Relevant bibliographies by topics / Music instruction and study

Contents

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

Academic literature on the topic 'Music instruction and study'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Music instruction and study"

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VILLARTA, BERNARDINA VIRAY. "Music Integration for Effective Delivery of Instruction: A Phenomenological Study." AIDE Interdisciplinary Research Journal 3 (April 24, 2023): 195–215. http://dx.doi.org/10.56648/aide-irj.v3i1.63.

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The objective of this study was to determine the teachers’ perspectives, experiences, problems, challenges, and intervention procedures used in integrating music into their classroom instruction. The study participants were delimited to elementary school teachers teaching in a private school in Imus Cavite, Philippines for the school year 2021-2022. The qualitative research strategy based on hermeneutic phenomenological research was used. A guided interview was used to collect data. Data collection and qualitative data analysis are usually done at the same time. The study came out with the following findings: The teachers need music workshops, training, and seminars to help them effectively employ music integration in their classroom for effective delivery of instruction, the teachers’ lack of supportive leadership from the school head, and the lack of resources to be used for teachers to integrate music. This conclusion points to the importance of providing workshops, training, and seminars to teachers, a need for a supportive school head and principal to motivate them to integrate music into their subject matter, and a provision of desired access to resources that would fill the needs of the teachers. Based on the above findings, the following conclusions are presented: The participants’ “lack of music training and ability” is the main reason behind the lack of an even more tremendous amount of implementation in the classroom. The participants do not have enough resources, materials, or a broad grasp of strategies and methods used for music integration. The following recommendations were drawn from the findings of this study: The school should provide desired access to resources and a source that would fill the needs of the participants. Also, the school should provide workshops, training, and seminars to the participants on integrating music in their classroom instructions in all subjects. Furthermore, Policy formulation on the adoption of integrating music into instruction may be formulated.
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MacLeod, Rebecca B. "The Perceived Effectiveness of Nonverbal, Co-Verbal, and Verbal String Ensemble Instruction: Student, Teacher, and Observer Views." Journal of Music Teacher Education 27, no. 3 (2017): 65–79. http://dx.doi.org/10.1177/1057083717739790.

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The purpose of this study was to determine how students, teachers, and outside observers perceive teaching effectiveness within a university-level string ensemble rehearsal setting. Students, teachers, and observers reflected on six rehearsal segments that used primarily nonverbal, co-verbal, or verbal instruction as outlined by Bob Culver in the Master Teacher Profile. Overall, participants viewed the verbal teaching episodes as being most effective, and expressed a preference for several elements associated with the verbal instructional mode. Five common elements of effective rehearsals identified by participants were Specific Instructions and Feedback, Delivery Skills and Eye Contact, Audible and Focused Co-Verbal Instruction Prompts, Conducting Effectiveness, and Ensemble Progress. Effectiveness perceptions were colored by participants’ sense of each teacher’s comfort with the different instructional modes as well as the elements of rehearsal teaching they personally valued.
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Springer, D. Gregory, Amanda L. Schlegel, and Andrew J. Lewis. "Effects of Dark and Bright Timbral Instructions on the Production of Pitch and Timbre." Journal of Research in Music Education 68, no. 4 (2020): 482–98. http://dx.doi.org/10.1177/0022429420944347.

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The purpose of this study was to examine the effects of timbral instructions on pitch and timbre production. High school ( n = 28) and collegiate ( n = 28) trumpeters played sustained tones at two octave levels (written C4 and C5) following three types of timbral instructions (dark-timbre, bright-timbre, or neutral instructions). Presentation orders were randomly assigned. Dependent variables included one acoustical measure of pitch (absolute cent deviation) and one acoustical measure of timbre (spectral centroid). Participants also reported which type of instruction they perceived to result in their “best sound” and their “most in-tune performance.” Results indicated a significant interaction between timbral instruction condition and octave. Post hoc testing revealed that timbral instructions affected participants’ absolute cent deviation, but different effects were observed in each octave. The effect of timbral instructions on participants’ spectral centroid was nonsignificant. Participants demonstrated a preference for the neutral instruction over the dark- and bright-timbre instructions, and their tuning accuracy varied by octave and instruction condition. These data suggest that music educators may need to use timbral instructions judiciously so that the instruction to play with a different timbre does not result in unintentional changes in pitch.
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Johnson, Daniel C. "The Effect of Critical Thinking Instruction on Verbal Descriptions of Music." Journal of Research in Music Education 59, no. 3 (2011): 257–72. http://dx.doi.org/10.1177/0022429411415860.

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The purpose of this study was to determine the effect of critical thinking instruction on music listening skills of fifth-grade students as measured by written responses to music listening. The researcher compared instruction that included opportunities for critical thinking (Critical Thinking Instruction, CTI) with parallel instruction without critical thinking opportunities (Activity-Based Instruction, ABI). The same music teacher delivered both instructional treatments concurrently in a series of sixteen 45-minute classroom lessons. Two randomly assigned, intact classes of participants ( n = 41 and 40) made up the CTI and ABI treatment groups, respectively. Three independent judges scored participants’ pretest and posttest responses using a researcher-designed instrument. Using a multivariate analysis of variance (MANOVA), the researcher found a significant test by treatment interaction. The post hoc analysis indicated that while the CTI participants scored higher on the posttest as compared with the pretest, ABI participants demonstrated no significant differences by test. Readers should note the larger than expected standard deviations when considering the positive effects of the CTI treatment. Implications include recommendations for future research and for designing music listening lessons to incorporate critical thinking skills in classroom music instruction.
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Latifah, Diah. "EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH." Jurnal Penelitian dan Evaluasi Pendidikan 16, no. 2 (2013): 457–73. http://dx.doi.org/10.21831/pep.v16i2.1127.

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Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand, the research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation
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Smolej Fritz, Barbara, and Cirila Peklaj. "A case study of music instruction according to E. Willems’ pedagogy in children with intellectual disabilities: Its impacts on music abilities and language skills." International Journal of Music Education 37, no. 2 (2019): 243–56. http://dx.doi.org/10.1177/0255761419833082.

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The aim of this case study was to explore the effects of music instruction according to the E. Willems teaching method on the music abilities and language skills in students with intellectual disabilities (ID). Eight students with ID (average age 9.64 years) participated in the study. They attended 35 music lessons during the school year. Each lesson included tasks for developing four domains: auditory perception, rhythm, singing songs and natural body movement. We developed the tasks for measuring music abilities and language skills and applied them three times: before the music training, immediately after the training and in delayed measurement 10 months after the training. Results showed a significant improvement in the music abilities in rhythm between the first and the second measurements. The improvements between the first two measurements were also found in language skills, in following instructions and in discrimination and repetition of phonemes in pairs. The research method used does not allow for the generalization of results, but it is the first step in empirical research into the effects of music instruction according to the principles of E. Willems’ pedagogy in children with ID.
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Kelly-McHale, Jacqueline. "The Influence of Music Teacher Beliefs and Practices on the Expression of Musical Identity in an Elementary General Music Classroom." Journal of Research in Music Education 61, no. 2 (2013): 195–216. http://dx.doi.org/10.1177/0022429413485439.

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The purpose of this qualitative collective case study was to examine the ways an elementary general music teacher’s curricular beliefs and practices influence the expression of music in identity and identity in music for second-generation students. In addition to the music teacher, participants were 4 students whose families had immigrated to the United States from Mexico and who were attending the midwestern suburban school within the United States where the study took place. This research was designed to provide an understanding of the interactions between the roles of music instruction, cultural responsiveness, and musical identity. Within-case and cross-case analysis generated specific and broad themes that addressed the purpose of the study. The findings revealed that the role of the teacher’s view of the self as musician and educator, combined with the choice of instructional approach, created a music classroom environment that successfully met the teacher-directed goals for sequence-centered instruction. Nonetheless, the data revealed that the choice of instructional approach resulted in an isolated musical experience that did not support the integration of cultural, linguistic, and popular music experiences and largely ignored issues of cultural responsiveness.
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Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.

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The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities. Participants engaged in three 70-minute instructional treatment sessions over 4 days and completed pre- and postinstruction improvisation performances that were evaluated by four expert judges using the researcher-constructed Jazz Improvisation Performance Achievement Measure. Self-efficacy was measured using the researcher-constructed Jazz Improvisation Self-Efficacy Scale. Results indicated a significant ( p < .05) interaction effect for pre- to postinstruction and instructional method, with the aural instruction group demonstrating significantly greater gains than the notation group. Posttreatment achievement scores indicated nonsignificant correlations with experience variables. Participants’ self-efficacy for jazz improvisation increased significantly ( p < .001) following exposure to improvisation instruction; however, no interaction effect was found for instruction and mode of instruction.
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CAO, JIAKAI. "Enhancing Student Engagement and Learning Outcomes through Interactive Approaches in College Vocal Music Instruction." Pacific International Journal 7, no. 1 (2024): 131–36. http://dx.doi.org/10.55014/pij.v7i1.535.

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This study investigates the enhancement of student engagement and learning outcomes in college vocal music instruction at Bozhou University, Anhui Province, China, through the implementation of interactive approaches. Recognizing the pivotal role of music education in shaping artistic and academic development, the research addresses the current challenges in student engagement and identifies the pressing need for innovative instructional strategies. The study employs a qualitative research design, conducting in-depth interviews with 25 undergraduate students to explore their perceptions of current vocal music instruction and the impact of interactive methodologies. Findings reveal diverse student perspectives on teaching methods, engagement levels, collaborative learning, technology integration, and assessment processes. The study highlights the potential of interactive elements, such as active learning strategies and technology-assisted instruction, to positively influence student engagement. Furthermore, it explores the implications of interactive approaches on learning outcomes, emphasizing holistic skill development and leveraging technology for effective learning facilitation. The discussion outlines practical implications for curriculum design, educator professional development, and the creation of a supportive learning environment. The findings contribute valuable insights to the ongoing discourse on effective music education strategies, providing a foundation for curriculum refinement and innovation in the evolving landscape of collegiate music education.
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Duke, Robert A., Carol A. Prickett, and Judith A. Jellison. "Empirical Description of the Pace of Music Instruction." Journal of Research in Music Education 46, no. 2 (1998): 265–80. http://dx.doi.org/10.2307/3345628.

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The present study was designed to assess novice teachers* perceptions of timing in music instruction and to identify the aspects of timing that are associated with positive perceptions of instructional pacing. We selected eight 1-3-minute excerpts from teaching-practicum videotapes of four novice teachers teaching in a choral rehearsal, a band rehearsal, and two elementary music classrooms. Each teacher appeared in two excerpts that differed with regard to the pace of instruction depicted in each. Novice teachers (N = 44) viewed the videotaped excerpts and evaluated the pace of instruction along six semantic differential scales: fast—slow; appropriate—inappropriate; tense—relaxed; smooth-uneven; too fast-too slow; good-bad. Subjects discriminated among the faster and slower examples on five of the six evaluation dimensions, and among teachers on all six dimensions. Subjects rated the pace of instruction more positively when the rates of student performance episodes and teacher activity episodes were higher rather than lower, and when the mean durations of teacher and student activity were shorter rather than longer. These variables may function as operational measures of the pace of instruction in music performance.
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Dissertations / Theses on the topic "Music instruction and study"

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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.

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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.
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Kertz, Marjorie I. "A gift of music." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/766.

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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.

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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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McMillan, James F. "The curricular dysfunction between the administration of instrumental music and suitability of teaching materials in English secondary schools /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65402.

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Montocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.

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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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Mondia, Nunzio. "The effect of a pop/rock music repertoire on the music achievement and preferences of lower secondary school students." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1102.

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This research tested the effect of using a pop/rock repertoire to teach selected music skills to lower secondary school students in a conventional school setting. Two year 9 co-educational music classes from the same school were used for the experiment. The research was conducted in an experimentally controlled environment in which one class was the experimental group, and the other class was the control group. Measurements in changes of student achievements and musical preferences were the focus at the data collecting stages. Reported research indicates that students need to be motivated for learning to occur. One approach to motivation is the incorporation of pop/rock music in programmes. However, popular music is only slowly finding its way into many school programmes because many teachers lack vital resources such as skills, appropriate repertoire material and guidance. As a consequence, many of those teachers have questioned and continue to question the value of popular music in music education. The results of this experiment were statistically analysed and interpreted to determine whether the selected pop/rock repertoire significantly increased the achievement levels of those students. The analyses indicated that students using pop/rock repertoire for learning musical concepts, significantly increased their achievement levels from the pre-test to posttest stage but that both classical and pop/rock repertoires were equally effective in increasing the achievement rate of students. All students had a higher preference for pop/rock music and a significantly lower preference for classical music.
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Glover, Richard. "Music of sustained tones." Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/9612/.

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This thesis accompanies the portfolio of compositions written between 2006 and 2010 and discusses both the overall theoretical concepts, and the specific musical tools, that lie behind their construction. Chapter 1 presents theories of perceptual grouping mechanisms and temporality in reductive music, and applies these to the transformational surface layer from the sustained tones in my music. The use of repetition and gradual process in my music is explored, leading to the application of a decentralised approach towards my structural models. The notion of a 'closure spectrum' contextualises my own music with others, and facilitates a discussion of the teleological nature of my music. Chapter 2 describes the tools which are used in the application of these concepts; in particular, the use of harmony, glissando, duration, use of instruments and notation are reviewed. The individual portfolio pieces are discussed in chapter 3, detailing the various employments of the these tools in different instrumental contexts. This chapter also demonstrates the overall refinement in my compositional approach which took place throughout the doctoral course: my gradual shift towards simpler processes, indeterminacy in notation, and extended note-duration. Less successful aspects of these pieces are also considered in the context of this evolution, along with those aspects which were retained and employed in future pieces. The conclusion evaluates the overall progression, and discusses areas for future development which have arisen from my own research through composition.
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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.

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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Newton, Mark Brian. "A remote interactive music keyboard tuition system." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1004860.

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A networked multimedia system to assist teaching music keyboard skills to a class is described. Teaching practical music lessons requires a large amount of interaction between the teacher and student and is thus teacher intensive. Although there is a range of computer software available for learning how to play the keyboard, these programs cannot replace the guidance of a music teacher. The possibility of combining the music applications with video conferencing technology for use in a keyboard class is discussed. An ideal system is described that incorporates the benefits of video conferencing and music applications for use in a classroom. A design of the ideal system is described and implemented. Certain design and implementation decisions are explained and the performance of the implementation examined. The system would enable a music teacher to effectively teach a music class keyboard skills.
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Szabo, Moira. "An assessment of music teacher effectiveness : a comparison between generalists and specialists." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61772.

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Books on the topic "Music instruction and study"

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João, Hermida, and Ferreo Mariana, eds. Music education. Nova Science, 2009.

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Swanwick, Keith. Teaching music musically. Routledge, 2012.

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Xavier, Rodriguez Carlos, and MENC, the National Association for Music Education (U.S.), eds. Bridging the gap: Popular music and music education. MENC, 2004.

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Snoqualmie Valley School District #410. Music curriculum. Snoqualmie Valley School District No. 410, 1988.

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Lambert, Richard. GCSE music. Longman, 1990.

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Missoula County High School District (Mont.), ed. Music curriculum. The District, 1985.

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Hamilton Township Schools (N.J.), ed. General music. Hamilton Township Schools, Department of Curriculum and Instruction, 1989.

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Savage, Jonathan, and Jayne Price. Teaching secondary music. SAGE, 2012.

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Palmer, King. Music: An introduction. Hodder & Stoughton, 1995.

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Phillips, Kenneth H. Exploring research in music education and music therapy. Oxford University Press, 2008.

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Book chapters on the topic "Music instruction and study"

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Huynh, Tina A. "Formal Music Instruction." In Remembering Musical Childhoods in Vietnam. Routledge, 2024. http://dx.doi.org/10.4324/9781003363187-5.

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Feldman, Evan, and Ari Contzius. "Special TopicsConstructivism, Concept Attainment, and Direct Instruction." In Instrumental Music Education. Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-7.

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Feldman, Evan, and Ari Contzius. "Special TopicsConstructivism, Concept Attainment, and Direct Instruction." In Instrumental Music Education, 4th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003366157-7.

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Idamoyibo, Atinuke Adenike, and Emily Achieng’ Akuno. "Systematic instruction for musical arts education." In Music Education in Africa. Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-16.

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Webster, Peter R. "Technology in Music Instruction and Learning." In Encyclopedia of the Sciences of Learning. Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-1428-6_1710.

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Feldman, Evan, and Ari Contzius. "Score Study." In Instrumental Music Education. Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-12.

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Feldman, Evan, and Ari Contzius. "Score Study." In Instrumental Music Education, 4th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003366157-14.

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Nowatzki, Tony, Michael Ferris, Karthikeyan Sankaralingam, Cristian Estan, Nilay Vaish, and David Wood. "Case Study: Instruction Set Customization." In Optimization and Mathematical Modeling in Computer Architecture. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-031-01773-5_3.

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Bonner, Sarah M., and Peggy P. Chen. "Music Case Study." In Systematic Classroom Assessment. Routledge, 2019. http://dx.doi.org/10.4324/9781315123127-15.

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Kruse, Sharon D., and Julie A. Gray. "Curriculum, Instruction, and Assessment." In A Case Study Approach to Educational Leadership. Routledge, 2018. http://dx.doi.org/10.4324/9781315108308-3.

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Conference papers on the topic "Music instruction and study"

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Lou, Shi-Jer, Yi-Zhen Zhu, Kuo-Hung Tseng, Yuan-Chang Guo, and Ru-Chu Shih. "A Study of Computer-Assisted Instruction on Music Appreciation: An Example of Chinese Musical Instruments." In 2009 Ninth IEEE International Conference on Advanced Learning Technologies (ICALT). IEEE, 2009. http://dx.doi.org/10.1109/icalt.2009.62.

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Johnson, Carol, and Alana Blackburn. "Video feedback in tertiary music performance classes." In ASCILITE 2021: Back to the Future – ASCILITE ‘21. University of New England, Armidale, 2021. http://dx.doi.org/10.14742/ascilite2021.0114.

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Video feedback can be an important and key mechanism for supporting online student learning in higher education. In the context of online music teaching, video feedback provides a necessary audio and visual element to support music students’ learning of music performance practice. A predecessor to a larger study in video feedback, this pilot study sought to explore instructor perceptions of the use of video feedback in music performance teaching classes. Using self-study methodology, findings suggest that video feedback can effectively complement individualised online music teaching within an undergraduate performance class and a Master of Music Performance Teaching group music class, provide supportive scaffolding for self-regulated learning, and offer students opportunities to create meaningful student-instructor connections and community. Strategies for effective implementation by way of self-regulation and communication are also addressed.
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Grecu, Vasile. "Th e value dimension of schooling through the pianoforte musical instrument in interwar Basarabia." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.23.

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At the beginning of the 19th century, new educational institutions with a musicalartistic profi le were opened, which signifi cantly increased the interest for studying the piano. At the same time, the musical life in Bessarabia is intensifying due to the artistic activity of some professional musicians with studies at conservatories in Russia and Western Europe, creating standards of music education and interpretive mastery, with a signifi cant impact on the professional training of pianists. Th e artistic activity for musical thinking involves performance communication, and the practical study of a musical instrument in its high creative manifestation is intellectually developmental and forms creative artistic consciousness in the student. Th e orientation towards the professional development of musical thinking in pianist students and their intellectual activation requires musical education in a specifi c way of teaching, such as, the penetration into the content of music through analytical interpretation, the provision of rational, priority instruction, in relation to the intuitive one.
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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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Yin, Lam Wing. "Using 5 Music Instructional Methods to Illustrate the Social Constructive Music Teaching Framework in Hong Kong Primary Level Music Education: A Comparison Study Between Private International and Public Schools." In The Asian Conference on Education 2023. The International Academic Forum(IAFOR), 2024. http://dx.doi.org/10.22492/issn.2186-5892.2024.97.

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Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.

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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Shriki, Atara, and Ilana Lavy. "QUALIFYING MATHEMATICS TEACHERS TO DESIGN INTERDISCIPLINARY LEARNING ACTIVITIES OF MATHEMATICS AND MUSIC." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end099.

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"Interdisciplinary learning of mathematics and arts is often acknowledged as supporting the development of students' problem-solving skills, encouraging student involvement in learning, and fostering students' creativity. However, for teachers to acknowledge the benefits of interdisciplinary learning of mathematics and arts, and express willingness to apply it in their classrooms, they must first experience such learning for themselves. To that end, they have to take part in dedicated training courses. The study described in this paper followed the experience of twenty-seven elementary school mathematics teachers who participated in an annual professional development program that took place once every two weeks and was designed to qualify them to implement an interdisciplinary approach to teaching mathematics and arts. The course included four interdisciplinary modules: math-music, math-painting, math-photography, and math-dance. None of the teachers had prior knowledge of interdisciplinary teaching and learning. The mathematical topic chosen was fractions, as this topic entails numerous difficulties of various kinds both for the teachers and the students. In what follows we focus on the teachers' experience with module no. 1, math-music. Before we explicitly exposed the teachers to the rationale of interdisciplinary learning of mathematics and music, they were asked to design learning activities that integrate fractions and music. No specific instructions were given, as we aimed at allowing the teachers to examine their initial perceptions and interpretations regarding interdisciplinarity, and then adapting the contents of the professional development program to the teachers' early perceptions and knowledge. After completing the design of the activities, the teachers presented them, explained their considerations, and provided mutual feedback. They also rated the extent to which interdisciplinarity was expressed in the activity, according to criteria they had developed themselves. The study indicated that teachers who knew how to play a certain musical instrument and read notes produced more mathematically significant content. Moreover, activities based on considerations relating only to common student mistakes in performing arithmetic operations in fractions did not lead to the design of activities characterized as having a high extent of interdisciplinarity. In case the considerations included general mathematical knowledge and knowledge of the mathematics curriculum, the extent of integration increased. Following these findings, the professional development program focused on deepening the teachers' mathematical knowledge and musical knowledge relevant to the subject of fractions. This approach has proven to be effective in terms of teachers' ability to produce meaningful interdisciplinary math-music activities, thus indicating the feasibility of teacher training for implementing an interdisciplinary approach."
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Trocinel, Daniela. "Compositional incursions into the didactic repertoire and music for children by the composer Alexandr Mulear." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.12.

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Composer A. Mulear is among the notable personalities who actively participated in the development, and completion of the local musical didactic fund with compositions of various genres and forms, from small and simple to extensive works. The instructive works for piano, violin, and voice are among the most well-known and performed by students. The author subtly feels the universe of children and knows in detail the possibilities of learning instruments at the primary stages of study. Thus, significantly contributing to the amplification and expansion of the children's musical-spiritual world, he managed to familiarize them with an entire diversity of local musical literature, by embodying the popular images and genres in his didactic compositions.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Reports on the topic "Music instruction and study"

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Wang, Changhua. A comparative study of Chinese EFL reading instruction and American ESL reading instruction. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5745.

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Glaser, Robert, and Miriam Bassok. Learning Theory and the Study of Instruction. Defense Technical Information Center, 1989. http://dx.doi.org/10.21236/ada204744.

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Pratton, Jerry. A study of the effects of active participation in instruction upon learning. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.775.

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Nyman, Matt, Nancy Staus, and Martin Storksdieck. Science and Art Teaching Practices for Oregon Elementary Teachers: Results of a Landscape Survey. Oregon State University, 2023. http://dx.doi.org/10.5399/osu/1163.

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An Evaluation Report for the Oregon Department of Education. In collaboration with classroom teachers and WRAP personnel we developed and implemented a survey to collect baseline data on the science and arts teaching practices for ALL elementary teachers. This included “regular” classroom teachers (those teachers with an assigned physical classroom and set of students), art teachers, music teachers, PE teachers and other educators or administrators. In December 2022 we recruited three (3) elementary teachers to assist us in survey development, in particular framing questions around frequency of teaching time for both arts and science instruction. One important outcome was that we formulated questions around “dedicated” teaching time where instruction was only focused on science or art content and “integrated” teaching when teachers combine science or art with other instructional areas (such as math or literacy). We also learned that there was a lot of nuances in trying to capture the science and art teaching data; for example, some schools have large blocks of time when they have a particular focus on a science content area and then equally large blocks when science teaching is replaced by instruction in other fields, such as social science. It can be difficult to reduce this instructional framework to a weekly allotment of science teaching.
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Percival, Georgann. The Adjunct Model of Content-based Instruction: A Comparative Study in Higher Education in Oregon. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7178.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Sitabkhan, Yasmin, Matthew C. H. Jukes, Eileen Dombrowski, and Indrah Munialo. Differentiated Instruction in Multigrade Preprimary Classrooms in Kenya. RTI Press, 2022. http://dx.doi.org/10.3768/rtipress.2022.op.0084.2212.

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There is little evidence of how differentiated instruction is being implemented, if at all, in low- and middle-income contexts, which often have unique challenges such as availability of resources and large class sizes. In this paper, we present the results of a qualitative study in eight multigrade preprimary classrooms in Kenya. We used classroom observations and teacher interviews to understand how teachers approached differentiation during language and mathematics lessons, including understanding why teachers were making the moves we observed. All teachers differentiated instruction to some extent in our findings, and we provide detailed descriptions of the ways that teachers adapted content to fit the needs of their students. We also provide recommendations, including how to support teachers in creating activities that are appropriate for different abilities of students in the same classrooms, and suggest next steps for research in this area.
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Hillman, Kylie, Elizabeth O'Grady, Sima Rodrigues, Marina Schmid, and Sue Thomson. Progress in Reading Literacy Study: Australia’s results from PIRLS 2021. Australian Council for Educational Research, 2023. http://dx.doi.org/10.37517/978-1-74286-693-2.

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Progress in International Reading Literacy Study (PIRLS) is a large-scale assessment that measures how effective countries are in teaching reading literacy. Conducted every five years since 2001 (with Australia participating since 2011), PIRLS provides information about how to improve teaching and learning so that young students become accomplished and self-sufficient readers. In Australia, almost 5,500 Year 4 students participated in PIRLS 2021. These students completed tests in reading comprehension and answered questionnaires on their background and experiences in learning reading at school. To inform educational policy in the participating countries, alongside the assessment of reading literacy, PIRLS also routinely collects extensive background information that addresses concerns about the quantity, quality and content of instruction. This background information is collected through a series of questionnaires for students, teachers, principals and curriculum specialists.
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BOWLES NA. FIELD TEST INSTRUCTION 100-NR-2 OPERABLE UNIT DESIGN OPTIMIZATION STUDY FOR SEQUESTRATION OF SR-90 SATURATED ZONE APATITE PERMEABLE REACTIVE BARRIER EXTENSION. Office of Scientific and Technical Information (OSTI), 2010. http://dx.doi.org/10.2172/1000062.

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