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Journal articles on the topic 'Music-learning'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Zentz, Donald M. "Music Learning." Music Educators Journal 78, no. 8 (1992): 33–36. http://dx.doi.org/10.2307/3398405.

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2

Anderson, Nancy K. "Music Learning Theory in General Music." General Music Today 8, no. 2 (1995): 17–21. http://dx.doi.org/10.1177/104837139500800206.

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3

Taggart, Cynthia, and Peter Gouzouasis. "Music Learning and Language Learning." Update: Applications of Research in Music Education 13, no. 2 (1995): 9–13. http://dx.doi.org/10.1177/875512339501300204.

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4

Martin, Lisa D. "Music learning today." Music Education Research 17, no. 1 (2015): 124–26. http://dx.doi.org/10.1080/14613808.2014.984949.

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5

Hammond, Barbara Pressley. "Intergenerational Music Learning." Soundings (Reston, VA) 6, no. 3 (1993): 22–24. http://dx.doi.org/10.1177/104837139300600307.

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6

Turai, Mrs Swathi, Rushmitha Arellii, Huda Nazneen, Pradeep saranga, and Sai Prabhas Vudgula. "Emotion Based Music Recommender Using Machine Learning." International Journal of Research Publication and Reviews 6, no. 6 (2025): 11776–82. https://doi.org/10.55248/gengpi.6.0625.2374.

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7

Purdy, Jody. "Music and Total Learning." Music Educators Journal 81, no. 1 (1994): 50–51. http://dx.doi.org/10.2307/3398799.

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8

Hawkins, Angie. "Music Learning and Reading." Music Educators Journal 88, no. 6 (2002): 63. http://dx.doi.org/10.2307/3399807.

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9

Qi, Nan, and Durval Cesetti. "Transformative Music Learning Experiences." Per Musi, no. 39 (September 12, 2019): 1–22. http://dx.doi.org/10.35699/2317-6377.2019.5324.

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This article uses the story of a Chinese immigrant in Brazil and his love of música sertaneja as a starting point to discuss his adaptation to a new society and the way in which his music learning played an important role in this process. Anchored in the ideals of Narrative Inquiry and inspired by Mezirow's Transformative Learning Theory, the article then extrapolates from this unique story to present a broad discussion that includes ideas about music education, immigration, identity, individual and social transformation, empowerment, and self-definition. The article concludes with reflections

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10

Wagner, Michael J. "Karaoke and Music Learning." Update: Applications of Research in Music Education 13, no. 2 (1995): 14–19. http://dx.doi.org/10.1177/875512339501300205.

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11

南, 云. "Brain and Music Learning." Advances in Psychology 06, no. 01 (2016): 65–75. http://dx.doi.org/10.12677/ap.2016.61009.

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12

Karlsen, Sidsel. "Learning through music festivals." International Journal of Community Music 2, no. 2 (2009): 129–41. http://dx.doi.org/10.1386/ijcm.2.2-3.129_1.

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13

Meske, Eunice Boardman. "Learning to Learn—Music." Design For Arts in Education 89, no. 1 (1987): 45–48. http://dx.doi.org/10.1080/07320973.1987.9936659.

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14

Zacarias-Flores, Fernando, Rosalba Cuapa-Canto, Erica Vera-Cervantes, and Francisco J. Lozano-Torralba. "Learning English through Music." International Journal of Learning: Annual Review 17, no. 5 (2010): 325–36. http://dx.doi.org/10.18848/1447-9494/cgp/v17i05/47052.

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15

Sawyer, R. Keith. "Learning music from collaboration." International Journal of Educational Research 47, no. 1 (2008): 50–59. http://dx.doi.org/10.1016/j.ijer.2007.11.004.

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16

Miceli, Jennifer Scott. "Music Learning Theory in High School General Music." General Music Today 8, no. 2 (1995): 14–16. http://dx.doi.org/10.1177/104837139500800205.

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17

Yan, Baihui, and Qiao Zhou. "Music Learning Based on Computer Software." International Journal of Emerging Technologies in Learning (iJET) 12, no. 12 (2017): 142. http://dx.doi.org/10.3991/ijet.v12i12.7961.

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In order to better develop and improve students’ music learning, the authors proposed the method of music learning based on computer software. It is still a new field to use computer music software to assist teaching. Hereby, we conducted an in-depth analysis on the computer-enabled music learning and the music learning status in secondary schools, obtaining the specific analytical data. Survey data shows that students have many cognitive problems in the current music classroom, and yet teachers have not found a reasonable countermeasure to them. Against this background, the introduction of co

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18

Lu, Leon. "Learning Music Blind: Understanding the Application of Technology to Support BLV Music Learning." ACM SIGACCESS Accessibility and Computing, no. 135 (January 2023): 1. http://dx.doi.org/10.1145/3584732.3584737.

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Learning to play a musical instrument and engaging in musical activities have enabled blind and/or low vision people to develop self-identity, find community and pursue music as a career. However, blind and/or low vision music learners face complex obstacles to learn music. They are highly reliant on their learning environment and music teachers for accommodations and flexibility. Prior research has identified the challenges faced by blind and/or low vision musicians and recognized the importance of touch for music reading and physical guidance. However, limited research has addressed these ch

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19

Varner, Edward. "General Music Learning Is Also Social and Emotional Learning." General Music Today 33, no. 2 (2019): 74–78. http://dx.doi.org/10.1177/1048371319891421.

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The purpose of this article is to highlight the relationship between general music and social and emotional learning. Social and emotional learning involves a set of social, emotional, behavioral, and character competencies that are essential to success in school, in the workplace, within relationships, in the community, and in life. Music teachers are uniquely positioned to help students become more socially and emotionally competent while simultaneously developing the skills outlined in the general music curriculum. Many general music program activities reinforce and help students understand

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20

Hidayatullah, Riyan. "MERLOT: Belajar Musik di Era Digital." Journal of Music Science, Technology, and Industry 3, no. 1 (2020): 75–90. http://dx.doi.org/10.31091/jomsti.v3i1.965.

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This article is a literature review on MERLOT (Multimedia Education Resources for Online Learning and Teaching), an open-source multimedia-based learning resource for asynchronous music learning needs. Conventional music learning methods that deal with practical activities and theory classes. This activity is usually done in a classical or private class. In addition to general problems in music pedagogy and psychology, access to music materials in the form of music theory, music forms, and music literature is a problem that is specifically for music teachers in Indonesia. Access and publishing

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21

Zheng, Wenjun, Yoon Fah Lay, and Anne Noor Sri Juwaneeta Binti Jamaludin. "AUTHORITATIVE PARENTING STYLE AND LIFELONG MUSIC LEARNING INTENTION: THE MEDIATING ROLE OF PERCEIVED DETERMINANTS." Problems of Education in the 21st Century 82, no. 6 (2024): 923–38. https://doi.org/10.33225/pec/24.82.923.

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The study explores the determinants of lifelong music learning intention among university students, focusing on the mediating roles of attitude toward music learning, perceived social support, and perceived music learning feasibility in the relationship between authoritative parenting style and lifelong music learning intention. This study used structural equation modelling to analyze 617 university students. The structural equation modelling results indicated that authoritative parenting style, attitudes toward music learning, perceived social support, and perceived music learning feasibility

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22

Elida, Elida. "The Influence of Music and Learning Motivation to the Results of Learning the Productive Practice in Vocational High School Tourism Group." Innovation of Vocational Technology Education 14, no. 1 (2018): 11. http://dx.doi.org/10.17509/invotec.v14i1.11041.

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The purpose of the research is to analyze difference of the results of students learning the practice of productive, that is: learning strategy between with music and without music, student who has high motivation even hard with learning process of with music and without music. Interactions between learning strategy with student learn motivation by music. This research is experiment research with factorial 2x2 designs. Population student X grade Tata Boga major tourism group of vocational high school in West Sumatra. The sample is taken by multistage random sampling. The Data is analyzed descr

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23

McDowall, Janet. "Making Music Multimodally: Young Children Learning with Music Technology." International Journal of Learning: Annual Review 16, no. 10 (2009): 303–16. http://dx.doi.org/10.18848/1447-9494/cgp/v16i10/46681.

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24

Miller, Beth Ann. "Touch the Music! Learning Modalities in Elementary Music Class." General Music Today 15, no. 2 (2002): 4–13. http://dx.doi.org/10.1177/104837130201500203.

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25

Lu, Gening. "Deep Learning-Based Music Generation." Applied and Computational Engineering 8, no. 1 (2023): 384–97. http://dx.doi.org/10.54254/2755-2721/8/20230188.

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Music is one of the greatest inventions in human history. Traditionally, music composition is time-consuming and complex, requiring master sound knowledge based on music theory and musical intuition. In recent decades, deep learning have been applied in music generation, and it has experienced the process from simple sequence generation to multi-track generation considering musicality, multiple methods are implied in study to generate better music and combine existing music theory with deep learning technology, while the current technology already allow people composite easily even without dom

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26

Reisenweaver, Anna. "Guido of Arezzo and His Influence on Music Learning." Musical Offerings 3, no. 1 (2012): 37–59. http://dx.doi.org/10.15385/jmo.2012.3.1.4.

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27

Fauzan Yusman, Ahmad, and Neviyarni Suhaili. "CHARACTER BUILDING OF STUDENTS' INTERESTS AND TALENTS THROUGH LEARNING POP MUSIC IN THE FIELD OF CULTURAL ARTS." Jurnal Sendratasik 10, no. 1 (2020): 23. http://dx.doi.org/10.24036/jsu.v9i2.111013.

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This article discusses the character arrangement of students, in this case students, from learning pop music to students. Compiled with quantitative methods with literature review. The main problem here is that there are too many types of music available at this time, one of which is pop music. In this day and age, pop music has been worldwide from an early age until adults love pop music, thus allowing pop music to be well received. Learning the art of music in services is to provide direct experience in the learning process for students, including other learning such as literature and langua

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28

Gahlawat, Vijeet, and Aakash Aakash. "MUSIC GENERATION USING DEEP LEARNING." International journal of multidisciplinary advanced scientific research and innovation 1, no. 10 (2021): 369–73. http://dx.doi.org/10.53633/ijmasri.2021.1.10.09.

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We examine how lengthy short-term memory neural networks (NNs) may be utilised to create music compositions and offer a method for doing so in this study. Bach's musical style was chosen to train the NN in order for it to make similar music works. The recommended method converts midi files to song files before encoding them as NN inputs. Before feeding the files into the NNs, they are augmented, which converts them into distinct keys, and then they are fed into the NN for training. The final phase is the creation of music. The primary purpose is to assign an arbitrary note to the NN, which it

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29

Childers, Christine. "Movement, Music, and Service Learning." Topics in Geriatric Rehabilitation 37, no. 3 (2021): 173–79. http://dx.doi.org/10.1097/tgr.0000000000000325.

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30

Lavy, Ilana. "Learning Programming Fundamentals via Music." International Journal of Information and Communication Technology Education 17, no. 2 (2021): 68–86. http://dx.doi.org/10.4018/ijicte.2021040105.

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This article describes a unique ongoing experience of learning programming via engagement in music programming of known melodies. Seventh and eighth graders participated in 10 lessons of weekly activity. Via the programming of melodies, using the Scratch 2.0 environment, they became acquainted with basic concepts of programming such as methods, variables, repetition and control commands, parallel processes, and more. The study was conducted in the form of an action research. The study units were designed in the spirit of the spiral learning method, in which the learning concepts are revisited

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31

Engle, Robert. "Intercultural Impact on Music Learning." Update: Applications of Research in Music Education 12, no. 1 (1993): 22–25. http://dx.doi.org/10.1177/875512339301200104.

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32

Chandrasekaran, Bharath, and Nina Kraus. "Music, Noise-Exclusion, and Learning." Music Perception 27, no. 4 (2010): 297–306. http://dx.doi.org/10.1525/mp.2010.27.4.297.

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CHILDREN WITH LANGUAGE-BASED LEARNING disorders show impaired processing of speech in challenging listening environments, suggesting a noise-exclusion deficit. Musical expertise induces neuroplastic changes throughout the nervous system, including sharpening of early sensory processing, improved linguistic ability, working memory, and source segregation——skills known to be crucial for speech in noise perception. Here we argue for the usefulness of music as an auditory training approach to improve speech perception in noise in individuals with broad noise-exclusion deficits.

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33

Navarro, María, and Juan M. Corchado. "Machine Learning in Music Generation." Oriental journal of computer science and technology 11, no. 2 (2018): 75–77. http://dx.doi.org/10.13005/ojcst11.02.02.

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34

Lamont, Alexandra. "Book Review: Music Learning Theory." Musicae Scientiae 2, no. 2 (1998): 208–12. http://dx.doi.org/10.1177/102986499800200208.

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35

Bhaddurgatte, Vishesh R., and Shushruth S. "Generating Music Using Machine Learning." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 09, no. 01 (2025): 1–9. https://doi.org/10.55041/ijsrem40517.

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This report delves into the realm of music generation using advanced machine learning techniques, focusing on Recurrent Neural Networks (RNNs), Generative Adversarial Networks (GANs), and their amalgamation in the form of RNN- GAN. The objective is to explore the capabilities of these models in creating novel and expressive musical compositions. The examines the fundamental concepts of RNNs, known for their prowess in sequence modelling, making them ideal for capturing the temporal intricacies present in music. Additionally, it explores the generative potential of GANs, that employs adversaria

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36

Sidnell, Robert G. "Motor learning in music education." Psychomusicology: A Journal of Research in Music Cognition 6, no. 1-2 (1986): 7–18. http://dx.doi.org/10.1037/h0094198.

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37

Cope, Peter. "Adult learning in traditional music." British Journal of Music Education 22, no. 2 (2005): 125–40. http://dx.doi.org/10.1017/s0265051705006108.

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This study is based on interviews carried out with 13 adult learners of traditional fiddle playing. The average age of the learners was 56 and they had been learning to play for between 2 and 20 years. All of the interviewees had taken music at school but none of them had been stimulated to participate further in any significant sense. The aspiration to learn to play the fiddle had various sources. Learning usually took place through traditional workshops and through the medium of the tune rather than through scales and exercises. Only one of the participants took regular conventional individu

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38

Kereliuk, Corey, Bob L. Sturm, and Jan Larsen. "Deep Learning and Music Adversaries." IEEE Transactions on Multimedia 17, no. 11 (2015): 2059–71. http://dx.doi.org/10.1109/tmm.2015.2478068.

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39

Iñesta, José M., Darrell Conklin, and Rafael Ramírez. "Machine learning and music generation." Journal of Mathematics and Music 10, no. 2 (2016): 87–91. http://dx.doi.org/10.1080/17459737.2016.1216369.

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40

Legette, Roy M. "Social Context and Music Learning." General Music Today 13, no. 3 (2000): 16–18. http://dx.doi.org/10.1177/104837130001300305.

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41

May, Brittany Nixon. "Meaningful Music Learning Through Integration." General Music Today 32, no. 1 (2018): 23–25. http://dx.doi.org/10.1177/1048371318793150.

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Integration and interdisciplinary teaching practices can provide students with meaningful and relevant learning opportunities in the general music classroom. This column presents a couple of examples on how to approach creating integrated lessons.

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42

Baloche, Lynda, and Lisa C. DeLorenzo. "Cooperative Learning: Making Music Together." General Music Today 8, no. 1 (1994): 9–12. http://dx.doi.org/10.1177/104837139400800103.

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43

Littleton, Danette. "Music Learning and Child's Play." General Music Today 12, no. 1 (1998): 8–15. http://dx.doi.org/10.1177/104837139801200104.

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44

Sulistyowati, Ratih, Alfonso Munte, Silipta Silipta, and Rudie Rudie. "Strengthening Music Learning at SMKN." Dimas: Jurnal Pemikiran Agama untuk Pemberdayaan 22, no. 2 (2022): 239–58. http://dx.doi.org/10.21580/dms.2022.222.12980.

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The Community Engagement (PkM) of the Faculty of Teacher Training of Christian Education choosing the topic is because: Firstly, the author considers SMKN 1 Pulang Pisau to be a potential high school for activities because their Principal is an arts graduate. Second, the school has complete musical equipment as far as the author is concerned. Third, the location and venue of SMKN 1 Pulang Pisau is spacious and adequate as a location for activities. Fourth, the school was able to command all secondary school principals to send representatives of teachers who had taught in the cultural arts depa

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45

Laursen, Lise Høy. "Resonant learning in music therapy." Tidsskriftet Dansk Musikterapi 20, no. 1 (2023): 47–49. https://doi.org/10.7146/tdm.v20i1.156701.

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46

Bahaudin, Imam, Anik Juwariyah, and Setyo Yanuartuti. "Negosiasi Performativitas Pedagogis Pembelajaran Musik Generasi Z." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (2021): 1. http://dx.doi.org/10.26740/vt.v4n1.p1-10.

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Abstract: This study identifies and explores the negotiations that occur as pedagogical performativity in learning music in the digital era for Generation Z. This study also looks at the performativity of conventional to modern music learning. Furthermore, it can be known and clarified the position of music learning and its flexibility in learning modern music for generation Z. This type of research is qualitative with a case study approach. Data were obtained with questionnaires in qualitative research, and interviews, which were taken from April 2020 to January 2021. The data sources were 10

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47

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

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

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48

Posumah, Christabela Gabriela, Lucyylle Takalumang, and Sri Sunarmi. "ANALYSIS OF MUSIC TEACHING METHODS IN KARAWITAN MUSIC LEARNING ACTIVITIES." SoCul: International Journal of Research in Social Cultural Issues 2, no. 6 (2023): 734–40. http://dx.doi.org/10.53682/soculijrccsscli.v2i6.7318.

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This study aims to identify and describe the learning of music art in students of SMA Negeri 1 Tondano. The researcher obtained this degree through the Field Experience Program (PPL) at SMA Negeri 1 Tondano, as well as taking Music Art courses at UNIMA. Relevant theories such as the definition of learning, learning that involves students, teachers, curriculum, learning materials, and learning methods are used in this research as a foundation for achieving research objectives. The research method used is descriptive qualitative with data collection techniques through observation. The results sh

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49

Shi, Yunran1* Vincent Wee Eng Kim2. "Exploring the Impact of Learning Environment on Music Learning Outcomes: The Mediating Role of Self-Efficacy." ISRG Journal of Education, Humanities and Literature (ISRGJEHL) II, no. I (2025): 20–29. https://doi.org/10.5281/zenodo.14643563.

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<strong>Abstract</strong> <em>This study aims to explore the impact of the learning environment on music learning outcomes and examine the mediating role of self-efficacy in this process. A survey of 500 students from five universities in China offering undergraduate music programs was conducted. Structural equation modeling (SEM) was employed to quantitatively analyze the relationships among the learning environment, self-efficacy, and music learning outcomes. The findings indicate that various dimensions of the learning environment—such as course content, teacher-student interaction, p

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50

Dutta, Jumpi, and Dipankar Chanda. "Machine Learning and Deep Learning in Music Emotion Recognition: A Comprehensive Survey." International Journal of Mathematical, Engineering and Management Sciences 10, no. 4 (2025): 977–99. https://doi.org/10.33889/ijmems.2025.10.4.047.

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Music can express and influence a wide range of emotional states and feelings in humans. The development of a system for recognizing emotions based on music analysis has generated significant interest among academic and industrial communities due to its applications in various fields such as human-machine interaction, music recommendation systems, music therapy, and so on. Music emotion recognition (MER) is the process of analysing and classifying the affective states conveyed by a piece of music. A survey of existing work on emotional music processing is indeed very helpful for carrying out f

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