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Journal articles on the topic 'Music appreciation. School music'
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1
Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Domagała, Jarosław. "Janusz Miketta – organizer and reformer of music education in Poland." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 11–26. http://dx.doi.org/10.5604/01.3001.0014.2310.
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Janusz Miketta (1890-1954) – Polish musicologist, pedagogue and music life organizer. He studied philosophy at the University of Warsaw. He completed his music studies at the Music Institute in Warsaw and in Leipzig, as well as at the F. Chopin Higher Music School in Warsaw. Next, he was the principal of the Music School in Warsaw and from 1919 – the director of the Music Society and the S. Moniuszko Music School in Lublin. In 1924, he started his teaching career at the F. Chopin Higher Music School in Warsaw and later at the M. Karłowicz Music School in Warsaw. In the years 1926–1931, he was a desk officer for music affairs in the Ministry of Religious Denominations and Public Enlightenment and from 1931 – the secretary of the Local Sightseeing Society in Warsaw and Stanisławów. From 1945 to 1948, he was the head of the Music Education Section of the Music Department in the Ministry of Culture and Art and the chairman of the Program Committee of Music Education in the above-mentioned Ministry. Based on Janusz Miketta’s own concept of music education, the Ministry of Culture and Art issued a directive of 7 December 1945 on a special system of music education. Music schools in Poland were divided into vocational ones (lower, middle and higher) and those providing music appreciation classes. This three-stage structure made it possible to adjust teaching program to new needs and select a specialization based on the degree of a pupil’s talent. As a result of reforms introduced in the 1949/1950 school year, schools providing music appreciation classes were liquidated, though the three-layer structure of the school system was maintained. This schooling system, with minor changes, is still in operation in Poland. In the years 1948-1954, Miketta was a professor of the State Higher Music School in Cracow.
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Chybowski, Julia J. "Selling Musical Taste in Early Twentieth-Century America." Journal of Historical Research in Music Education 38, no. 2 (January 18, 2017): 104–27. http://dx.doi.org/10.1177/1536600616684969.
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Frances Elliot Clark (1860–1958) lived through a transitional time for music education and the music industry in the United States, and she influenced American culture by bringing these two communities together. She brought her background in school and community music education along with strong ties within music education communities to the position of director of the Education Division at the Victor Talking Machine Company. As Victor’s spokesperson and a national leader in the music appreciation movement, she convinced educators to overcome their distrust of the recording industry and view Victor machines and records as modern pedagogical tools. By aligning the cause of music appreciation with contemporary social reform efforts, Clark heightened the social relevance of school and community music education and she modernized nineteenth-century notions of taste, self-improvement, and cultural progress. She even taught Victor salespeople to use the discourse of music appreciation that resonated with educators and community volunteers and helped them sell to women. Stemming from the study of Clark’s Collected Papers in the Special Collections of the University of Maryland Libraries, this article demonstrates how Clark persuaded educators, school administrators, community volunteers, and Victor employees to spread the ideologies of music appreciation.
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Espeland, Magne. "Music in Use: Responsive Music Listening in the Primary School." British Journal of Music Education 4, no. 3 (November 1987): 283–97. http://dx.doi.org/10.1017/s026505170000615x.
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The author invites us to re-examine the case for ‘music appreciation’ teaching. In a two-year project, ‘Music in Use,’ conducted in Norwegian primary schools, Magne Espeland and his colleagues developed new principles and methods for encouraging children to listen to music of many different styles – including modern instrumental and orchestral music, pop and jazz. Working from the belief that response on the part of the listener is crucial in musical understanding, the project group involved the children with a variety of activities which, while primarily related to the music itself, engaged also with experiences in verbal, visual and kinetic expression.
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Clauhs, Matthew, Brian Franco, and Radio Cremata. "Mixing It Up: Sound Recording and Music Production in School Music Programs." Music Educators Journal 106, no. 1 (September 2019): 55–63. http://dx.doi.org/10.1177/0027432119856085.
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Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.
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Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (July 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.
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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
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Lucas Hamann, Keitha. "Music at Lincoln Junior High (Minneapolis) and the Lincoln Junior High Girls’ Band: 1923—1940." Journal of Research in Music Education 58, no. 1 (April 2010): 55–74. http://dx.doi.org/10.1177/0022429410362076.
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Examination of the music opportunities available to students in the junior high schools of the early twentieth century lends historical perspective to current challenges facing middle level music educators. This article describes the specific music offerings at Lincoln Junior High School in Minneapolis, Minnesota, from the school opening in 1923 to 1940, when financial challenges forced the reorganization of the music program. In many ways, the music curriculum at Lincoln Junior High School in Minneapolis was exemplary of the music experiences found in other junior high schools. The required curriculum was based on the general music model of the elementary school and included music appreciation and a strong emphasis on the development of music reading skills. Extracurricular “clubs” provided performance opportunities for young adolescent musicians. Choruses focused on preparing large-scale productions such as operettas and musicals, while instrumental groups participated in contests and festivals. Performances for school assemblies and civic groups provide evidence of the importance of connections to the community for junior high schools. The formation of the Girls’ Band at Lincoln in 1924 was unusual. In the absence of direct evidence, I postulate possible explanations for the founding of this unique ensemble.
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Jaeeun Jeong and 최미영. "The Application of the Models of Music Appreciation to Middle School Music Classroom." Journal of Future Music Education 1, no. 2 (December 2016): 85–101. http://dx.doi.org/10.36223/jnafme.2016.1.2.005.
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Elpus, Kenneth. "Music education promotes lifelong engagement with the arts." Psychology of Music 46, no. 2 (March 25, 2017): 155–73. http://dx.doi.org/10.1177/0305735617697508.
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The purpose of this study was to understand the effects of school-based music education on later adult engagement with the arts using nationally representative data from the U.S. National Endowment for the Arts 2012 Survey of Public Participation in the Arts. The probability of adult arts engagement as performer/creator and patron/consumer was estimated as functions of prior school-based music and arts education participation with statistical covariate control applied for demographic variables known to vary with music education status. Results suggest that both music performance and music appreciation courses are strongly associated with later arts participation as patron/consumer and performer/creator, even after controlling for socioeconomic status, sex, and race/ethnicity. Former music appreciation students were 93% more likely to attend classical music or opera performances as adults and 255% more likely to play a musical instrument as adults than were non-participants. Former music performance students were 342% more likely to play a musical instrument, 258% more likely to sing, and 186% more likely to take photographs as an artistic endeavor than were non-participants. Results of this study suggest that lifelong engagement with music and the arts is one measurable outcome of school-based music education in the United States.
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Lawrence, Joy E. "New Ideas for the High School “Music Appreciation” Class." Soundings (Reston, VA) 2, no. 3 (April 1989): 17–19. http://dx.doi.org/10.1177/104837138900200305.
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Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (February 23, 2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.
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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.
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Vidulin, Sabina. "Music teaching in regular class and extracurricular music activities in Croatia: State and perspectives." Hungarian Educational Research Journal 10, no. 2 (June 2020): 143–54. http://dx.doi.org/10.1556/063.2020.00015.
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AbstractIn the last 30 years Croatia has been involved in an intensive period of educational reforms. Music teaching, as a compulsory subject, underwent some positive and negative changes. The so-called open model and contents remake bring the possibility for teachers to be more creative and for students to be involved to a greater extent, but unfortunately, music lessons come to just 1 h per week. As a part of the Croatian school system, the extracurricular music activities are implemented in the school curriculum which affects the acquisition of new knowledge developing students’ musical skills. This paper aims to present the today’s situation of attending music classes in regular and extracurricular lessons in Croatia. Moreover, it discusses the international research project Schools@Concerts: Tuning up for the Music Experience which influences the idea how to carry out another kind of extracurricular musical activity which suits the worldwide environment. The intention is to familiarize students with (classical) music during the work in the extracurricular activity and by visiting to a concert. The author presents her own idea how to realize the extracurricular music activity Listening to Music with Concert Experience carried out by a cognitive – emotional approach to listening to music which contributes to the students’ music appreciation and preservation, transfer, renewal and dissemination of cultural heritage.
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Howe, Sondra Wieland. "The NBC Music Appreciation Hour: Radio Broadcasts of Walter Damrosch, 1928–1942." Journal of Research in Music Education 51, no. 1 (April 2003): 64–77. http://dx.doi.org/10.2307/3345649.
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Walter Damrosch, a pioneer in the early days of radio, introduced American and Canadian children to classical music through the radio broadcasts of the NBC Music Appreciation Hour, 1928–1942. This article contains a description of the format of the programs and instructional manuals. It includes a discussion of the programs sponsorship, Damroschs collaboration with MENC, and the national impact of the broadcasts. The Music Appreciation Hour broadcast four series of programs for four different age-groups, and various authors prepared instructors manuals and student notebooks. The successful programs were promoted as a supplement for school programs, and students were encouraged to expand the experience with other musical activities. The broadcasts were discontinued in 1942 for financial and personal reasons. The Music Appreciation Hour and other music programs of the past can be used as models for contemporary projects as educators explore the creative use of technology in music teaching. Although technology changes, many issues of the past (audience development, repertoire selection, finances, sponsorship) are still relevant today.
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Cho, Sung-gi, and YeoJin Hwang. "Status Analysis of Music Appreciation Education in the Secondary School." Korean Society of Music Education Technology 33 (October 16, 2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.
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Cooper, Shelly. "Marguerite V. Hood and Music Education Radio Broadcasts in Rural Montana (1937-39)." Journal of Research in Music Education 53, no. 4 (December 2005): 295–307. http://dx.doi.org/10.1177/002242940505300402.
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The impact of the radio in the 1930s can be compared to the force of change in people's lives today caused by current technology. Marguerite V Hood (1903-92), a recognized leader in the music education profession during the 1930s, understood the importance of music education radio broadcasts for rural one-room schools and music education classes. In 1936, she began a series of broadcasts in an effort to reach all children in Montana and was appointed radio director for the KGVO Montana School of the Air program. Hood recognized the necessity of using contemporary resources in music education, a need that exists today. Music educators who offer learning experiences encompassing various music listening activities and musical styles through all types of media provide students with a rich, fertile environment for cultivating the understanding and appreciation of all music genres.
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Lei, Liu. "Research on Music Appreciation Teaching of Non-Music Majors in Normal Universities." International Journal for Innovation Education and Research 4, no. 1 (January 31, 2016): 46–50. http://dx.doi.org/10.31686/ijier.vol4.iss1.507.
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Schools in China pay more attention to quality-oriented education. Music, an essential part in quality-oriented education, has been an indispensable part in education policy making process for a long time. During the crucial period transforming from examination-oriented education to quality-oriented education, music plays an irreplaceably special role in learning and teaching. According to the recent data, all the normal universities have set up the music curriculum, whether it is music, or non-music majors. It stresses the importance of music class in the form of compulsory or optional courses in the teaching content. However, there are some problems which are bothering the teachers. To solve those problems, the author will combine theoretical knowledge and practical experience and make a preliminary study and research of music appreciation teaching of non-music majors in normal universities.
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Spencer, Piers. "John Paynter, 1931–2010: an appreciation." British Journal of Music Education 27, no. 3 (September 22, 2010): 221–23. http://dx.doi.org/10.1017/s0265051710000306.
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John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department at the University of York, where he remained until his retirement in 1997. It was with the publication in 1970 of Sound and Silence that his years of pioneering work with children and older students came to fruition and the force and originality of his ideas about music education made their first big impact.
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Cho, Jeoung-eun. "Effects of Flipped Learning on Music Appreciation Class in Middle School." Korean Society of Music Education Technology 32 (July 16, 2017): 167–91. http://dx.doi.org/10.30832/jmes.2017.32.167.
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Sudarman, Yos, and Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, no. 1 (March 17, 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.
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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu
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VanWeelden, Kimberly, Virginia Wayman Davis, and Laura Singletary. "No Fear, Just Fun!: Meaningful, Memorable Musicking in Secondary General Music." General Music Today 32, no. 3 (March 17, 2019): 13–19. http://dx.doi.org/10.1177/1048371319834921.
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Secondary general music is hard to define. For some, this denotes an accelerated version of elementary general music or a decelerated version of a college music appreciation course. Others view this as any nontraditional ensemble geared for middle or high school students, such as guitar, keyboard, or steel pans. Still, for others, secondary general music is not so much a stand-alone course as it is any time devoted to teaching fundamental skills to students in band, orchestra, and choir so they may more successfully perform the repertoire. The authors acknowledge each of the above-listed views as valid; thus, rather than debate what is secondary general music, we will highlight each viewpoint in a three-part series. The first of this series will focus on a class structure where students experience various activities all while learning music fundamentals, studying music history, and developing music literacy skills.
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Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.
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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
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Barnes, Jonathan. "‘We are still here’: The impacts of street music and street art during the 2020 London lockdowns." International Journal of Community Music 00, no. 00 (March 9, 2021): 1–12. http://dx.doi.org/10.1386/ijcm_00032_1.
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This article summarises the impacts of a spontaneous arts initiative involving the residents of eight London streets during the 2020 lockdowns. A local arts organization devised small-scale, informal street music projects that were evaluated by the residents themselves. Responses suggested that such events had a strong positive impact on the feelings of community. Common responses included reaffirming the importance of local cohesion, recognizing music as an accessible means of developing new connections in ‘distanced’ conditions and a new appreciation of family togetherness. Those involved suggested that researchers could learn much about the characteristics of cohesive, supportive communities from similar initiatives. The project confirmed that more research was needed on the role schools could play in bringing communities together and how music can be used to build bridges between school and community. Feedback raised questions about the absence of children’s voices in post-COVID-19 planning for ‘the recovery curriculum’.
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Sexton, Fiona. "Practitioner challenges working with informal learning pedagogies." British Journal of Music Education 29, no. 1 (February 21, 2012): 7–11. http://dx.doi.org/10.1017/s0265051711000507.
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Early in my career as a music teacher I was very focused on providing my students with what I believed at the time were a range of musical experiences that broadened their understanding and appreciation of music from a variety of cultures and traditions. However, as I gained more experience, I was able to spend a greater amount of time reflecting on how the pupils were learning as well as what they were learning. Through my engagement in practitioner research I also became more aware of the musical experiences my pupils were having away from school and this led me to realise that an increasingly large number of pupils were already passionate about music but this interest was not necessarily transferring to music within a classroom context. For example, students who were often self-critical about their abilities during classroom music tasks were actually able to demonstrate an increasing level of knowledge and understanding of the music that they were involved in as listeners or performers away from school.
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Kim, Eun Ju. "Appreciation Areas in Music Textbooks for Elementary School Third and Fourth Graders." Korean Association For Learner-Centered Curriculum And Instruction 19, no. 24 (December 31, 2019): 67–86. http://dx.doi.org/10.22251/jlcci.2019.19.24.67.
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Duarte-García, Mario Alberto, and Jorge Rodrigo Sigal-Sefchovich. "Working with Electroacoustic Music in Rural Communities: The use of an interactive music system in the creative process in primary and secondary school education." Organised Sound 24, no. 3 (November 29, 2019): 228–39. http://dx.doi.org/10.1017/s135577181900030x.
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This article describes a project intended to promote access to electroacoustic music for children and teenagers aged 6 to 15 years in a socially and educationally disadvantaged rural community in Michoacán, Mexico. It explores an educational model of teaching, learning and creation of electroacoustic music through the use of music technology and pedagogy based on constructivism and Paulo Freire’s ideas on education as a practice of freedom. It provides a pedagogical reflection on the processes of learning and appreciation of this new music. The project includes the use of an interactive music system – implemented in MaxMSP using a mobile phone OSC app to control space and its interaction with timbre, pitch and duration – as an aid in the classroom and its implementation in an educational programme with a social impact. The research covered in this article could be taken into account to deliver new music education in rural communities with similar socioeconomic circumstances.
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Rivera, Isabel Aretz De Ramon Y. "The universal language of all cultures." International Journal of Music Education os-29, no. 1 (May 1997): 52–58. http://dx.doi.org/10.1177/025576149702900108.
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Music is a language that is expressed through the audible sounds for which no one requires a translation, therefore music can be utilized, when shared between cultures in the right fashion, as a tool to increase brotherhood among people in the world. Sharing music by means of a concert or audio-visual tools falls short when it comes to penetrating the human sentiment. Our concert audiences always tend to prefer the music that they were brought up with; our music schools only answer to the European tradition. One can conclude that an appreciation of different musical cultures in the world depends on the degree of musical education at an early stage. Therefore one must consider an early musical education starting at the elementary school level. We believe that every child should be educated within its own culture first, in order to proceed to develop an appreciation of the culture of fellow nations within the same continent. Once a cultural foundation has been established – including the musical aspects – the child must be familiarized with and learn to appreciate the music and people of different continents in order to slowly become a world citizen. It is not the intention of this ambitious plan to unite the music of different cultures, but rather to maintain the musical diversity of the different continents, each with its own rich instrumental and vocal heritage, that accompanies people from birth until death. This diversity deserves to be perpetuated, as is done with musical masterpieces which can be attributed to their composers. Thus it can be achieved that the people of different nations may contact and communicate by means of a not yet exploited sonorous language which is familiar to everybody.
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Kim, Kyoungtai, and Minjeong Kim. "Development of Realistic Media and Effective Evaluation for Integrated Appreciation of Traditional Korean Music in High School Music Class." Korean Society of Music Education Technology, no. 36 (July 30, 2018): 123–48. http://dx.doi.org/10.30832/jmes.2018.36.123.
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Yoon, Jiyoung, and Xuehua Jin. "A Music Appreciation Instructional Design Plan Using the Storytelling Technique in Elementary School." Journal of Humanities and Social sciences 21 11, no. 3 (June 30, 2020): 431–46. http://dx.doi.org/10.22143/hss21.11.3.32.
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Kang, Ye-jin, and Hae-Kyung Shin. "Character competencies of music education- Focusing on high school music appreciation and criticism textbooks of the 2015 revised national curriculum." Korean Society of Music Education Technology 45 (October 31, 2020): 127–48. http://dx.doi.org/10.30832/jmes.2020.45.127.
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Agawu, Kofi. "The Amu Legacy." Africa 66, no. 2 (April 1996): 274–79. http://dx.doi.org/10.1017/s0001972000082437.
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AbstractEphraim Amu, 1899–1995, was the leading Ghanaian composer of ‘art music’ (the music of concerts, churches, schools and formal performance). This article is both a brief appreciation of the man as his ideas, personal practice and musical style developed over the years, and an account of the influence Ephraim Amu exercised over Ghanaian musical life.
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KNIGHTON, ELIZABETH JULIANA. "Mary Davenport Engberg: Pioneering Musician in a Bachelors’ Frontier." Journal of the Society for American Music 5, no. 3 (July 13, 2011): 365–94. http://dx.doi.org/10.1017/s1752196311000174.
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AbstractMany women in the United States encountered resistance to their involvement in orchestral conducting and public instrumental performance—both solo and ensemble—in the early twentieth century. Mary Davenport Engberg (1880–1951), however, became involved in the developing musical culture of the Pacific Northwest without encountering opposition based on her gender. In 1911 Engberg founded the mixed-gender Bellingham Symphony Orchestra, which she conducted until she became the conductor of the Seattle Civic Symphony Orchestra in 1921, and she also performed extensively as a violinist in Seattle and along the West Coast. She was the director of an influential music school in Seattle and cofounded the Seattle Civic Opera Association in 1932. Engberg's life and accomplishments reveal the effect of regional differences in the experiences and reception of women in American music. An understanding of her contributions leads to a better appreciation of the varied roles played by women in instrumental music throughout our country's history.
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Hidayatullah, Riyan, and Prisma Tejapermana. "Kelas Gitar Akustik Berbasis Pembelajaran Kooperatif." Gondang: Jurnal Seni dan Budaya 4, no. 2 (December 4, 2020): 137. http://dx.doi.org/10.24114/gondang.v4i2.18676.
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This article examines learning acoustic guitar in formal schools employing cooperative learning design. The problem is focused on students’ perceptions of the difficulty of interpreting theory, teacher mastery of music theory, and the learning methods used. This study aims to describe the cooperative learning method implemented in acoustic guitar classes at schools (N = 30). Data were collected through observation, interviews, and documentation to be analyzed qualitatively using an interactive model (Miles et al., 2014). The guitar learning process is carried out in groups by breaking the home group and the expert group. Music material in group interaction is in the form of theory and practice. Based on observations of students’ musical abilities, there is an increase in knowledge of music theory and practice in guitar classes. Students receive the highest score on the aspects of sound accuracy, chord progression to the song, and the time expended learning the song. This study concludes that learning acoustic guitar applying cooperative learning methods is effective in enhancing students’ musical understanding through appreciation and creation. Appreciative attitude turns out as a manifestation of a positive response affective.
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Migon, Cristiane Abreu, and Monique Andries Nogueira. "Possibilities and Limits of a Multi/Intercultural Music Appreciation at Schools." Literacy Information and Computer Education Journal 6, no. 2 (June 1, 2015): 1930–37. http://dx.doi.org/10.20533/licej.2040.2589.2015.0257.
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A-Hyun, Kim. "The Connection of Korean Music Criticism Activities among Elementary and Secondary Schools in the Area of Music Appreciation." Korean Journal of Teacher Education 36, no. 3 (July 31, 2020): 99–121. http://dx.doi.org/10.14333/kjte.2020.36.3.99.
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김혜숙 and 조순이. "The Exploration of Integrating Teaching-Learning Methods Connected with Appreciation of Music and Art in Elementary School." Journal of Art Education 49, no. ll (May 2017): 209–32. http://dx.doi.org/10.35657/jae.2017.49..009.
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Han, Young-Sook. "Problems and Improvement Directions of the Korean Music Appreciation Instruction in High Schools." Journal of Korean music education research 15, no. 2 (August 31, 2021): 291–321. http://dx.doi.org/10.31177/sskme.2021.15.2.10.
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Han, Yun-Yi. "Changes in the Teaching and Learning Methods for Korean Music Appreciation Presented in the Music Curricula and Textbooks for Elementary Schools." Journal of Korean music education research 14, no. 1 (February 28, 2020): 275–307. http://dx.doi.org/10.31177/sskme.2020.14.1.09.
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Leung, Bo-Wah. "Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou." Impact 2021, no. 7 (September 14, 2021): 18–20. http://dx.doi.org/10.21820/23987073.2021.7.18.
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It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.
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Melita, Milin. "A composer’s inner biography a sketch for the study of influences in Ljubica Maric’s oeuvre." Muzikologija, no. 4 (2004): 61–82. http://dx.doi.org/10.2298/muz0404061m.
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Attempting to investigate works of music through frank examination of possible influences is a delicate thing, sometimes maybe dangerous - as has been suggested by Jonathan Cross in his book, The Stravinsky Legacy. While the originality of a composer may appear to be threatened with such types of critique, for musicologists it is important to draw upon a deeper appreciation for how a composer searched for his/her own creative voice. The music of Ljubica Maric (1909-2003), one of the most important Serbian composers of the 20th century, has been chosen to demonstrate how composers need different influences during different phases of their maturation and how they deeply integrate them in order to create an individual utterance. Ljubica Maric first studied composition with Josip Slavenski at the Belgrade Music School (1925-29), and continued her studies with Josef Suk at the Master School of the Prague Conservatory (1929-32) where she obtained her diploma. Finally, she took Alois H?ba?s course in quarter-tone music at the same institution from 1936 to 1937. The works she composed during the 1930?s were characterized by a radical will to break ties with traditional, mainly romantic music, so she chose to be influenced by the free atonal pre-dodecaphonic works of Arnold Schoenberg. Following World War II, she introduced some changes of expression that were more in keeping with links from the past. Her music became tonally stabilized, and thematic-motivational developments were rediscovered, resulting in an expression that became milder. But the changes need not necessarily be linked exclusively to the post-war climate of socialist realism. Rather, the previous style may have met up with some type of impasse - the sort that confounds or ultimately transforms an artist. For Ljubica Maric, however, it appears she was never truly satisfied with her first post-war works (1945-1950). What is certain is that she composed nothing during the several years that preceded her first masterpiece, the cantata The Songs of Space (1956). It is however worth examining whether or not they were really "dry years". It is certain that for Ljubica Maric, they were fresh discoveries of Serbian traditional singing, both folk and church, poetic and artistic treasures of the Middle Ages - but she also revived earlier experiences (from the pre-war decade) that she had rejected at the time, mainly the music of Stravinsky, Bart?k and Slavenski. Although those influences can be detected in the score of The Songs of Space, the work has a strong individual imprint, an identity of its own. In the works that followed, The Passacaglia for orchestra and in several compositions belonging to the cycle Musica octoicha (Octoicha 1, The Byzantine Concerto, Ostinato super thema octoicha, The Threshold of Dreams) original traits of Ljubica Maric?s poetics became even more pronounced. The last works that she produced (in the 1980?s and 1990?s) are all for instrumental soloists or chamber ensembles. They continue with, and refine the main characteristics of the earlier ones. Ljubica Maric?s evolvement thus presents a search for originality of expression that was reached only after a process of selective assimilation and creative transformation of tradition had been fulfilled - but not until any "anxiety of influences" had been abandoned. It has been shown that Ljubica Maric, like other artists needed to be ready to be influenced, in order to absorb such influences in a creative way.
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Treacy, Danielle Shannon, and Heidi Westerlund. "Shaping imagined communities through music: Lessons from the School Song practice in Nepal." International Journal of Music Education 37, no. 4 (June 10, 2019): 512–23. http://dx.doi.org/10.1177/0255761419850251.
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This study attends to the global need to rethink how music education could provide opportunities for shaping imagined communities in times of intensifying societal complexity and diversity by exploring the practice of singing ‘school-specific songs’ in the Kathmandu Valley, Nepal. The methodology combines educational ethnography with Appreciative Inquiry, whereby individual interviews with school administrators, musician-teachers, a school founder and a composer were analysed and reflexively interpreted. Countering previous critical research on school-specific songs, this study shows that although the school-specific song practice originates outside Nepal, the songs are tailor-made to canonise each school’s unique vision and mission, and for teaching values and character, and were thus considered to be local. Through considering the new ideas and practices that emerge through a reflexive interpretation of the school-specific song practice, we discuss five perspectives that arose from the Appreciative Inquiry process: the universal right to aspire; developing reflexivity; the pedagogical paradox of rituals; a continuum from individual to collective goals; and a constantly changing ‘we’ in diversifying, complex societies. The study suggests that rituals in schooling, of which school-specific songs are a part, should be applied reflexively and subject to ongoing critical reflection and constant revision.
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Dale, Catherine. "Britain's ‘Armies of Trained Listeners’: Building a Nation of ‘Intelligent Hearers’." Nineteenth-Century Music Review 2, no. 1 (June 2005): 93–114. http://dx.doi.org/10.1017/s1479409800001579.
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‘Are you musical?’, asks Gustav Kobbé of some imaginary interlocutor in the introduction to How to Appreciate Music (1906). ‘No’, comes the reply, ‘I neither play nor sing’. ‘But, if you can read and listen’, Kobbé continues, ‘there is no reason why you should not be more musical … than many of those whose musicianship lies merely in their fingers or vocal cords’. Kobbé's response epitomizes the shift in emphasis that had begun to occur in music education at the turn of the century from the acquisition of technical proficiency on an instrument or the voice to the cultivation of an appreciative, aesthetic understanding of music. The acquisition of performing skill had been perpetuated by the hegemony of the singing class in British music education throughout the nineteenth century. Initially, such teaching took the form of the government-sponsored continental system of ‘fixed’ sol-fa devised by Guillaume Wilhem for use in the public singing classes and commune schools of Paris and, from 1840, adapted by John Hullah for use in the teacher-training institution founded by James Kay-Shuttleworth at Battersea. Subsequently, there was the tonic sol-fa system with its movable doh devised by John Curwen; this system came to replace the Hullah–Wilhem method after the Education Act of 1870, which introduced compulsory schooling in Britain and established school boards to implement local policy.
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Aris, Qori Islami. "Pelatihan Penciptaan Musikalisasi Puisi sebagai Bentuk Apresiasi Sastra pada Siswa SMK Telkom Pekanbaru." BIDIK: Jurnal Pengabdian kepada Masyarakat 1, no. 2 (April 26, 2021): 32–40. http://dx.doi.org/10.31849/bidik.v1i2.6203.
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Scientific articles are scientific papers of research results communicated in scientific publications, such as journals, magazines, or other publications. In schools, especially teachers who teach Bahasa Indonesia, are required to be able to motivate students to increase their reading interest in literature, because by studying literature students can get various benefits for their lives. Therefore, a teacher is required to be able to guide students to give appreciation for literary works, especially poetry. However, the reality in the field, teachers have difficulty teaching poetry musicalization. Because in addition to a calm understanding of literature itself, an understanding of music is also very important. This Community Service Activity aims to provide students with understanding and provide provisions for the ability to create poetry musicalization as an alternative in appreciating literature, especially poetry. The method used in this activity is in the form of workshops delivered with lectures, question-and-answer, and practical techniques. To find out the extent of student acceptance and understanding, as well as student abilities, at the beginning and end of the training an assessment or evaluation is carried out by filling out the pretest and posttest sheets. Based on the results of the tests that have been conducted, it is known that the participants experienced an increase in their understanding of the concepts of literary appreciation, poetry appreciation, and poetry musicalization from 64% to 100%. Starting from this understanding, students can be more creative in creating a poetry musicalization.
Keywords: Literary Appreciation, Poetry Appreciation, Poetry Musicalization
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Horak, Yakym. "Volodymyra Bozhejko’s & her family letters Stanislav Liudkevych." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 271–311. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-15.
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The article bears witness to the history of relationship between composer and pianist. The extant letters (31 in all) are published with the scientific commentary for the first time, as well as letters of her father Ivan Bozhejko (2 in all), and a letter of her brother Yuliy Bozhejko to Stanislav Liudkevych. The pianists’ letters span the years from 1919 to 1947 — the time of her piano studies in Vienna, and later her employment as a piano teacher in Peremyshl subsidiary school of Higher Music Institute. The letters reveal the methodology of Liudkevuch professional tutoring of his student: he were the first music journalist, who met with great eclait the bright talent of a young pianist in a Peremyschl girls’ Liceum, extant in two articles of acclaim in 1911 and 1912. After the graduation from the Austrian Academy of Arts & Letters in a piano masterclass of E. Lialevytch , S. Liudkevych sent the letter of support on behalf of V. Bozhejko to prominent Austrian pianists Paul Weingartner and Emil Sauer, recommending the young pianist to enter Meisterschule in Vienna. Due to Liudkevuch support continued her studies in Meisterschule, and at a later date, in a Neuer Vienna Conservatoire, in the class of pianist Andjelo Cessisoglu of Greece. The letters bear witness to Viennies Promenade Concert Series, as a vibrant milieu the young Ukrainian pianist crafted her musicianship of a rich connoiseur’s appreciation of the artists of brilliance. The letters bear witness to her warm and sincere relationship with Stanislav Liudkevych, where she conveys her impressions of Vienna Concert Series, accounts of her teachers and studies, personal and family matters. During her studies in 1923 the pianist played the Recital Concert in Lviv, which met the great eclait of Stanislav Liudkevich, where he called it the Klavierabend of a premiere eclait in his acclaim article in a press, as a success were a unique resonance as a Ukrainian Concert Series. The letters of pianist's employment in a Peremyschl Subsidiary School of Higher Music Institute bear V. Bojeyko’s witness of Stanislav Liudkevych signifacance as a tutor to her arstistic endeavour, performance of his compositions, the musicianship’s intricacies and craft, revealed in her dialogs with the composer. This dialog were coninued througout their lives, as a piano teacher in Peremyschlyany Subsidiary School, and in calamities of war. Keywords: Volodymyra Bozheyko, Ivan Bozheyko, Yuliy Bozheyko, letters, concerts, Vienna, Paul Wiengartner, Emil Zauer, Angelo Cessisoglu, Meisterschule, Neue Vienna Musichochschule, Peremyschl, the Higher Music Insti¬tute subsidiary school, Stanislaw Liudkevych.
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Pashalieva, Teodora, and Hristina Poparkova. "THE INTERDISCIPLINARY LESSON AS A FORM OF INOVATIVE AND EFFECTIVE TRAINING AT SCHOOL." Education and Technologies Journal 11, no. 2 (August 1, 2020): 274–77. http://dx.doi.org/10.26883/2010.202.2308.
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Learning by integrating different topics from one subject to another helps students build a complete image of the topic they are working on and makes the learning process effective and meaningful. The theme „The Bulgarian revival and the road to immortality“ is suitable for conducting an interdisciplinary lesson, which overlaps these subjects: Bulgarian language, history, music, fine arts and information technologies. Through the time machine, the seventh-graders from our school found themselves in a revival café, where they witnessed an interview with Dobri Chintulov, Kiro Tuleshkov and Ivan Vazov. Touching on these personalities, the students easily understood and interpreted questions related to the changes that occurred in Bulgarian society in the renaissance era, the change of the ordinary Bulgarian and the main directions in which the Bulgarian renaissance developed. In pertinent moments they sang Renaissance songs, with brush and paints recreated they images of Bulgarian Revivals. Their appreciation for those personalities who worked with all their dedication to resurrect the Bulgarian and led it to new heights was felt. The preferred method is suitable because it develops teamwork skills, self-assessment and self-knowledge, improves their communication skills, builds their personal qualities, which is a huge advantage compared to the classical form of training.
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Richmond, Dan, Jim Sibthorp, and Cait Wilson. "Understanding the Role of Summer Camps in the Learning Landscape: An Exploratory Sequential Study." Journal of Youth Development 14, no. 3 (September 12, 2019): 9–30. http://dx.doi.org/10.5195/jyd.2019.780.
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Summer camp is an important setting within the learning landscape of youth—a landscape that also includes school, sports, arts and music, religious settings, home, and eventually, work. While research on camp outcomes is abundant, practitioners and policymakers have little empirical evidence that summer camp participation offers long-term impact and value. The purpose of this study was to build on existing camp research to identify learning outcomes that are highly attributable to camp participation and to determine whether these outcomes are considered important in everyday life. A second purpose was to identify other settings that may contribute to learning outcomes often associated with camp participation. This study used mixed methods design and involved a national sample of 352 individuals (18-25 years old) who had attended camp for at least 3 weeks in their youth and had not worked at a camp. Alumni reported that the development of independence, perseverance, responsibility, appreciation for differences, and appreciation for being present were camp-related outcomes that were highly attributable to their camp experiences and that these outcomes were also of high importance in daily life. Among all outcomes that were highly attributable to camp, study participants noted that camp was a primary setting for developing affinity for nature, how to live with peers, leisure skills, a willingness to try new things, independence, being present, and empathy and compassion. School and home were primary learning settings for other outcomes. Findings from this study help identify where camp is particularly effective in promoting lasting outcomes and areas where camps may need more intentionality and resources.
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Dumitraşcu, Dinu Iuliu, Carmen Bianca Crivii, and Iulian Opincariu. "PAPILIAN’S ANATOMY - celebrating six decades." Medicine and Pharmacy Reports 90, no. 1 (January 30, 2017): 113–17. http://dx.doi.org/10.15386/cjmed-753.
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Victor Papilian was born an artist, during high school he studied music in order to become a violinist in two professional orchestras in Bucharest. Later on he enrolled in the school of medicine, being immediately attracted by anatomy. After graduating, with a briliant dissertation, he became a member of the faculty and continued to teach in his preferred field. His masters, Gh. Marinescu and Victor Babes, proposed him for the position of professor at the newly established Faculty of Medicine of Cluj.Here he reorganized the department radically, created an anatomy museum and edited the first dissection handbook and the first Romanian anatomy (descriptive and topographic) treatise, both books received with great appreciation. He received the Romanian Academy Prize. His knowledge and skills gained him a well deserved reputation and he created a prestigious school of anatomy. He published over 250 scientific papers in national and international journals, ranging from morphology to functional, pathological and anthropological topics.He founded the Society of Anthropology, with its own newsletter; he was elected as a member of the French Society of Anatomy. In parallel he had a rich artistic and cultural activity as writer and playwright: he was president of the Transylvanian Writers’ Society, editor of a literary review, director of the Cluj theater and opera, leader of a book club and founder of a symphony orchestra.
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Abdullahi, Nimota Jibola Kadir, and Seun Muyiwa Sotayo. "Talent Promotion Programs and Management of Formal Education in Nigeria." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 13, no. 1 (January 8, 2021): 18–35. http://dx.doi.org/10.29173/cjfy29599.
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This study examined talent promotion programs and management of formal education among youth in Nigeria. This quantitative study determined the perception of administrators and lecturers on the importance of personality development, sports, music and reality television shows towards effective management of formal education. A purposive sampling technique was used to select 45 participants in three departments at the University of Ilorin, Kwara State, Nigeria. Data was collected using a Talent Promotion Programs and Management of Formal Education Questionnaire (TPPMFEQ), and analyzed using descriptive statistics. The findings revealed that personality development, sports, music and reality television shows are important towards effective management of formal education. The findings indicate that the government should promote personality development of youth by upgrading the monetary value given to high achievers in school after completion of their programs or degree in order to spur more interest in appreciating education and shaping the behaviour of individuals. Also, the government should provide sports-academic scholarship schemes that would serve as criteria and support for talented youth in order to assist them in pursuing their dreams and ensuring that all citizens are catered for educationally. In addition, the government should also place more emphasis on music as a way of bringing about a better life for youth. As well, the government should ensure the effective regulation of television programs so that they are educative, meaningful and relevant to the progress of youth in order to empower and reduce the problem of unemployment and poverty among youth.
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Abdullahi, Nimota Jibola Kadir, and Seun Muyiwa Sotayo. "Talent Promotion Programs and Management of Formal Education in Nigeria." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 13, no. 1 (January 8, 2021): 18–35. http://dx.doi.org/10.29173/cjfy29599.
Full textAbstract:
This study examined talent promotion programs and management of formal education among youth in Nigeria. This quantitative study determined the perception of administrators and lecturers on the importance of personality development, sports, music and reality television shows towards effective management of formal education. A purposive sampling technique was used to select 45 participants in three departments at the University of Ilorin, Kwara State, Nigeria. Data was collected using a Talent Promotion Programs and Management of Formal Education Questionnaire (TPPMFEQ), and analyzed using descriptive statistics. The findings revealed that personality development, sports, music and reality television shows are important towards effective management of formal education. The findings indicate that the government should promote personality development of youth by upgrading the monetary value given to high achievers in school after completion of their programs or degree in order to spur more interest in appreciating education and shaping the behaviour of individuals. Also, the government should provide sports-academic scholarship schemes that would serve as criteria and support for talented youth in order to assist them in pursuing their dreams and ensuring that all citizens are catered for educationally. In addition, the government should also place more emphasis on music as a way of bringing about a better life for youth. As well, the government should ensure the effective regulation of television programs so that they are educative, meaningful and relevant to the progress of youth in order to empower and reduce the problem of unemployment and poverty among youth.
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DUȚICĂ, Luminița, and Ema-Laura STANCIU. "Sound polychromes in the choral creation of the composer Gheorghe Duțică." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 57–68. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.6.
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Choral cultures begin with the old art of Notre Dame in Paris, continue with the Renaissance, Baroque, Classicism, Romanticism and end with the modern era, where the currents of Impressionism, Expressionism and Neoclassicism are often interwoven, united through the National Schools. An old tradition of Romanian musical culture continues, whose beginnings were marked by the choral, church or secular genre and whose modern foundations were finalized in the inter-war era of the 20th century. Gheorghe Duțică is one of the most representative masters of Romanian music. He has acquired a thorough knowledge of musicology, composition and pedagogy. It should be noted that each work bears the imprint of a strong originality, as well as a mastery worthy of appreciation. The charm of these works is very special, managing to describe with poetic and suggestive images.
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Handayaningrum, Warih, Djoko Tutuko, and Agus Suwahyono. "The Arts Learning Model of BPK2 (Creative Work Practice Learning) Activities." Harmonia: Journal of Arts Research and Education 19, no. 1 (June 24, 2019): 62–70. http://dx.doi.org/10.15294/harmonia.v19i1.23626.
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The study program of Drama, Dance and Music Arts (Sendratasik) of FBS Unesa often gets visits from various schools in the city of Surabaya and surrounding areas for specific purposes, one of which is SMA Negeri 6. SMAN 6 Surabaya is one of the schools that organizes Creative Work Practice Learning (BPK2) at Sendratasik FBS Unesa. So that the implementation of BPK2 activities runs optimally, an appropriate learning model is needed. The purpose of this study is to describe the art learning model in BPK2 activities at SMA Negeri 6 Surabaya in Sendratasik FBS Unesa. The Qualitative approach was used in this study, the subjects are 306 students of SMA Negeri 6 Surabaya, 20 lecturers, and 20 students of FBS Unesa. The object of research, art learning models in Creative Work Practices Learning Activities (BPK2). Location in Sendratasik FBS Unesa. Data collection techniques: observation, interviews, documentation Data analysis is done during data collection, interactive with flexible techniques. Research results: Learning art with BPK2 activities use a humanistic approach that is optimizing the potential and interest of students in art. Art learning material includes appreciation and creation. Project-based models and apretensive models are used to produce works until they are performed. Staging learning outcomes as projects that must be completed by students are carried out well until BPK2 activities become meaningful learning because the benefits continue to be felt when returning to school. This research is important to encourage freedom of learning, so that art education according to its function gives rise to student creativity.