Academic literature on the topic 'Music appreciation – Study and teaching (Primary)'
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Journal articles on the topic "Music appreciation – Study and teaching (Primary)"
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Yu, Liang. "New media as facilitators and tools of (popular) music education: Facts and findings from mainland China." Journal of Music, Technology and Education 14, no. 1 (April 1, 2022): 93–115. http://dx.doi.org/10.1386/jmte_00035_1.
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Against the backdrop of the rapid technological and cultural developments involving new media in China, this research aims to examine music education in primary and secondary schools with a focus on new media and popular music. This article incorporates a discussion, based on the research results, of the influence of new media and popular music on primary and secondary education. Data for this study were collected in the form of a questionnaire from a sample of 1986 pupils and 200 teachers from twenty primary and secondary schools in Xi’an, China. Results show that employing new media to teach popular music in primary and secondary schools enhances the overall audio-visual experience for both learners and educators, and it also has positive influences on learning, teaching and sharing popular music. Moreover, the use of new media has been proven to encourage independent learning, as well as triggering changes in aesthetic appreciation towards music. The research reflects on the importance of teaching tools, interaction and independent learning skills in the acquisition of knowledge by primary and secondary pupils.
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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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Yu, Sun-Mi. "A Study on the Naedeureum of Court Music for Teaching Music Appreciation." Journal of Korean music education research 14, no. 2 (August 31, 2020): 119–47. http://dx.doi.org/10.31177/sskme.2020.14.2.04.
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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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Woody, Robert H., and Kimberly J. Burns. "Predicting Music Appreciation with Past Emotional Responses to Music." Journal of Research in Music Education 49, no. 1 (April 2001): 57–70. http://dx.doi.org/10.2307/3345810.
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This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.
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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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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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Kim, Eun Ju. "A Study on Teaching Methods for Elementary Music Appreciation Using Visual Thinking." Korean Music Education Society 49, no. 1 (February 28, 2020): 51–74. http://dx.doi.org/10.30775/kmes.49.1.51.
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McCarron, Eamonn, Erica Curran, Paul McQueen, and Roy McConkey. "Engaging Children in Music-Making: A Feasibility Study Using Disabled Musicians as Mentors in Primary Schools." Education Sciences 13, no. 1 (January 10, 2023): 72. http://dx.doi.org/10.3390/educsci13010072.
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The place of music in the school curriculum is under increasing threat, yet this is contrary to the growing evidence base of music’s value to pupils’ social and psychological development. A contributory factor is that many teachers report a lack of training, skill, confidence, or resources for excluding music in their classroom. An innovative project used young adults with disabilities as music mentors to improve children’s access to creative music-making, while also providing non-threatening models to the children’s teachers and providing them practical tools to embed music in their classrooms. An evaluation was undertaken of the project’s impact. Eight classes from four schools in a city with high levels of social deprivation received 16 hours of music sessions over a four-week period, usually in the form of a four-hour workshop. Information was gathered from 171 children, the parents of 54 pupils; 8 class teachers; and 2 head teachers. The pupils’ knowledge and appreciation of music showed significant improvements and their enthusiasm for music making had increased, which parents also confirmed. The teachers and head teachers identified five ways in which they had gained from Project Sparks with an increased appreciation of the potential value of music in the school curriculum. Further research is needed to identify how innovative projects can be sustained and extended to many more teachers and schools.
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LEE, Kyungeon. "A Study on Teaching an Appreciation of Pungryu Music of the Late Joseon Dynasty." Society for Art Education of Korea 81 (March 1, 2022): 127–53. http://dx.doi.org/10.25297/aer.2022.81.127.
Full textDissertations / Theses on the topic "Music appreciation – Study and teaching (Primary)"
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Jeanneret, Neryl Christine. "Developing preservice primary (elementary) teachers' confidence to teach music through a music fundamentals course." Phd thesis, Department of Music, 1995. http://hdl.handle.net/2123/8984.
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Chan, Edmund Sze Shing. "Music teachers' concern of inclusive music teaching scale: development, validation and correlates." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.
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In view of the lack of an appropriate instrument to measure primary school music teachers' concerns about teaching music to students with special educational needs in inclusive classrooms in Hong Kong, this research intends to fill the research gap by developing and validating the Music Teachers' Concerns of Inclusive Music Teaching Scale (CIMTS) for addressing these concerns. Specifically, this study aims at: (1) Developing and validating the CIMTS, (2) Assessing its psychometric properties, (3) Exploring primary school music teachers' levels of concern about inclusive music teaching, and (4) Predicting their CIMTS scores with a number of psychological, personality, and environmental variables which are hypothesized to correlate with the CIMTS. Different methods with two samples of primary school music teachers were involved in the development, validation, and prediction of the CIMTS. Regarding development, sequential mixed method involving qualitative analysis was employed to generate, pilot-test, and refine the initial pool of question items. Concerning validation (N = 309), quantitative analysis using item analysis was conducted to evaluate and refine the CIMTS, assessing its internal consistency and construct validity. Specifically, Exploratory Factor Analysis, Confirmatory Factor Analysis, SEM estimation, and Multi-trait and Multi-method analysis were performed to establish evidence of convergent and discriminant validity. Referring to prediction (N = 224), hierarchical multiple regression analysis was conducted to examine if the chosen psychological, personality, and environmental variables in the hypothesized model were significant predictors of the scores on the CIMTS. Results indicated that the 25-item CIMTS possessed adequate evidence of validity as well as satisfactory reliability regarding the overall scale and its five factors (Learning Support, Learning Obstacle, Resource, Training, as well as Curricular Design and Assessment). While the level of primary school music teachers' concerns for the Resource factor was found to be the highest among the five factors, Openness-to-Experience and School Climate were shown to be the strongest predictors of their scores on the CIMTS in the hypothesized model. With the development and validation of the CIMTS, this research not only filled the research gap in inclusive music education, but also aroused policy-makers' and music educators' awareness of teachers' needs for formal training in special education and for resource allocated to inclusive music teaching. For future research, with addition of new items, the CIMTS could be expanded in its domain coverage, refined, and revalidated with different samples. Further exploration of possible correlates of the CIMTS should be pursued.
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Xu, Yingru, and 徐霙茹. "A study of using music in primary school TCSL class." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B48369299.
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随着中国经济的发展，国家地位不断崛起，“汉语热”也在世界各地逐渐兴起，对外汉语教学开始成为语言教育中一个新的关注点。无论是内地还是香港，大量的国际学校开始开设中文课，家长们都希望自己的孩子可以从小就学习中文。由于学生母语并非中文，背景也参差不同，因此，使用什么方式，既可以提高学生学习的兴趣，也可以帮助学生学习汉语成为了教师关注的焦点。
本文将通过实际的汉语教学实践，介绍音乐教学法在小学对外汉语教学中的应用，并详细解释音乐教学法的使用方式，旨在把音乐作为一种载体，用更加朗朗上口的方式教学中文，以求达到更好的教学效果。
本文共分为五个章节。
第一章为引言，介绍当前对外汉语教学的大背景，提出问题。
第二章为文献综述，搜集音乐教学法的理论基础，并且联系音乐与汉语间的密切关系。
第三章将介绍音乐在教学中的应用，包括音乐的优点、教学功能和其他功能。
第四章将详细分析笔者在香港九龙小学做的一系列音乐教学实验。
第五章为总结，阐述音乐教学法的优势和认知上的误区，以及文章在写作上的限制和对音乐教学法的展望。
With the economic development, China’s position continues to rise. "Chinese fever" is also gradually on the rise around the world, teaching Chinese as a second language (TCSL) in language education became a new focus. Both the mainland and Hong Kong, a large number of international schools begin to offer Chinese language classes. Parents hope their children to learn Chinese from an early age. As the student's native language is not Chinese and the background also varies, thus, using which method, not only can enhance students' interest in learning but also can help students to learn Chinese, has become a spotlight in teaching.
This article will introduce using music pedagogy in primary school TCSL class and explain in detail through the teaching practice. The purpose is that using the music as a carrier, with more catchy way to teach Chinese in order to achieve better teaching results.
This paper is composed of the following five chapters.
The first chapter introduces the current foreign language teaching background and asks questions.
The second chapter is literature review, collecting theoretical basis of music teaching, contacts the close relationship between Chinese and music.
The third chapter describes the application of music in teaching, including the advantages of music, teaching and other features.
The fourth chapter will analyze a series of music teaching experiment in detail of author in Hong Kong Kowloon primary school.
The fifth chapter is Summary. It describes the advantages and knowledge errors of music pedagogy, limitations on article writing and the prospect of music pedagogy.published_or_final_version
Education
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Lu, Daisy Tan. "The effects of teaching music skills on the development of reading skills among first graders : an experimental study /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/7929.
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Reynolds, Nicholas J. "Primary school creativity and composition in a professional level music software environment." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1238.
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This paper provides an investigation into the use of professional level music software as a learning tool for creativity and composition in primary school children. The researcher believed that music and sound editing was under-used in schools and that children could: -work successfully with that type of software -work creatively with the software -benefit from its use. A small case study was used to expose the participants (eight children from Grades 3-6) to two professional level music software applications: Cakewalk Pro Audio 9 and Cool Edit 2000. The children explored the software and completed set tasks over a ten-week period. Data, in the form of the students’ work, taped copies of all sessions, interviews and researcher reflections, were analysed to present an understanding of the creative and compositional processes and products. In addition, all student pieces were recorded onto CD. The analysis of data suggests competent use of both software applications as well as satisfactory completion of set tasks. The data also indicate that the participants were able to operate at compositional levels beyond their age and musical skills and knowledge. Conclusions are drawn to suggest that, in this case, the use of this software has assisted the creative process and has allowed these children the opportunity to compose and construct pieces that could not have been constructed without the software. (For complete abstract open document)
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Moswate, Kholisani. "Exploring the impact of teaching music within the creative and performing arts subject in selected upper primary schools in Botswana." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1654.
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The introduction of Creative and Performing Arts (CAPA) in the school curriculum is one of the changes brought about by the educational reforms in Botswana’s education system. Fullan (2005:42) observed that “any educational change becomes a reality when it is implemented with the involvement of the key role players.” In the case of my research, the primary school teachers and school management teams are the key role-players. This research was, therefore, conducted to explore the impact of teaching music within the CAPA subject as one of the changes brought about by the educational reforms in Botswana upper primary schools. I have found the phenomenological design appropriate for my research. Babbie and Mouton (2009:28) explain this paradigm as emphasising that “human beings are engaged in the process of making sense of their lives and that they continually interpret, create and give meaning to, define, justify and rationalise their actions.” In collecting and analysing data, a mixed method of quantitative and qualitative approaches was used to explore trends regarding the teachers’ perceptions, views, emotions, feelings, experiences and preparedness for the introduction of the CAPA subject.
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Taylor, Helen Vivienne. "Not musical enough : primary school student teachers' 'situated self referencing' of a musical self for teaching." Thesis, Northumbria University, 2008. http://nrl.northumbria.ac.uk/2791/.
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This narrative study into music and initial teacher education explored seven primary student teachers' stories of 'musical self'. They identified themselves as `not musical' at the start of their journey. The complexities of their personal and professional stories were explored examining culturally and socially rooted assumptions within their narratives. Research into student teachers' `musical self' is limited. The lenses of symbolic and interpretive interactionism and social constructionism supported analyses of students' co-construction of a teaching 'musical self'. Using Kuhn's (1962) paradigm theory, literature on music education's philosophies, principles and practices throughout the twentieth century were examined. This research built chronological biographies of students' contextually constructed teaching 'musical selves'. The students' subject and pedagogic knowledge development was tracked informing the in-depth interviews. The analyses of their stories were through thematic induction. Their own music making and successes with children did not appear to change their self labelling. The transactional self was underpinned by situated self referencing during interactions that created resilience in the students' ability to maintain 'not musical' labels. Strategies of self handicapping (Rhodewalt and Tragakis 2002) and self protection (Higgins 1999, Forgas and Williams 2002c) were regularly employed by the students. My initial assumptions of students' lack of musical expertise and experience proved inadequate as their musical backgrounds were more complex. The hegemony of Western High Art Music upon music education practices and perceptions proved influential through socially and culturally constructed norms for judging musical value and musicianship. The three key themes were durability of self labelling as 'not musical', WHAM effect upon individual conceptions of musical self and impact of various contexts upon the musical self. Emotional experiences and approving/disapproving atmospheres of authoritative people created durable labelling of the self as 'not musical'. Contextually based comparisons and expectations impacted negatively on their perceptions. Students separated their teaching and personal musical selves creating a false consciousness about 'musical self'. Students concluded they were 'not musical enough' to teach rather than 'not musical at all'.
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Hung, Sophie (Shuo-Hui). "An Instructional Guide to Teaching Dan Beaty's Woodsprite and Waterbug Collection for Intermediate Piano Students and Instructors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404626/.
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The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.
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Schulz, Steven John. "Using music to create effective curriculum for English language development." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2849.
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Research supporting the viability of music to promote language and literacy development as well as the theory of multiple intelligences suggests that any sound educational program employ a multifaceted approach to teaching and learning. This project created a thematically based multiple intelligence curriculum for first grade English language learners that emphasized the use of song.
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Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.
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This study seeks to explore mathematical concepts embedded in traditional Xhosa dance and how these concepts can be incorporated into a learning programme for the teaching and learning of mathematics. The study seeks to gain insight into whether learners could benefit from the implementation of such a learning programme. Learners from a Grade 7 class in a rural school performed traditional Xhosa dances and their performances were captured through video recording. The video recordings were then observed and analysed to determine the mathematical concepts embedded in the dances. These concepts were then linked to those found in the Grade 7 mathematics curriculum. A learning programme integrating mathematical concepts from the dance activities with mathematical concepts from the Grade 7 curriculum was then designed. The learning programme contained mathematical problem solving activities that required learners to re-enact the dance performances in order to find the required solutions. The learning programme was then implemented with the learners over a period of three weeks. During the implementation, learners’ behaviour towards the learning experience was observed, their engagement with the problem solving activities as well as their strategies for solving the problems, were carefully observed. Also, their interactions with each other were noted. After the implementation of the learning programme, focus group interviews were held with learners to determine their opinions, attitudes and feelings about their experience of learning mathematics through traditional Xhosa dance. Key findings indicated that traditional Xhosa dance can be used as a medium for learning many concepts in the mathematics curriculum; the use of the dance gave learners an opportunity to learn mathematics from a familiar context and to participate actively and collaboratively in their learning. Also, it emerged that the use of dance to teach mathematics had potential to help improve learners’ attitudes towards mathematics. Conclusions were reached that the dance had potential for use as a means for the meaningful learning of mathematics. However, limitations and challenges with the study were identified, such as its limited replicability in other mathematics classrooms.
Books on the topic "Music appreciation – Study and teaching (Primary)"
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Teaching towards musical understanding: A handbook for the elementary grades. Toronto: Prentice Hall Canada, 2002.
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Scottish Consultative Council on the Curriculum. 5-14 catalogue: Expressive arts. Dundee: The Council, 1994.
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Pointon, Barbara. Primary music. Sandy, Bedfordshire: Royal Society for the Protection of Birds, 2000.
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Joanna, Glover, and Ward Stephen 1947-, eds. Teaching music in the primary school. 2nd ed. London: Cassell, 1998.
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Jon, Davies, Earle Wendy, and British Film Institute, eds. Show us a story!: A teaching guide for primary teachers. London: British Film Institute, 2001.
Find full textBook chapters on the topic "Music appreciation – Study and teaching (Primary)"
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Tan, Daphne. "Victor Zuckerkandl’s Writings for the Mid-Century American Listener." In The Oxford Handbook of Public Music Theory. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197551554.013.33.
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Abstract Music theorist and philosopher Victor Zuckerkandl (1896–1965) produced several pedagogical writings in the 1940s and 1950s, a period in which there was no shortage of materials in the marketplace aimed at a general audience. Zuckerkandl’s contributions are neither intended for “the professional disciplines” nor are they in the vein of the numerous “music appreciation” texts of the time, for he believed that there should be little distinction between the attitudes and perspectives that specialists and non-specialists brought to the study of music. Through a discussion of several unpublished and published sources, including The Sense of Music (1959), a treatise based on Zuckerkandl’s teaching experiences in the American liberal arts classroom, this chapter demonstrates the primacy of immersive and reflective listening in Zuckerkandl’s approach—one focused less on the technical aspects of music and more on its dynamic forces.
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Matsunobu, Koji. "Intercultural Understanding of Music for Kyosei Living." In Advances in Early Childhood and K-12 Education, 49–64. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch004.
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Music has the power to connect people of distance and differences. Music education can facilitate this process. However, it can also develop cultural misunderstanding and prohibit the acceptance of others. This chapter introduces a negative case of multicultural music education in an American primary school to make sense of an intercultural misunderstanding in music that fails to achieve kyosei living in multicultural society. A detailed case study sheds light on the ways in which a music teacher facilitated students' cultural misunderstanding by teaching multicultural music from a European viewpoint, ignoring culture-specific contexts of practicing and appreciating music. Two examples of multicultural music taught in the class were Japanese and Native American music. Each will be examined from a culture-bearer's and ethnomusicologist's perspectives. Instead of criticizing the teacher's approach, the author analyzes why and how it happened within the context of the teacher.
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Bowman, Judith. "Music Appreciation." In The Music Professor Online, 175–99. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0008.
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This chapter describes issues related to teaching music appreciation online and presents experiences with online music appreciation instruction in narratives provided by professors teaching music appreciation online. It provides background on music appreciation pedagogy, including significant conferences on music in general studies. It describes the nature of music appreciation study as rooted in the disciplines of music theory and musicology, lists accreditation standards for music in general studies, and explains its signature pedagogy. It reviews the state of the practice, including pedagogical innovations as reported in the literature and the status of online music appreciation instruction as reported in a national survey. It features two professors who describe their online teaching experiences: music appreciation online for a diverse audience and music appreciation online for adult learners. Each professor offers suggestions for prospective online music appreciation teachers, and the chapter concludes with some lessons drawn from the field.
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Adjepong, Benjamin. "Study on General Methods of Teaching Music in the Primary School." In Modern Perspectives in Language, Literature and Education Vol. 10, 81–93. Book Publisher International (a part of SCIENCEDOMAIN International), 2021. http://dx.doi.org/10.9734/bpi/mplle/v10/2598e.
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Hamnes, David Scott. "Organ Teaching for Children in Norway: An Educational Field in Development." In Higher Education as Context for Music Pedagogy Research, 137–66. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch6.
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Teaching children how to play the pipe organ represents a radical revision of a well-established instrumental education field. This article provides an overview of organised teaching praxis in teaching children to play the organ, established in Norway in the early 2000s. Commentary on the limited previous research in organ teaching for children is provided, and based upon the findings in these studies and on praxis experience, areas which necessitate further research are identified. The practical teaching experience of the author provides a frame of reference throughout. Selected instrumental teaching studies related to teaching philosophies, motivation and organisational frameworks, as well as teaching materials (textbooks) are also included in the discussion. These aid in identifying areas in which potential and existing tensions in perceptions and methodologies call for study, evaluation and revision. The primary aim of this article is thus to identify and map the educational field’s structural parameters (organ schools) and praxis in Norway, and identify areas where further research is required, in order to understand how childhood introduction to organ playing may inform organ education and the organist profession in general.
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Heide, Anne-Lise. "Bærekraft – lærekraft: Estetiske læringsprosesser gjennom tverrfaglig arbeid i grunnskolelærerutdanningen." In Higher Education as Context for Music Pedagogy Research, 167–91. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch7.
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This chapter examines an interdisciplinary research project with the subjects music and physical education. The aim is to investigate and explore aesthetic learning processes focusing on interdisciplinarity in general teacher education. The participants in the study are all pre-service teachers preparing for primary school (grade 1–7) and lower secondary school (grade 5–10). In the project, which I have called “Krømus”, the teaching program is based on the curriculums for both music and physical education from the Norwegian Directorate for Education and Training. Here, the students explore and create rhythmic compositions with body percussion and sports objects, such as basketballs and other props used as instruments. Dancing, sports movements, and voices are also used as compositional elements and the students create a performance together at the end of the workshop. The current curriculum changes in Norwegian primary and secondary education (Fagfornyelsen, LK20) focus on deep learning together with experimentation, exploration and creative processes, and these are guiding educational principles that also provide a foundation for this chapter.
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Christensen, Thomas. "Music Theory in the Nineteenth Century." In Between Chopin and Tellefsen. European Music Treatises Universality and National Identity. Narodowy Instytut Fryderyka Chopina, 2022. http://dx.doi.org/10.56693/mt.2022.01.02.
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The nineteenth century was a burgeoning time for music theory in the West. One need only peruse a bibliography of musical writings concerning music theory and pedagogy to see that the quantity and variety of works multiplied exponentially when compared to the previous century.1 The nature of these writings varied and crossed a number of disciplinary boundaries, from elementary manuals on the fundamentals of music, through practical works of harmony, form and counterpoint, to learned studies of musical acoustics, tuning, aesthetics and psychology, among many others. The quantity and diversity of these publications pressures us to reflect on what we might properly consider to be ‘music theory’ in the nineteenth century. While this is a question that has been answered in different ways over the past century,2 in this essay we will consider a more circumscribed literature and pedagogy that deals directly with questions related to the teaching and learning of compositional skills – usually in institutional settings. This is not to say that the aim of music theory in the nineteenth century was simply to teach a young student how to become a good composer (although there are pedagogies and pedagogues who promised precisely that). More accurately, compositional music theory could be a means offered to musicians from all ranks by which they would gain an ‘inside’ understanding of the ways the vocabulary, grammar and forms of music worked in practice. Along with historical knowledge of the most important composers, genres and styles of music, music theory had become in the nineteenth century a kind of practical knowledge available for a growing community of middle-class educated musicians. So how could one gain entry to such inside compositional knowledge? In the nineteenth century, it was done in two basic ways. One could begin from ‘below’, so to speak, with a student learning the rudiments and skills of music at a very basic level and gradually ascending through a pedagogy of graded study and exercise. This is the ‘practical’ or ‘propaedeutic’ tradition of music theory. The second approach was from ‘above’, whereby one would begin by studying masterpieces of musical repertoire to gain an appreciation and understanding of canonical works and thereby see their governing principles displayed, and perhaps even gain inspiration for one’s own musical compositions. Both approaches can be found in music theory texts published in the nineteenth century – often by the same author. Whether they actually led to the same place, however, is another question altogether. Still, neither the reading of music theory textbooks nor the study of scores alone would be sufficient for learning to compose. The most important transmitters of theoretical and compositional knowledge were actually the many institutions of learning that were established in the nineteenth century for the teaching of music. The founding of the French Conservatoire national de musique et de déclamation in 1795, shortly after the revolution, marks the beginning of this important chapter of musical instruction in Europe. It is important to keep in mind that during the ancien régime of the eighteenth century, musical instruction usually took place as guild knowledge passed on by a master composer to a small number of apprentices, whether in the church, the court or – somewhat uniquely – a number of orphanages in Naples. These Neapolitan orphanages that passed on a remarkable tradition of partimenti-based training were called conservatori thus inaugurating the term as a descriptor for an institution of musical instruction.3 With the establishment of the French Conservatoire, though, musical instruction began to be more institutionalised and standardised. It became the model for many other countries which soon adopted the structure – if not necessarily the specific curriculum – of the Conservatoire for their own national institutions of musical instruction (Milan – 1807, Prague – 1808, Warsaw – 1810, Vienna – 1817, London – 1822, Leipzig – 1843, Moscow – 1866). Music theory (though not under that name) was taught in the French Conservatoire by means of three basic, though overlapping, subdivisions: harmony, counterpoint and composition.4 These divisions were often porous and fungible, with individual instructors charged with teaching two or even all three of those subjects. Yet even as all of these subjects were traditional ones found in many eighteenth-century texts of musical instruction, important changes were being introduced.
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Kranefeld, Ulrike, Kerstin Heberle, and Jan Duve. "Assisting. Reconstructing a Cooperation Pattern on a Video Basis among Co-teachers in the Programme Jedem Kind ein Instrument." In Utdanning i kunstfag: Samarbeid, kvalitet og spenninger, 235–56. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.152.ch9.
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The programme “Jedem Kind ein Instrument”1 (JeKi) in Germany demands the cooperation between primary school and music school teachers, working in teams of two for one lesson each week during the first year of school to offer basic musical training and to present various musical instruments. The ideal that the teachers’ skills complement each other is guiding the programme but preliminary results from a study on JeKi showed that there is hardly any coordination prior to co-taught classes, mostly due to a lack of time. This leads to the relevant research question concerning how teachers collaborate for co-classes when the very requirements for successful collaboration, i.e., coordination and communication, are mostly missing, but co-teaching still takes place, albeit sporadically. In order to address this desideratum, this video study tries to reconstruct an interactional framing of assistance as the predominantly found model of cooperation between music teachers from different professional backgrounds.2
Conference papers on the topic "Music appreciation – Study and teaching (Primary)"
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"The Study on Music Appreciation Teaching from the Perspective of Multiculturalism." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.14.
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Kopačin, Barbara, Matija Jenko, and Eda Birsa. "Studentsʼ Experience of Studying Arts and Social Sciences Content at a Distance." In Nauka i obrazovanje – izazovi i perspektive. University of Kragujevac, Faculty of Edaucatin in Uzice, 2022. http://dx.doi.org/10.46793/noip.309k.
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In the delivery of music, visual arts and social sciences content, educational strategies are constantly changing and improving, which was especially evident during the COVID-19 epidemic. Students in higher education faced new challenges in these areas, too. In the qualitative study, 129 students of Primary School Teaching and Preschool Teaching study programs at the Faculty of Education of University of Primorska completed the online questionnaire. For the purposes of this paper, we analyzed their answers to three open-ended questions in order to find out their opinions on studying arts and social sciences at a distance. We found out that the participants faced different challenges in the implementation of the distance learning process, mainly due to different conditions for the implementation of distance learning obligations and different ICT competencies of all involved in the study process. The conducted research will help to improve the study process in case it goes online again.
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Kvelde, Anna, and Indra Odina. "The Notion of Sustainable Team in Educational Institution." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.57.
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Sustainability has been a topical issue for more than 20 years not only dealing with environmental/ecological, social/cultural and economic issues. Combining social, economic, and environmental initiatives in education is a complex process that should result in a completely new vision of educational institutions. It raises the necessity for a management structure to encourage and support the sustainability initiatives within the organisation. The article deals with one aspect of a larger scale and long-term grounded theory research to explore and define the concept of a sustainable team in educational institution. This article answers the research questions on how students are seen and perceived in the education management hierarchy of an educational institution, and what fosters the development of sustainable team in an educational institution. The data were collected by the content analysis of the education management hierarchy structure reflected on 33 homepages of educational institutions; content analysis of 62 students’ teaching practice assignments on the education management hierarchy structure; 12 interviews with school administration on the state of the art of sustainable team. Research sample was 107 educational institutions: 23 primary schools, 66 secondary schools, and 18 state gymnasiums with broad geographical representation – the schools in the capital, cities, small towns, and countryside. Sustainable team achieves institutional goals and cultivates a culture where collaboration, appreciation, and teamwork are valued. According to the data of the study, there is a misunderstanding of the notion of a sustainable team in educational institutions in Latvia. There is also a lack of evidence of students as meaningful players in how the education management hierarchy is seen and interpreted which slows down the implementation of the sustainability initiatives.
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Rogers, John, and Robert Rabb. "Control Theory in Practice: Magnetic Levitation." In ASME 2010 10th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2010. http://dx.doi.org/10.1115/esda2010-24827.
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A device that levitates a steel ball beneath an electromagnet is used for educational purposes at the United States Military Academy, West Point, New York. Students in the course “Mechatronics” engage in a set of laboratory exercises with the device to reinforce classroom learning. Mechatronics is a senior-level course that introduces the interdisciplinary design of smart systems. Students in the electrical engineering and mechanical engineering programs take the course together, and the material is taught by a team of instructors from both academic departments. The Magnetic Levitation experiments are the primary means of teaching the classical analog control portion of the course. Other aspects of the course involve interfacing microcontrollers with sensors and actuators, and digital control. The magnetic levitation device fits easily on a two-person workbench and requires a power supply and oscilloscope. An infra-red emitter / detector pair is used to sense ball position for a feedback compensator. Students first learn classical control theory in a co-requisite course, “Dynamic Modeling and Control.” Modeling principles are introduced in the context of the magnetic levitation system as an unstable plant to be controlled. The system can be simulated by models ranging from simply linear to more complex to teach the trade-off between model fidelity and model development effort. The students derive the nonlinear governing equations and then linearize the equations and develop the transfer function of the plant. Students design a compensator and simulate the resulting stabilized system with Matlab and Simulink software. Students build their compensator on a solderless project board to levitate the steel ball. A proven lead-type compensator using two resistors and a capacitor is readily provided to students that struggle with their own compensator design so that all teams may enjoy the fruit of a successful experiment. As a laboratory aid, the magnetic levitation system allows for basic and advanced approaches to both theoretical study and practical investigation of a nonlinear, unstable system control. The comparison of measured results to predicted behavior leads to insight about how the physical system is modeled by mathematics. Students write a case study describing the system in detail including characterization of the sensors and actuators. Instructors report that the hands-on nature motivates students to excel. Surveyed students cite the hands-on activities as relevant applications that help develop deeper understanding and greater appreciation for the concepts learned in the classroom. The students are motivated to learn by the fascination of defying gravity.
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Milanovic, Ivana, Tom A. Eppes, and Kalyan Goparaju. "Digital Assignments for Thermo-Fluids Courses." In ASME 2021 Fluids Engineering Division Summer Meeting. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/fedsm2021-65613.
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Abstract Simulations were used in lecture-based courses, Thermodynamics I and Thermodynamics II, for demonstration purposes and as digital assignments. Digital assignments were separate from the customary pencil & paper homework given once a week. The primary objective was to model the flow and heat transfer in a system, reinforce theoretical concepts, and allow study of more complex two- and three-dimensional problems. Students encounter fluid flow and heat transfer in the sophomore course, Thermodynamics I, for the first time. Velocity, pressure and temperature fields are quite complicated even for simple geometries, hard to visualize, and difficult to understand. Digital assignments go beyond basic theoretical concepts and relatively simple pencil & paper problems. Initially, there were 6 digital assignments in each course. After the first offerings and assessments, the number of assignments is expected to grow to 8–10. Scaffolding of digital assignments ensured that simulations gain in complexity as students become more familiar with both the theoretical underpinnings and the software interface. Our Mechanical Engineering program, has a freshmen graphic communication course incorporating AutoCAD and a junior CAD course with SolidWorks and Ansys. This provided both a challenge and an opportunity for lecture-based thermo-fluids courses positioned ‘in between.’ Modern computational skills were obtained outside the classroom, and that was accomplished with effective use of an on-line environment. Ansys Fluent was chosen to present and reinforce thermo-fluids fundamentals. Each digital assignment had a mesh, detailed grading criteria, and supplementary documentation. Students worked on the: (1) problem set up in the preprocessor-stage, (2) solver, and (3) postprocessor. This approach helped students (1) understand the flow and heat transfer inside the system as well as the application of conservation of mass and energy, (2) understand and interpret results by comparing them with theoretical and experimental data, (3) develop modern technical skills relevant to the demands of Industry 4.0, and (4) develop research capabilities. Simulations in the classroom and as digital assignments are a representation of the real world, and provide an egalitarian and unrestricted way for students to interact with it, acquiring skills and an appreciation for subject matter as well as the engineering profession. Semester long discussions on various aspects of digital assignments help develop a mentor-mentee bond. This approach to teaching, research and mentoring does not depend on access to laboratory facilities and funding that can reach only a limited number of students. It encourages students’ spirit of inquiry, and ultimately leads to a professional development opportunities beyond the classroom setting.