Journal articles: 'Music education theory'

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Jacobs, Jo Ellen, and Charles Plummeridge. "Music Education in Theory and Practice." Journal of Aesthetic Education 27, no. 1 (1993): 122. http://dx.doi.org/10.2307/3333354.

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Randles, Clint. "A theory of change in music education." Music Education Research 15, no. 4 (December 2013): 471–85. http://dx.doi.org/10.1080/14613808.2013.813926.

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Regelski, Thomas A. "Music and Music Education: Theory and praxis for ‘making a difference’." Educational Philosophy and Theory 37, no. 1 (January 2005): 7–27. http://dx.doi.org/10.1111/j.1469-5812.2005.00095.x.

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Schneider Grings, Ana Francisca, and Liane Hentschke. "Attributional Theory in investigating public music performance in higher music education." International Journal of Music Education 35, no. 1 (July 8, 2016): 31–46. http://dx.doi.org/10.1177/0255761415619393.

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The purpose of this research was to investigate the causes attributed by undergraduate music students to situations of failure and success in public music performance. Attributional Theory has been used in this research as the theoretical framework to understand how situations of success and failure are interpreted by the person of the activity. The analysis was conducted from an Intrapersonal perspective of motivation, i.e., how the attributions made by the students doing an undergraduate course in music revealed their notions and beliefs. The methodology used included a non-probabilistic survey and the data were collected through a self-administered questionnaire involving 130 undergraduate music students of southern Brazil. The results show that in situations considered to be successful, the most frequent attributed causes are effort (77.7%), persistence (65.4%), and interest in the performance (63.1%), whereas in situations considered to be failures the most important aspects are emotional (60.8%), difficulty of the task (36.2%), and lack of effort (30.8%). This research shows that students who have more musical experience regard their performances as good or excellent, whereas those that have little experience do not view themselves in this way. The data reveal that the greater the importance that is attached to an activity, the more time is spent on preparing for it; in the same way students tend to be more engaged with musical activities and devote more time to them when they are aware of their skills and value them. Music students feel responsible for their results, which shows that they are engaged in their learning and seek to satisfy an inner need to achieve success.

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Ghere, David, and Fred M. B. Amram. "Inventing music education games." British Journal of Music Education 24, no. 1 (February 9, 2007): 55–75. http://dx.doi.org/10.1017/s0265051706007224.

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The first British patent describing an educational game designed for musical ‘amusement and instruction’ was granted in 1801 to Ann Young of Edinburgh, Scotland. The authors' discovery of Young's game box has prompted an examination of the nature and purpose of the six games she designed. Ann Young's patent is discussed in the context of her cultural environment, the history of women inventors, and eighteenth century educational theory. The activities are compared with musical instruction games recently patented in the UK and the USA.

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Yang, Chenghai. "Enlightenment of Confucian Thoughts of Music Education on Contemporary General Music Education." Journal of Contemporary Educational Research 4, no. 2 (February 19, 2020): 35–39. http://dx.doi.org/10.26689/jcer.v4i2.1046.

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In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.

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He, Zhang. "Explore the Importance of Strengthening Folk Music Theory Learning in Music Lessons in Hohhot." Advances in Higher Education 3, no. 2 (October 10, 2019): 171. http://dx.doi.org/10.18686/ahe.v3i2.1440.

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<p>At present our country's arts school is pushing new education plan, this made the related concept art education as well as major changes have taken place in the education mode. Also let the school music education realize the meaning of folk music is important, in the process of teaching reform, the local folk music also showed a more important role. In this paper, through the study of the characteristics and connotation of the folk music, we will sort out how to strengthen the learning and promotion of the folk music theory in the school music education in Hohhot. Based on the combination of music education and folk music, a more practical and complete music teaching method and system is constructed.</p>

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Cain, Tim. "Theory, technology and the music curriculum." British Journal of Music Education 21, no. 2 (June 24, 2004): 215–21. http://dx.doi.org/10.1017/s0265051704005650.

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In this short article I present a case for developing a new theory of music education, arguing that advances in music technology have undermined some of the most basic conceptual frameworks we currently possess. I describe some problems that might make the development of a new theory difficult and suggest some ways in which they might be overcome. My hope is that this paper will inspire people to consider the development of such a theory.

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Son, Mi-Yi. "The study of Gordon’s music learning theory for early childhood music education." Korean Society for Child Education 27, no. 1 (February 25, 2018): 157–74. http://dx.doi.org/10.17643/kjce.2018.27.1.09.

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Swanwick, Keith. "Reflection, theory and practice." British Journal of Music Education 25, no. 3 (November 2008): 223–32. http://dx.doi.org/10.1017/s026505170800805x.

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A brief review of the state of music education in the UK at the time of the creation of the British Journal of Music Education (BJME) leads to a consideration of the range and focus of topics since the initiation of the Journal. In particular, the initial requirement of careful and critical enquiry is amplified, drawing out the inevitability of theorising, an activity which is considered to be essential for reflective practice. The relationship of theory and data is examined, in particular differentiating between the sciences and the arts. A ‘case study’ of theorising is presented and examined in some detail and possible strands of future development are identified.

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Walden, Jennifer. "A pile of drums: Putting theory into practice in culturally diverse music education." International Journal of Music Education 38, no. 1 (October 11, 2019): 79–92. http://dx.doi.org/10.1177/0255761419871358.

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This article provides music educators with practical ways to (a) build school community through culturally diverse music and informal performances and (b) inculcate global perspectives into music programs (including concert band and choir) through culturally diverse music. In an autoethnographic style, the article tells a story that spans 2 years in a challenging situation: an international school in a country wrought with political and economic instability. It examines community building and inculcating global awareness from four perspectives. The first perspective reviews engagement in cultural diversity in music education through the lens of recently completed PhD research. It looks what scholars are writing about culturally diverse music education and how these ideas subsequently look in practice. Second, 30 years of personal experience teaching culturally diverse music are tied in, including ideas for student engagement in music classes. The third perspective includes practical ideas: how culturally diverse music can be integrated to broaden a program and rejuvenate interest in music. Finally, the fourth reveals responses from students experiencing learning through culturally diverse music. Examples, transcriptions, and recommended resources are included, leaving music teachers with useful, sustainable approaches for culturally diverse inclusivity.

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de Reizabal, Margarita Lorenzo, and Manuel Benito Gómez. "When theory and practice meet: Avenues for entrepreneurship education in music conservatories." International Journal of Music Education 38, no. 3 (May 3, 2020): 352–69. http://dx.doi.org/10.1177/0255761420919560.

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In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.

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Hanley, Betty. "Music Teacher Education: New Directions." British Journal of Music Education 10, no. 1 (March 1993): 9–21. http://dx.doi.org/10.1017/s026505170000139x.

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Research about the delivery of music teacher education programs indicates a number of areas which should be addressed. The report below describes innovative practice in an advanced elementary methods course at the University of Victoria, British Columbia. In Music Education 306, theory and practice were connected through student-directed discussions of foundation issues; the development of personal musical competencies; observation, teaching in the schools, and reflection on practice; the challenge to examine issues critically; and student involvement in the planning of their own learning and assessment. Excerpts from student reflections illustrate some of the learning which occurred.

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Regelski, Thomas A. "Sound compositions for expanding musicianship education." Organised Sound 7, no. 1 (April 2002): 29–40. http://dx.doi.org/10.1017/s135577180200105x.

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Composing has been slighted at all levels of education. Following an analysis of the history and failure of compositional pedagogy for developing musicianship, a new rationale for such pedagogy is presented. This pedagogy is argued to be essential for preparing contemporary musicians and audiences to understand most properly what music ‘is’ and ‘is good for’, and for promoting ever-new conceptions of ‘music’ and of its evolving values. In addition to advancing general musicianship in relation to the standard repertory, the special contribution of pedagogy rooted in composing organised sound pieces is outlined in relation to a new praxial philosophy of music that is challenging the limited and limiting theory of music and its value provided by traditional aesthetic theory. The latter is seen to be a major impediment to new compositional modes that expand musical frontiers, while the praxial theory supports, as well as gains support from, various new attempts to organise sound for expressive and other purposes.

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Shiraishi, Fumiko. "Calvin Brainerd Cady: Thought and Feeling in the Study of Music." Journal of Research in Music Education 47, no. 2 (July 1999): 150–62. http://dx.doi.org/10.2307/3345720.

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Calvin Brainerd Cady (1851-1928) was an influential American music educator who developed a theory of music education that emphasized the unification of children's thoughts and feelings. Focusing on the development of artistic music-conception (the ability to hear music in the mind), Cady taught music's intellectual and emotional aspects simultaneously. Cady demonstrated the effectiveness of his theory through successful music education practices at John Dewey's laboratory school and at his own Music-Education School. Cady was a significant reformer who pioneered several new activities and principles that became standard practices. His practical theories and effective practice influenced many music educators and the course of American music education history. His unification of thought and feeling in the music curriculum is still relevant to current and future music education practices.

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Westerlund, Heidi, and Lauri Väkevä. "Who needs theory anyway? The relationship between theory and practice of music education in a philosophical outlook." British Journal of Music Education 28, no. 01 (January 14, 2011): 37–49. http://dx.doi.org/10.1017/s0265051710000409.

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For a practicing arts educator, the relationship between theory and practice is often unproblematic: theory is considered to be irrelevant for the good practice. Considering the matter from an academic standpoint, one faces the distinction between poietic, or productive, and contemplative, or responsive, mindsets stemming from the classical philosophical tradition. Still more confusing is the question of the relationship between theory and philosophy; one's theory seems to follow one's chosen philosophical commitment, even to a degree that advocates of different philosophical stances do not necessarily understand each others' conceptions of theory.In this article,1 we examine the complex relationships between philosophy, theory and practice in music education. We shall begin with analysing different approaches to philosophy of music education. Proceeding towards more general conceptions of the relationship between theory and practice, we will examine the work of some of the well-known authors within the field of music education in order to pave way to a philosophical outlook that conceives the role of philosophy of music education as a form of cultural critique. The suggested alternative approach mediates between contemplative and poietic fields in pedagogical praxis. This guides us towards an understanding that considers theoretical concepts as philosophically loaded pragmatic tools that serve critical rationality embedded in practical action. From this standpoint there is indeed no need to cut theory apart from a good practice: both can be taken to serve the same master, philosophically informed way of living meaningfully.

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Hughes, Diane. "Book Review: Music Education as Critical Theory and Practice." IASPM@Journal 5, no. 1 (May 20, 2015): 213–16. http://dx.doi.org/10.5429/2079-3871(2015)v5i1.13en.

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Krout, R. E. "Music therapy education and training: From theory to practice." Journal of Music Therapy 49, no. 2 (June 1, 2012): 230–33. http://dx.doi.org/10.1093/jmt/49.2.230.

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Gilbertson, Simon. "Music therapy education and training: from theory to practice." Nordic Journal of Music Therapy 21, no. 2 (June 2012): 197–98. http://dx.doi.org/10.1080/08098131.2012.695563.

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Tan, Leonard. "Towards an ancient Chinese-inspired theory of music education." Music Education Research 18, no. 4 (December 16, 2015): 399–410. http://dx.doi.org/10.1080/14613808.2015.1122751.

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Plummeridge, Charles. "Curriculum Development in Music Education: The Limitation of Theory." Psychology of Music 13, no. 1 (April 1985): 49–57. http://dx.doi.org/10.1177/0305735685131005.

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Hess, Juliet, and Deborah Bradley. "Dewey’s Theory of Experience, Traumatic Memory, and Music Education." Studies in Philosophy and Education 39, no. 4 (February 22, 2020): 429–46. http://dx.doi.org/10.1007/s11217-020-09706-z.

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Rahozina, V. V. "National education theory journal “Art and Education”: 20th anniversary." Musical art in the educological discourse, no. 2 (2017): 51–53. http://dx.doi.org/10.28925/2518-766x.20172.5153.

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We present the national education theory journal “Art and Education”. The journal publishes materials on problems of the theory and history of art education, of the theory and methodology of education, and on methods of instruction in music, fine art and visual culture. We emphasize the uniqueness of this artisticpedagogical record, the only Ukrainian journal on art education, artistic and aesthetic development, one in which Ukrainian and foreign scientists and practical educators provide insight into the achievements of the pedagogy of art and the experience of art education in Ukraine and other countries of the world. We trace the stages of the journal’s development since its establishment and articulate its achievements over its 20-year existence.

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Walker, Robert. "Music education freed from colonialism: A new praxis." International Journal of Music Education os-27, no. 1 (May 1996): 2–15. http://dx.doi.org/10.1177/025576149602700102.

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This paper argues against a conflation of the culturally specific (i.e. the western) and the universal in theoretical discourse about music and music education. The charge is made that music education practices generally have lost touch with the contemporary practices of musicians, thus isolating music education from other educational practices. Set in a context of ISME's commitment to a world view of music and music education, such problems are serious. It is argued that the use of western terminology is inimical to ISME's goals. Terms like ‘music’ and ‘aesthetic’ are specifically western. Epistemological links exist between an aesthetic theory and the associated musical practices, but these are not universal.

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Watts, Colin. "Book Review: Music Analysis In Theory And Practice." International Journal of Music Education os-12, no. 1 (November 1988): 82. http://dx.doi.org/10.1177/025576148801200134.

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Paney, Andrew S., and Nathan O. Buonviri. "Teaching Melodic Dictation in Advanced Placement Music Theory." Journal of Research in Music Education 61, no. 4 (November 20, 2013): 396–414. http://dx.doi.org/10.1177/0022429413508411.

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In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants’ positive attitudes toward a standardized test and their concern for the students’ psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students’ difficulties with rhythmic notation also were found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students’ reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.

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Barrett, Michael, Roy Page-Shipp, Caroline van Niekerk, and Johan Ferreira. "Learning music theory en passant: a study in an internationally recognised South African University student choir." British Journal of Music Education 37, no. 2 (July 12, 2019): 155–68. http://dx.doi.org/10.1017/s0265051719000238.

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AbstractWhile mastery of aspects of music theory is relevant to rapid learning and understanding of a new choral part, many choirs comprise members with no formal education in music theory. Also, the language of music theory is not intuitive, with many terms having meanings different from those in common use, which can present obstacles for mature learners. The authors hypothesised that students joining an internationally recognised university choir might master aspects of music theory as a by-product of rehearsals. This was tested by having new admissions to such a choir complete a music theory test at the commencement and at the end of a year. The test evaluated the ability to name and write intervals and name notes and the duration of notes. Overall results did not reject the hypothesis. Subjects with no formal music training also showed most, and statistically significant, improvement in the questions related to intervals, which are arguably the most useful skills for choristers who do not sight-read. This appears to be a new finding: the literature shows occasional references to music theory skills, but their acquisition in a learning-by-doing style is not reported. Some insights into ways of enhancing choral performance are a by-product of the principal focus of the study.

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Terry, Paul. "Musical Notation in Secondary Education: Some Aspects of Theory and Practice." British Journal of Music Education 11, no. 2 (July 1994): 99–111. http://dx.doi.org/10.1017/s0265051700000991.

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The teaching of musical notation is now a legal requirement of the National Curriculum for music in England and Wales. Far from settling the debate over the desirability, or otherwise, of teaching notation, this aspect of the legislation seems to make a review of the problem imperative.This article examines theories of music as a language analogous to the spoken or written word, and then considers the practical and sociological arguments for and against the teaching of staff notation.

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Smolej Fritz, Barbara, and Cirila Peklaj. "Processes of self-regulated learning in music theory in elementary music schools in Slovenia." International Journal of Music Education 29, no. 1 (February 2011): 15–27. http://dx.doi.org/10.1177/0255761410389658.

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Nytch, Jeffrey. "The Many Facets of Music Entrepreneurship Education." Journal of Arts Entrepreneurship Education 2, no. 1 (October 16, 2020): 32–41. http://dx.doi.org/10.46776/jaee.v2.53.

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As the field of arts entrepreneurship education has developed, so has our collective understanding of the nature of arts entrepreneurship theory and pedagogy. At the same time, critical differences exist between the various arts sectors, with music entrepreneurship embodying a number of specific characteristics more or less unique to it. This essay identifies and explores five such issues and discusses the programmatic, pedagogical and theoretical implications of each, offering insights into how entrepreneurship education can benefit music students.

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Tan. "Towards a Transcultural Theory of Democracy for Instrumental Music Education." Philosophy of Music Education Review 22, no. 1 (2014): 61. http://dx.doi.org/10.2979/philmusieducrevi.22.1.61.

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Evans, Paul. "Self-determination theory: An approach to motivation in music education." Musicae Scientiae 19, no. 1 (January 20, 2015): 65–83. http://dx.doi.org/10.1177/1029864914568044.

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Sinelnikova, V. V., and I. H. Sinelnikov. "ETHNIC MUSIC EDUCATION IN UKRAINE: QUESTIONS OF THEORY AND PRACTICE." Innovate Pedagogy 13, no. 1 (2019): 152–55. http://dx.doi.org/10.32843/2663-6085-2019-13-1-33.

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Reimer, Bennett. "Avoiding Extremes of Theory and Practice in Music Teacher Education." Journal of Music Teacher Education 3, no. 1 (September 1993): 12–22. http://dx.doi.org/10.1177/105708379300300104.

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Kuebel, Christa R. "Preparedness of Instrumental Music Majors Teaching Elementary General Music." Journal of Research in Music Education 67, no. 3 (June 14, 2019): 304–22. http://dx.doi.org/10.1177/0022429419850110.

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The purpose of this multiple-case study was to examine the career development, choices, and goals of elementary general music teachers who identified as instrumental majors during their undergraduate degree programs. Data collection included a questionnaire, interviews, participant journals, and observation field notes; data were organized using the theoretical framework of social cognitive career theory. Themes are presented in two categories: internal influences (self-efficacy and perceived differences between elementary music and instrumental music) and external influences (economy, undergraduate preparation, and working in elementary general music). Implications regarding the development of self-efficacy and preparation for teaching outside of one’s specialization are discussed.

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Ramafisela, Lingga. "The Digitization of Web-based Music Theory Modules." Journal of Education Technology 4, no. 4 (March 13, 2021): 487. http://dx.doi.org/10.23887/jet.v4i4.29645.

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In the digital era, modules in the form of books are deemed ineffective and inefficient due to the demand for online and independent lectures. This turned out to be facing obstacles due to limitations in learning media. Digital modules are needed to support teaching and learning activities in music theory courses so that the material presented can be well integrated. Digitalization is the process of changing from printed media to electronic media. Therefore it is necessary to digitize the web-based music theory module which aims to facilitate the teaching and learning process. The digitization of web-based music theory modules can be an important component that supports the implementation of the online lecture program that is currently being proclaimed by the government and supports the environmentally friendly (paperless) movement. The next target to be achieved is the development of a web-based music theory module in the ISI Yogyakarta Music Education study program. The qualitative method used in this research is based on data obtained in the field, namely in the music theory class of the ISI Yogyakarta Music Education study program. The technique of collecting data is utilizing literature study, observation, and interviews. The data analysis process was carried out by reducing data, presenting data, and drawing conclusions. The existence of a web-based music theory module is expected to be useful. una for convenience, progress and effectiveness of teaching and learning activities. The results of this study indicate that the module meets certain criteria, such as independent, independent, independent, adaptive, and user-friendly instructional. Based on the research results, it can be concluded that the digitization of the web-based music theory module is one proof of digital transformation due to technological advances.

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Gould *, Elizabeth. "Feminist theory in music education research: grrl‐illa games as nomadic practice (or how music education fell from grace)." Music Education Research 6, no. 1 (March 2004): 67–79. http://dx.doi.org/10.1080/1461380032000182849.

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Kepule, Iveta. "The Use of Kinesthetic Perception in Music Education at Primary School." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 86. http://dx.doi.org/10.17770/sie2012vol1.22.

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The article looks at the opportunities to use kinesthetic perception in music teaching taking as a basis H.Gardner’s theory of intellectual abilities and in connection with methodological approaches of E.J.Dalcroze, Z.Kodaly, C.Orff to music teaching. The variants of music language, music perception and creative activity which are offered in the article facilitate a simpler and more dynamic mastery of the taught music content, which in its turn creates positive conditions for students’ self-realization in music teaching. The compulsory content of music education is examined in connection with the „Regulations on the state standard of basic education and standards in subjects” in music.

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Mawer, Deborah. "Enlivening analysis through performance: ‘Practising set theory’." British Journal of Music Education 20, no. 3 (October 29, 2003): 257–76. http://dx.doi.org/10.1017/s0265051703005497.

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This is a sister article to one that appeared in this journal in 1999, which established benefits in coupling instrumental study and voice-leading analysis, primarily for performers but also for analysts. That analytical students too were more receptive to study when connected with their instrument was the cue for the present article; performance has much to offer the teaching/learning of non-tonal analytical techniques founded on the basic tenets of set theory. This article details an experimental curriculum, ‘Practising set theory’, tested at Lancaster University across 2001–2, in comparison with more traditional methods employed across 1995–2002, and in relation to the new ‘Music benchmark statement’ (2002). Beyond the specifics, it is hoped this research may interest other practitioners seeking alternative pedagogical approaches to parts of the Music curriculum perceived as difficult or especially demanding.

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Culp, Mara E., and Sara K. Jones. "Shame in Music Education: Starting the Conversation and Developing Resilience." Music Educators Journal 106, no. 4 (June 2020): 36–42. http://dx.doi.org/10.1177/0027432120906198.

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Feelings of shame may contribute to music teachers and music teacher educators being unwilling to discuss needs and concerns for fear of being judged or seen as inadequate. Shame or fear of feeling shame can also lead individuals to withdraw or perpetuate negative behaviors. Although shame is often a natural part of the human experience, the diverse nature of the content in music education, the wide variety of learners in various music education spaces, and music teachers’ beliefs and practices can be sources of shame among music teachers. This article aims to start a conversation about shame in music education and help music educators and music teacher educators feel empowered to use shame resilience theory as a means of understanding and coping with feelings of shame.

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Lehimler, Emrah. "The Evaluation of Music Teacher Candidates’ Awareness of Music Applications and Software, Their Frequency of Use and Purpose of Use." Journal of Education and Training Studies 7, no. 10 (August 26, 2019): 99. http://dx.doi.org/10.11114/jets.v7i10.4381.

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The purpose of the study is to examine the music teacher candidates' awareness of music applications and software, their frequency of use and purpose of use in terms of gender and grade level variables. The study group consists of 452 students studying in department of music education in 6 universities in Turkey during the 2018-2019 academic year. In order to collect data, a two-part questionnaire developed by the researcher was used.According to the results of the research, it was seen that music teacher candidates who are aware of the existence of applications for music notation, applications containing instruments for music performance, applications for listening/watching music and applications for recording/mixing stage were quite high compared to those who were not aware. It was observed that the number of those who were not aware of the applications of instrument education, applications of choir/singing and applications of music theory and hearing education were higher than those who were aware. It was seen that the most commonly used applications were applications that include instruments for music performance and applications for listening/watching music. It was seen that applications for choir/singing, applications for instrument education, applications for music theory and hearing education, and applications for recording/mixing stage were rarely used.According to the results obtained from the research, applications for music theory and hearing education, applications for instrument education and applications that include instruments for music performance were mostly used for professional development. It was found that applications for writing notes were mostly used for homework. Applications for listening/watching music, recording / mixing stage and chorus/singing applications were mostly used for entertainment purposes.The results of the study showed that music teacher candidates were less familiar with applications and software especially for the performance aspect of music. According to the results, it can be said that music teacher candidates do not know music applications and software adequately.

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Harrison, Carole S. "Predicting Music Theory Grades: The Relative Efficiency of Academic Ability, Music Experience, and Musical Aptitude." Journal of Research in Music Education 38, no. 2 (1990): 124. http://dx.doi.org/10.2307/3344932.

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Larson, Steve. "On Rudolf Arnheim's Contribution to Music Theory." Journal of Aesthetic Education 27, no. 4 (1993): 97. http://dx.doi.org/10.2307/3333503.

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Mellizo, Jennifer M. "Demystifying World Music Education: From Guiding Principles to Meaningful Practice." General Music Today 32, no. 2 (October 17, 2018): 18–23. http://dx.doi.org/10.1177/1048371318805237.

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Over the past several decades, music education scholars have put forth a variety of convincing rationales for world music education. Yet the gap between theory and practice in this area persists. In theoretical ways, practicing music educators acknowledge the value of world music learning experiences, but many remain reluctant to fully embrace and embody this approach in practice. Through this article, one practicing general music educator shares her personal experience of writing, implementing, and subsequently observing another music educator use a new world music curriculum resource, inspired by the music traditions of the Fon people in southern Benin. As our understanding of world music pedagogy continues to evolve, more practicing music educators should share their unique perspectives and experiences. These “snapshots” from the field can help other (perhaps more hesitant) music educators envision what this pedagogical approach might look like in their own classrooms.

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Zhang, Wenzhuo. "Multicultural Ethnic Music Education in Communist China." International Journal of Multicultural Education 19, no. 3 (October 31, 2017): 65. http://dx.doi.org/10.18251/ijme.v19i3.1359.

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The Central Communist Party (CCP) of the People’s Republic of China (PRC) describes China as a unified multinational country. National policies advocate cultural diversity in the educational system with particular emphasis on the notion that diverse ethnic minorities contribute to zhonghua minzu—a single united Chinese nationality. Drawing upon the theoretical frameworks of musical authenticity as well as two tenets of liberalism theory, equal concern and cultural neutrality, the study aims to understand how government-designed national K1–9 music textbooks represent the Chinese ethnic minority’s musical and cultural traditions.

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Young, Susan. "Physical Movement: Its place in Music Education." British Journal of Music Education 9, no. 3 (November 1992): 187–94. http://dx.doi.org/10.1017/s0265051700009062.

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The author calls for the physical, kinesthetic sense, to be recognised and understood for its role in all musical experience, on a par with our mental capacities, and also suggests that it is the missing, yet essentially vitalising part, of what might be called a ‘whole human’ response to and engagement with music. This thinking is applied to support an emerging theory of practice, which takes its original inspiration from the principles of Dalcroze Eurhythmics: principles which have been adapted and developed to meet the changing needs of contemporary education.

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Weidner, Brian N. "A Grounded Theory of Musical Independence in the Concert Band." Journal of Research in Music Education 68, no. 1 (January 7, 2020): 53–77. http://dx.doi.org/10.1177/0022429419897616.

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Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result of specific instructional practices that utilized cognitive modeling, scaffolded instruction, and authentic, regular, student-led music-making in curricular ensembles to promote student agency and decision making. These instructional practices relied upon preconditions for independence, including musical, social, and 21st-century skills foundations frequently found in large-ensemble classrooms. This study provides a model that can be situated within current large-ensemble practices to support the development of musical independence.

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Powell, Sean Robert. "Structure and agency in novice music teaching." Research Studies in Music Education 41, no. 2 (October 8, 2018): 206–18. http://dx.doi.org/10.1177/1321103x18794514.

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Using multiple interviews and observations, I chronicled the experiences of three novice music teachers in the United States over a 2-year period, including their student teaching internships and first years of in-service teaching. I analyzed these experiences through the lens of strong structuration theory, Stones’s (2005) extension and elaboration of Giddens’s (1984) original structuration theory. My guiding research questions were: a) How do the structures of music teaching within public schools in the U.S. enable and inhibit the agency of novice music teachers? and, b) How do the practices of novice music teachers reproduce, sustain, and change the structures of music education? I discuss how teacher educators, preservice teachers, and in-service teachers can work together in dialogue to assist novice music teachers in cultivating agential resistance by developing perceptions of power/capability, adequate knowledge, and requisite reflective distance.

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Hentschke, Liane, and Alda Oliveira. "Music curriculum development and evaluation based on Swanwick's theory." International Journal of Music Education os-34, no. 1 (November 1999): 14–29. http://dx.doi.org/10.1177/025576149903400103.

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Stubley, Eleanor. "Field Theory and the Play of Musical Performance." British Journal of Music Education 12, no. 3 (November 1995): 273–83. http://dx.doi.org/10.1017/s0265051700002746.

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This paper utilizes the vocabulary and methodological concepts of field theory to explore how play can arise in and through performance. Field is defined as a space or potential for action. The action of play is grounded in an open and expanding space which through a dialectic interplay of feelings motivates self-exploration. The action of musical performance is grounded in a reaching out movement through which the performer forges and sustains a musical voice. The field can create a space for play when the music-making re-directs or challenges the focus of the musical voice. The methodological approach recognizes and respects differences in the way music is made in different cultural traditions. It also articulates a need to develop instructional strategies which treat musical style as a ritualistic process and which define the role of the teacher as a musician.1

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Journal articles on the topic 'Music education theory'

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