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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.
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Liu, Weijia, and Aspalila bt Shapii. "Study on Aesthetic Teaching Methods in Ethnic Music Teaching in Universities in the Context of Intelligent Internet of Things." Scientific Programming 2022 (August 22, 2022): 1–7. http://dx.doi.org/10.1155/2022/7901855.
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Folk vocal music is an important part of music majors in colleges and universities (CaU), and the core of music education is AE. Therefore, in vocal music teaching, students should be guided to understand the beauty of music and to use vocal performance as an aesthetic experience so as to cultivate their aesthetic appreciation ability. As one of the national musical instruments, Chinese Zither has a unique musical charm. Its traditional aesthetic value is high, which can bring people beautiful music enjoyment. This paper takes Chinese Zither as an example to study the aesthetic teaching methods in college national instrumental music teaching. In the process of research, we use a combination of a variety of research methods to study two classes of music major in our school. This paper first uses the literature analysis method to elaborate the AE and then uses the questionnaire survey method to study the college students’ understanding and views on the national instrumental music. Then, through the case analysis method, it analyzes the achievements and interest changes of the students after the introduction of aesthetic teaching in Chinese Zither teaching. At the same time, through expert interviews, it summarizes the teaching of national instrumental music in the CaU aesthetic teaching strategy and the use of mathematical analysis on the relevant data processing. This study found that before the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of class 2 students was only 33.33%, and after the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of students in class 2 reached 86.67%. Therefore, the introduction of aesthetic teaching in Chinese Zither teaching can effectively improve students’ learning level. This also shows that in the teaching of ethnic music, the introduction of aesthetic teaching and the combination of aesthetic art and music art can effectively improve the learning level of students.
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Park, Joo-Man. "A Study on the Korean Traditional Music Appreciation Teaching Model for the Musical Responses in Elementary Music education." Korean Journal of Culture and Arts Education Studies 8, no. 1 (March 2013): 127–50. http://dx.doi.org/10.15815/kjcaes.2013.8.1.127.
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Danpradit, Pramote, Tanit Kongkumnerd, and Pranrapee Boonplian. "Forwarding strategies to online multiple-choice tests." Journal of Green Learning 1, no. 2 (December 31, 2021): 52–60. http://dx.doi.org/10.53889/jgl.v1i2.39.
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After the final test of the semester 2/2020 test results of the Aesthetic Appreciation courses (focus music content), learners did not score satisfactorily. The aesthetic Appreciation courses committee analyzed the problem together with the assessment results. This article is a study that compiles knowledge and ideas from academic documents and teaching experience in Aesthetic Appreciation courses, resulting in an article improving teaching using strategies do online multiple-choice tests as follows: 1) Ability to use a computer and typing skills. 2) Ability to read comprehension. 3) Ability to create multiple-choice, 4) Teaching as a tutor role, and 5) The online test, and points to be aware in online testing. In addition, the researcher will continue to apply this concept and create an online test in teaching. There are also ideas for teaching design. This research can be used for guideline in other courses in the future.
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ÜSTÜN, Hamza. "EXAMINATION OF TURKISH MUSIC ELEMENTS IN PRIMARY SCHOOL MUSIC LESSON BOOKS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 30 (March 15, 2022): 96–106. http://dx.doi.org/10.31567/ssd.580.
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In Turkey, music lessons start from the pre-school period and continue until the twelfth grade. While music teachers conduct the lesson in secondary and high school periods, this lesson is carried out by classroom teachers in primary school. Classroom teachers apply the knowledge they have learned within the scope of the music education course they have taken in the faculties they study at in primary schools. It is of great importance for primary school teachers to be able to teach the departments related to teaching Turkish music in primary schools, which has a wide range of music education. In this research, it is aimed to examine the fields of Turkish music teaching in the 1st, 2nd, 3rd and 4th grade music textbooks prepared to be taught in primary schools within the music lesson curriculum published in 2018. In this context, four books written separately for each level in 2019 formed the study group of the research. In the research, the document analysis method, one of the qualitative research methods, was used. The data were analyzed with the document analysis method. During the data collection process, the sub-fields of Turkish music departments in the textbooks for all levels were determined as Turkish folk music, Turkish classical music, mehter music and religious music. According to the findings obtained as a result of the research, it has been determined that Turkish folk music is mostly included among the fields related to Turkish music teaching in the textbooks, and the examples given are associated with the listening-speaking learning field. It has been concluded that there are various activities promoting Turkish music instruments at all levels, important composers of Turkish music are included, and folk dances are used in teaching our traditional music. Suggestions for improvement were made regarding the Turkish music teaching sections in the books. It has been concluded that a spiral teaching strategy has been developed in terms of teaching Turkish music in the textbooks and in this case it will be beneficial for the continuity of the teaching. It is thought that the study will be beneficial for classroom teachers who are conducting music lessons in primary schools.
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Bolívar-Chávez, Oscar-Elías, Joaquín Paredes-Labra, Yury-Vladimir Palma-García, and Yessenia-Anabel Mendieta-Torres. "Educational Technologies and Their Application to Music Education: An Action-Research Study in an Ecuadorian University." Mathematics 9, no. 4 (February 20, 2021): 412. http://dx.doi.org/10.3390/math9040412.
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Information and Communication Technologies (ICT) are tools that are part of the process of teaching and learning music. These didactic/pedagogical resources are widely used by teachers. They strengthen, motivate, and increase the student’s interest in learning. This study is an action-research (AR). It involves 12 teachers and 68 students in the subject of music education in an Ecuadorian university. A Holistic and Technological Model of Music Education (HTMME) was generated. The performance of the plan was evaluated by means of an original questionnaire and qualitative work. The AR procedure involved an analysis of data at the end of each implementation cycle. The appreciation of the new model was very positive. With the methodology implemented, new teaching experiences and relevant learning for students were achieved. Learning music with ICT induces creative-musical processes in students.
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Allen, Sandy. "Music Consultancy in Primary Education." British Journal of Music Education 5, no. 3 (November 1988): 217–40. http://dx.doi.org/10.1017/s0265051700006641.
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This article gives an account of a study in which the practice of music consultancy in primary education was examined. Its aims were to discover to what extent the claims made for music consultancy can be substantiated by empirical evidence, and to identify the factors which contribute to its success. The trends indicated that schools having a music consultant tend to achieve a slightly more favourable standard of music education, in terms of frequency of activities undertaken, than schools with no postholder for music. Little evidence was found, however, of the qualitative benefits thought to be conferred by the classteacher, supported by the consultant, being responsible for music teaching. Several interrelated factors were identified as having possible influence on the efficacy of music consultancy in promoting a satisfactory standard of music teaching among class teachers.
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Zhu, Beilei. "A Case Study of Multicultural Music Education Practice in Primary Schools -Taking Nanjing Xiaoying Primary School as an Example." Journal of Education and Development 6, no. 3 (July 6, 2022): 78. http://dx.doi.org/10.20849/jed.v6i3.1232.
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Under the influence of the development trend of global economic integration, the concept of multicultural music education has gradually attracted the attention and research of multinational music education circles. After summarizing relevant scholars’ literature on multicultural music education through literature research, I find out the research and practice status of multicultural music education at home and abroad, and forwards strategies for how can the education entering primary school. On this basis, after writing the course objectives, chapter arrangements and course content, I used the practice research method to take class four and five，grade six of Nanjing Xiaoying Primary School as the practice object, and conducted a 16-week teaching practice around multicultural music education from September 2021 to December 2021. It is concluded through practice that multicultural music education not only conforms to the development of the times, but also helps to enhance students’ interest in music learning, enriches the content of music teaching, and helps students establish a prototype of the world’s music context. In specific implementation process, students’ innovative ability should be affirmed, and the differences in singing ability among individuals and the acceptance of the depth and breadth of teaching content need to be adjusted in practice.
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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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Rui, Muxin. "Effective Application of Body Rhythm Teaching Method in Primary School Music Class." International Journal of Education and Humanities 5, no. 3 (November 16, 2022): 199–201. http://dx.doi.org/10.54097/ijeh.v5i3.2803.
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With the continuous reform of education in China, the development of music teaching has been gradually improved, and the body rhythm teaching method has been widely used in primary school music classes to further improve the quality of music classroom teaching. This paper makes an in-depth study on the effective application of body rhythm teaching in primary school music class. Firstly, it summarizes the content and composition of body rhythm teaching method. Secondly, it analyzes the present situation of primary school music classroom; Finally, the effective application of body rhythm teaching method in primary school music classroom is analyzed from three aspects: improving teachers' literacy and professional level, teaching with sound and movement, cultivating students' musical literacy, understanding the psychological characteristics of primary school students and giving full play to students' main role.
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Martinovic Bogojevic, Jelena. "Encouraging Musical Creativity in Montenegrin Primary Education – A Case Study." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 27–35. http://dx.doi.org/10.37441/cejer/2021/3/1/9348.
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The need to change the paradigm of music education, which primarily relies on performing and listening to music, implies a more systematic introduction of activities that would enable the direct involvement of children in the exploration of sounds and the creation of their own music. By analysing the curricula and textbooks for music education in Montenegrin primary schools, as well as examining the attitudes of teachers about the realisation of musical creativity in teaching practice, it was found that these activities are not given enough attention. In order to introduce innovations in practice, an action research study was conducted, during 2017/2018 school year with 30 fifth grade pupils in one primary school, belonging to the Southern region of Montenegro. The obtained results, based on the qualitative findings, showed the connection between the categories that make up musical creativity in the classroom: acquiring musical knowledge, developing musical skills, encouraging problem solving, developing critical thinking, supporting collaborative creativity, motivation and integrative teaching. Hopefully, the conducted research will contribute to a wide range of understanding of musical creativity in the classroom context, as one of the leading topics of contemporary music pedagogy.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Yao, Jiacheng, and Pranote Meeson. "Research on Innovative Practice of Midi Music Production in Music Class of Primary and Secondary Schools." Arts Studies and Criticism 3, no. 2 (July 1, 2022): 132. http://dx.doi.org/10.32629/asc.v3i2.854.
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Under the new curriculum reform, there are higher requirements for music teaching in primary and secondary schools in information technology based teaching, which also provides channels and platforms for the application and practice of Midi and music software in classroom teaching, and thus becoming one of the important content of music classroom reform in primary and secondary schools. In this study, the Midi music based theory knowledge is introduced with probes into the concrete methods for Midi music production. Through the computer music works creation practice, students can understand the Midi music production process so as to independently make a relatively complete works of music, improving primary and secondary school music classroom teaching effect.
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Zhuang, Chunmei, and Kok Chang Pan. "Music Teachers’ Perceptions of the Authenticity Issues Towards World Music Teaching in China." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 8 (August 29, 2022): e001656. http://dx.doi.org/10.47405/mjssh.v7i8.1656.
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The purpose of this study is to investigate Chinese primary and secondary school music teachers' perceptions towards “authenticity”-related issues in world music teaching. Using a qualitative methodology, the researchers conducted in-depth semi-structured interviews with nine primary and secondary school music teachers in different provinces of China. The results show that the teachers have different views on whether “authenticity” is often emphasized in the teaching of world music, whether world music in textbooks is represented authentically, whether absolute “authenticity” could be achieved in the teaching of world music, and the role of culture bearers in the transmission of music culture in the classroom. On the whole, to ensure that music teachers can objectively treat authenticity in world music teaching, the teachers should be clear about the purpose of world music teaching and transcend the dilemma of the authentic/inauthentic dichotomy.
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Herzog, Jerneja, and Matjaž Duh. "The State of Art Appreciation among Nine- and Ten-Year-Old Students in Slovenian Primary Schools." Center for Educational Policy Studies Journal 10, no. 4 (December 22, 2020): 97–116. http://dx.doi.org/10.26529/cepsj.935.
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In the contemporary process of teaching fine arts, the students’ own creative expression and art appreciation are used to encourage learners towards both perception and reception; consequently, the evaluation and internalisation of works of art play an equally important role. In art education practice, we manage to provide adequate incentives and are able to follow incentives for artistic expression, but pay less attention to developing art appreciation. This research presents the results of a study that monitored the development of art appreciation abilities among 9- and 10-year-old students (4th and 5th grades; n = 2794) in Slovenian primary schools. The level of art appreciation abilities was rather average, but was more developed among older students and girls. In monitoring the school stratum, we did, however, notice a statistically significant difference regarding perception, whereby students in urban schools performed better than their peers in suburban schools.
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Rickels, David A., Wesley D. Brewer, Kimberly H. Councill, William E. Fredrickson, Michelle Hairston, David L. Perry, Ann M. Porter, and Margaret Schmidt. "Career Influences of Music Education Audition Candidates." Journal of Research in Music Education 61, no. 1 (March 5, 2013): 115–34. http://dx.doi.org/10.1177/0022429412474896.
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In this descriptive study, we examined the influences and experiences motivating students to enter college-level music schools as reported by a population of precollegiate students auditioning (but not yet accepted) to music education degree programs. As a follow-up to a published pilot study, this research was designed to quantify the various experiences respondents had as part of their precollege school and community programs that related to teaching and music. Results indicate a strong connection between respondents’ primary musical background and future teaching interest. The top three influential experiences were related to high school ensemble membership (band, choir, orchestra), and the most influential group of individuals in the decision to become a music educator were high school ensemble directors. Respondents from all four primary background groups (band, choir, orchestra, and general or other) rated private lesson teaching as their second strongest future teaching interest, just behind teaching at the high school level in their primary background. Respondents rated parents as moderately influential on their desire to become a music teacher.
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Karpf, Juanita. "The Vocal Teacher of Ten Thousand: E. Azalia Hackley as Community Music Educator, 1910–22." Journal of Research in Music Education 47, no. 4 (December 1999): 319–30. http://dx.doi.org/10.2307/3345487.
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Known as “the vocal teacher often thousand, ”Emma Azalia Hackley (1867-1922) dedicated much of her career to the promotion of music activities in black communities. She organized dozens of community gatherings at which she taught music reading fundamentals, techniques of singing, and appreciation of the classics to huge groups of amateur musicians and the general public. This essay introduces aspects of the late nineteenth-century musical landscape in the United States that preceded Hackley's entry into music education, and recounts her career as a community music educator. The article concludes with the identification of more recent manifestations of the philosophical underpinnings that informed her teaching, thereby establishing connections between her work and contemporary educational thought. Hackley's own writings serve as the primary source material for this discussion whenever possible, supplemented by first-hand accounts of her activities that appeared in the black press and those written by her associates. Her accomplishments add an important chapter to the history of community music education which has thus far received little scholarly attention.
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Zhuanga, Chun Mei, and Kok Chang Pan. "A Survey on Chinese Music Teachers’ Attitudes towards World Music Teaching." International Journal of Scientific and Management Research 05, no. 10 (2022): 60–73. http://dx.doi.org/10.37502/ijsmr.2022.51005.
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This study used a questionnaire as a research instrument to investigate the attitudes of 1 368 Chinese primary and secondary school music teachers towards world music teaching. The questionnaire includes single- and multiple-choice questions. It was used to examine the music teachers’ definitions of ethnomusicology and world music, their understanding of the major rationales for world music teaching, the world view of music, and the purpose of world music education, teaching approaches, and effective teaching activities as they perceived, and the challenges faced by Chinese music teachers in world music teaching. The results showed that Chinese music teachers did not have a clear and profound understanding of the aspects examined above. Instead, the teachers are more influenced by Western centralist values. They are less affected by ethnomusicology, which interprets human music from a cultural perspective, and multicultural music education. In general, the music teachers lacked confidence in teaching world music.
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Silveira, Jason M. "The Perception of Pacing in a Music Appreciation Class and Its Relationship to Teacher Effectiveness and Teacher Intensity." Journal of Research in Music Education 62, no. 3 (August 26, 2014): 302–18. http://dx.doi.org/10.1177/0022429414542978.
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The purpose of this study was to determine relationships among pacing, teacher effectiveness, and teacher intensity in the context of a realistic teaching situation. A scripted stimulus video was created in which the teacher demonstrated predefined pacing lapses to measure their effects on observers’ ratings of teacher effectiveness, teacher intensity, teacher pacing, and general perceptions. Participants ( N = 164 college students) were randomly assigned to one of four groups ( n = 41) to evaluate ongoing teacher effectiveness, teacher intensity, teacher pacing, or general perceptions (control group). Participants evaluated the teacher on their assigned construct using both continuous (Continuous Response Digital Interface) and summative measures (Likert-type scale). Results showed that the constructs had strong positive linear correlations with each other. The pacing group evidenced a greater response magnitude than the other three groups (effectiveness, intensity, control), suggesting that participants in the pacing group may have been reacting differently to some aspect of the teaching demonstration compared to the other groups.
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Bhebhe, Sithulisiwe, Tawanda Runhare, and Ratau John Monobe. "Training music teachers through distance learning: The case of teaching practice mentoring at one primary school teacher training college in Zimbabwe." British Journal of Music Education 32, no. 3 (November 2015): 259–71. http://dx.doi.org/10.1017/s0265051715000339.
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This study sought to examine the quality of teaching practice (TP) mentoring in the teaching of music at primary school level through the distance mode of training at one college of education in Zimbabwe. The study examined the experiences and perceptions of lecturers and student teachers on TP mentoring in music within the context of a distance mode of teacher training. A purposive sample of 17 music student teachers and 11 lecturers was selected. The study employed a qualitative case study research design in which one-on-one interviews, focus group discussions and documentary analysis were used to collect data. The main conclusion from the study was that the distance approach to teacher training was not effectively utilised for teacher preparation in music due to inadequate music knowledge and skills of mentor teachers as well as weaknesses of the school curriculum. Recommendations drawn from these conclusions are that the teaching practice period should not be the same for all subjects and more demanding subjects such as music deserve to be practiced more. Student teachers specialising in music must be placed for teaching practice where there are music specialist teachers. This study also recommends that the placement of music student teachers for teaching practice be undertaken jointly by the teaching practice coordinators and the music specialist lecturer.
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Burak, Sabahat. "Self-efficacy of pre-school and primary school pre-service teachers in musical ability and music teaching." International Journal of Music Education 37, no. 2 (April 1, 2019): 257–71. http://dx.doi.org/10.1177/0255761419833083.
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Pre-service non-music major teachers deem music and music teaching essential, but they do not perceive themselves to be competent in this field due to various reasons. This research aims to reveal the effects of factors such as gender, age, the year of study they are currently in at university, and musical experience on their self-efficacy in music skills and music teaching. The research was conducted with the participation of 395 pre-service teachers studying pre-school education and classroom teaching in the department of basic education in the faculty of education. The data were collected by employing the self-efficacy scale developed for musical abilities and music teaching. The findings of the research indicate that while the self-efficacy of the participants in musical abilities and music teaching does not show meaningful difference by gender, it does show meaningful difference according to the year they are in at university. According to the regression analyses, the important variables predicting perceived musical ability are music teaching self-efficacy, having previously played an instrument, and currently playing an instrument. However, the variable of music teaching self-efficacy is predicted meaningfully only by musical ability self-efficacy.
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OZGUL, Ilhan. "An Analysis of Music Courses Offered in the Primary School Teacher Education Programs in Turkey." International Education Studies 10, no. 4 (March 30, 2017): 8. http://dx.doi.org/10.5539/ies.v10n4p8.
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The aim of this study was to analyze music courses applied within the scope of compulsory courses in the primary school teacher training model in Turkey. Being qualitative in nature, the current study utilized document analysis method. Towards the stated aim, four approaches were discussed. The first one is related to the titles of the music courses stipulated in the primary school teachers training process and the credits/hours allocated for the music courses during the university schooling period in Turkey since 1974. The second one covers the preparation and general quality of the music course standards applied up to now. The third one is related to music course standards and appearance of these standards in the current teaching program, and the last one is related to the analysis of “music and “music teaching curriculum framework” in terms of the expected behavior stated in the music teaching programs. In program analysis, three approaches were applied: Designed program analysis, conducted program analysis, and actualized program analysis.
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Medne, Dace, and Ilze Vilde. "WORKING MEMORY IN THE PROCESS OF TEACHING SONGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 19, 2022): 476–85. http://dx.doi.org/10.17770/sie2022vol1.6810.
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The control processes and mnemonic strategies used in working memory are important both in the general learning process and in the music learning process. In the acquisition of music, the working memory determines the formation of auditory notions, which is an essential dimension in the development of musicality. Its qualitative indicators are (1) accuracy - accurate perception and reproduction of memorized music material; (2) persistence - duration of remembrance. Therefore, it is pedagogically important to improve it at the primary school age, because working memory forms the basis for creating more complex conceptual content constructions both in music and in other fields. The aim of the research is to promote the development of working memory in the process of teaching songs. In order to achieve the goal of the research, a song teaching strategy for the development of working memory has been developed, a pedagogical observation of the music learning process for a duration of three years at the primary school level has been performed, and the obtained data have been analysed using descriptive statistics. The sample of the study consists of 200 primary school students. The data obtained in the article allow us to conclude that the purposefulness and regularity with which the chosen exercises are used, the quality of music perception and attention, and musical thinking all contribute to the development of musical memory in primary school music education. The relationship between song acquisition and working memory described in this publication expands the understanding of music educators and helps them improve their professional skills.
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Economidou Stavrou, Natassa. "Fostering musical creativity in pre-service teacher education: Challenges and possibilities." International Journal of Music Education 31, no. 1 (February 9, 2012): 35–52. http://dx.doi.org/10.1177/0255761411431391.
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Research regarding music teaching in primary school reveals generalist teachers’ and student teachers’ low musical abilities and low confidence in teaching Music, and even more, in including creative activities in music teaching. This article reports on a study which sought to create a fruitful and supportive environment that would allow 64 primary school student teachers participating in a sound stories’ project, to unearth their creative skills and abilities, through active participation and direct experimentation with sound and music. The study focused on the exploration of the formation of student teachers’ beliefs regarding the concept of musical creativity, as well as possible educational implications stemming from the processes, experiences and emotions student teachers went through during the project.
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Rohwer, Debbie, Don D. Coffman, and William Dabback. "A description of New Horizons Band assistants’ perceptions and experiences." International Journal of Community Music 13, no. 3 (December 1, 2020): 333–44. http://dx.doi.org/10.1386/ijcm_00024_1.
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The purpose of the current study was to describe the perceptions and experiences of New Horizons Band assistants in terms of learning, skill transfer and pedagogical preparation. The participant population for this study was 35 past student teacher-assistants from three New Horizons bands, one in Texas, one in Florida and one in Virginia. There were ten open-ended items on the questionnaire that asked about student assistant perceptions and experiences. Participants noted the growth they experienced from serving as a band teaching assistant in a New Horizons programme, describing their appreciation for lifelong learning, exposure to the complexity of how to teach to a variety of learners, and experience with the challenges of pacing with adults and blunt feedback from programme participants. The article concludes with a discussion of possible collegiate preparatory experiences that could broaden the teacher training experience for college programmes.
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Ünver, Ruveyda Sultan, Yarin Önel, Dilara Altıntaş, and Ömer Bilgehan Sonsel. "Primary School Teachers’ Music Course Competencies on the Axis of the Teachers’ Perspectives and the Curriculum." International Journal of Education and Literacy Studies 10, no. 4 (October 31, 2022): 36–48. http://dx.doi.org/10.7575/aiac.ijels.v.10n.4p.36.
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In this study, it was aimed to determine the proficiency of primary school teachers in music courses. The case study model, which is among the qualitative research methods, was used in this research. In the process of collecting data; the expected teacher competencies in the primary school 1,2,3 and 4th grade music textbooks and the competencies gained in the music teaching course of the Higher Education Council 2018 primary school teaching undergraduate program were specified and compared. Within the scope of this research, interviews were conducted with eight music education experts who previously delivered music lessons in the primary school teaching department and the results of the interviews were analyzed. As a result of the research, it has been determined that 22 different competencies are expected for a primary school teacher to be able to conduct music lessons at all levels of primary schools, but the competencies by the undergraduate program do not provide the six of expected competencies. As a result of expert opinions, it was concluded that most of the expected competencies cannot be gained in a one-semester course period and accordingly a qualified education is not possible. The data obtained from the research were exhibited under the relevant headings and in the light of these results, suggestions were made regarding the current situation and the future of music education.
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Gifford, Edward. "The Musical Training of Primary Teachers: Old Problems, New Insights and Possible Solutions." British Journal of Music Education 10, no. 1 (March 1993): 33–46. http://dx.doi.org/10.1017/s0265051700001418.
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Recent national and international documents dealing with education and the arts have attributed poor teaching of music in primary schools to inadequacies in the training of primary teachers. The most frequently reported problems associated with the training of teachers in music education were students' lack of confidence and their low musical ability.Against this background, a study was undertaken to examine further the extent to which participation in a music education course during pre-service training advanced the musical skills, music teaching ability, musical sensitivity, and attitudes towards music of students who become general primary teachers. It was hypothesised that the quality of music education was influenced by the multi-dimensional interactions of a range of factors. These included: attitude towards music and to music education; musical achievement; the classroom learning environment; students' preferred learning styles and their previous musical background. This paper reports data on these factors and the influence of preservice training on attitudes to music and to music teaching.The investigation confirmed general primary pre-service teachers' low perception of their competence and confidence as music teachers, and established that any limited gains in music and music teaching skills were offset by their enjoying and valuing music and music education less. Causal explanations for the findings are discussed and a model of music education is proposed both as a further means of interpreting the data and a basis for the potential re-focussing of the music curriculum.
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Zadnik, Katarina. "Interactive learning materials for subjects Music Theory and Solfeggio in the Slovenian primary music school." Metodički ogledi 28, no. 2 (January 25, 2022): 281–301. http://dx.doi.org/10.21464/mo.28.2.1.
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With the outbreak of the pandemic, general and music education shifted completely to remote learning as the only possible form. The research looks into didactic approaches using digital technology adopted by active teachers and students in the Slovenian music school in asynchronous distance learning. On a sample of 9 active teachers and 16 students, the research study examined 31 interactive learning materials in order to identify innovative didactic approaches using digital tools which were applied to achieve learning objectives within musical activities of the Music Theory and Solfeggio. Based on qualitative-quantitative approach, the research showed a low presence of didactic approaches using digital tools. Even though the results show a higher level of use of digital technology among students, the research focused much more on the presence of e-learning materials as well as predominantly traditional teaching approaches, similar to the classical type of classroom teaching.
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Dunn, Sarah, and Milly Locke. "Mātauranga Māori, inquiry and creative music-making in the primary music classroom: A Pākehā teacher’s journey." Teachers and Curriculum 22, no. 2 (November 3, 2022): 99–112. http://dx.doi.org/10.15663/tandc.v22i2.399.
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This article draws on a master’s study into programme decisions and processes of a Pākehā primary music teacher who sought to include mātauranga Māori (Māori knowledge), tikanga Māori (Māori practices) and te ao Māori (a Māori way of seeing the world) in their teaching practice. The study investigated how children are enabled to experience mātauranga Māori within an inquiry approach to teaching and learning, through engagement with taonga pūoro (singing treasures) and the whakataukī (proverb) of the whakapapa (genealogy) of Māori music as stimuli for creative music-making. Drawing on action research and self-study, I conducted an intervention of eight music lessons with 28 children from Years 3 and 4. Findings emerged from an analysis of student questionnaires, my teacher journal, student reflections, and scores and audio recordings of students’ creative music-making.In this article I focus specifically on two aspects of my findings:1. The way that the teacher-as-learner position within inquiry pedagogy complements the ethos of ako (reciprocal learning), and the way a holistic, integrated learning approach is supported by the centrality of interconnection within te ao Māori.2. The process by which a teacher might use the whakapapa of Māori music as a conceptual framework for inspiring a sound palette of the natural world in children and for scaffolding creative music-making.As a teacher I found that I could establish whanaungatanga (a family-like connection) in the primary music classroom through a relational pedagogy and valuing the children’s individuality through collaborative processes. This small study reinforced my belief that teachers need to take responsibility for their bicultural practices in the classroom, that a complementary ethos of inquiry and Māori approaches to teaching and learning can be fostered, that inquiry pedagogy can be effective in music education, and that practical approaches for experiencing Māori knowledge, inspired by Māori music, can flourish in the primary music classroom.
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Ružić, Vesna, and Ines Cvitković Kalanjoš. "Interest of Primary School Students in Music." Magistra Iadertina 16, no. 2 (March 14, 2022): 23–39. http://dx.doi.org/10.15291/magistra.3644.
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Teaching music, which is carried out in primary school education through the subject Music Culture plays a major role and forms students’ musical competences as part of the cultural development of students. Listening is the only activity in music that includes an aesthetic level, so the level of aesthetic education depends on the amount of time devoted to this activity. The interest of children in music has the greatest influence on the cultural environment, but the influence of the family is even greater, no matter how accessible listening to music is with mass media. Attitude towards music is mostly inherited from parents. This paper discusses the interest of primary school students for music and what type of music they are opting for. The research was carried out by survey involving pupils from 1st to 4th grade in two primary schools in the area of Koprivnica-Križevci County. The aim and task of the research was to determine possible problems both in teaching Music Culture and the musical life of students and try to find a solution to them, so that they would be more interesting and useful to the students and to awaken students’ interest. A descriptive method was used during the study and as the subject of the survey research. We assumed that the interest of primary school students is high and that their interest is moving in the direction of folk and turbo folkmusic. A survey conducted in the two schools of Koprivnica-Križevci County showed that the majority of students of these schools have a positive approach to music, but also observed differences between the school in urban and the school in the rural area.
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Fautley, Martin, Victoria Kinsella, and Adam Whittaker. "Models of teaching and learning identified in Whole Class Ensemble Tuition." British Journal of Music Education 36, no. 03 (October 28, 2019): 243–52. http://dx.doi.org/10.1017/s0265051719000354.
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AbstractThe Whole Class Ensemble Tuition (WCET) is a model of teaching and learning music which takes place in many English primary schools. It is a relative newcomer to music pedagogy in the primary school. In the groundbreaking study reported in this paper, two new models of teaching and learning music are proposed. These are (a) Music education starts with the instrument and (b) Music education takes place via the instrument. Conceptualised descriptions of classroom music pedagogies are not commonplace, and so this paper makes a significant contribution to the music education research literature by delineating, describing and labelling two of these with reference to the WCET programme. These distinctions are of international significance and are useful to describe differences between programmes, which constitutes a major contribution to music curricula discussions. The paper concludes that clarity on the purposes of teaching and learning is fundamental to effective musical pedagogy and that this is a matter that education systems worldwide should be considering.
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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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Gruber, Hubert. "Lesson study with music: a new way to expand the dialogic space of learning and teaching." International Journal for Lesson and Learning Studies 8, no. 4 (October 3, 2019): 272–89. http://dx.doi.org/10.1108/ijlls-03-2019-0019.
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Purpose The purpose of this paper is to show that lesson study by including elements from music and music education can sustainably expand and improve the dialogical space for teaching and learning in higher education, especially for primary and secondary teacher education students. Design/methodology/approach For the first time under the topic “Lesson Study: Music in Dialogue,” corresponding study programs were prepared at the University College of Teacher Education, Lower Austria. The data material from which answers to research questions can be generated are the “Didactic Design Pattern” and classical research lesson planning, observation and discussion instruments. Moreover, discussion protocols of the reflection meetings offered insights the participants gained through sharing their experience of a series of lesson study cycles including focussed collaboration between mentors, teachers, teacher education students and primary school pupils. Findings Within the lesson study groups, the space for cooperation and dialogue widened considerably and the interest in the work and expertise of each other increased. Based on the principles of a “community of practice,” this study shows the positive effects of professional collaboration on primary and secondary teacher education students and a lasting impact on their pupils’ learning. Thereby, the dialogical principle was found to play a central and important role. In connection with music- and art-related processes, previous limitations in teaching and learning with music can be exceeded for pupils, teacher education students and teachers. Research limitations/implications This study, therefore, provides new insights into questions of organization and implementation, as well as scientific and didactic support in professional learning communities. Originality/value So far, there has been little practitioner research through lesson study in the field of music education. In particular, lesson study enhancing the cooperation between music education and other subject areas through dialogical-integrative work has brought about knowledge and insights of great importance for the further development of an appropriate didactic approach in dialogic music education.
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Bartalis, Izabella. "Primary School Extracurricular Music Activities in Covasna and Harghita Counties." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 36–46. http://dx.doi.org/10.37441/cejer/2021/3/1/9349.
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Arts education, including music teaching (Dohány, 2010) in elementary schools is getting less and less importance in our present day education system, accordingly we find quite relevant to investigate the situation of music teaching in Romania among the Hungarian minority educationís elementary classes. This present study would like to map the extracurricular fields of music teaching in Covasna and Harghita counties in Hungarian classes through a questionnaire research made among teachers. Our objective is to investigate extracurricular musical education in elementary classes, where we would like to find out what kind of musical activities exist in this area and how intensively do pupils take part in these activities. The self-made questionnaire was sent out online in Covasna and Harghita counties, based on the teachers ‘database at the end of January in 2020. 78 elementary school teachers took part in this research. All the collected data was processed with the help of a statistical data analysing software, examining the descriptive statistical indicators. The analysis shows that few elementary class students take part in extracurricular activities.Romanian music pedagogy research do not extend to Hungarian minority classes, thus we see it important to investigate the extracurricular activities in counties where Hungarian minorities live.
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Pellegrino, Kristen, Jennifer P. Beavers, and Susan Dill. "Working with College Students to Improve Their Improvisation and Composition Skills: A Self-Study with Music Teacher Educators and a Music Theorist." Journal of Music Teacher Education 28, no. 2 (July 27, 2018): 28–42. http://dx.doi.org/10.1177/1057083718787825.
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The purpose of this self-study of teacher education practices was to examine and improve improvisation and composition teaching practices for three university professors at the same institution. Primary data sets were individual researcher journals and transcripts of seven researcher meetings. Secondary data sets were music major surveys, interviews, observations, and written communications. Findings are discussed in three sections: origins of our insecurities, turning point realizations and conversations, and our changed teaching practices and students’ learning. With the encouragement and support of our coresearchers, each of us experienced greater success in regularly integrating improvisation and composition into our teaching, which yielded notable increases in our students’ confidence and skills when improvising and composing, as well as willingness to incorporate them into their own teaching. We noticed improved student learning in many areas, as well as a more sophisticated transference of knowledge between playing, reading, and writing music.
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Zhuang, Chun Mei, and Kok Chang Pan. "Chinese Music Teachers’ Perceptions of Context Issues and Transmission Modes in World Music Teaching." Harmonia: Journal of Arts Research and Education 22, no. 2 (December 31, 2022): 200–212. http://dx.doi.org/10.15294/harmonia.v22i2.33225.
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Based on his academic background in multicultural music education and ethnomusicology, Huib Schippers developed the Seven-Continuum Transmission Model (SCTM) in 2004 to describe the teaching situations of world music. The current study adopted the SCTM as a framework to investigate Chinese music teachers’ perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/intangible) in world music teaching. Semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in China. This study found that Chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. In addition, the music teachers were also influenced more by the “Eurocentrism” values; however, their perceptions were less affected by ethnomusicology that interprets human music from a cultural perspective and by multicultural music education.
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Bjelobrk Babić, Ozrenka, Milica Drobac-Pavićević, and Tanja Stanković-Janković. "Music Preferences and Enjoyment of Music as Predictors of Involvement of Teacher Studies Students in Music Teaching." Društvene i humanističke studije (Online) 7, no. 3(20) (October 30, 2022): 315–34. http://dx.doi.org/10.51558/2490-3647.2022.7.3.315.
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The study of musical preferences, enjoyment of music and students’ involvement in teaching, as a current topic worthy of attention, deserves a multidisciplinary approach. Therefore, the aim of this research is to determine the predictive power of music enjoyment and musical preferences on students’ cognitive, emotional and social involvement in music teaching, as well as on their overall involvement in music teaching, which includes all three mentioned aspects. The sample included 183 teacher studies students from four university centers in Bosnia and Herzegovina. Research findings confirm that enjoyment of music, based on internal motivation, is a predictor of greater involvement (cognitive, emotional and social) of students in music lessons. Musical preferences are statistically significant as a model, but they do not make a statistically significant partial contribution to the prediction of cognitive, emotional and social involvement of students in music classes. It is clear that the research findings open up the „old-new” issues of the quality of music in society, detours or some „new avant-garde”. The recommendations brought by this research are reflected in the greater activation of the emotional dimension of university music teaching, which must be closely related to the cognitive and social aspects of music. The key to success, the experience of the lecturer, and thus the atmosphere in lessons, is primary for the quality of students’ involvement in the teaching process. We need high-quality, creative and at the same time fun and emotionally rich music teaching in order to create a path of faith into stimulating and healthy development of the students’ versatile personalities with a developed attitude towards music preference.
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Powell, Sean R., Molly A. Weaver, and Robin K. Henson. "Relationship of Preservice Music Teachers’ Primary Instrument Background and Teaching Effectiveness in Brass and Woodwind Techniques Classes." Journal of Music Teacher Education 27, no. 3 (September 26, 2017): 38–50. http://dx.doi.org/10.1177/1057083717733469.
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The purpose of this study was to examine the relationship between preservice music teachers’ primary instrument background and their teaching effectiveness in brass and woodwind techniques classes. Study participants ( N = 135) were preservice music teachers enrolled in secondary instrument techniques courses (brass and woodwinds) from fall 2011 through spring 2015 in three universities. Participants taught a 10-minute video recorded lesson to a beginning-level university student on a brass or woodwind instrument at the end of the semester. All videos were subsequently assessed by two researchers using a researcher-designed rubric. The results of analyses of variance showed that brass-teaching scores tended to be higher than woodwind-teaching scores for all groups. Brass players taught brass more effectively than woodwind players, and woodwind players taught woodwinds better than brass players. Brass and woodwind players scored higher than percussionists, vocalists, pianists, and string players in both brass and woodwind teaching. Implications for music teacher education are discussed.
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Barrett, Margaret. "Music Education and the Primary/Early Childhood Teacher: A Solution." British Journal of Music Education 11, no. 3 (November 1994): 197–207. http://dx.doi.org/10.1017/s0265051700002163.
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Music curriculum courses for generalist primary and early childhood teacher education students have tended traditionally to be heavily skill-intensive and instruction-based and reflective of the pedagogical methods of prominent music educators. In such learning experiences emphasis is generally placed upon the acquisition of skills dealing with notational and historical precedents and the development of some expertise in the areas of singing, playing and listening. Whilst these experiences provide students with valuable insights into traditional music education pedagogy, students who have a limited formal knowledge of music and who do not consider themselves to be musically articulate or literate frequently find such experiences alienating. Furthermore the teaching practices modelled through such programs tend to conflict with those advocated in other curriculum areas.In an attempt to redress this situation an action research study was undertaken in which compulsory music curriculum units for generalist primary and early childhood teacher education students were re-developed to place compositional experience at the heart of the music education enterprise. In developing a theoretical and philosophical base for the pre-service music education units a number of educational strategies common in other curriculum areas were examined and adapted for use in the music education classroom.Qualitative evaluation of the units has indicated that participating students whilst developing skills and knowledge in music and understanding of a range of teaching and learning strategies also perceive themselves to be more capable and confident as musicians.
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Miao, Miao. "Analysis and Optimization of Online Music Teaching System Based on Dynamic Model." Scientific Programming 2022 (March 17, 2022): 1–9. http://dx.doi.org/10.1155/2022/4426555.
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The online teaching system is based on a high-tech framework to realize the integration and utilization of existing resources. Applying the online teaching system to distance learning education will help practitioners or self-study people to obtain learning resources more conveniently and quickly. With the development of technology and the social environment, more and more people are participating in online teaching. This has led to rapid growth in online teaching. However, when users use it, there are still problems, such as poor system interaction performance, and cumbersome interface. The construction of a system dynamics model is based on powerful system dynamics methodology and rules to analyze and solve complex problems and make optimal judgments. Through this research, we can get (1). to design the dynamic model music online teaching components: student user table, teacher user table, administrator table, virtual classroom, electronic courseware table, and multimedia music library table. (2). To correct the audio quality, audio speed, audio height, initial efficiency, initial efficiency parameters, video quality, and video traffic. The 3A-10 group has the best effect (k = 13.9, c = 0.30, A = 3.27, α = 0.80, Β = 1.67, and γ = −4.31). (3). During the appreciation of different music types (groups A, B, C, D, E, and F), the scores were evaluated according to the dynamic model, and the scores were found to be better than 106. (4). The comparison of kinetic equations, Kuramoto, and LIF shows that the scores of the kinetic equations are significantly better than the other two models. In the kinetic model, F-s = 0.81, F-c = 0.66, D-s = 0.81, D-c = 0.71, H-s = 0.72, H-c = 0.56, V-s = 0.65, and V-c = 0.75.
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Goriot, Claire, Eddie Denessen, Joep Bakker, and Mienke Droop. "Benefits of being bilingual? The relationship between pupils’ perceptions of teachers’ appreciation of their home language and executive functioning." International Journal of Bilingualism 20, no. 6 (July 27, 2016): 700–713. http://dx.doi.org/10.1177/1367006915586470.
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Aims: We aimed to investigate whether bilingual pupil’s perceptions of teachers’ appreciation of their home language were of influence on bilingual cognitive advantages. Design: We examined whether Dutch bilingual primary school pupils who speak either German or Turkish at home differed in perceptions of their teacher’s appreciation of their HL, and whether these differences could explain differences between the two groups in executive functioning. Data and analysis: Executive functioning was measured through computer tasks, and perceived home language appreciation through orally administered questionnaires. The relationship between the two was assessed with regression analyses. Findings: German-Dutch pupils perceived there to be more appreciation of their home language from their teacher than Turkish-Dutch pupils. This difference did partly explain differences in executive functioning. Besides, we replicated bilingual advantages in nonverbal working memory and switching, but not in verbal working memory or inhibition. Originality and significance: This study demonstrates that bilingual advantages cannot be dissociated from the influence of the sociolinguistic context of the classroom. Thereby, it stresses the importance of culturally responsive teaching.