The groups did not differ significantly on total time spent in instruction (p = .19). No significant differences were found between treatments on the posttest or retention test. Both groups improved from pretest to posttest and declined from posttest to retention test (p < .01). A relationship was found between subjects' ability to define the concepts verbally and their ability to recognize aurally examples of the musical concepts. Greater variance was found among DM subjects.
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Flowers, Patricia J. "The Match between Music Excerpts and Written Descriptions by Fifth and Sixth Graders." Journal of Research in Music Education 48, no. 3 (October 2000): 262–77. http://dx.doi.org/10.2307/3345398.
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The purpose of this study was to examine the effect of instruction in writing about music on descriptions of music excerpts. Fifth and sixth graders received 4 days of instruction in music description focusing on metaphor and emotion, analytic music elements, and temporal language. Then, they wrote brief descriptions of six excerpts that were counterbalanced for instrumentation and style. Their descriptions were compared to those of students who did not receive instruction. There were no significant differences between children receiving and not receiving instruction within each grade level, except that the taught fifth graders mentioned significantly more musical elements than did fifth graders who did not receive instruction. There were no significant differences within grade levels in the rate at which expert readers matched descriptions to the original music excerpt, but sixth graders significantly outperformed the fifth graders. When excerpts were not correctly matched, they were usually misassigned to the excerpt with the same instrumentation, corroborating the priority of naming instruments in music description tasks.
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Hospital, Michelle Marie, Staci Leon Morris, Eric F. Wagner, and Eva Wales. "Music Education as a Path to Positive Youth Development: An El Sistema-Inspired Program." Journal of Youth Development 13, no. 4 (December 14, 2018): 149–63. http://dx.doi.org/10.5195/jyd.2018.572.
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The El Sistema music education philosophy links positive individual and social development through musical education. This study is a longitudinal examination of the impact of participation in an El Sistema-inspired program, the Miami Music Project, on positive youth development. We hypothesized that over the course of a school year, participation in ensemble-based after-school music programming would significantly enhance factors associated with positive youth development. Specifically, we evaluated social emotional constructs aligned with the Five Cs of Positive Youth Development: Competence, Confidence, Caring, Character, and Connection. Results revealed that participants showed significant increases across all five Cs over the course of the year. Additionally, findings showed that Miami Music Project students showed greater enhancements over time in Character, Competence and Caring when compared to a group of youth who did not participate in music education. This study presents empirical documentation of the numerous meaningful social and emotional enhancements that participation in an El Sistema-inspired program is engendering among youth. In this type of rigorous orchestral model of musical instruction, youth seem to acquire not only cognitive benefits but also a host of social and emotional enhancements, ostensibly from learning in an environment that requires disciplined social cohesion. These findings provide insight into the holistic approach foundational to the El Sistema philosophy and adds to our overall understanding of musical instruction in important ways.
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Demorest, Steven M., and William V. May. "Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance." Journal of Research in Music Education 43, no. 2 (July 1995): 156–67. http://dx.doi.org/10.2307/3345676.
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In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N= 414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the number of years of school choir experience was the strongest predictor of individual success, followed by years of piano, instrumental, and vocal lessons, respectively. Scores for the more challenging Melody Condition B were significantly lower than those for Melody A. An analysis of covariance revealed that students in the movable-do groups scored significantly higher than did those in the fixed-do groups. However, this finding was tempered by the existence of other differences between the groups regarding private lessons, the consistency of method in the students' early solfege training, and the sight-singing assessment procedures used in each school district.
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Stephens, N., and Matthew Wyon. "Physiological Characteristics of Musical Theatre Performers and the Effect on Cardiorespiratory Demand Whilst Singing and Dancing." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 54–58. http://dx.doi.org/10.21091/mppa.2020.1007.
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AIMS: Musical theatre (MT) combines acting, singing, and dancing within a performance. The purpose of the current study was two-fold: 1) to report on the cardiorespiratory fitness of pre-professional MT dancers, and 2) to examine the cardiorespiratory demand of singing whilst dancing. METHODS: Twenty-one participants (16 females, 5 males; age 20±1.23 yrs; height 169.1±9.24 cm; weight 62.7±10.56) in their final year of pre-professional training volunteered for the study. All participants performed a maximal aerobic capacity test on a treadmill using a portable breath-by-breath gas analyser. Nine participants completed a 4-minute section from Chorus Line twice, singing and dancing and just dancing, in a randomised order whilst wearing the same portable gas analyser. Blood lactate was measured at the end of each trial. RESULTS: Male participants had significantly greater peak oxygen consumption (M vs F, 67.6±2.30 vs 55.6±4.42 mL/kg/min, p<0.001) and anaerobic threshold (% of peak VO2) (54.6±4.04% vs 43.1±3.68%, p<0.001), whilst maximum heart rate and heart rate at anaerobic threshold were similar. The physiological demands of dancing vs singing + dancing were similar, with the exception of the singing + dancing trial having significantly reduced mean breathing frequency and increased lactate (p<0.01). CONCLUSIONS: MT dancers’ aerobic capacity is greater than that observed in other theatre-based dance genres. The observed breathing frequency and lactate differences in the Chorus Line trails could be due to singing reducing breathing frequency, thereby influencing cardiorespiratory recovery mechanics and subsequently blood lactate levels.
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Kelly-McHale, Jacqueline. "The Influence of Music Teacher Beliefs and Practices on the Expression of Musical Identity in an Elementary General Music Classroom." Journal of Research in Music Education 61, no. 2 (May 14, 2013): 195–216. http://dx.doi.org/10.1177/0022429413485439.
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The purpose of this qualitative collective case study was to examine the ways an elementary general music teacher’s curricular beliefs and practices influence the expression of music in identity and identity in music for second-generation students. In addition to the music teacher, participants were 4 students whose families had immigrated to the United States from Mexico and who were attending the midwestern suburban school within the United States where the study took place. This research was designed to provide an understanding of the interactions between the roles of music instruction, cultural responsiveness, and musical identity. Within-case and cross-case analysis generated specific and broad themes that addressed the purpose of the study. The findings revealed that the role of the teacher’s view of the self as musician and educator, combined with the choice of instructional approach, created a music classroom environment that successfully met the teacher-directed goals for sequence-centered instruction. Nonetheless, the data revealed that the choice of instructional approach resulted in an isolated musical experience that did not support the integration of cultural, linguistic, and popular music experiences and largely ignored issues of cultural responsiveness.
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Marshall, Gerald L., and Beverly S. Rich. "The Role of History in a Mathematics Class." Mathematics Teacher 93, no. 8 (November 2000): 704–6. http://dx.doi.org/10.5951/mt.93.8.0704.
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Over the last five years, interest in the role of history in teaching mathematics has grown markedly. A National Science Foundation–supported Mathematical Association of America Institute on the History of Mathematics and Its Use in Teaching was founded in summer 1995 to explore how the history of mathematics can be used in the classroom. It has produced modules for use in high school and college mathematics teaching. A study on this topic has been authorized by the International Commission on Mathematics Instruction and was the centerpiece of the most recent International Congress in Mathematics Education (ICME), which was held in Japan in the year 2000.
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Lim, Eun-Jung. "A study on the instruction methods for the development of musical competency in ‘music in everyday life’ domain." Korean Music Education Society 46, no. 2 (June 30, 2017): 81–101. http://dx.doi.org/10.30775/kmes.46.2.04.
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Neokleous, Georgios, and Ingunn Ofte. "In-service teacher attitudes toward the use of the mother tongue in Norwegian EFL classrooms." Nordic Journal of Modern Language Methodology 8, no. 2 (November 26, 2020): 68–88. http://dx.doi.org/10.46364/njmlm.v8i2.436.
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Because of the lack of research on the use of the mother tongue (MT) in the English as a foreign language (EFL) classroom in European contexts, and because the topic is rarely discussed in teacher training programs, teachers often assume that students prefer an environment that makes little to no use of their MT. What complicates matters further is that while policy makers suggest maximal use of the target language (TL), European curricula for English as a subject do not contain any direct statements prescribing English as the sole language of instruction. Thus, EFL teachers who share an MT with their students often wonder to what extent and in what contexts they should employ the TL and MT. Observing four Norwegian EFL teachers in primary and lower secondary school over several lessons, this study attempts to unravel teacher attitudes towards MT use in the EFL classroom by presenting interview findings for the first time in a Norwegian setting. Additionally, the study explores whether the lack of clear guidance in the Norwegian curriculum for the subject of English regarding the use of the MT may add to the confusion among Norwegian EFL teachers as to how, when, and if the MT should be used. The results suggest that despite acknowledging the potential of the MT in the classroom, the four participants also felt guilty about its presence in their classrooms, particularly since their reported behaviours did not reflect their actual behaviours. In light of these findings, this paper suggests future research to shed light on what ratio would qualify as judicious MT use. It also highlights the importance of discussing the use of MT in EFL teacher training programs.
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Golding, Rosemary. "Musical Chairs: The Construction of ‘Music’ in Nineteenth-Century British Universities." Nineteenth-Century Music Review 6, no. 2 (November 2009): 19–39. http://dx.doi.org/10.1017/s1479409800003086.
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When, in 1838, the University of Edinburgh received General John Reid's bequest founding a Chair of Music, members of the Senatus were baffled by their duty to establish a Professorship in a subject previously absent from university curricula, at an institution with no apparent call, or desire, for musical instruction. There was, furthermore, no obvious precedent for such a post elsewhere. Oxford and Cambridge's music professorships dated back to the seventeenth century, but both had been virtual sinecures since not long after their foundation. The institution of the Royal Academy of Music in the previous decade provided no model for a university subject, as it catered primarily for young ladies and aspiring professional performers, with no obviously ‘academic’ form of study. German universities included musical study but were primarily concerned with history in terms of stylistic development, with compositional ends in mind. The trustees appointed to manage the Reid bequest faced the daunting task of creating an entirely new academic subject, which needed to be divorced from current musical study and practice in order to render it suitable for the university environment.
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Ozaki, Hayao, Takashi Abe, Scott J. Dankel, Jeremy P. Loenneke, Toshiharu Natsume, Pengyu Deng, and Hisashi Naito. "The Measurement of Strength in Children: Is the Peak Value Truly Maximal?" Children 8, no. 1 (December 26, 2020): 9. http://dx.doi.org/10.3390/children8010009.
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It is unclear whether the measurement of maximum muscle strength in younger children can be performed accurately due to factors such as motivation and maturity (i.e., the ability to receive instruction). If there is a large change in a ratio between muscular strength and size from the youngest to the oldest, then this might provide some indication that the youngest may not have been able to voluntarily activate their muscles for reasons mentioned previously. The purpose of this study was to observe the ratio between handgrip strength (HGS) and forearm muscle thickness (MT) across differing ages in younger children. A total of 1133 preschool children (559 boys and 574 girls) between the ages of 4.5 and 6.5 years had MT and HGS measurements and calculated the ratio of HGS/MT (kg/cm). Linear regression was used to assess the impact of age and sex on the dependent variables of MT, HGS, and the HGS/MT ratio. The HGS/MT ratio increases moderately from age 4.5 to 6.5 in both boys and girls. However, the difference in this ratio was small between the age ranges in this sample. Our results indicate children as young as 4.5 may be accurately measured with the handgrip strength test.
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Lesser, Andrew J. "An Investigation of Digital Game-Based Learning Software in the Elementary General Music Classroom." Journal of Sound and Music in Games 1, no. 2 (2020): 1–24. http://dx.doi.org/10.1525/jsmg.2020.1.2.1.
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Game-based learning, or the process of adapting an educational concept into a game-based structure, has been studied by researchers for nearly a century. Over the last several decades, new technologies have allowed digital media to create a multibillion-dollar entertainment industry commonly known as video games. Video games have become a tool for many educators who have the potential to engage students to learn musical concepts and skills. The purpose of this study was to determine the effectiveness of digital game-based learning in comparison to other teaching methods for music education and to explore the perspectives of young students regarding video games both in school and in their personal lives. Eighty-two (n = 82) fifth- and sixth-grade students in a northeastern U.S. elementary school completed a study consisting of a pretest/posttest control group design. Results showed that students who had access to educational video games combined with the assistance of an instructor achieved higher mean scores than students who had access to either video games without instruction or instruction without video games. These findings suggested that educational video games may potentially be used as an effective tool in the music classroom to teach musical concepts and skills.
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Santos, Dayane Aparecida dos, Angela Kwiatkowski, Marcos Vieira da Silva, Dalany Menezes, and Lucimar Peres de Moura Pontara. "Microbiological quality study of Apis mellifera honey produced in the Cerrado - MT." Revista Brasileira de Pesquisa em Alimentos 1, no. 1 (May 1, 2010): 25. http://dx.doi.org/10.14685/rebrapa.v1i1.5.
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<p>Monitoring the microbiology of honey is necessary to ensure its final quality. The microbial contamination is a danger to public health, a major concern for the surveillance agency. The objective of this study was to evaluate the microbiological quality of honey produced in the cerrado region, Mato Grosso State. The apiary was installed in the town of Conquista D'Oeste city, a total of 30 boxes of honey covered with asbestos tile and exposed to the sun. The honey was collected in November of 2008. The physical and chemical analysis were carried out: moisture, total soluble solids (TSS) and pH. Microbiological analysis were: mesophilic bacteria facultative aerobic, yeast and mold, Staphylococcus, the most probable number (MPN) of coliforms at 35ºC and 45ºC, and the presence of Salmonella sp. The methods used followed the directions of the Normative Instruction no. 62, August 23, 2003 of Ministério da Agricultura, Pecuária e Abastecimento - MAPA. The pH value resulted in 3.80, SST at 81.5 and humidity at 17 %. Microbiological analysis showed no presence of Salmonella, Staphylococcus and yeast. The count of facultative aerobic bacteria was 5.0 x 101, the two groups of coliforms in NMP was <3.0, and 3.0 x 101 mold. The samples of honey studied showed appropriate microbiological quality.</p><p> </p><p><span>DOI: </span><a href="http://dx.doi.org/10.14685/rebrapa.v4i1.102"><span>http://dx.doi.org/10.14685/rebrapa.v1i1.5</span></a><span> </span></p><p> </p>
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Gruenhagen, Lisa M., and Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms." Journal of Research in Music Education 61, no. 4 (November 25, 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Speer, Donald R. "An Analysis of Sequential Patterns of Instruction in Piano Lessons." Journal of Research in Music Education 42, no. 1 (April 1994): 14–26. http://dx.doi.org/10.2307/3345333.
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The purpose of this study was to investigate verbal behaviors of independent piano teachers in private lessons. Forty-seven lessons from 25 teachers were recorded on audiotape, scripted, and analyzed for time spent in teacher presentation, student participation, and teacher reinforcement. Frequencies were obtained for complete/correct, complete/incorrect, and incomplete teaching patterns observed. Results indicated significant differences due to student age in presentation of musical information, teacher talk, teacher coaching, and student participation. Students perceived as “average” by teachers received significantly more directive comments than “better” students. Significant interactions were observed for verbal reinforcement by student and teacher experience. Teachers with more than 18.5 years of experience were more disapproving to students with more than 3.5 years of playing experience. Less-experienced teachers were more specific with approvals than their more-experienced colleagues. Frequencies of complete/correct patterns of teaching were significantly lower than other patterns observed.
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Shaw, Julia T. "“The Music I Was Meant to Sing”." Journal of Research in Music Education 64, no. 1 (February 9, 2016): 45–70. http://dx.doi.org/10.1177/0022429415627989.
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This article is based on a multiple embedded case study, the purpose of which was to explore adolescent choral students’ perceptions of culturally responsive pedagogy (CRP) in three demographically contrasting choirs of an urban nonprofit children’s choir organization. The case presented here focused on an after-school choir situated in a Puerto Rican enclave, where a multiethnic teacher designed instruction that was responsive to a community with a significant migrant and immigrant Hispanic population. Adolescents perceived their teacher’s culturally responsive practice as honoring their own cultural backgrounds while also expanding their cultural and intellectual horizons. Although the students generally perceived their choral experiences to be culturally responsive, they also identified potential barriers to practicing CRP. Perceived barriers related to the complexity of students’ cultural identities and challenges inherent in practicing CRP equitably given constraints on instructional time. By encouraging style shifting between performance practices associated with diverse musical genres and meaningfully bridging students’ musical experiences at home and school, the culturally responsive learning environment explored in this study fostered connections between students’ musical and cultural identities.
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Han, Young-Sook. "A Study on the Instruction of Korean Musical Instruments Presented in the 2015 Revised Music Textbooks for High Schools." Journal of Korean music education research 14, no. 1 (February 28, 2020): 241–73. http://dx.doi.org/10.31177/sskme.2020.14.1.08.
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Ruismäki, Heikki, and Tarja Tereska. "Students' assessments of music learning experiences from kindergarten to university." British Journal of Music Education 25, no. 1 (March 2008): 23–39. http://dx.doi.org/10.1017/s026505170700770x.
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This article reports on a retrospective study of Finnish pre-service elementary teachers' assessments of their musical experiences in nursery school and elementary and secondary school and real-time study of their experiences in teacher training. The participants (N = 590) had received musical instruction in five age groups (4–6 years, 7–12 years, 13–15 years, 16–19 years, 20–25 years). The assessments were most positive in the 4–6 years group and thereafter declined until puberty in the 13–15 years group. A change in a positive direction was perceived in the 16–19 years group and also in the 20–25 years group (during teacher training). Gender differences were statistically significant except during upper secondary school. The most enjoyable activities in formal music education were singing and playing; music theory was experienced most negatively.
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Skubic, Darija, Blažka Gaberc, and Janez Jerman. "Supportive Development of Phonological Awareness Through Musical Activities According to Edgar Willems." SAGE Open 11, no. 2 (April 2021): 215824402110218. http://dx.doi.org/10.1177/21582440211021832.
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It is important that before entering primary school, the child’s phonological awareness is supported by a variety of different activities whereby phonological awareness is based on a well-developed hearing ability. Hearing is part of the musical activities that support/encourage phonological awareness with the development of rhythmic and melodic music listening. In this article, we aimed to investigate the effects of musical activities derived from the methodological system of Edward Willems on phonological awareness through a quasi-experimental study with 70 children aged 4 to 7 years. Thirty-five of them received 1 hr of music instruction per week for 6 months (experimental group) and the other 35 children received no such musical support (control group). We tested each child’s phonological awareness at the beginning of the music program and after 6 months. The results of the analysis of covariance showed that there was a statistically significant difference in phonological awareness between the experimental and control groups in favor of the experimental group. The results of the research confirmed that musical activities based on the methodological system Edgar Willems are a good and effective means of promoting phonological awareness, especially in early childhood.
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Telaumbanua, Yohannes. "“Instructing” the Cruxes of Language Errors: Diagnosing the EFL Students’ Significant Translation Errors." International Journal of English Linguistics 9, no. 5 (August 26, 2019): 138. http://dx.doi.org/10.5539/ijel.v9n5p138.
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The study follows growing the author’s concern over the EFL students’ significant translation errors although a number of researches in the field of Error Analysis showed the equivalent/unchanged results, namely, MT and TL interferences were the major causes of the EFL students’ Writing and Translation errors. EFL students keep making errors. On the basis of the facts, the study aims at specifically instructing the cruxes of the errors, diagnosing the students’ errors and observing whether or not significant improvements were found after instructing the errors. This study entailed the use of a qualitative method design. The purposive sampling and typical sample technique were ways of selecting the population and sample. Observation and unstructured interviews were techniques of collecting the data while the 1973 Corder’s clinical elicitation; and Miles and Huberman’s flow model were techniques of analysing the data. The results of the study showed that the significant translation errors made by the 2nd-year ED class II-A students before instructing the cruxes of errors were heavily centred on MT causes, TL interferences, and Communication Strategy of Holistic strategy of Approximation and Analytical strategy of Circumlocution-based errors. The total number of these errors was 1,948. In contrast, after instructing them, it significantly decreased to 636. The decrease in the number of errors in the students’ translation positively signified that the instruction of the cruxes of the errors could deduct students’ critical English language issues from making errors. The instruction in the cruxes of the errors effectively mitigates the significant effects of the MT and TL interferences, and Communication strategy-based errors; significantly improves the students’ knowledge of the cruxes of the LLU errors in Translation, as well as qualifies the outputs of their Indonesian-English translation.
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Ghetti, Claire, Łucja Bieleninik, Mari Hysing, Ingrid Kvestad, Jörg Assmus, Renee Romeo, Mark Ettenberger, et al. "Longitudinal Study of music Therapy’s Effectiveness for Premature infants and their caregivers (LongSTEP): protocol for an international randomised trial." BMJ Open 9, no. 8 (August 2019): e025062. http://dx.doi.org/10.1136/bmjopen-2018-025062.
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IntroductionPreterm birth has major medical, psychological and socioeconomic consequences worldwide. Music therapy (MT) has positive effects on physiological measures of preterm infants and maternal anxiety, but rigorous studies including long-term follow-up are missing. Drawing on caregivers’ inherent resources, this study emphasises caregiver involvement in MT to promote attuned, developmentally appropriate musical interactions that may be of mutual benefit to infant and parent. This study will determine whether MT, as delivered by a qualified music therapist during neonatal intensive care unit (NICU) hospitalisation and/or in home/municipal settings following discharge, is superior to standard care in improving bonding between primary caregivers and preterm infants, parent well-being and infant development.Methods and analysisDesign:international multicentre, assessor-blind, 2×2 factorial, pragmatic randomised controlled trial; informed by a completed feasibility study.Participants:250 preterm infants and their parents.Intervention:MT focusing on parental singing specifically tailored to infant responses, will be delivered during NICU and/or during a postdischarge 6-month period.Primary outcome:changes in mother–infant bonding at 6-month corrected age (CA), as measured by the Postpartum Bonding Questionnaire.Secondary outcomes: mother–infant bonding at discharge and at 12-month CA; child development over 24 months; and parental depression, anxiety and stress, and infant rehospitalisation, all over 12 months.Ethics and disseminationThe Regional Committees for Medical and Health Research Ethics approved the study (2018/994/REK Nord, 03 July 2018). Service users were involved in development of the study and will be involved in implementation and dissemination. Dissemination of findings will apply to local, national and international levels.Trial registration numberNCT03564184
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Timmers, Renee, Makiko Sadakata, and Peter Desain. "The Role of Visual Feedback and Creative Exploration for the Improvement of Timing Accuracy in Performing Musical Ornaments." Music Perception 30, no. 2 (December 1, 2012): 187–204. http://dx.doi.org/10.1525/mp.2012.30.2.187.
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in developing a visual feedback system for a creative activity such as music performance, the objective is not just to reinforce one particular manner of performing. Instead, a desirable characteristic might be that the visual feedback enhances flexibility and originality, in addition to contributing to performance precision. In an experimental study focused on the timing of a musical ornament, we examined whether the instruction to explore ornament timing in training trials with or without visual feedback leads to improved temporal precision in imitating target performances of the ornament, and whether visual feedback enhances the performance diversity during training. The study uncovered distinct strategies of exploration of the performance of the musical ornament and highlighted the dynamics of exploration behavior during training. Visual feedback enhanced exploration of temporal characteristics and influenced imitation accuracy. This study opens up educational possibilities for the training of performance skills and provides direction for further investigation of creative processes in performance.
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Rockell, Kim. "MUSIC(S) OF THE WORLD AS AN ONLINE EFL RESOURCE: A Japanese EFL classroom experience." Englisia: Journal of language, education, and humanities 7, no. 2 (July 2, 2020): 102. http://dx.doi.org/10.22373/ej.v7i2.6325.
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This research considers how the study of musical performances from around the world can be drawn upon as a useful resource for language instruction, particularly in EFL Japanese university classrooms. This study shares the insights gained from literature reviews combined with the researcher’s teaching experiences on the advanced English elective course of Computer Assisted Ethnomusicology. This work was carried out over a five-year period between 2013–2018 at a university in the Tohoku region of Japan, based on a course that focused on the music and culture found in Oceania, South East Asia, East Asia, Africa and North America. This study identifies the language resources present within the ethnomusicological content, and identifies the ways it can help awaken learners to the rich variation that exists among the cultures of the world, and highlighting the way local and global features combine in the ‘glocal.’ In addition to digital applications, approaches introduced in the study also include the combination of high and low contact activities based on ethnomusicological resources. This helps to emphasize how Massive Open Online Courses (MOOCs), and open source multimedia make it possible to approach musical song texts and discourses that surround musical practice and performance and apply these to EFL teaching.
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Costa-Giomi, Eugenia. "The Effects of Three Years of Piano Instruction on Children's Cognitive Development." Journal of Research in Music Education 47, no. 3 (October 1999): 198–212. http://dx.doi.org/10.2307/3345779.
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The relationship between music and cognitive abilities was studied by observing the cognitive development of children provided ( n = 63) and not provided ( n = 54) with individual piano lessons from fourth to sixth grade. There were no differences in cognitive abilities, musical abilities, motor proficiency, self-esteem, academic achievement, or interest in studying piano between the two groups of children at the beginning of the study. It was found that the treatment affected children's general and spatial cognitive development. The magnitude of such effects (omega squared) was small. Additional analyses showed that although the experimental group obtained higher spatial abilities scores in the Developing Cognitive Abilities Test after 1 and 2 years of instruction than did the control group, the groups did not differ in general or specific cognitive abilities after 3 years of instruction. The treatment did not affect the development of quantitative and verbal cognitive abilities.
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Ganss, Carolina, Patrick Klein, Katja Giese-Kraft, and Michael Meyners. "Validation of motion tracking as tool for observational toothbrushing studies." PLOS ONE 15, no. 12 (December 30, 2020): e0244678. http://dx.doi.org/10.1371/journal.pone.0244678.
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Video observation (VO) is an established tool for observing toothbrushing behaviour, however, it is a subjective method requiring thorough calibration and training, and the toothbrush position is not always clearly visible. As automated tracking of motions may overcome these disadvantages, the study aimed to compare observational data of habitual toothbrushing as well as of post-instruction toothbrushing obtained from motion tracking (MT) to observational data obtained from VO. One-hundred-three subjects (37.4±14.7 years) were included and brushed their teeth with a manual (MB; n = 51) or a powered toothbrush (PB; n = 52) while being simultaneously video-filmed and tracked. Forty-six subjects were then instructed how to brush their teeth systematically and were filmed/tracked for a second time. Videos were analysed with INTERACT (Mangold, Germany); parameters of interest were toothbrush position, brushing time, changes between areas (events) and the Toothbrushing Systematic Index (TSI). Overall, the median proportion (min; max) of identically classified toothbrush positions (both sextant/surface correct) in a brushing session was 87.8% (50.0; 96.9), which was slightly higher for MB compared to PB (90.3 (50.0; 96.9) vs 86.5 (63.7; 96.5) resp.; p = 0.005). The number of events obtained from MT was higher than from VO (p < 0.001) with a moderate to high correlation between them (MB: ρ = 0.52, p < 0.001; PB: ρ = 0.87; p < 0.001). After instruction, both methods revealed a significant increase of the TSI regardless of the toothbrush type (p < 0.001 each). Motion tracking is a suitable tool for observing toothbrushing behaviour, is able to measure improvements after instruction, and can be used with both manual and powered toothbrushes.
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Stewart, Carolyn, and Lucindia Chance. "Making Connections: Journal Writing and the Professional Teaching Standards." Mathematics Teacher 88, no. 2 (February 1995): 92–95. http://dx.doi.org/10.5951/mt.88.2.0092.
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Can the national focus on the NCTM's Standards be combined with the focus on writing to learn to streng then mathematics instruction? The NCTM's Professional Standards for Teaching Mathematics (1991) supports the use of writing as an instructional technique. The possibilities suggested for journal writing in the mathematics classroom challenged these authors to explore the available literature. Several studies appeared promising (Linn 1989; Miller and England 1989; Powell and Lopez 1989; Richards 1990; Rose 1989; Skiba 1990; Vukovich 1985; White and Dunn 1989). Where as most of these projects indicated that journal writing increased mathematical ability and decreased anxiety, too few studies actually delineated the content of the journal entries to any great extent. Moreover, many of the investigations did not consider the context within which students and teachers operate. The relevance and interaction of teacher, student, and subject matter were often overlooked. This situation further challenged the authors to extend and broaden the investigation of journal writing into a more global study-one of practical inquiry, not only exploring the cognitive and affective influences of journal writing but seeking situational insight into, and understanding of, the mathematics classroom.