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Relevant bibliographies by topics / Music and movement education

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Academic literature on the topic 'Music and movement education'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Music and movement education"

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Shiobara, Mari. "Music and Movement: the Effect of Movement on Musical Comprehension." British Journal of Music Education 11, no. 2 (1994): 113–27. http://dx.doi.org/10.1017/s0265051700001005.

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In this article, I discuss the importance of movement in music education and suggest an effective way to approach this particular area of music teaching for younger children. The most important characteristics of movement to music activity in musical experience would seem to be in the role of developing in the mind of the participants ‘music schemata’, an active, developing organization of past responses to music which play a vital role when we listen to music and comprehend its expressive character. This hypothesis was tested in the teaching-experiment which was carried out in an English primary school and a Japanese primary school with the children of 7 to 8 years of age.

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Abu Bakar, Kamariah, and Mohamad Azam Samsudin. "Teaching Young Children Early Mathematics through Music and Movement." International Journal of Learning, Teaching and Educational Research 20, no. 5 (2021): 271–81. http://dx.doi.org/10.26803/ijlter.20.5.15.

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The purpose of this study was to explore the integration of music and movement elements into young children’s mathematics classrooms. Using a qualitative approach, this research was a case study. Three teachers were purposely selected as participants for this study. The teachers were interviewed to gain information about the songs and movements they chose to employ into their instruction. Additionally, their lessons were observed to attain the ways they incorporated music and movement. These sessions were video recorded to gain a rich picture of the songs and movements incorporated as well as the benefits of such practice in the teaching and learning of mathematics. The findings from the interviews (with teachers), classroom observations, and photographs exhibited that the teachers used familiar, easy and simple songs to be incorporated in their instruction. It was also evident that embedding music and movement activities into young children's mathematics lessons had a positive impact on the students' learning of early mathematics. The students focused on what the teachers were doing and repeating after them. This enhanced their mathematics learning. The implication of this study is that mathematics instruction should be employed in a fun yet meaningful way by incorporating music and movement activities as teaching and learning activities. More importantly, is that children learn mathematics with understanding.

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Martin, Lisa. "Music Education in the Era of School Choice." Music Educators Journal 105, no. 1 (2018): 39–45. http://dx.doi.org/10.1177/0027432118788130.

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School choice has become an increasingly available option for families in the United States. Given the current political climate, music educators must better understand the various dimensions of the school choice movement and how it may affect the music classroom. Following a brief history of school choice, this article offers a look at the movement’s influence on the music teacher workforce, music curricula, and funding for music education. Recommendations surrounding the equity of school music opportunities are explored.

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Ilari, Beatriz. "Rhythmic Engagement With Music in Early Childhood." Journal of Research in Music Education 62, no. 4 (2014): 332–43. http://dx.doi.org/10.1177/0022429414555984.

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The purpose of this study was to replicate and extend previous findings on spontaneous movement and rhythmic engagement with music in infancy. Using the identical stimuli and procedures from the original study, I investigated spontaneous rhythmic movements in response to music, infant-directed speech, and contrasting rhythmic patterns in 30 Brazilian infants (ages 5, 11, and 19 months). Findings were consistent with the original study in that more spontaneous rhythmic movements were found in response to music and metrically regular stimuli than to speech. Brazilian babies, however, showed higher means for spontaneous rhythmic movement to music than those reported in the original study. Consistent with the developmental systems approach, these results suggest that culture plays a larger role in spontaneous rhythmic engagement to music and rhythmic entrainment than previously suggested.

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Madalozzo, Tiago, and Vivian Dell’ Agnolo Barbosa Madalozzo. "Active music listening: Promoting music and movement in early childhood music education." International Journal of Music in Early Childhood 14, no. 2 (2019): 211–23. http://dx.doi.org/10.1386/ijmec_00006_1.

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This article’s premise is that listening can be an engaging and important way for children to interact with music, using movement and their entire bodies, leading to music learning. We present the concept of active music listening defined by different authors, as a strategy for working with music appreciation involving a completely active attitude of the listener ‐ linking a cognitive process of interpretation with the fundamental use of movement to reflect musical aspects of a determined piece. In the first section, we propose that listening is an important part of music learning, examining Swanwick’s and Boal-Palheiros and Wuytack’s works, presenting active music listening as an appreciation mode that involves high levels of attention, intention and activity from the listener. In the section that follows, we introduce active music listening as a part of the music class, reporting Zagonel’s as well as Wuytack and Boal-Palheiros’ approaches, defining musical structures that can be activated with listening exercises by more than twenty ways of activation. We discuss our way of locating these exercises on a music lesson plan. The mentioned strategies are illustrated in four ideas of active music listening exercises directed to children, selected from our daily practices. Finally, we discuss the main concepts and practices presented, with concluding remarks and implications for early childhood music education.

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Young, Susan. "Physical Movement: Its place in Music Education." British Journal of Music Education 9, no. 3 (1992): 187–94. http://dx.doi.org/10.1017/s0265051700009062.

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The author calls for the physical, kinesthetic sense, to be recognised and understood for its role in all musical experience, on a par with our mental capacities, and also suggests that it is the missing, yet essentially vitalising part, of what might be called a ‘whole human’ response to and engagement with music. This thinking is applied to support an emerging theory of practice, which takes its original inspiration from the principles of Dalcroze Eurhythmics: principles which have been adapted and developed to meet the changing needs of contemporary education.

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Humphreys, Jere T. "Music Education and the School-Survey Movement." Bulletin of Historical Research in Music Education 8, no. 1 (1987): 33–43. http://dx.doi.org/10.1177/153660068700800102.

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Lee, William R. "Music Education and Rural Reform, 1900-1925." Journal of Research in Music Education 45, no. 2 (1997): 306–26. http://dx.doi.org/10.2307/3345589.

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Between 1900 and the early 1920s, music began to be viewed as an important social tool by Progressive Era reformers. One aspect of reform was inspired by the Country Life Movement. With over half the children in the United States still living in rural areas, reformers focused on improving the economic and social conditions of rural people. Rural reformers expanded university offerings in music and campaigned for the legal and educational framework for music education. Ideas for mass music education were explored, including efforts based on agricultural extension models. New approaches were tried that are now standard. A social rationale for music was expounded, giving importance to the Community Music Movement and the Pageant Movement. Rural reform contributed to a wider acceptance of music as an important aspect of education and promoted music as a social necessity.

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Ismail, Md Jais, Loo Fung Chiat, and Azu Farhana Anuar. "LEARNING MUSIC THROUGH RHYTHMIC MOVEMENTS IN MALAYSIA." Malaysian Journal of Learning and Instruction 18, Number 1 (2021): 241–63. http://dx.doi.org/10.32890/mjli2021.18.1.10.

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Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music classes, hence to improve students’ music performance skills. Methodology – The study was carried out within the framework of a ten-week action-research design involving 35 primary school students at Putrajaya, Malaysia. Data collection was through group observation on students’ musical behaviours. Researchers also conducted an in-depth interview with rhythmic movement experts. Findings – Result shows that there is a significant changing of musical behaviours among primary students from week 8 to week 10. Experts agreed that rhythmic movement can create a meaningful music class with an active participation by students. There are three rhythmic procedures recommended by the experts to strengthen a music class pedagogy. Significance – Learning music through movements has turned music class into active and fun. Rhythmic movement activity makes this intention to become more meaningful. The study helps students to explore music through movements while they have the chance to play, communicate to each other, learn through observation and express their creativity in their own way. This intervention helps students to grasp almost all the music concepts while doing activities. This study also provides ideas for teachers to integrate rhythmic movements in music instructional process. Keywords: Dalcroze Eurhythmics, rhythmic movement, music education, qualitative, primary students, singing, playing percussion.

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Doležalová, Kateřina, and Viléma Novotná. "Aplikace intervenčního programu hudebně-pohybové výchovy do hodin školní tělesné výchovy na ZŠ." Studia sportiva 11, no. 1 (2017): 80–89. http://dx.doi.org/10.5817/sts2017-1-26.

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The aim of this paper is to present the content and results of pre research study of dissertation. Musicalmovement education is part of the curriculum of physical education lesson. Although the educational content of physical education remains essentially the same during the year, the methods and forms of teaching are more subjected on the social requirements. Existing musical-movement education is using traditional forms of teaching, which is not that attractive for students. Therefore, the aim of the study is to create the new interventional musical-movement program and verification of its effect on the level of the selected music and movement skills. The paper presents the main characteristics of the intervention program and results obtained within the pre research in secondary school. Measuring the effectiveness of the musical-movement program was implemented through tests of music-movement abilities in the group of 14 girls, students of secondary school in Prague. The tests assessing the level of rhythmic perception and rhythmic adaptability, shows no statistically significant differences in the pretest and posttest. The tests of dynamic balance and collective movement creativity demonstrate statistically significant effect. The results could be influenced by a small number of respondents. We assume, the results of music movement education will contribute to the further insights that can contribute to creating new musica- movement programs and help them with implementation in to the physical education lessons.

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Dissertations / Theses on the topic "Music and movement education"

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Facun-Granadozo, Ruth. "Enhancing Literacy Through Music and Movement." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/4336.

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Retra, José. "Music is movement : a study into aspects of movement representation of musical activities among preschool children in a Dutch music education setting." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3189.

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Musical activities are at the centre of Music on the Lap, a Dutch approach to early childhood music education. The present study takes an in-depth look at the role of movement in these musical activities and thereby focuses on the representation of musical elements through movement. This study has among its aims the raising of more awareness for the conscious use of movement in early childhood music education. Departing from an embodied approach within an interpretative design, the premise of the current study is that movement should be considered an important form of kinaesthetic representation through which preschool children can come to understand and learn different aspects of music. The musical movement responses of children aged 18 to 36 months in a regular Music on the Lap setting were investigated. The musical movement behaviour of the children, during specific musical activities, was captured on DVD and the individual responses of 27 children were analysed. Interviews with the participating teacher provided important additional information. Through microanalysis of the children’s movements, the study arrived at a theoretical interpretation: movement responses to music can be considered enactive symbols, creating direct and indirect representations of musical characteristics. To further musical learning the movements should be firmly based in a temporal framework of aural and verbal connotations in order to stimulate purposeful movement responses. This temporal framework should be structured by the teacher through a process of appropriate movement models and verbal guidance to arrive at meaningful movement actions, which can consequently generate implicit and explicit musical kinaesthetic and musical representational knowledge. In this process the children are actively participating to construct with body and mind their own musical knowledge.

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Wachsman, Frances 1942. "Music, movement and drama in the center of the elementary curriculum." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277227.

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The purpose of this project is to develop a research-founded semiotically-based, holistic philosophy for utilizing quality, child-tested music, movement and drama resources in an integrated learning format and to provide workable activities within an accessible, understandable structure for use by the teacher in kindergarten through third grade classroom situations. Since children are "meaning makers," it is logical to create an approach for classroom teachers to use which builds on what children need most to help them make learning connections: an integrated format which helps children understand how learning fits together or makes sense. This project organizes music, movement and drama activities thematically in content areas which are ordered from simple to complex to accommodate the age range to which the project is directed.

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Tselentis, Colleen McDonald. "Effective teaching practices in a preschool music and movement program: An observational study." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/291902.

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This study examines the behavior and actions of one music and movement teacher, coupled with a look at one little boy's participation and reactions. It focuses on the following questions: What music and movement activities create opportunities for social, motor, cognitive, and language development? In what ways would a child having difficulty in the classroom respond to the teacher and activities in a music and movement enrichment program? What teacher qualities make a positive impact on the child's behavior and development? The study showed that the music and movement activities promoted positive experiences for the subject. It also found that the skillfulness of the teacher was one of the most important factors in the successful music and movement program. The study led to several recommendations including the following: ECE teachers need support, education, and resources; classes should be small; and young children need to music and movement to maximize development.

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O'Hagin, Isabel Barbara. "The effects of a discovery approach to movement instruction on children's responses to musical stimuli." Diss., The University of Arizona, 1997. http://catalog.hathitrust.org/api/volumes/oclc/40536715.html.

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Newell, Mary Kathleen. "Effects of Movement Instruction on Children's Singing Achievement Scores." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/226345.

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Music Education
Ph.D.
The purpose of this research was to investigate the effects of movement instruction on children's singing achievement scores. When controlling for age, four overarching questions and nine sub-questions were asked. First, when controlling for age, how do pitch achievement scores at the outset compare to pitch achievement scores after movement instruction? 1) Is there a significant main effect of type of instruction on children's pitch achievement scores (between subjects)? 2) Is there a significant main effect of time on children's pitch achievement scores (within subjects)? 3) Is there a significant instruction and time interaction? Second, when controlling for age, how do rhythm achievement scores at the outset compare to rhythm achievement scores after movement instruction? 4) Is there a significant main effect of type of instruction on children's rhythmic achievement scores? 5) Is there a significant main effect of time on children's rhythmic achievement scores? 6) Is there a significant instruction and time interaction? Third, when controlling for age, how do singing voice development scores at the outset compare to scores after movement instruction? 7) Is there a significant main effect of type of instruction on children's singing voice development scores? 8) Is there a significant main effect of time on children's singing voice development scores? 9) Is there a significant instruction and time interaction? Fourth, descriptively, what is the effect of gender on students' pretest and posttest pitch achievement scores, rhythm achievement scores, and singing voice development measure scores? Second, third, and fourth grade students (N = 143) participated in the study. Subjects were randomly assigned to one of three treatment groups receiving different instruction: steady beat movement, continuous fluid movement, or a control group receiving no movement instruction. A researcher-designed criterion song was used as a pretest and posttest measure. Pitch and rhythm achievement scores were assessed using Praat Software. Three raters assessed singing performances using Rutkowski's Singing Voice Development Measure. Three split-plot Analyses of Covariance were run on the data. Results indicated that there was a significant interaction between treatment and time on pitch achievement scores. Post hoc analyses revealed no significant differences among treatment groups for pitch achievement scores. Results indicated that there was a significant interaction between treatment and time for Singing Voice Development Measure scores. Post hoc analyses revealed that the treatment group receiving continuous fluid movement significantly outscored the treatment group receiving steady beat movement. No significant differences were found on rhythm achievement scores. Descriptively, females outscored males on pitch, rhythm, and singing voice development measure scores for both pretest and posttest measures.
Temple University--Theses

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Billingham, Lisa Adalade. "The development of a gestural vocabulary for choral conductors based on the movement theory of Rudolf Laban." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290423.

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The purpose of this study was to create a conductor's gestural vocabulary that can be used to demonstrate stylistic elements in choral music. Specifically, the study assigned Laban Movement Theory elements of Effort and Body to specific choral music examples that demonstrate differences in articulation, rhythm and phrase shape. This study explored Laban Movement Theory and Bartenieff Fundamentals as they relate to body movement and application to the conducting gesture. Gestures were designed following musical analysis and subsequent study with Janice Meaden, an internationally recognized movement instructor and certified LMA/Bartenieff Movement Analyst. These gestures were based on Rudolf Laban's Eight Effort Elements in Combination (float, wring, glide, press, flick, dab, slash and punch). Modifications to the gestures were based from ongoing feedback from a college level choir. At the conclusion of the study, all gestures were evaluated in terms of their ability to communicate the desired response. Six of the eight designed gestures were deemed to be successful, with two needing further modification. Implications for teaching choral conducting as well as conducting choirs are drawn. Conclusions drawn from the study support the application of Laban Movement Theory to the conducting gesture as an useful tool for creating expressive conducting gestures.

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Martinovic-Trejgut, Nada. "The Effect of Movement Instruction on Memorization and Retention of New-Song Material Among First-Grade Students." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291041505.

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Odom, Selma Landen. "Dalcroze eurhythmics in England : history of an innovation in music & movement education." Thesis, University of Surrey, 1991. http://epubs.surrey.ac.uk/846150/.

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This study uses historical research, participant observation, direct interview, and practical reconstruction to investigate Dalcroze Eurhythmics as it was introduced in England during the early twentieth century. The Dalcroze method is an oral tradition of music and movement education which originated in the experiments of the Swiss composer Emile Jaques-Dalcroze (1865-1950). Convinced that the development of musicianship must involve harmonization of mind and body, he tried exercises of walking, breathing, and beating time to help his conservatory students respond more spontaneously and accurately. From these beginnings in Geneva around 1900 he went on to pursue improvisation as a way of creating music and expressive movement. While teaching in Germany from 1910 to 1914 at the new professional training college built for him at Hellerau, near Dresden, he met a number of educationists who wanted to promote this work in England. Among them were Percy and Ethel Ingham, who founded the London School of Dalcroze Eurhythmics in 1913. The London School trained the women who spread Dalcroze teaching widely during the years before World War 11 in public and private education, particularly in progressive schools. Challenged by the London School's cloSing in 1963 and by alternative approaches to music and movement education, Dalcrozians in the second half of the century have taken new initiatives in classroom music, professional training, therapy, and research.

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Rolf, Sheri Lynn M. D. "The Structure and Movement of Clarinet Playing." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523454235538941.

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Books on the topic "Music and movement education"

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Janet, Hutson-Brandhagen, and Weikart Phyllis S. 1931-, eds. Making connections: Movement, music & literacy. High/Scope Press, 2008.

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Experiences in movement with music, activities, and theory. 2nd ed. Delmar Publishers, 2000.

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Pica, Rae. Experiences in movement with music, activities, and theory. Delmar Publishers, 1995.

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Learning through movement and music: Exercise your smarts. Human Kinetics, 2011.

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Movement + music: Learning on the move, ages 3-7. 3rd ed. High/Scope Press, 2004.

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1953-, Pica Rae, ed. Experiences in movement & music: Birth to age 8. 4th ed. Wadsworth/Cengage Learning, 2010.

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Weikart, Phyllis S. Movement plus music: Activities for children, ages 3 to 7. 2nd ed. High/Scope Press, 1989.

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Katz, Susan A. Teaching creatively by working the word: Language, music, and movement. Prentice Hall, 1992.

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1937-, Thomas Judith A., ed. Teaching creatively by working the word: Language, music, and movement. Allyn and Bacon, 1996.

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1942-, Kudo Elmer Takeo, ed. SoundPlay: Understanding music through creative movement. MENC, The National Association for Music Education, 2000.

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Book chapters on the topic "Music and movement education"

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Bernhard, H. Christian. "Physical Movement." In Managing Stress in Music Education. Routledge, 2020. http://dx.doi.org/10.4324/9781003003366-3.

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Mangum, Charles Christopher, and Randall Everett Allsup. "Aesthetics Movement in North America and Reimer’s Contribution to Music Education." In Encyclopedia of Educational Philosophy and Theory. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_686-1.

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Bickford, Tyler. "The Kindie Movement: Independent Children’s Music in the United States Since 2000." In International Perspectives on Early Childhood Education and Development. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17791-1_14.

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Pittaway, Gail. "Chapter 8. Movement, Maps, Mnemonics and Music: Teaching Fiction and Poetry Writing Using Sight and Sound." In Creative Writing and Education, edited by Graeme Harper. Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093540-016.

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Bishop, Laura, and Werner Goebl. "Music and Movement." In The Routledge Companion to Music Cognition. Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-29.

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Henry, Molly J., and Jessica A. Grahn. "Music, Brain, and Movement." In The Routledge Companion to Music Cognition. Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-6.

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Moebius, Stephan. "Ups and Downs of Sociology in Germany: 1968–1990." In Sociology in Germany. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71866-4_4.

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AbstractIn the 1960s, Germany was strongly marked by changes in cultural values and social concepts of order, by new developments in art, music, and film, as well as suburbanization; also, as in many other countries, in 1968 there were massive student protests in Germany. The student movement brought sociology into the limelight. The Frankfurt School and the more Marxist Marburg School in particular became closely connected with the student movement. As a subject of study, sociology gained enormously in importance, which was connected with the growing need for social reflection in all areas of life. A characteristic feature of sociology in this period was an increasing differentiation into specialized subfields. The number of academic positions for sociologists and the number of students increased, partly as a result of the founding of new universities and of reforms in higher education policy. The increasing number of non-university research institutions complemented sociological research at the universities. This expansion, which coincided with a highly visible public sociology, also led to counter-movements: Conservative sociologists criticized the growing social influence of sociology and propagated an “anti-sociology.” As far as empirical social research is concerned, quantitative research had become more professional; interpretative social research had slowly developed, reinforced by the increasing reception of symbolic interactionism. The “planning euphoria” of the 1960s and 1970s weakened, and many looked at 1968 with disappointment and some even turned away from sociology. There were debates, such as that between representatives of Critical Theory and systems theory (the “Habermas-Luhmann debate”) and the debate on “theory comparison,” and controversies regarding “postmodernism.” The 1980s was the great time for sociological theory in Germany. Also, a further increase in the differentiation and pluralization of the sociological field could be observed.

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Camurri, Antonio. "Computational models of expressive movement qualities in dance." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-16.

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Warden, Claire. "Crossing Genres: Movement and Music." In British Avant-Garde Theatre. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137020697_6.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Conference papers on the topic "Music and movement education"

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Kurniawati, Leli, and Yudi Sukmayadi. "Training of Teaching Music and Movement Competency for the Early Childhood Teacher." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.67.

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Marwan, Iis. "Learning Media and Music Model in Improving Characters and Learning Achievement Pencak Silat Movement." In 2nd International Conference on Sports Science, Health and Physical Education. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007054300180023.

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Tanasković, Marija. "REGGIO EMILIA APPROACH – THE POSSIBILITY OF INTEGRATION IN PRESCHOOL MUSIC EDUCATION." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.407t.

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The essence of the educational process is precisely in providing favorable conditions, as well as encouraging and supporting the optimal development of children. It should contain a certain sequence of operations and contents to accelerate and enhance development, but at the same time to be flexible, adaptable and open to children’s needs, interests and opportunities. Preschool education is the first, the most important step in forming a relationship to the general culture of an environment, to music and art in general. Accordingly, an important goal in planning any music program for children is to recognize their interests and attitudes toward different musical activities. One of the goals of Basis of the Program – Years of Ascent, for children to develop dispositions for lifelong learning such as openness, curiosity, resilience, reflexivity, perseverance, self-confidence and a positive personal and social identity, is similar to the goal of Reggio Emilia’s approach in which children are viewed as active authors of their own development, i.e. that they will learn everything they need to learn, at the moment they are ready for it. Learning is focused on children – on their competencies, not on their shortcomings. The approach is based on the idea that each child has “a hundred languages” to express the characteristics of the world around him/her. Children are developing and are encouraged to symbolically represent ideas and feelings through any of their hundred languages (expressive, communicative and cognitive), words, movements, drawings, painting, creativity, sculpture, play, collage, drama, music, etc. Approach Reggio Emilia emphasizes the importance of the process of researching and using art in the social environment. Children acquire knowledge and abilities to express their thoughts and ideas through creation. Therefore, the paper discusses the possibility of integration of contents and activities from the Reggio Emilia approach in preschool music education, with aim to improve it.

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Mendes, Caroline, Eduardo Alberti, and Péricles Gomes. "PARANISM ART MOVEMENT: THE CITY OF CURITIBA AS FOCUS OF A COMPUTER GAME THAT PROMOTES HISTORY, CULTURE, POETRY, MUSIC, ARCHITECTURE AND DESIGN." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.1568.

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Wahyuningsih, Tri, Pratiwi Hidayati, and Rina Ayu Marcela. "Teachers’ Perception on the Music and Movement and Song Instructions at Kindergartens in Samarinda." In Proceedings of the Educational Sciences International Conference (ESIC 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/esic-18.2019.20.

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Schacher, Jan C. "Music means movement." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. ACM, 2015. http://dx.doi.org/10.1145/2790994.2791001.

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O'Modhrain, Sile. "Movement and music." In the 8th international conference. ACM Press, 2006. http://dx.doi.org/10.1145/1180995.1180997.

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Schacher, Jan C. "Moving Music." In MOCO'16: 3rd International Symposium on Movement and Computing. ACM, 2016. http://dx.doi.org/10.1145/2948910.2948940.

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Bailey, Sam R., Adam D. N. Scott, Harry Bernard Wright, Ian Symonds, and Kia Ng. "Eye.Breathe.Music: creating music through minimal movement." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.37.

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Irrgang, Melanie, Jochen Steffens, and Hauke Egermann. "Smartphone-Assessed Movement Predicts Music Properties." In MOCO '18: 5th International Conference on Movement and Computing. ACM, 2018. http://dx.doi.org/10.1145/3212721.3212852.

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Reports on the topic "Music and movement education"

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Loveless, Jerry. The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses: Faculty Member Perspectives and Potential Barriers. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.1100.

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Brown, Megan. "A College for Women, or Something Like It": Bedford College and the Women's Higher Education Movement, 1849-1900. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.209.

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Akhmetov, V. Y., B. R. Yuldybaev, and L. Z. Buranbaeva. Clusterization of the cooperative education system as an innovative mechanism for activating the cooperative movement in the Republic of Bashkortostan. Ljournal, 2019. http://dx.doi.org/10.18411/a-y-b-1.

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Lleras-Muney, Adriana, and Allison Shertzer. Did the Americanization Movement Succeed? An Evaluation of the Effect of English-Only and Compulsory Schools Laws on Immigrants' Education. National Bureau of Economic Research, 2012. http://dx.doi.org/10.3386/w18302.

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

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

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Dalton, Ben. The Landscape of School Rating Systems. RTI Press, 2017. http://dx.doi.org/10.3768/rtipress.2017.op.0046.1709.

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The rise of the accountability movement in education has resulted in the proliferation of school report cards, school ratings and rankings, and other kinds of performance reporting for public consumption and policy use. To understand the strengths and limitations of school rating systems and the role they play in shaping public perceptions and school improvement practices, this paper situates rating systems within the broader field of comparative organizational assessments and neo-institutional theory; describes school rankings and rating systems in use by states and consumer-oriented enterprises; and details four aspects of school ratings (measurement, transformation, integration, and presentation) that affect their use and interpretation.

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Hayes, Anne M. Assessment as a Service Not a Place: Transitioning Assessment Centers to School-Based Identification Systems. RTI Press, 2020. http://dx.doi.org/10.3768/rtipress.2020.op.0064.2004.

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The World Health Organization and World Bank (2011) estimate that there are more than 1 billion people with disabilities in the world. To address this population’s diverse needs, the United Nations drafted their Convention on the Rights of Persons with Disabilities (CRPD) in 2006. Article 24 (Education) of the CRPD requires ratifying countries to develop an inclusive education system to address the educational needs of students with disabilities alongside their peers without disabilities. Despite substantive improvements and movement toward inclusive education, many low- and middle-income countries (LMICs) continue to struggle with accurately identifying and supporting students with disabilities, including knowing how to effectively screen, evaluate, and qualify students for additional services (Hayes, Dombrowski, Shefcyk, & Bulat, 2018a). These challenges stem from the lack of policies, practices, and qualified staff related to screening and identification. As a result, many students with less-apparent disabilities—such as children with learning disabilities—remain unidentified and do not receive the academic supports they need to succeed in school (Friend & Bursuck, 2012). This guide attempts to address the lack of appropriate, useful disability screening and identification systems and services as countries look to educate all students in inclusive settings. Specifically, this guide introduces viable options for screening and identification related to vision, hearing, and learning disabilities in inclusive classrooms in LMICs. It also provides guidance on how LMICs can transition from an assessment-center model toward a school-based identification model that better serves an inclusive education system.

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Eckert, Elizabeth, Eleanor Turner, and Jo Anne Yeager Sallah. Youth Rural-Urban Migration in Bungoma, Kenya: Implications for the Agricultural Workforce. RTI Press, 2019. http://dx.doi.org/10.3768/rtipress.2019.op.0062.1908.

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This study provides insights into a specific, hard-to-reach youth subpopulation—those born in agricultural areas in Western Kenya who migrate to large towns and cities—that is often missed by research and development activities. Using a mixed-methods approach, we find high variability in movement of youth between rural villages, towns, and large urban areas. Top reasons for youth migration align with existing literature, including pursuit of job opportunities and education. For youth from villages where crop farming is the primary economic activity for young adults, 77 percent responded that they are very interested in that work, in contrast to the common notion that youth are disinterested in agriculture. We also find many youth interested in settling permanently in their villages in the future. This research confirms that youth migration is dynamic, requiring that policymakers and development practitioners employ methods of engaging youth that recognize the diversity of profiles and mobility of this set of individuals.

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Idris, Iffat. Increasing Birth Registration for Children of Marginalised Groups in Pakistan. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/k4d.2021.102.

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This review looks at approaches to promote birth registration among marginalised groups, in order to inform programming in Pakistan. It draws on a mixture of academic and grey literature, in particular reports by international development organizations. While there is extensive literature on rates of birth registration and the barriers to this, and consensus on approaches to promote registration, the review found less evidence of measures specifically aimed at marginalised groups. Gender issues are addressed to some extent, particularly in understanding barriers to registration, but the literature was largely disability-blind. The literature notes that birth registration is considered as a fundamental human right, allowing access to services such as healthcare and education; it is the basis for obtaining other identity documents, e.g. driving licenses and passports; it protects children, e.g. from child marriage; and it enables production of vital statistics to support government planning and resource allocation. Registration rates are generally lower than average for vulnerable children, e.g. from minority groups, migrants, refugees, children with disabilities. Discriminatory policies against minorities, restrictions on movement, lack of resources, and lack of trust in government are among the ‘additional’ barriers affecting the most marginalised. Women, especially unmarried women, also face greater challenges in getting births registered. General approaches to promoting birth registration include legal and policy reform, awareness-raising activities, capacity building of registration offices, integration of birth registration with health services/education/social safety nets, and the use of digital technology to increase efficiency and accessibility.

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Ochiltree, Kasey, and Iulia Andreea Toma. Gender Analysis of the Impact of Recent Humanitarian Crises on Women, Men, Girls, and Boys in Puntland State in Somalia. Oxfam, KAALO, 2021. http://dx.doi.org/10.21201/2021.7482.

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Situated in a complex region of the world, Puntland State in Somalia is dealing with a range of threats and instabilities such as droughts, floods, locusts, the movement of internally displaced people (IDPs), and armed actors. COVID-19 has added yet another strain on its tremendously fragile infrastructure. The impact of the pandemic has been far reaching, affecting livelihoods and hampering unpaid and underpaid care work and responsibilities. The multitude of crises and rates of inflation have left the majority of families food insecure and without income, halted education and health services, and exacerbated existing vulnerabilities and the incidence of violence. This gender analysis was conducted and funded by the German Federal Foreign Office (GFFO), in partnership with Oxfam in Somalia and KAALO, to better help local government bodies, agencies, NGOs, and INGOs grasp the differentiated impact of the crises on women, men, boys, and girls, and host and IDP communities, during this time of intense loss and instability. The analysis provides an overview of the experiences of the affected communities, and gives recommendations on how to address immediate concerns and plan future programming.

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