Relevant bibliographies by topics / Music educator

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music educator'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Music educator"

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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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Smith, Jacqueline C. "Hidden in Plain Sight: A Music Therapist and Music Educator in a Public School District." International Journal of Music Education 36, no. 2 (June 19, 2017): 182–96. http://dx.doi.org/10.1177/0255761417712319.

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The purpose of this intrinsic case study was to clarify the roles of a music educator and music therapist in a North American public school district. This case was unique because some of the students with special needs received both music instruction and music therapy services, yet there was little collaboration between the two disciplines. In an effort to learn more about each music discipline and to add to the knowledge base of the connections between music education and music therapy I posed four research questions: (1) What were the goals of the music teacher and music therapist for the students in their classrooms? (2) What were the perceptions of the music teacher regarding music therapy services in an educational setting? (3) What were the perceptions of the music therapist regarding student experiences in the music classroom? (4) In what ways did the music therapist and music educator collaborate, or not, to improve outcomes for students with special needs? I found the goals of the educator and therapist in music were unique yet complementary, and clarification of these goals is needed to assist educators who work with students with special needs.
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Marsh, Kathryn. "Doreen Bridges: Music educator." Musicology Australia 16, no. 1 (January 1993): 71–72. http://dx.doi.org/10.1080/08145857.1993.10415231.

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Webster, Peter. "The New Music Educator." Arts Education Policy Review 100, no. 2 (November 1, 1998): 2–6. http://dx.doi.org/10.1080/10632919809599449.

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Hess, Juliet. "Becoming an Anti-Racist Music Educator: Resisting Whiteness in Music Education." Music Educators Journal 107, no. 4 (June 2021): 14–20. http://dx.doi.org/10.1177/00274321211004695.

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In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.
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Martin, Lisa D. "A Case Study of a Noncredentialed, Second-Career Music Educator." Journal of Music Teacher Education 28, no. 1 (July 27, 2018): 83–101. http://dx.doi.org/10.1177/1057083718788017.

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Throughout the United States, educators lacking formal credentials have increasing opportunities to assume classroom teaching positions. The purpose of this instrumental case study was to explore the career decision making and early-career teaching experiences of Holly, a noncredentialed music educator working in a public charter school. Data were collected over 6 months in the form of semistructured interviews, teaching and performance observations, and artifact analysis. Holly’s pathway to classroom teaching as a second career was characterized by nonlinear decision making, exploring numerous options before choosing to teach school music. Her early classroom teaching experiences were similar to those of traditional early-career music teachers with regard to classroom management concerns; however, her experience in private lesson instruction and directing community music theater equipped her with more practical pedagogical skill sets than typical early-career music educators. The discussion includes considerations of the value of formal credentialing and implications for music teacher education program recruitment.
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King, Andrew. "The (music) educator as producer." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 235–49. http://dx.doi.org/10.1386/jmte.11.3.235_1.

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Music technology has been an active part of the Higher Education (HE) curricula for several decades but it is perhaps the last few decades that have witnessed the proliferation of courses at tertiary level, or at least certainly in the United Kingdom. The recently formed Office for Students (OfS) in the United Kingdom replaces HEFCE (Higher Education Funding Council for England) although the remit is somewhat different for this new entity. The OfS is very much a regulator working on behalf of the consumers (students) and not the universities; education is probably the last of the sectors in the United Kingdom to fall into line with this practice since utility and other companies which have had such regulation for years. This brings into sharp focus the view of education as a service industry and the position of education more generally in HE in the United Kingdom. This takes place in the suggested context of a falling number of students engaging with music at schools, sixth form, and further education colleges as a consequence of changes to government policy and the content of the curricula. This article begins by examining music in education and highlighting the current issues. It draws upon recent reports about music in schools before examining the value of music, and especially music technology, in the curriculum. Questions around employability are set out and some key findings from a phenomenological study are presented to educators. Finally, some signposts are set out for future work in this area.
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May, Brittany Nixon, Karen Willie, Cherilyn Worthen, and Allyssa Pehrson. "An Analysis of State Music Education Certification and Licensure Practices in the United States." Journal of Music Teacher Education 27, no. 1 (April 4, 2017): 65–88. http://dx.doi.org/10.1177/1057083717699650.

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Teacher certification and licensure practices for music educators vary by state. Enhancing music teacher educator knowledge of state music education certification and licensure practices can inform music teacher preparation and improve future music teacher quality. The purpose of this study was to compile relevant information for music educators about the certification practices of each of the United States and the District of Columbia as of January 2016, and to examine the commonalities and differences among the states’ policies. Results revealed a movement toward comprehensive certification for all grade levels and music subject areas. Researchers noted heightened accountability through increased testing requirements and the inclusion of teacher performance assessments.
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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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Wiggins, Robert A. "Interdisciplinary Curriculum: Music Educator Concerns." Music Educators Journal 87, no. 5 (March 2001): 40. http://dx.doi.org/10.2307/3399707.

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Dissertations / Theses on the topic "Music educator"

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Hale, Travis L. "Becoming an educator: identity, music education, and privilege." Diss., Kansas State University, 2018. http://hdl.handle.net/2097/38794.

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Doctor of Philosophy
Curriculum and Instruction Programs
Frederick Burrack
This study is an intertwined critical autoethnography through which my experiences, my stories, are woven together with memories of family, students, and teaching career. Together, the telling of these stories will explore how I negotiated my identity development throughout my middle and high school experiences at a time when I could have been labeled as an at-risk student. The development into my professional career and personal life all influenced strongly by my participation in music education. Filtering these stories and memories through the lens of critical whiteness theory, this study interrogates the social assumptions that may be placed on at-risk students, exploring how these assumptions function within the context of access within our current music education structures, and investigates the ways in which social support systems allow opportunities for access of white male students and privilege in music education. An overarching question guiding this research is: How does the interrogation of such white privileges inform how one develops their identity as a music educator, a researcher, an academic, a husband, a father, a human, as well as, the curricular structures in place guiding access within music education?
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Chandler, Paul. "The township trumpet educator." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53180.

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Thesis (MMus) -- Stellenbosch University, 2002.
ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody.
AFRIKAANSE OPSOMMING: GEEN
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Kim, Yŏng-suk. "The artist-teacher as college music educator /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396155.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).
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Miller, Reeves Harold Macmurray Medaglia. "The vision music of Casanova, the personal transformation of a music educator." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0009/NQ59094.pdf.

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Corley, Scott Randolph. "Thomas Lee Dvorak: a career as music educator and conductor." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2198.

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Thomas Lee Dvorak (b. 1941) uniquely blended his experience as a music educator with his long career as a collegiate conductor. In his ten-year career as a public school instrumental music educator, Dvorak taught bands at the elementary, middle school or junior high, and high school levels. During this time, he encountered beginning instrumental music instructional methods that allowed his beginning band students to advance at a rapid pace. Dvorak parlayed his school band teaching experience with his growing reputation in band music education into an appointment to the music education faculty at the University of Michigan. At Michigan, Dvorak combined his experience and duties in music education with a conducting position when he was assigned to conduct the University of Michigan Youth Band/Wind Ensemble in 1975. After being named its Director of Bands in 1979, Dvorak created a similar symbiotic role for himself at the University of Wisconsin--Milwaukee (UWM) when he founded the Greater Milwaukee Youth Wind Ensemble in 1982. Throughout his twenty-seven year tenure as Director of Bands at UWM, Dvorak also combined education and conducting through the mentorship of graduate conducting students, his sponsorship of new and original music for young/developing bands, and his outreach work with Milwaukee-area school band programs. Dvorak also enjoyed a reputation as an insightful interpreter of wind band music, a leader of national professional organizations, authority on wind band repertoire, and as a frequently invited guest conductor of school, collegiate, and professional ensembles Thomas Dvorak retired from UWM in May 2007 and was named Professor Emeritus of Music.
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Gross, Jeanne Bilger. "Benjamin Russel Hanby, Ohio composer-educator, 1833-1867: His contributions to early music education /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148758461216499.

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McClellan, Edward Richard. "Relationships among parental influences, selected demographic factors, adolescent self-concept as a future music educator, and the decision to major in music education." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1465McClellan/umi-uncg-1465.pdf.

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Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Donald A. Hodges; submitted to the School of Music. Includes bibliographical references (p. 192-216).
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Lyle-Smith, Eva Diane. "Nathaniel Clark Smith (1877-1934): African-American Musician, Music Educator and Composer." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277721/.

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This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.
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Cassidy, Timothy John. "Modern a cappella-pop and showchoir methods for the classically trained music educator." Kansas State University, 2013. http://hdl.handle.net/2097/15629.

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Master of Music
Department of Music
Julie Yu
University choral music education programs commonly focus on training music educators in the Western Classical tradition, however, the evolving landscape of popular music requires an additional set of skills and experiences that are not a part of the standard curriculum. A cappella groups with vocal percussion and show choirs are increasing in demand due to the popularity of modern vocal music entertainment with television shows such as “Glee” and “The Sing-off” and performing groups such as “Pentatonix” and “Straight No Chaser.” With limited available literature and training, current and future musical educators face the problem of having to acquire these skills on their own. While ensembles dedicated to singing popular music are nothing new, the technical aspects of developing an ensemble that meets the high performance expectations of modern audiences can be intimidating. This report intends to cover the requisite techniques, skills, and resources that modern a cappella pop choirs and show choirs utilize to be successful. The report covers these topics: 1) a brief survey of the historical origins of choral vocal pop and show choir ensembles 2) defining the purpose, intent, and nature of such ensembles 3) show choirs, pop a cappella choirs, and hybrids 4) roles, responsibilities, and personnel assignment 5) music selection, arrangement, and programming 6) the decision to perform live, with a pre-recorded track, or a combination 7) use of audio and recording equipment in performance 8) rehearsal techniques 9) artistic and stylistic decisions
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Eshelman, Darla A. "The instructional knowledge of exemplary elementary general music teachers : commonalities based on David J. Elliott's model of the professional music educator /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Books on the topic "Music educator"

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Bridges, Doreen. Doreen Bridges: Music educator. Parkville, Vic: Australian Society for Music Education, 1992.

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Charles Leonhard: American music educator. Metuchen, N.J: Scarecrow Press, 1995.

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Luther Whiting Mason, international music educator. Warren, Mich.: Harmonie Park Press, 1997.

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White, Andrew Nathaniel. Andrew White in I, educator! Washington, D.C. (4830 S. Dakota Ave., N.E., Washington 20017): Andrew's Musical Enterprises, 1993.

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Lemco, Gary. Nietzsche as educator. San Francisco: Mellen Research University Press, 1992.

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Breithaupt, Robert B. The complete percussionist: A guidebook for the music educator. 2nd ed. Oskaloosa, Iowa (205 Cowan Ave., W., P.O. Box 680, Oskaloosa 52577): C.L. Barnhouse Co., 2005.

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Breithaupt, Robert B. The complete percussionist: A guidebook for the music educator. Oskaloosa, Iowa (205 Cowan Ave., W., P.O. Box 680, Oskaloosa 52577): C.L. Barnhouse Co., 1991.

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Sheldon, Deborah A. The complete woodwind instructor: A guidebook for the music educator. Oskaloosa, Iowa: C.L. Barnhouse Co., 1997.

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Mash, David. Computers and the music educator: A curriculum and resource guide. Menlo Park, Calif: Digidesign, 1991.

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He heard America singing: Arthur Farwell, composer and crusading music educator. Metuchen, N.J: Scarecrow Press, 1992.

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Book chapters on the topic "Music educator"

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Sieger, Crystal. "Navigating the Climate: Perspectives of a Rural Music Educator." In Narratives and Reflections in Music Education, 77–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-28707-8_6.

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Garrison, Rodney. "Problem-Based Learning and the Musician’s Role of ‘Educator’ in First-Semester Aural Skills." In Problem-Based Learning in the College Music Classroom, 179–92. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351265249-13.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Hughes, Diane, Mark Evans, Guy Morrow, and Sarah Keith. "Popular Music Education." In The New Music Industries, 97–116. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40364-9_6.

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Aróstegui, José Luis. "Music vs. Education." In Educating Music Teachers for the 21st Century, 175–99. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1_8.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Cavicchi, Daniel. "My Music, Their Music, and the Irrelevance of Music Education." In Music Education for Changing Times, 97–107. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2700-9_8.

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Houmann, Anna. "Traditional Musics in Music Education – The Sound of (R)evolution?" In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges, 113–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_8.

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Feldman, Evan, and Ari Contzius. "The Music Budget." In Instrumental Music Education, 414–23. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-26.

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"The Sociologically Savvy Music Educator." In Sociology for Music Teachers, 122–41. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315402345-8.

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Conference papers on the topic "Music educator"

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Tseng, Hua Hui. "THE RELATIONS BETWEEN MUSICIANSHIP AND CORE COMPETENCIES IN PROFESSIONAL MUSIC TRAINING—THE TUT EXPERIENCE." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end003.

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After being asked to respond to the Arts Education Act of 2015 by the Ministry of Education, Taiwan, concerning curricula and their impact on music education, what follows are some observations and reflections from the Tainan University of Technology (TUT), Taiwan, about its educators' experiences of teaching undergraduate music and music degrees. The idea put forward isthatskills/knowledge competency reflects an emergent sensibility in contemporary music cultures, and this represents an opportunity for music educators to reconfigure and strengthen their pedagogical approaches. By recognizing the legitimacy of new and varied forms of musicianship and acknowledging the ways in which course curricula continue to grow in their range of practices and necessary literacies, strategies can be developed to support broader, cohesive, inclusive, diverse, meaningful, and useful experiences for music students.
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Calegario, Filipe, Giordano Cabral, and Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.
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Kogler, Susanne, Julia Mair, Juliane Oberegger, and Johanna Trummer. "Erich Marckhl – Musikausbildung in der Steiermark nach 1945. Brüche und Kontinuitäten." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.58.

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Nowadays, a detailed examination of the structure and development of music education in Styria after 1945 seems absolutely necessary, considering an overall lack of research on that topic and a predominant thematization of Vienna. The composer, music pedagogue and cultural politician Erich Marckhl played a pivotal role in music education before and after 1945. His network reached far beyond Styria. This article shall illustrate the development and interaction of all institutions connected to music education after 1945.the reorganization of the music school system, the reopening of the State Conservatory and its transformation into the Academy of Music and Performing Arts.
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López-Íñiguez, Guadalupe, and Tuula Jääskeläinen. "How about equality and equity in higher music education? A theoretical framework for researching quality of music teaching and learning." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5417.

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While quality development has an important role in higher education in Finland, its connection with equality and equity in teaching and learning music is not often mentioned. Most of the discussions about equality in education have focused on how to equalize access to and participation in education, but there are disagreements about what the very concepts of equality and equity mean in education. When striving to achieve equality in higher music education, the use of learner-centered pedagogies may promote an engaging and satisfying learning experience. We illustrate a more holistic approach in teaching and learning music by adapting the equality-equity model developed by Espinoza (2007) to give an overview of dimensions of equality and equity with reference to the different stages of the educational process at the music university level. Constructivist research and phenomenographic research in teaching and learning music suggest that the conceptions held by teachers and students about teaching and learning can be relevant factors in the pursuit of change in educational practices. On this basis, we develop a theoretical framework and suggest some remedies for the research of teaching and learning in music universities aimed at developing more holistic quality in higher music education.
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Angel-Alvarado, Rolando, Miguel R. Wilhelmi, and Olga Belletich. "Holistic Architecture for Music Education: A proposal for empirical research in educational situations." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8079.

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Holistic Architecture for Music Education (HAME) arises as a Design-Based Research, that is, it is an interdisciplinary research approach based on mixed research methods, which attempts understanding empirical phenomena from music education complexity. The HAME’ structural design poses a preliminary study of phenomena, the formulation of a research hypothesis, fieldwork in real-world situations and, finally, an analysis of data collected during the fieldwork with the intention of contrasting the hypothesis. This study aims to explore the technical suitability of the HAME in music education’s empirical research. Results demonstrate consistency between four phases of the structural design, in addition to prove the empirical complexity of organisational structures in music classrooms. In conclusion, the HAME is understood as an interdisciplinary educational research approach, which is holistically described as it connects theoretical currents of the social sciences and humanities with actual educational situations of music education. As a consequence, the HAME provides theoretical and practical knowledge about music education.
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Marx, Tobias, and Martin Lissner. "Thüringer Musikszene – Jugendmusikredaktionen als außerschulische musikbezogene Bildungskontexte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.64.

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This contribution addresses a music editorial youth project in the context of extracurricular music education: Where and in which manner does musical education take place, particularly regarding music journalism? Opportunities for music journalism do not so much arise in schools or music schools but rather in actively used leisure time. The present study examines the motivation of participants in relation to their peers, host organisations, and project tutors. The concept of serious leisure perspective (Robert A. Stebbins) delivers the frame to discuss the results of the study.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Tóth-Bakos, Anita. "MUSIC EDUCATION AND MUSIC THERAPY." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0135.

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9

Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.

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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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Marins, Paulo R. A. "Challenges and Constraints of Using Audio in Online Music Education." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.043.

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Several online music courses have been developed lately by educational companies. In addition, many universities have been offering music online degree programs. Since these courses and programs are taught through distance education, many information and communication technoloties (ICTs) are used such as: recorded video, online software, social networks, and audio. Although audio is widely used in the online courses and degree programs that aim to teach applied music, only a few research reports have been published recently about this subject. This paper intends to clarify – through a literature review - some questions concerning this use and also aims to provide a discussion regarding the challenges and constraints of using audio in online applied music lessons. It is also hoped that the discussions made in this paper may lead to the development of research in the area of online music education as well as in the specific field of sound in learning.
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Reports on the topic "Music educator"

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Loveless, Jerry. The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses: Faculty Member Perspectives and Potential Barriers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1100.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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