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Journal articles on the topic 'Music Education; Music; Psychology'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Hodges, Donald A. "Music Psychology and Music Education: What's the connection?" Research Studies in Music Education 21, no. 1 (December 2003): 31–44. http://dx.doi.org/10.1177/1321103x030210010301.

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2

Dudhale, Khaleda. "MUSIC AND MUSIC AND PSYCHOLOGY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3438.

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Music is a branch of psychology and musicology that aims to understand and explain musical behavior and musical experiences. At the same time, understanding how music is composed and how it reacts and how individuals adopt it in daily life.The psychology of morden music analyzes man's involvement with systemic observation. Its many areas are research and experimentation with execution (chamatvitundam) composition, education, criticism, medicine, etc. Music psychology helps in understanding social behavior by human intelligence, skill and functionality. संगीत मनोविज्ञान एवं संगीत शास्त्र की एक शाखा है जिसका लक्ष्य है संगीत व्यवहार और संगीत के अनुभवों को समझना और समझाना। साथ ही साथ यही समझना कि संगीत कैसे रचा जाता है और उसकी प्रतिक्रिया कैसी होती है और व्यक्ति उसे दैनिक जीवन में कैसे अपनाते है?माॅर्डन संगीत का मनोविज्ञान सिस्टेमेटिक अवलोकन से मनुष्य की भागीदारी का विश्लेषण करता है। इसके अनेक क्षेत्र हैं शोध व प्रयोग के साथ निष्पादन (चमतवितउंदबम) कम्पोजिशन, शिक्षा, आलोचना, चिकित्सा आदि। संगीत मनोविज्ञान मानव की बुद्धि, कौशल व क्रियात्मकता से सामाजिक व्यवहार को समझने में मदद करती है।

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3

Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.

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The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.

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4

Ibragimovich, Mustafoev Bakhtiyor. "Reforms of Music Culture Education." International Journal of Psychosocial Rehabilitation 24, no. 4 (April 30, 2020): 7155–60. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020530.

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5

Hargreaves, David J. "Developmental Psychology and Music Education." Psychology of Music 14, no. 2 (October 1986): 83–96. http://dx.doi.org/10.1177/0305735686142001.

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6

Zdravić-Mihailović, Danijela. "Meeting music pedagogy and music psychology: Contribution to the study of contemporary professional music education." Artefact 6, no. 1 (2020): 33–48. http://dx.doi.org/10.5937/artefact6-29227.

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This paper discusses the research of psychologists and pedagogues which are committed to issues of professional music education. The statement of Ksenija Radoš (2010) that the psychologist-researchers and music pedagogues pass each other on the same way, and that they go on parallel paths toward the same goals, encountering the same obstacles, and yet never really meet, is the starting point for the review of the relationship between these disciplines. as the first step of our research, the definition of a 'common way' is imposed, and then testing the connection of current issues of music education and music psychology. according to our understanding, there are several important reasons for the mentioned situation in music education: focusing music pedagogy on general music education and 'late' awakening of pedagogy of professional music education as a special scientific discipline; obsolescence of the curriculum of professional music education and insufficient cooperation between music pedagogues and psychologists-researchers. Interplay of these disciplines, implemented through the planned conducted research that focuses on the problems of professional music education, could be an important support for the development and improvement of specific areas of music pedagogy.

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7

Saarikallio, Suvi. "Access-Awareness-Agency (AAA) Model of Music-Based Social-Emotional Competence (MuSEC)." Music & Science 2 (January 1, 2019): 205920431881542. http://dx.doi.org/10.1177/2059204318815421.

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Social–emotional competence (SEC) is a set of psychological resources, highly relevant for adaptive growth and wellbeing. Music has been argued to support social–emotional skills, yet there is little theoretical consensus about the underlying impact mechanisms and the special nature of music as a medium for SEC. This article presents a theoretical model of music-based SEC that combines research from general SEC models with music-specific literature from music psychology, music education, music therapy, and music for health and wellbeing. The proposed access-awareness-agency (AAA) model defines music-based social–emotional competence (MuSEC) as interplay of embodied access, reflective awareness, and sense of agency. These three components are defined as the core competencies that music in particular facilitates; competencies that underlie and explain further competence in behaviors ranging from affective self-regulation to social interaction. The article elaborates these MuSEC components and their potential connections to particular equivalents in general SEC and proposes hypotheses for empirically testing the model. The model offers a novel, integrative SEC-based perspective for advancing theoretical coherence in the growing field of music as social–emotional wellbeing and growth.

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8

Rideout, Roger R. "Psychology and Music Education since 1950." Music Educators Journal 89, no. 1 (September 2002): 33–37. http://dx.doi.org/10.2307/3399882.

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9

González-Moreno, Patricia A. "A cultural psychology of music education." Music Education Research 13, no. 4 (December 2011): 479–81. http://dx.doi.org/10.1080/14613808.2011.632159.

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10

Swanwick, Keith, and David J. Hargreaves. "The Developmental Psychology of Music." European Journal of Education 22, no. 3/4 (1987): 359. http://dx.doi.org/10.2307/1502908.

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Swanwick, Keith, and David J. Hargreaves. "The Developmental Psychology of Music." British Journal of Educational Studies 35, no. 3 (October 1987): 289. http://dx.doi.org/10.2307/3121264.

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12

Orifjon, Azizov, and Zoirov Zarif. "The commonality of music psychology and sophisticated education in music teaching methods." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 11 (2020): 913–17. http://dx.doi.org/10.5958/2249-7137.2020.01586.4.

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13

COX, GORDON, and STEPHANIE PITTS. "SPECIAL ISSUE: PERSPECTIVES ON MUSIC EDUCATION." British Journal of Music Education 20, no. 2 (July 2003): 119–20. http://dx.doi.org/10.1017/s0265051703009112.

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Music education is an eclectic field of study, and those concerned with questions of musical learning and teaching draw upon a variety of disciplines including psychology, sociology, history, philosophy, ethnomusicology, and music therapy. For this Special Issue, we have asked leading scholars within these disciplines to share insights on how their research area might contribute to a greater understanding of the learning and teaching of music. Our aim and theirs is to communicate recent developments in the disciplines to music educators, and hopefully to stimulate in the pages of BJME a dialogue with colleagues in related fields of interest.

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14

Hargreaves, David J., Nigel A. Marshall, and Adrian C. North. "Music education in the twenty-first century: a psychological perspective." British Journal of Music Education 20, no. 2 (July 2003): 147–63. http://dx.doi.org/10.1017/s0265051703005357.

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Starting from Hargreaves' (1986a) review of the relationship between developmental psychology and music education, we characterise the mid-1980s as a point at which the different main strands of music psychology – cognitive, developmental, and social – began to unfold. We move to the present day and beyond, suggesting that a major change has been the incorporation of a social perspective: it may now make more sense to talk about the developmental social psychology of music and music education. Four levels of social influence are distinguished – the individual, the interpersonal, the institutional, and the cultural – and we suggest that the concept of identity may enable explanations of social influence at the individual level. We review some research on musical style sensitivity as an exemplar of this general approach, and conclude by applying the social–cultural perspective to current developments in music education. This gives rise to two new conceptual models: of the opportunities that are offered by music education in the twenty-first century, and the outcomes that might be derived from it.

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15

Graham, Rodger. "Evolutionary psychology: a natural selection for music education?" Music Education Research 8, no. 3 (November 2006): 433–37. http://dx.doi.org/10.1080/14613800600957537.

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16

Knyazeva, Tatiana S. "Musical Abilities and Intelligence as a Subject of Research in Music Psychology and Psychology of Music Education." Musical Art and Education 7, no. 3 (2019): 30–45. http://dx.doi.org/10.31862/2309-1428-2019-7-3-30-45.

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The article provides an overview of scientific research on the relationship of musicality and general intelligence. It is noted that the problem of the relationship between musicality, musical achievements and intelligence is interdisciplinary. It is significant for general and music psychology as well as for the theory and practice of music education. There is a shortage of empirical and theoretical works on this topic in the modern Russian-language scientific literature, and that is what determines the relevance of the overview presented. The article discusses the role of general intelligence in the formation of a musical professional and musical and educational achievements. There is a continuity in the development of scientific ideas and approaches from the beginning of the last century to modern research. Musical abilities are shown to be largely determined by the intellectual potential of the individual, which explains the association of musical abilities with academic performance and abilities in non-musical areas. Modern approaches view musicality as a polymorphic entity which is better described in terms of multidimensional musical behavior. The formation of a professional in the musical field makes the relationship between musicality and intelligence more complex; it begins to be mediated by a combination of factors, a significant place among which is shared intelligence.

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17

Toulson, Rob, and Russ Hepworth-Sawyer. "Connected learning journeys in music production education." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 269–86. http://dx.doi.org/10.1386/jmte.11.3.269_1.

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The field of music production education is a challenging one, exploring multiple creative, technical and entrepreneurial disciplines, including music composition, performance electronics, acoustics, musicology, project management and psychology. As a result, students take multiple ‘learning journeys’ on their pathway towards becoming autonomous learners. This article uniquely evaluates the journey of climbing Bloom’s cognitive domain in the field of music production and gives specific examples that validate teaching music production in higher education through multiple, connected ascents of the framework. Owing to the practical nature of music production, Kolb’s Experiential Learning Model is also considered as a recurring function that is necessary for climbing Bloom’s domain, in order to ensure that learners are equipped for employability and entrepreneurship on graduation. The authors’ own experiences of higher education course delivery, design and development are also reflected upon with reference to music production pathways at both the University of Westminster (London, United Kingdom) and York St John University (York, United Kingdom).

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18

Stubbs, Keith. "The Expressivist Future in Music Education." British Journal of Music Education 5, no. 1 (March 1988): 71–91. http://dx.doi.org/10.1017/s0265051700006343.

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Against the background of current debate concerning the proposed national curriculum, a number of questions remain unanswered. This paper examines the issue of how, and indeed whether music education is practised from an expressivist point of view. The expressivist position, as evidenced for instance in the work of Herbert Read, Louis Arnard Reid and Suzanne Langer, is analysed in the more recent work of Robert Witkin and Malcolm Ross.The paper continues by questioning whether there is an expressivist future in music education, discussing the work of Keith Swanwick and John Paynter alongside recent guidelines from HMI and the DES. Official utilitarian arguments are questioned and evidence of developments in Scotland and the United States are examined. The American tradition of developmental psychology in music leads to a discussion of the work of David J. Hargreaves in this country, and finally recommendations are made concerning the relationship between music and the other arts, with particular reference to curriculum structures and programmes of learning.

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19

Mills, Janet. "Book Review: The Developmental Psychology of Music." International Journal of Music Education os-10, no. 1 (November 1987): 76–81. http://dx.doi.org/10.1177/025576148701000137.

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20

Frega, Ana Lucia. "Book Review: The Social Psychology of Music." International Journal of Music Education os-34, no. 1 (November 1999): 64. http://dx.doi.org/10.1177/025576149903400107.

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21

Clive, John. "Music and computers." British Journal of Special Education 10, no. 3 (May 31, 2007): 34. http://dx.doi.org/10.1111/j.1467-8578.1983.tb00172.x.

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22

Elpus, Kenneth. "Music education promotes lifelong engagement with the arts." Psychology of Music 46, no. 2 (March 25, 2017): 155–73. http://dx.doi.org/10.1177/0305735617697508.

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The purpose of this study was to understand the effects of school-based music education on later adult engagement with the arts using nationally representative data from the U.S. National Endowment for the Arts 2012 Survey of Public Participation in the Arts. The probability of adult arts engagement as performer/creator and patron/consumer was estimated as functions of prior school-based music and arts education participation with statistical covariate control applied for demographic variables known to vary with music education status. Results suggest that both music performance and music appreciation courses are strongly associated with later arts participation as patron/consumer and performer/creator, even after controlling for socioeconomic status, sex, and race/ethnicity. Former music appreciation students were 93% more likely to attend classical music or opera performances as adults and 255% more likely to play a musical instrument as adults than were non-participants. Former music performance students were 342% more likely to play a musical instrument, 258% more likely to sing, and 186% more likely to take photographs as an artistic endeavor than were non-participants. Results of this study suggest that lifelong engagement with music and the arts is one measurable outcome of school-based music education in the United States.

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23

Dvorak, Abbey, Eugenia Hernandez-Ruiz, and Kevin M. Weingarten. "Course-Based Undergraduate Research Experience: Music Education and Music Therapy Student Outcomes." Journal of Music Teacher Education 30, no. 3 (March 23, 2021): 26–39. http://dx.doi.org/10.1177/10570837211002167.

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The purpose of this study was to evaluate a course-based undergraduate research experience (CURE) in a required music psychology course and to measure student outcomes and conduct reliability estimation for the Research Skill Development Questionnaire (RSDQ) and Undergraduate Research Student Self-Assessment (URSSA). Student researchers ( N = 33) completed the URSSA and RSDQ. We analyzed URSSA Likert-type items using descriptive statistics and performed content analysis on open-ended responses. Student researchers reported moderate improvement across three subscales of Thinking and Working Like a Scientist, Personal Gains, and Research Skills, and some change for Attitudes and Beliefs. A comparison of pretest and posttest RSDQ subscale scores showed no significant change in participants’ self-reported research knowledge, skills, or dispositions. URSSA and RSDQ subscales demonstrated strong internal consistency. Based on content analysis of URSSA open-ended responses, participants reported interest in graduate school, greater understanding of and confidence about research, and plans to use research in their career.

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24

Sakai, Winfried. "Music Preferences and Family Language Background." Journal of Research in Music Education 59, no. 2 (June 9, 2011): 174–95. http://dx.doi.org/10.1177/0022429411406172.

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Turkish migrants are the largest national group in Germany. Nevertheless, neither in music psychology research nor in intercultural research can empirical data on the music preferences of Turkish-German primary schoolchildren in the migrational context be found. This study thus examined the music preference responses of children with Turkish language backgrounds, who were at the end of primary school education, to music examples representing the differences between occidental and oriental music systems. A total of 267 children participated in an investigation in the city of Ludwigshafen am Rhein that involved primary schools that had relatively high and relatively low numbers of children with migrational backgrounds. The data analysis indicated interesting coherences between the children’s family language backgrounds and their music preferences. In the context of migration, however, the children’s responses represented varied possibilities of locating in a local, transnational, or global music culture.

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25

Regelski, Thomas A. "Concept-learning and Action Learning in Music Education." British Journal of Music Education 3, no. 2 (July 1986): 185–216. http://dx.doi.org/10.1017/s0265051700005337.

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Music education at present suffers from a dilemma that few in the field seem to realise or appreciate. To put it in perhaps overly simple terms, the issue involves whether the music teacher should teach music or concepts! In this day of growing interest in cognitive psychology, few would deny any longer the involvement and relevance of concepts and conception in any form of musical functioning. But the writers of methods texts and materials, and theorists of teaching alike, often give evidence of being woefully confused about the process of conception, the nature of its ‘products’ and therefore of the precise involvement of concepts in musical functioning.

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26

Kirby, Melissa L. "SEMPRE Autumn 2020 Conference: The Role of Music Psychology Research in a Complex World." Music & Science 3 (January 1, 2020): 205920432097712. http://dx.doi.org/10.1177/2059204320977126.

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Each year, the Society for Education, Music and Psychology Research (SEMPRE) hosts two conferences, covering a range of themes within music education and psychology research. The Autumn 2020 conference took place on September 9–11. The theme of the conference was ‘The role of music psychology research in a complex world: Implications, applications, and debates’; a particularly appropriate theme given the complex and challenging nature of 2020. Owing to the COVID-19 pandemic, this conference was hosted virtually by the University of Leeds. This report provides an overview of the conference, reflects on its key themes, and discusses the opportunities and challenges of online conferencing.

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27

Jÿrgensen, Harald. "Mapping Music Education Research in Scandinavia." Psychology of Music 32, no. 3 (July 2004): 291–309. http://dx.doi.org/10.1177/0305735604043258.

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Gruhn, Wilfried. "Mapping Music Education Research in Germany." Psychology of Music 32, no. 3 (July 2004): 311–21. http://dx.doi.org/10.1177/0305735604043259.

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29

Stevens, Robin S., and Gary E. McPherson. "Mapping Music Education Research in Australia." Psychology of Music 32, no. 3 (July 2004): 330–42. http://dx.doi.org/10.1177/0305735604043262.

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30

Gruhn, Wilfried. "Book Review: Creativity and Music Education." Psychology of Music 33, no. 2 (April 2005): 221–24. http://dx.doi.org/10.1177/030573560503300208.

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31

Kirliauskienė, Rasa. "Importance of Intuition in Music Education." Pedagogika 115, no. 3 (September 10, 2014): 208–20. http://dx.doi.org/10.15823/p.2014.038.

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Communication of music is firstly based on intuitive intonational thinking. Thus, according to Z. Rinkevičius (2009), it is quite natural that appropriate use of music may efficiently stimulate intuitive thinking, reserves of unknown to us subconsciousness, and through them, those of consciousness. Therefore, music facilitates improvement of spiritual powers and intellect more than any other kinds of art. Research object: importance of intuition in music education. Research aim: to reveal importance of intuition in music education. Methods of research and sample: analysis of scientific literature sources, interview. Qualitative research data are described applying content analysis. The scheme of categorization was not planned in advance and it was devised on the basis of the received data. The research was carried out in October 2013 and January 2014. The people related to the analysed problem (key informants) were chosen in the first stage of the research: 3 teachers with sufficient pedagogical experience working at school. The semi-structured (oral) interview was employed. The focus of this stage of research was on subjective opinion of the informants about importance of intuition in music education. They also were asked in what way, according to the informants, intuition is manifested in their work as a phenomenon. Attempts were also made to identify the musical activities, where use of intuition is evidenced. The second stage of the research included 28 fourth year (full-time and part-time) students. The semi-structured interview (written) was used in this stage. The question about importance of intuition in musical education was not presented to future teachers of music with the acquired sufficient knowledge of pedagogy, psychology and other theories, speciality - related abilities and skills of observational and performance practices. They were asked to express their opinion about the content of the role of a contemporary music teacher. The question about significance of intonation was not presented to the informants making attempts to envisage the vision of the young generation (i.e., music teachers to be) about what a school teacher should be like and then the researcher searched for certain links to substantiate own theory. Conclusions • The research revealed that music teachers frequently act under influence of intuition, change plans when new ideas emerge and get overwhelmed with an impulse of creativity. According to them, manifestations of intuition in music activities are mostly expressed in music creation, listening to music, music playing and musical thinking. • The research data identified the content of the role of a music teacher pointing out its 5 aspects: educator (education for humanity: humanity, communication, playing music together); authority (competent specialist: example for school learners, profound knowledge of study subject, universality); importance of teacher’s personality (aspects of teacher’s personality: ability to arouse learners’ interest, ability to be a friend, teacher’s charismatic personality, flexibility); creativity (manifestations of creativity: teacher’s creativity, ability to develop students’ creativity, improvisation, revelation of students’ personality through creative expression) and value-based aspects (enlightener of students’ souls, nurturer of beauty of life, provision of sense to new impressions, expression of emotions). • The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries.

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32

Schellenberg, E. Glenn. "Music and Cognitive Abilities." Current Directions in Psychological Science 14, no. 6 (December 2005): 317–20. http://dx.doi.org/10.1111/j.0963-7214.2005.00389.x.

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Does music make you smarter? Music listening and music lessons have been claimed to confer intellectual advantages. Any association between music and intellectual functioning would be notable only if the benefits apply reliably to nonmusical abilities and if music is unique in producing the effects. The available evidence indicates that music listening leads to enhanced performance on a variety of cognitive tests, but that such effects are short-term and stem from the impact of music on arousal level and mood, which, in turn, affect cognitive performance; experiences other than music listening have similar effects. Music lessons in childhood tell a different story. They are associated with small but general and long-lasting intellectual benefits that cannot be attributed to obvious confounding variables such as family income and parents' education. The mechanisms underlying this association have yet to be determined.

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33

Lesiuk, Teresa. "Personality and music major." Psychology of Music 47, no. 3 (March 27, 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 six different music majors (i.e., Music Business, Music Composition, Music Education, Music Engineering, Music Performance, and Music Therapy). The MBTI mental function of Intuitive–Feeling was found to be highly over-represented in the total music sample as compared to national norms, while several other personality preferences significantly dominated or were sparse in the music majors. The findings extend the personality and music research literature and have practical implications for music educators, academic counsellors, college-aged music students, and students who are considering music as a study and career.

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34

Drake, Adele. "Creating Music with Micros." British Journal of Special Education 16, no. 3 (May 31, 2007): 98. http://dx.doi.org/10.1111/j.1467-8578.1989.tb00794.x.

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35

Dunn, Rosemary. "Music: a Shared Experience." British Journal of Special Education 19, no. 3 (May 31, 2007): 109–11. http://dx.doi.org/10.1111/j.1467-8578.1992.tb00428.x.

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36

DiMaio, Lauren, and Becky Engen. "Ethics in Music Therapy Education: Four Points to Consider." Music Therapy Perspectives 38, no. 1 (2020): 42–50. http://dx.doi.org/10.1093/mtp/miz030.

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Abstract Ethical thinking in music therapy is a vital aspect of the profession. However, little is published on the subject of ethics in the music therapy academic setting. Therefore, this article explores the complex issues of ethics and ethical thinking in music therapy education from the perspective of two music therapists who have held various positions within academics in music therapy. The purpose of this article is to encourage integrity within music therapy education and to draw attention to the complex ethical issues within music therapy academics. Four points are described for music therapy educators: (1) Assess positions of power, (2) Explore your adaptability, (3) Assess possible infringement of rights, and (4) Consider cultural bias in your responses. These points are offered as recommendations inserted into the Dileo Model of Ethical Thinking for Music Therapists for people in academia when faced with ethical dilemmas.

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37

Zhou, Ye. "Music Therapy in China." Musik-, Tanz- und Kunsttherapie 23, no. 1 (January 2012): 15–19. http://dx.doi.org/10.1026/0933-6885/a000070.

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Contemporary music therapy has to be regarded as an interdisciplinary system combining medicine, psychology, musicology, and further social and cultural sciences. According to historical medical records, music was already being used in ancient times for health purposes. During recent decades, music therapy has become more and more important for clinical, educational, preventive, and wellness-associated purposes. This article focuses on introducing a description of the situation regarding music therapy in China, including historical theories, education, and associations; analyzing specific problems that have arisen during developments in music therapy in China; and finally, suggesting crucial points for improvements of music therapy in the future. In addition to the scientific evidence presented in this article, the author hopes to contribute to the prosperous development of music therapy as a clinical method as well as a profession in China.

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38

Iswandi, Iswandi. "REFLEKSI PSIKOLOGI MUSIK DALAM PERILAKU MASYARAKAT SEHARI-HARI." Humanus 14, no. 2 (November 30, 2015): 152. http://dx.doi.org/10.24036/jh.v14i2.5681.

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Music is a branch of art close to and present in human’s life every day. Through the social study perspective, this kind of concentration is usually called musical semiology or how music functions as an art creation in the society. In the daily life, men always listen to music intentionally or unintentionally. Therefore, music is inseparable from human life. The logical consequence is an effort to improve the role of music in the society, along with the fast development of media technology and culture. Art as a human creation has various functions which are not only for artistic interests. From the psychological context, music functions in and influence the increase of intelligence, therapeutic benefit that are not detached with its cultural, technical, and methodical background. Here, as part of the hybrid between music and psychology, musical therapy adopts relevant psychoterapic techniques. The term musical therapy has also been used in the curriculum of educational institution and foundation for children with specific needs of education with qualification of education or psychology for the specific needs.

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Bernāts, Guntars, and Andrejs Mūrnieks. "THE CHALLENGES, RISKS AND PROSPECTS OF THE REALISATION OF THE MUSIC METHODOLOGY MODULE OF ONE – YEAR EDUCATION PROGRAMME." Education. Innovation. Diversity. 1, no. 2 (May 26, 2021): 24–30. http://dx.doi.org/10.17770/eid2021.1.5428.

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The reform of teachers’ education commenced by the Ministry of Education and Science provides an opportunity to obtain a qualification as a teacher within one year, encompassing studies based in a working environment for those who already have higher education. The goal of the research is to identify the challenges, risks and perspectives of the realization of the module “Music methodology” of the study course “Integrated methods in Teaching Culture Understanding and Self-expression in Art” within the one-year study programme “Skolotājs”. The research compared study course plans in music teaching and choir work methodology at two Latvian higher education institutions, as well as at two foreign higher education institution, where a qualification as a music teacher at a comprehensive school can be attained. The research was undertaken based on an analysis of theoretical sources, providing an understanding about a synthesis of varying contemporary methodological approaches. It encompasses the acquisition of a knowledge of cultural history and the history of music, the style and future directions of popular music, desirably not just theoretically but practically as well, in the education of the students. The actualization of such study courses as music teaching methodology, the research process in music teaching, music history and stylistics, the psychology of music, conducting, choir/vocal ensemble work, methodology and music project management are important for the high quality and integrated acquisition of music teaching methodology.

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Crişciuc, Viorica. "Education: 9. Elements of Impact on Student Training: Areas of Competence Specific to Musical Education." Review of Artistic Education 16, no. 1 (March 1, 2018): 274–80. http://dx.doi.org/10.2478/rae-2018-0031.

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Abstract The complex and integrated nature of issues such as globalization, migration, interculturality, environmental protection, information explosion, calls for a complex approach to musical education. In order to cope with the changes in the contemporary world, students need generic skills such as: the ability to learn how to learn, the ability to evaluate and solve problems. Analyzing the theoretical and methodological sources, the universal character of musical competences was investigated, investigating the classifications of different historical epochs of notorious personalities of the field and from the perspective of the main fields on which the Music Pedagogy (Psychology of Music and Musicology) is founded. This article denotes some aspects of the competencies specific to the training and education of students at the Music Specialty.

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Robson, Bonnie E. "Competition in Sport, Music, and Dance." Medical Problems of Performing Artists 19, no. 4 (December 1, 2004): 160–66. http://dx.doi.org/10.21091/mppa.2004.4026.

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This paper reviews the literature in sports psychology that may be relevant in the study of competition in music and dance education, giving the reader a basis for comparison of the arts literature. Opinions vary on whether competition is good or bad for the developing child. Some believe that competitiveness is innate behavior and that competition is a motivation for high achievement. Others believe that competition detracts from performance as the increased stress and anxiety lead to a decrease in focus and, perhaps, to a decrease in self-esteem, especially for individuals with an ego orientation (a focus on comparison with others) as opposed to a mastery orientation (focus on improvement of one’s own skills). The instruments used to measure the temperamental characteristics related to competition are discussed, including the Competitive Trait Anxiety Inventory and the Competitive State Anxiety Inventory. The paper then discusses the specific research that has been done on competition in music education and in dance education. Further research is needed to determine how much competition is healthy and whether the work in sports psychology can be adapted to research in the arts.

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Wyatt, J. G., and M. Furioso. "Music Therapy Education and Training: A Survey of Master's Level Music Therapists." Music Therapy Perspectives 18, no. 2 (January 1, 2000): 103–9. http://dx.doi.org/10.1093/mtp/18.2.103.

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Nichols, Betsy L., and Alice S. Honig. "The influence of an inservice music education program on young children's responses to music." Early Child Development and Care 113, no. 1 (January 1995): 19–29. http://dx.doi.org/10.1080/0300443951130102.

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Konarczak–Stachowiak, Agnieszka. "Wybrane metody rehabilitacji dziecka z zaburzeniami słuchu i mowy." Kultura-Społeczeństwo-Edukacja 10, no. 2 (December 15, 2016): 305–14. http://dx.doi.org/10.14746/kse.2016.10.23.

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Music therapy and choreotherapy are two extensive term. They do not apply only music, movement and therapy, but they include a lot of modern science, for example: psychology, music psychology, psychotherapy, psychiatry, medicine, pedagogy, special pedagogy, music education, physic education, audiology, acoustics, psychoacoustic, speech therapy, sociology, music philosophy, musicology and diffrent kind of therapy by art and movement. Therefore sound therapy and movement therapy is trans–disciplinary. It is unique thing like music and natural thing like movement. Basic kind of movement with music in therapy and rehabilitation: dance, recreation with music and movement, gymnastic with music and physical improvisation. The effectiveness of methods that use sound and movement in hearing and speech therapy is due to fact that: music and speech include rhythm, melody, tempo, volume, articulation, timbre, phrasing, accents etc.; speech development can coincide with motor development. The movement is main form child’s development. Disorders in the motor development of the child have a direct or indirect impact on the development of the child’s speech. When we teach our child motor development, also we support the development of speech, becouse the brain has one point that connect these two features. Music and movement activities with elements of music therapy, choreotherapy and rhythm therapy trains sense of rhythm, hearing and music memory and it is very important for harmonious and quiet growing up child’s – on a intellectual, physical, emotional and social plane, because of it all of processes that work in adult organism are improved. Main objective of the activities is develop different skills, attitudes and habits.

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Dolski, Tomasz. "Technika w procesie dydaktycznym jako narzędzie do rozwijania zainteresowań muzyką poważną dzieci i młodzieży. Implikacje dla edukacji muzycznej." Kwartalnik Pedagogiczny, no. 65/4 (July 19, 2021): 37–49. http://dx.doi.org/10.31338/2657-6007.kp.2020-4.3.

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The article presents the difficulties and challenges in music education. The author tries to show the causes and answer the question if this branch of science is needed. For this purpose, the results of research in the field of musical education, cognitive neuroscience, psychology, as well as theoretical concepts, which are confronted with the original educational project “Symphony for Violin and DJ”, are analysed in order to show practical possibilities and solutions. The main problem of the article concerns the relevance of teaching methods to the digital world in which students live. It is presented from various perspectives and its implications are indicated.

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Barrett, Margaret S., Katie Zhukov, Joanne E. Brown, and Graham F. Welch. "Evaluating the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music." Psychology of Music 48, no. 1 (August 16, 2018): 120–36. http://dx.doi.org/10.1177/0305735618790355.

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This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.

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Yue, Teng. "Methods of teaching singing to children and to the youth subject to the requirements of educational psychology." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2019): 96–102. http://dx.doi.org/10.51314/2073-2635-2019-2-96-102.

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Vocal music is a combination of artistic language and musical sound that create vivid melodic and poetic patterns. With the help of words and sounds romances and songs richly express people’s thoughts and feeling. Song is a special language of mankind, one of the most important genres in the art of music. The art of vocal music is of great interest and it does not depend on age. In particular, the age level of children who start learning music becomes lower. The high importance of the continuing education has resulted into the creation of additional requirements for educational institutions and education quality of singing teachers. The academic experience shows that voice instructors not only teach music and vocal skills but also conduct researches within the educational and developmental psychology.The purpose of the article is to analyze the process of teaching young students vocal music as a stimulating and teaching method including creation of effective training programs in the area of vocal music. Vocal courses should both attract students’ attention and enjoy them, therefor the teacher is supposed to be empathetic towards students in the process of teaching.

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Welch, Graham, Susan Hallam, Alexandra Lamont, Keith Swanwick, Lucy Green, Sarah Hennessy, Gordon Cox, Susan O’neill, and Gerry Farrell. "Mapping Music Education Research in the UK." Psychology of Music 32, no. 3 (July 2004): 239–90. http://dx.doi.org/10.1177/0305735604043257.

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Cheung, Jane. "Mapping Music Education Research in Hong Kong." Psychology of Music 32, no. 3 (July 2004): 343–56. http://dx.doi.org/10.1177/0305735604043265.

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Selby, Brian. "Achieving Our Aims in Music Education Research." Psychology of Music 15, no. 2 (October 1987): 215. http://dx.doi.org/10.1177/0305735687152010.

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