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Relevant bibliographies by topics / Music – Instruction and study – Jamaica

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Academic literature on the topic 'Music – Instruction and study – Jamaica'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Music – Instruction and study – Jamaica"

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Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.

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The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The o

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Buonviri, Nathan O. "Successful AP Music Theory Instruction: A Case Study." Update: Applications of Research in Music Education 36, no. 2 (2017): 53–61. http://dx.doi.org/10.1177/8755123317724326.

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The purpose of this case study was to examine the instructional approach of a highly successful Advanced Placement Music Theory teacher. I visited the participant’s class twice a week for 14 weeks, taking field notes, conducting interviews, and collecting instructional artifacts. Analysis of qualitative data revealed three main themes: classroom atmosphere, instructional strategies, and the Advanced Placement exam. The participant’s classroom atmosphere was built on effective pacing, student rapport, and an active, open learning environment. His instructional strategies included offering indiv

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Kim, Soo Jung, and Sung Jin Park. "An Experimental Study on the Relationship between Jamaica Dancehall Music and Dance." Dance Research Journal of Dance 79, no. 2 (2021): 1–14. http://dx.doi.org/10.21317/ksd.79.2.1.

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신지혜. "A Study of Verbal Instruction and Modeling in Music Teaching." Journal of Future Music Education 1, no. 2 (2016): 39–56. http://dx.doi.org/10.36223/jnafme.2016.1.2.003.

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Nicely, Annmarie, and Raslinda Mohd Ghazali. "Music and emotion links to visitor harassment: a look at Jamaica." Tourism Review 74, no. 3 (2019): 371–84. http://dx.doi.org/10.1108/tr-11-2017-0174.

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Purpose The purpose of this paper is to use a study conducted on the Caribbean island of Jamaica to make the case that music might be a plausible suppressant of negative visitor harassment (VH). The goal of the study in question was to determine the genres of songs and music likely to have a positive effect on emotions the antithesis of the ones associated with VH but would have positive effect on visitors’ shopping behaviors as well. Design/methodology/approach A mixed method pre-experimental design was used for the study. Forty-two craft traders from a single craft market in Jamaica particip

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Salvador, Karen. "Assessment and individualized instruction in elementary general music: A case study." Research Studies in Music Education 41, no. 1 (2018): 18–42. http://dx.doi.org/10.1177/1321103x18773092.

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Elementary general music teachers have differing perspectives on the meaning and value of assessment, and few studies have examined how the results of assessment are applied in the classroom. In this case study, I investigated how one elementary general music teacher used information from assessments to individualize instruction. Over the course of seven weeks of observation, think-alouds, interviews, and reading the teacher’s journals, I discovered that my guiding questions had implied a simplistic, linear relationship of assessment and differentiation of instruction—that assessment led to in

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Bulgren, Christopher W. "Jail Guitar Doors: A case study of guitar and songwriting instruction in Cook County Jail." International Journal of Community Music 13, no. 3 (2020): 299–318. http://dx.doi.org/10.1386/ijcm_00026_1.

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Jail Guitar Doors USA (JGD USA) is an initiative that provides guitars and songwriting instruction in correctional facilities. Founded in 2009, JGD USA is currently in 100 jails, prisons and youth facilities with a waiting list of 50. This study examined the phenomenon of JGD USA in Cook County Jail (Chicago, Illinois) and was guided by the following research question: How do participants describe their experiences in the case of JGD USA in Cook County Jail? Participants consisted of six adult male residents. Other data sources included interviews with the class teacher, the jail administrator

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Chesky, Kris, and Karendra Devroop. "The Effects of College Music Instruction, Gender, and Musician Type on Income from Performing Music." Medical Problems of Performing Artists 18, no. 2 (2003): 72–77. http://dx.doi.org/10.21091/mppa.2003.2014.

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Studies in the social sciences imply a relationship between levels of employment and potential adverse effects on health. The lack of information regarding musicians makes it difficult to describe and prepare for the potential adverse relationships between musicians’ economic patterns and health. The purpose of this study was to characterize economic patterns of musicians and to investigate the relationships between income from performing music and college music instruction, age, and gender. A total of 4,017 subjects participated in an Internet-based musician survey. Data analysis included the

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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.

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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band direct

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McGinnis, Emily J. "Developing the Emotional Intelligence of Undergraduate Music Education Majors: An Exploratory Study Using Bradberry and Greaves’ (2009) Emotional Intelligence 2.0." Journal of Music Teacher Education 27, no. 2 (2017): 11–22. http://dx.doi.org/10.1177/1057083717723919.

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Research focused on the relationship of emotional intelligence (EI) to academic and professional success in education, and whether and how it might be taught and learned, is inconclusive. The purpose of this study was to examine the degree to which undergraduate music education majors experienced a change in EI after implementing strategies from Emotional Intelligence 2.0. Participants included 10 junior-year music education majors enrolled in a semester-long music teaching foundations course. Participants predicted their EI scores, completed the Emotional Intelligence Appraisal pretest, and,

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Dissertations / Theses on the topic "Music – Instruction and study – Jamaica"

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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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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

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Jones, Jason David. "Elementary music teacher perception and instruction of subdivision| A mixed methods study." Thesis, The University of Texas at San Antonio, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10151305.

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<p> The purpose of this mixed methods study was to explore elementary music teacher perspectives of subdivision and its instructional value in the general music classroom. This study aims to answer the questions: (a) How does the perceived definition of subdivision influence instruction? (b) How do elementary music teachers relate subdivision to other concepts? (e) How does training and professional development influence teacher perception? Elementary general music teachers (<i>N</i>=26) from an inner-city Title 1 school district in Central Texas participated in a descriptive survey. Results i

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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 empha

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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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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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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 r

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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, i

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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

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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 m

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Books on the topic "Music – Instruction and study – Jamaica"

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Music. NTC Publishing Group, 1992.

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Music. 6th ed. Hodder & Stoughton, 1992.

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

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Transforming music education. Indiana University Press, 2003.

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Teaching music globally: Experiencing music, expressing culture. Oxford University Press, 2004.

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1947-, Wing Lizabeth Ann, ed. An orientation to music education: Structural knowledge for music teaching. Pearson/Prentice Hall, 2004.

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Pictures of music education. Indiana University Press, 2011.

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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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1953-, Snyder Laura, Abromeit Kathleen A. 1962-, and Campana Deborah Ann, eds. Music library instruction. Scarecrow Press, 2004.

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Book chapters on the topic "Music – Instruction and study – Jamaica"

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"Case Study: Jamaica." In Media Policy and Music Activity. Routledge, 2003. http://dx.doi.org/10.4324/9780203408704-11.

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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.

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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).

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Korngold, Erich Wolfgang, and David Brodbeck. "Recollections of Zemlinsky from My Years of Study." In Korngold and His World, translated by Elisabeth Staak and David Brodbeck. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.003.0008.

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This chapter contains Erich Korngold's personal reflections on his former teacher, Alexander Zemlinsky. Zemlinksy was an Austrian composer and conductor who enjoyed an outstanding reputation as a private music teacher in late Habsburg Vienna. He is perhaps best remembered in this capacity for the counterpoint instruction he gave to his future brother-in-law Arnold Schoenberg. For a brief time, beginning in 1900, Zemlinsky taught Alma Schindler, with whom he had a love affair in the period before she began the relationship that would lead, in March 1902, to her marriage to Gustav Mahler. Among the last—and certainly the most precocious—of Zemlinsky's Viennese students was Erich Wolfgang Korngold, whose lessons were initiated in 1908 and continued for upward of two years until Zemlinsky departed Vienna to become the music director of Prague's New German Theater.

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Akutsu, Taichi, Kazuya Amano, Kimie Hirahara, et al. "Bring the Power of Music Into Education." In Advances in Early Childhood and K-12 Education. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch002.

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This study aims to utilize music to improve learners' motivation, communication, as well as all subject matters other than music, and to nurture human resources that will contribute to the creation of “symbiosis” society. By creating a new teaching learning model for recurrent education for in-service P-12 teachers in Japan, the study specifically presents several model classes to let the participating teachers plan the “Utilizing Music.” For training, they use active learning methods such as PBL with core communication among students. The data were gathered by asking all of the participants to answer an open-ended questionnaire after each session and to analyze their sample lesson plans after they received the instruction. Findings suggests that there were certain resistances in teachers to change their teaching to be more interdisciplinary and shifted to kyosei-based; however, most of the participants absorbed the proposed idea and created lessons in a new direction.

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Hammel, Alice M., and Ryan M. Hourigan. "Preparing to Teach." In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0009.

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There are varying degrees of undergraduate and graduate preparation for students with special needs. Music educators may have had a general special education class or the opportunity to study topics regarding students with special needs embedded within a music methods course. The topic of students with special needs may have been included in an educational psychology course, or a teaching music to students with special needs course that was part of the curriculum (Heller, 1994, York & Reynolds, 1996). More often than not, music educators have little or no background or instruction in this area (Wilson & McCrary, 1996). Therefore, music educators must be resourceful in gaining insight into the skills, strategies, and understandings that accompany the experience of teaching a student with special needs. Music teacher educators often have little or no preparation as to how to educate future music educators regarding the inclusion of music students with disabilities or how to plan, implement, and assess lessons in self-contained and inclusive music classrooms. Oftentimes, this lack of understanding results in either glossing over the topic or ignoring it altogether. Licensure requirements can leave little room for “special” topics in the methods classroom. Fieldwork and engagement with special education faculty and staff in a variety of environments can assist music educators in finding ways to reach students with special needs. This chapter may appear to be designed for the music teacher educator. However, practicing music educators are encouraged to utilize the observation protocols and other strategies to obtain on-the-job and authentic experience through self-imposed fieldwork, observation, and discussion within the special education framework. This may be beneficial to music educators in understanding the subculture of students, parents, educators, and administrators that surround a student with special needs. This fieldwork may need to be conducted during preparation/planning time or through permission from an administrator. For music teacher educators, this chapter is designed as a guide to develop fieldwork opportunities for pre-service music educators. Included in this chapter will be strategies for engagement in self-contained classrooms, resource rooms, inclusive settings, and summer enrichment programs.

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Sutani, Shizuka, and Taichi Akutsu. "Japanese Special High School Students' Reflections on 9-11." In Advances in Early Childhood and K-12 Education. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch003.

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In this study, the authors describe the reflective practices of a violin group instruction session that evolved into a mixed ensemble lesson in which the participants at a Japanese special high shared thoughts and feelings about the 9-11 terrorist attack in New York City. The lesson originally planned for a group violin instruction; however, the students and teacher co-created and arranged the lessons into a mixed ensemble practice in order to share their thoughts concerning the disaster victims. While students were learning the violins, T, by coincidence, found a lyric along with chord progression indicated on a sheet of paper set on a music stand in the corner of the classroom. The name of the song was “Hanamizuki,” the popular Japanese song by Yo Hitoto dedicated to the victims of 9-11. This chapter presents how the teacher's reflective practice and students' active involvement co-created the contents of the class and made an unexpected connection through a song they learned about 9-11.

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Clendinning, Elizabeth A. "Americans Learning Gamelan in Bali." In American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0006.

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The chapter analyzes the development and scope of educational tourism programs in the performing arts, including collegiate study-abroad programs, in the context of the Balinese tourism industry. The programs—which include hands-on music making and dance instruction, lectures and workshops, and visits to performing arts events and tourist sites—feature elements of both educational and leisure tourism. Through an examination of several different models for such “edutourism” programs, the chapter suggests that while they capitalize on presenting an “authentic” experience of Balinese-ness for participants, they also provide distinctive opportunities for foreigners to transcend the conventional tourist role via more direct involvement in Balinese community events and by treating and compensating teachers as professionals.

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Schulenberg, David. "Bach the Teacher." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.

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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.

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Conference papers on the topic "Music – Instruction and study – Jamaica"

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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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