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Journal articles on the topic 'Music at University'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

DOGAN, Merih. "University Students’ Expectations about the Elective Music Course." Eurasian Journal of Educational Research 20, no. 87 (2020): 1–20. http://dx.doi.org/10.14689/ejer.2020.87.9.

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2

Smyrnova, Tetiana A. "Axiology of Music and Pedagogical Education at the University." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 2076–87. http://dx.doi.org/10.47059/revistageintec.v11i4.2255.

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3

Herbst, Theo. "Music Technology at Stellenbosch University." Leonardo Music Journal 16 (December 2006): 65. http://dx.doi.org/10.1162/lmj.2006.16.65a.

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4

Bonde, Lars Ole. "Music Therapy in Aalborg University." Norsk Tidsskrift for Musikkterapi 8, no. 1 (1999): 3–5. http://dx.doi.org/10.1080/08098139909477949.

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5

De Ritis, Anthony. "Music Technology at Northeastern University." Journal of the Acoustical Society of America 110, no. 5 (2001): 2625. http://dx.doi.org/10.1121/1.4776858.

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6

Yang, Xuenan. "How to Promote National Music Culture in University Music Education." Advances in Higher Education 3, no. 3 (2019): 133. http://dx.doi.org/10.18686/ahe.v3i3.1484.

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<p>Music is closely related to culture. It is an important carrier of human culture inheritance and carries the essence of human civilization. Our national culture is extensive and profound, which is the treasure of Chinese culture. National music culture is an integral part of national culture. Education and cultural inheritance bring out the best in each other. Music education in school is an important means to promote national music culture. Music college is the main position of national music culture, so this paper focuses on discussing the significance and role of promoting national

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7

Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait I

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8

Taylor-Jay, Claire. "The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003." Twentieth-Century Music 1, no. 1 (2004): 147–51. http://dx.doi.org/10.1017/s1478572204000106.

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The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, sel

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Rinkūnaitė, Aušra. "Music Publications of the Beginning of 16th– 19th Centuries in Vilnius University Library." Bibliotheca Lituana 3 (December 22, 2014): 138–51. http://dx.doi.org/10.15388/bibllita.2014.3.15566.

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The article deals with music publications of the beginning of the 16th–19th c. – antiphonals, graduals, missals, hymnals and manuals held in the Rare Book Department of Vilnius University Library. On the basis of the extant XVIII c. manuscript catalogues of Vilnius Jesuit College Library and Library of Novitiate the publications related to music included in those catalogues are being discussed and provenances and marginalia found in them are being investigated. In addition, the article also describes anonymous manuals printed by Vilnius Academy Printing House at the end of 17th c.–18th c.: Ars

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10

Lamont, Alexandra. "University students’ strong experiences of music." Musicae Scientiae 15, no. 2 (2011): 229–49. http://dx.doi.org/10.1177/1029864911403368.

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Research has begun to explore the nature of strong experiences of music listening, identifying a number of individual components from physiological through to psychological ( Gabrielsson & Lindström Wik, 2003 ), but this has not yet been considered in relation to mainstream theories of happiness. Drawing on positive psychology, Seligman’s (2002) framework for achieving balanced wellbeing includes the components of pleasure, engagement, and meaning. In the current study, 46 university students (median age 21) gave free reports of their strongest, most intense experiences of music listening.

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11

Blake, David K. "University Geographies and Folk Music Landscapes." Journal of Musicology 33, no. 1 (2016): 92–116. http://dx.doi.org/10.1525/jm.2016.33.1.92.

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By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-C

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12

Tuinstra, Beth. "Embracing identity: An examination of non-Western music education practices in British Columbia." International Journal of Music Education 37, no. 2 (2019): 286–97. http://dx.doi.org/10.1177/0255761419827359.

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Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an und

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13

Tan, Yunshu, and Lauren Conti. "Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications." Journal of Popular Music Education 3, no. 2 (2019): 329–58. http://dx.doi.org/10.1386/jpme.3.2.329_1.

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Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional mu

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14

Swenson Danowitz, Erica. "Sheet Music Collection: University of South Carolina Music Library2012191Sheet Music Collection: University of South Carolina Music Library. Columbia, SC: University of South Carolina Music Library 2001‐. Gratis URL: http://sheetmusic.library.sc.edu/ Last visited December 2011." Reference Reviews 26, no. 4 (2012): 52–53. http://dx.doi.org/10.1108/09504121211234023.

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15

Björnberg, Alf. "‘Teach you to rock’? Popular music in the university music department." Popular Music 12, no. 1 (1993): 69–77. http://dx.doi.org/10.1017/s0261143000005365.

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During the last decades in most Western countries music education on all levels has undergone significant changes. In response to changes in the musical field in society at large, various popular music styles, previously almost totally neglected in institutional forms of music teaching based on Western art music, have been given increasing significance in the curricula of music education. This development has not, however, taken place without controversies. In most popular music genres the theoretical framework, learning principles and aims of musical practices differ in significant respects f

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16

Prof. Frederick B. J. A. NGALA; Prof. Mellitus N. WANYAMA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Music Production Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 213–37. http://dx.doi.org/10.51317/ecjces.v2i1.160.

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Music production is one of the job markets that has gained popularity around the world, including Kenya. Universities have come up with music production programmes in order to prepare bachelor of music learners for this viable music job market opportunity. However, it is the observation of many studies that universities are not preparing job-ready graduates. With the advance of the digital era that is seamlessly permeating every sector of the music job market, attention needs to be given to the music production programs in Kenya. This study purposed to establish the relevance of university mus

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17

Nowak, Raphaël. "Digital Music Distribution: The Sociology of Online Music Streams." Nordic Journal of Science and Technology Studies 7, no. 1 (2019): 51–52. http://dx.doi.org/10.5324/njsts.v7i1.3064.

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18

Woody, Robert H., Danni Gilbert, and Lynda A. Laird. "Music Teacher Dispositions: Self-Appraisals and Values of University Music Students." Journal of Research in Music Education 66, no. 1 (2018): 111–25. http://dx.doi.org/10.1177/0022429418757220.

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For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orienta

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19

Baker, Vicki D., and Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists." Update: Applications of Research in Music Education 35, no. 3 (2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.

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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of

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20

Boettcher, Bonna J., and Michael Leo McHugh. "Popular Music and the University Curriculum." Popular Culture in Libraries 4, no. 2 (1997): 1–10. http://dx.doi.org/10.1300/j117v04n02_01.

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21

Depalle, Philippe. "Music Technology Program at McGill University." Journal of the Acoustical Society of America 110, no. 5 (2001): 2626. http://dx.doi.org/10.1121/1.4776863.

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22

Hamann, Donald L., and Elza Daugherty. "Burnout Assessment: The University Music Student." Update: Applications of Research in Music Education 3, no. 2 (1985): 3–8. http://dx.doi.org/10.1177/875512338500300202.

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23

Murray, Paul V., Bobbie Ohler, and Robert Delle. "Evaluating a university-based music festival." Studies in Educational Evaluation 14, no. 3 (1988): 381–90. http://dx.doi.org/10.1016/0191-491x(88)90030-2.

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24

Zhang, Yang. "The Value of Orff's Music Teaching Method in College Music Teaching." Learning & Education 9, no. 1 (2020): 29. http://dx.doi.org/10.18282/l-e.v9i1.893.

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<p>As an innovative music teaching method, under the background of educational reform, Orff's music teaching method has increasingly attracted the attention and attention of university teachers. By applying the Orff teaching method in university music teaching, it can not only effectively promote the improvement of teaching quality, but also promote students to develop deep music exchanges and effectively cultivate students' musical literacy and innovative thinking.</p>

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25

Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer

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26

Hamann, Donald L., and Joy E. Lawrence. "University Music Educators' Effectiveness as Determined By Public School Music Teachers." Update: Applications of Research in Music Education 12, no. 2 (1994): 21–27. http://dx.doi.org/10.1177/875512339401200204.

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27

Soto, Amanda Christina, Chee-Hoo Lum, and Patricia Shehan Campbell. "A University—School Music Partnership for Music Education Majors in a Culturally Distinctive Community." Journal of Research in Music Education 56, no. 4 (2009): 338–56. http://dx.doi.org/10.1177/0022429408329106.

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University—community collaborations are a fairly recent phenomenon, which has often been manifested through the establishment of university partnerships with schools. This research sought to document the process and outcomes of a university—school collaboration called Music Alive! in the Valley (MAV), a yearlong partnership between 33 university music education students and faculty with an elementary school within a rural location of a western state. MAV was intended to serve a Mexican American migrant community whose children frequently spoke only Spanish at home and to provide occasions for

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28

Jensen, Julie B. "Music, social learning and senses in university pedagogy: An intersection between art and academe." Arts and Humanities in Higher Education 18, no. 4 (2017): 311–28. http://dx.doi.org/10.1177/1474022217732944.

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Integration of music in an academic university teaching setting is an example of how artistic practice and competences have potentials to resonate beyond the immediate discipline. The article explores music activities as contributing to learning environments for university students, creating shared experiences in groups of diverse learners with different needs. The music activities are discussed in light of challenges in today's university concerning student diversity. Two empirical examples of experiments with music in university teaching at a Danish university are presented. Empirical data w

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29

Norris, Michael, and John Young. "Half-heard sounds in the summer air: electroacoustic music in Wellington and the South Island of New Zealand." Organised Sound 6, no. 1 (2001): 21–28. http://dx.doi.org/10.1017/s1355771801001042.

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This article traces the evolution of electroacoustic music in Wellington and the South Island of New Zealand. Electroacoustic music has a well-established tradition in New Zealand, dating back to Douglas Lilburn's pioneering work in the early 1960s. The Victoria University of Wellington Electronic Music Studios (VUW/EMS) that Lilburn established in 1966 became a focal point for electronic music activities in the late 1960s and early 1970s. This article examines current approaches to electroacoustic music composition, and discusses the facilities at Victoria University, the University of Canter

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30

McLean, Don, and Dean Jobin-Bevans. "Survey of University-Based Music Programs in Canada." Notes from the Discipline 29, no. 1 (2010): 86–104. http://dx.doi.org/10.7202/039112ar.

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Abstract This study provides a compact overview of university-based music programs in Canada based on information gleaned from surveys of institutional members of the Canadian University Music Society (CUMS)—universities, colleges, and conservatories. The surveys took place between 2005 and 2009. The current report focuses on the metrics of enrolment and staffing, and goes on to provide basic data on graduate and undergraduate programs. It is a first step in sharing information that can facilitate informed advocacy in support of music in higher education both within and beyond individual insti

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31

Floyd, Malcolm. "Music Makers: cultural perspectives in textbook development in Kenya, 1985–1995." British Journal of Music Education 20, no. 3 (2003): 291–306. http://dx.doi.org/10.1017/s026505170300545x.

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This article draws on my other writings about developments in the teaching of music in Kenya, and on the decision to promote traditional musics and to make music one of the compulsory examinable subjects at the end of primary school. It considers two textbooks published by Oxford University Press in Nairobi: Music Makers for Standards 7 and 8, by Brian Hocking and me, was issued in 1985, and Music Makers for Standards 5 and 6, this time with George Mutura as co-author, was published in 1989. The music education syllabus was revised in 1993, and both books were adapted to adjust the placing and

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32

Kabataş, Mustafa. "How do we learn music? Collecting feedback from Kastamonu University music students." African Educational Research Journal 9, no. 1 (2021): 189–96. http://dx.doi.org/10.30918/aerj.91.21.018.

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The study studied how students studying music at Kastamonu University learn about music and whether they receive additional help in 2020. The first study detailed in this article focused on identifying student perceptions and how they learned music, and aimed to come up with suggestions on how to better meet the needs of music students. To do this, we conducted two focus group interviews with music graduate (N = 6) and undergraduate (N = 4) students. Participants said that the timing of the study should better reflect their work and that the studies should be more disciplinary and better desig

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33

Lesiuk, Teresa. "Personality and music major." Psychology of Music 47, no. 3 (2018): 309–24. http://dx.doi.org/10.1177/0305735618761802.

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Early research investigating the personality of college-aged student and professional musicians examined traits of music performers, composers, and music teachers. Subsequent research studies followed with examinations of personality in university music programs, several of which employed the Myers-Briggs Personality Inventory (MBTI). The prevalence of MBTI types has not been examined amongst the diversity of music programs currently offered in many universities. The purpose of this study was to examine the prevalence of MBTI psychological type of university music students ( N = 217) across si

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34

Lund, Helle Nystrup, Lars Rye Bertelsen, and Lars Ole Bonde. "Sound and music interventions in psychiatry at Aalborg University Hospital." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 6, no. 1 (2016): 48–68. http://dx.doi.org/10.7146/se.v6i1.24912.

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This article reports on the ongoing project development and research study ‘A New Sound and Music Milieu at Aalborg University Hospital’. Based on a number of pilot studies in AUH-Psychiatry on how special playlists and sound equipment (sound pillows and portable players) can be used by hospital patients and administered by hospital staff supervised by music therapists, the new project aims to prepare the ground for a systematic application of sound and music in the hospital environment. A number of playlists have been developed, based on theoretical and empirical research in music medicine an

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35

Russell, Maureen. "The Polish Music Center, Thornton School of Music, University of Southern California." Music Reference Services Quarterly 15, no. 4 (2012): 263–74. http://dx.doi.org/10.1080/10588167.2012.729491.

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36

Winterson, J., and M. Russ. "Understanding the Transition from School to University in Music and Music Technology." Arts and Humanities in Higher Education 8, no. 3 (2009): 339–54. http://dx.doi.org/10.1177/1474022209339962.

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37

Wehlau, Ruth. "Queen's University." Florilegium 20, no. 1 (2003): 106–8. http://dx.doi.org/10.3138/flor.20.030.

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The situation in the departments: Art History, Classics, English, French, German and Russian, History, Music, Spanish and Italian, and Philosophy all offer medieval courses, but the frequency with which these are offered varies. As a result of retirements, many of the smaller departments either have no medievalist or are unable regularly to offer courses in the medieval field.

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38

Meyer, Christian. "La Trobe University Library Medieval Music Database." Le médiéviste et l'ordinateur 39, no. 1 (2000): 31–34. http://dx.doi.org/10.3406/medio.2000.1539.

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39

Houtkin, Andrea. "New Music from the University of Iowa." Computer Music Journal 9, no. 2 (1985): 67. http://dx.doi.org/10.2307/3679666.

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40

Hayward, Philip. "Centre for Contemporary Music Studies, Macquarie University." Popular Music 18, no. 1 (1999): 149. http://dx.doi.org/10.1017/s0261143000008795.

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41

Roberts, John H. "The Music Library, University of California, Berkeley." Library Quarterly 64, no. 1 (1994): 73–84. http://dx.doi.org/10.1086/602654.

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42

Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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43

Reynolds, Cecilia. "Finding the Music: Art in University Leadership." Curriculum Inquiry 32, no. 2 (2002): 171–76. http://dx.doi.org/10.1111/1467-873x.00221.

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44

Wristen, Brenda G. "Depression and Anxiety in University Music Students." Update: Applications of Research in Music Education 31, no. 2 (2013): 20–27. http://dx.doi.org/10.1177/8755123312473613.

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45

Adeogun, Adebowale Oluranti. "Towards decolonising university music education in Nigeria." Music Education Research 23, no. 4 (2021): 466–83. http://dx.doi.org/10.1080/14613808.2021.1951193.

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46

Glover, Jo. "Music, Gender and Education Conference, Bristol University, March 1993." British Journal of Music Education 10, no. 3 (1993): 151–52. http://dx.doi.org/10.1017/s0265051700001698.

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The Music, Gender and Education Conference was organised jointly by Women in Music and Bristol University and held as a weekend event with contributors from a wide field of working contexts and interests in music education. The group of papers which follows is indicative of the breadth of standpoints and approaches to research which were represented.

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47

Reese, Jill, and Caitlyn L. Derrick. "Children’s concerts: Experiences of university music students and faculty." International Journal of Music in Early Childhood 14, no. 1 (2019): 111–26. http://dx.doi.org/10.1386/ijmec.14.1.111_1.

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This article describes perspectives of university music students and faculty who prepared and facilitated a concert series for young children and their caregivers. We include an introduction to literature regarding listening behaviours of young children and live music experiences specifically designed for young children. We describe the children’s concert series created by music students and faculty at a university in the United States and focus on reflections of the music students and university faculty who prepared and facilitated the concert series. Included are descriptions of benefits and

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48

Ramsey, Basil. "Anniversary at City University." Musical Times 132, no. 1781 (1991): 339. http://dx.doi.org/10.2307/966284.

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49

Furrow, Melissa. "Dalhousie University." Florilegium 20, no. 1 (2003): 125–27. http://dx.doi.org/10.3138/flor.20.038.

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There are only a handful of scholars who have their primary appointments in Dalhousie departments and a primary interest in medieval fields. In French, we have Hans Runte, best known among medievalists for his work on the Seven Sages of Rome, but his more recent publications have been in the field of Acadian letters. In English, we have Hubert Morgan, who works in Middle English, Old Norse, and Old English (romance, saga, and epic are particular interests), and Melissa Furrow, who has finally completed a long labour on reception of romances in medieval England (Expectations of Romance: Drasty

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50

Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.

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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades,

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