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Journal articles on the topic 'Music-oriented'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

TRAVIS POPE, STEPHEN. "Object-oriented music representation." Organised Sound 1, no. 1 (1996): 56–68. http://dx.doi.org/10.1017/s1355771896000180.

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There is a rich literature on the design of formal languages for music representation on computers. Over the last thirty years, several generations of software technology have been applied to this problem, including structured software engineering, artificial intelligence, and object-oriented (O-O) software technology. This article introduces the basic notions of O-O software technology, and investigates how these might be useful for music representation. In particular, the author's Smalltalk music object kernel (Smoke) music representation language is described and examples given that illustr

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2

Lande, Tor Sverre, and Arvid O. Vollsnes. "Object oriented music analysis." Computers and the Humanities 28, no. 4-5 (1994): 253–57. http://dx.doi.org/10.1007/bf01830272.

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3

Lei, Liu. "Research on Music Appreciation Teaching of Non-Music Majors in Normal Universities." International Journal for Innovation Education and Research 4, no. 1 (2016): 46–50. http://dx.doi.org/10.31686/ijier.vol4.iss1.507.

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Schools in China pay more attention to quality-oriented education. Music, an essential part in quality-oriented education, has been an indispensable part in education policy making process for a long time. During the crucial period transforming from examination-oriented education to quality-oriented education, music plays an irreplaceably special role in learning and teaching. According to the recent data, all the normal universities have set up the music curriculum, whether it is music, or non-music majors. It stresses the importance of music class in the form of compulsory or optional course

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4

Nowack, Kati. "Unfinished sympathies: Influence of individual temporal orientation on music preferences." Psychology of Music 47, no. 5 (2018): 736–46. http://dx.doi.org/10.1177/0305735618775200.

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Temporal aspects have been studied extensively within the context of music perception but insufficiently within the context of music preference. In this online questionnaire study, I investigated the impact of chronotype (morningness, eveningness) and time perspective (present, future) on music preferences. Participants ( n = 258) completed the Short Test of Music Preferences for 26 music genres, the Zimbardo Time Perspective Inventory and the Munich Chronotype Questionnaire. Principal component analysis replicated a six-component structure of music preference. Whilst preference scores were hi

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Hodges, Richard, Bennett Brecht, Nigel Nettheim, and Adrian Freed. "A Time-Oriented Taxonomy of Computer Music." Computer Music Journal 19, no. 1 (1995): 5. http://dx.doi.org/10.2307/3681294.

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6

Hill, Patrick, Simon Holland, and Robin Laney. "An Introduction to Aspect-Oriented Music Representation." Computer Music Journal 31, no. 4 (2007): 47–58. http://dx.doi.org/10.1162/comj.2007.31.4.47.

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7

Lawes, Martin. "Trends of differentiation and integration in UK music therapy and the spectrum of music-centredness." British Journal of Music Therapy 35, no. 1 (2021): 4–15. http://dx.doi.org/10.1177/1359457521997791.

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A long-standing trend to differentiate and even oppose psychodynamic and ecological approaches to practice can be identified in the UK music therapy literature. This is complicated by the way in which ecologically oriented thinking is associated with practice identified to be music-centred. While the trend to differentiate and separate approaches is most apparent in the literature, it is also evident that in practice, therapists have long integrated different perspectives and ways of working, this integral trend having its roots in the work of the UK music therapy pioneers. This article explor

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Leman, Marc, Micheline Lesaffre, Luc Nijs, and Alexander Deweppe. "User-oriented studies in embodied music cognition research." Musicae Scientiae 14, no. 2_suppl (2010): 203–23. http://dx.doi.org/10.1177/10298649100140s212.

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9

Crooke, Alexander. "Resource-Oriented Music Therapy in Mental Health Care." Nordic Journal of Music Therapy 22, no. 1 (2013): 86–87. http://dx.doi.org/10.1080/08098131.2013.766484.

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10

Niknafs, Nasim. "Engaging with Popular Music from a Cultural Standpoint: A Concept-Oriented Framework." Music Educators Journal 106, no. 1 (2019): 25–30. http://dx.doi.org/10.1177/0027432119855693.

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The last two decades in the North America have seen a resurgence of scholarly and practitioner activities advocating for integrating more popular music in music classrooms both through repertoire and pedagogy. However, the emphasis has been on Western-oriented popular music practices, neglecting those of other cultures, even though there is a major increase in population diversity occurring in the United States and Canada. This article examines the concept-oriented framework, through which, instead of exploring popular music geographically, one can engage with the wider concept of popular musi

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Pfeifer, Eric. "Logotherapy, existential analysis, music therapy: Theory and practice of meaning-oriented music therapy." Arts in Psychotherapy 72 (February 2021): 101730. http://dx.doi.org/10.1016/j.aip.2020.101730.

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12

Spahn, Claudia, Bernhard Richter, and Ina Zschocke. "Health Attitudes, Preventive Behavior, and Playing-related Health Problems among Music Students." Medical Problems of Performing Artists 17, no. 1 (2002): 22–28. http://dx.doi.org/10.21091/mppa.2002.1004.

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The goal of the present study was to survey music students regarding their health attitudes, their use of body-oriented training as a measure of preventive behavior, and their playing-related symptoms and consultation for these symptoms with health professionals. In the framework of a cross-sectional study, the music students at the Freiburg Conservatory were investigated by means of questionnaires. One hundred ninety-seven students participated and were evaluated. It was shown that more students believe that health can be actively influenced by one’s own behavior than have a fatalistic, passi

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13

Pyrcz, Gregory E., Tessa Claire MacLean, and Mark E. Hopkins. "Demanding Epistemic Democracy and Indirect Civics Pedagogy: The Performance-Oriented Music Ensemble." Philosophical Inquiry in Education 24, no. 3 (2020): 237–51. http://dx.doi.org/10.7202/1070609ar.

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The participation of young adults in performance-oriented music ensembles can be seen to enhance democratic capacities and virtues. Much, however, turns on the particular conception of democracy at work. Although contemporary currents in music education tend towards models of liberal and participatory democracy to govern music ensembles, this essay contends that demanding epistemic democracy allows performance-oriented music ensembles the achievement of democratic virtues without sacrificing excellence as a central regulatory ideal. The inclusion of both men and women is shown to be particular

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14

Auslander, Philip. "Music as Performance: Living in the Immaterial World." Theatre Survey 47, no. 2 (2006): 261–69. http://dx.doi.org/10.1017/s004055740600024x.

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As a performance scholar and music lover, I find it strange that the fields of theatre and performance studies historically have been reluctant to engage with musical performance. Even as theatrical a musical form as opera is generally excluded from the history of theatre, on the grounds that “the predominant force in opera was the music rather than the words,” as Vera Mowry Roberts, my theatre history professor, puts the case.1 Roberts points to the nonliterary character of music as the reason for the exclusion; I speculate that the perception of music not only as nonliterary but, more broadl

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15

Pope, Stephen Travis. "Editor's Note: A Time-Oriented Taxonomy of Computer Music." Computer Music Journal 19, no. 1 (1995): 4. http://dx.doi.org/10.2307/3681293.

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16

Schwabe, Christoph. "Resource-Oriented Music Therapy—The Developement of a Concept." Nordic Journal of Music Therapy 14, no. 1 (2005): 49–56. http://dx.doi.org/10.1080/08098130509478125.

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17

Raposo, Francisco Afonso, David Martins de Matos, and Ricardo Ribeiro. "An information-theoretic approach to machine-oriented music summarization." Pattern Recognition Letters 123 (May 2019): 75–81. http://dx.doi.org/10.1016/j.patrec.2019.03.014.

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18

Bukspan, Yael. "Kinetic musimple — a computerized mathematically oriented music notation system." Mathematical Modelling 8 (1987): 107–11. http://dx.doi.org/10.1016/0270-0255(87)90551-3.

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19

Trondalen, Gro. "Resource-oriented Guided Imagery and Music with professional musicians." European Journal of Integrative Medicine 7 (September 2015): 25. http://dx.doi.org/10.1016/j.eujim.2015.09.063.

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20

Bjørnsen, Egil, and Jane Woddis. "Music in our lives: Using the concept of “Bildung” to understand the role of music education policy in England." Research Studies in Music Education 42, no. 2 (2019): 192–207. http://dx.doi.org/10.1177/1321103x19841918.

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This article considers whether the German concept of “ Bildung”, meaning human personal growth—a term not often used in English debates about culture or education—can help in understanding differing pedagogical and philosophical approaches to recent music education policy in England. It explores connections between two conceptions of Bildung: “object-oriented” and “subject-oriented”; two key approaches to education: “traditional” and “progressive”; and two models of cultural policy: cultural democracy and democratisation of culture, in explaining one of the significant debates in music pedagog

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21

Larsson, Christina, and Eva Georgii-Hemming. "Improvisation i musikundervisningen: Tre lärares didaktiska förhållningssätt." Nordic Research in Music Education 1, no. 1 (2020): 81–102. http://dx.doi.org/10.23865/nrme.v1.2636.

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This article draws on interviews with three music teachers. It is part of a larger study that explores improvisation in general music education in the Swedish school year 4. The article focuses teachers’ pedagogical approaches to improvisation and how this effect the teaching. This study reveals that music teachers incorporate improvisation in their teaching. They do, however, lack a professional language in order to reflect on content, methods, aim and purpose of improvisation in education. Through thematic analysis, we demonstrate that pedagogical points of departure and attitudes are implic

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22

Šuvaković, Miško. "Critical Questiones About Deconstrution or About De-Centring Of The Relation Between Philosophy And Music." Musicological Annual 41, no. 2 (2005): 71–80. http://dx.doi.org/10.4312/mz.41.2.71-80.

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Entirely dissimilar endeavours of problematizing a canonic positioning of music, musicology, aesthetics and philosophy through self-comprehensiveness of a piece-as-a-source hoe et tunc, have led to criticism ar deconstruction of 'self-comprehensiveness' and 'objective autonomy' of music as an art, and of a music piece as a carrier or a centred source of music as an art. Those scarce approaches can be specified from Adorno's contextualization in critical theory, Jacques Attali's developing the theory of exchange, to the New Musicology critiques oriented towards studies of culture, such as those

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23

Desainte-Catherine, Myriam, Antoine Allombert, and Gérard Assayag. "Towards a Hybrid Temporal Paradigm for Musical Composition and Performance: The Case of Musical Interpretation." Computer Music Journal 37, no. 2 (2013): 61–72. http://dx.doi.org/10.1162/comj_a_00179.

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In this article, we consider the possibility of mixing two main paradigms of electroacoustic music: the writing-oriented and the performance-oriented paradigms. We show that these two opposing paradigms are the consequence of two corresponding conceptions of time. In addition, we assume that the temporal aspects of a performer's interpretation of a musical composition can be linked to both paradigms. Based on this theoretical study, we propose a formalism for composing pieces of electroacoustic music that can be interpreted in performance.

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24

Stepanets, Elizaveta. "Object-oriented methods of analyzing the parameters of interaction of speech and music language." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 29–40. http://dx.doi.org/10.7256/2453-613x.2021.2.35065.

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The article considers the methodological principles of analyzing the parameters of interaction of speech and music language in the context of object-oriented methods of Astafiev&rsquo;s intonation theory, Yavorsky&rsquo;s concept of music speech, the views on and ideas about the intonation basis of speech of Bonfeld, Medushevsky, Aranovsky and Nazaikinsky, and the new system of interaction of speech and music in the works of Helmut Lachenmann and&nbsp; Luciano Berio. Music language and speech are the phenomena allowing for various intersections, complementarities and mutual interfe

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25

Immonen, Katja, Jemina Kilpeläinen, Paavo Alku, and Maija S. Peltola. "Does Studying in a Music-oriented Education Program Affect Non-native Sound Learning? — Effects of Passive Auditory Training on Children’s Vowel Production." Journal of Language Teaching and Research 12, no. 5 (2021): 678–87. http://dx.doi.org/10.17507/jltr.1205.06.

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Earlier studies have shown that children are efficient second language learners. Research has also shown that musical background might affect second language learning. A two-day auditory training paradigm was used to investigate whether studying in a music-oriented education program affects children’s sensitivity to acquire a non-native vowel contrast. Training effects were measured with listen-and-repeat production tests. Two groups of monolingual Finnish children (9–11 years, N=23) attending music-oriented and regular fourth grades were tested. The stimuli were two semisynthetic pseudo words

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26

Jorgensen, Estelle R., and Patrice Madura Ward-Steinman. "Shifting Paradigms in Music Education Research (1953–1978)." Journal of Research in Music Education 63, no. 3 (2015): 261–80. http://dx.doi.org/10.1177/0022429415601690.

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The purpose of this study was to examine evidence of a hypothesized shift in the operative research paradigms in music education during the first quarter century of the publication of the Journal of Research in Music Education, during the period 1953 to 1978. This shift was from humanities-oriented historical and philosophical studies to scientifically oriented psychological studies, from studies couched at higher levels of generality to more specific levels of analysis of the data, and from studies geared toward broader contextual and institutional issues to those concerning the specific beha

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27

Shen, Tiancheng, Jia Jia, Yan Li, et al. "PEIA: Personality and Emotion Integrated Attentive Model for Music Recommendation on Social Media Platforms." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 01 (2020): 206–13. http://dx.doi.org/10.1609/aaai.v34i01.5352.

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With the rapid expansion of digital music formats, it's indispensable to recommend users with their favorite music. For music recommendation, users' personality and emotion greatly affect their music preference, respectively in a long-term and short-term manner, while rich social media data provides effective feedback on these information. In this paper, aiming at music recommendation on social media platforms, we propose a Personality and Emotion Integrated Attentive model (PEIA), which fully utilizes social media data to comprehensively model users' long-term taste (personality) and short-te

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28

Dikun, A. "Practice-oriented courses in the training of future music teachers." Art and education, no. 4 (2019): 46–51. http://dx.doi.org/10.32405/2308-8885-2019-4-46-51.

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29

Qin, Jiwei, Qinghua Zheng, Feng Tian, and Deli Zheng. "An Emotion-oriented Music Recommendation Algorithm Fusing Rating and Trust." International Journal of Computational Intelligence Systems 7, no. 2 (2013): 371–81. http://dx.doi.org/10.1080/18756891.2013.865405.

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30

Sasaki, Shiori, Kiku Watagoshi, Kosuke Takano, Kazuo Hirashima, and Yasushi Kiyoki. "Impression‐oriented music courseware and its application in elementary schools." Interactive Technology and Smart Education 7, no. 2 (2010): 85–101. http://dx.doi.org/10.1108/17415651011071028.

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31

Holbrook, Morris B. "Reflections on jazz training and marketing education." Marketing Theory 16, no. 4 (2016): 429–44. http://dx.doi.org/10.1177/1470593116652672.

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In recent years, numerous marketing and organizational theorists have called attention to the analogy between jazz and management strategy. From the perspective of this jazz metaphor, key questions concern the implications of jazz training for marketing education. Too often—say, in motion pictures or television dramas—jazz is portrayed as an innocent folk music whose performance requires more feeling than knowledge. This inaccurate stereotype colors the treatment of music instruction found in the film Mr. Holland’s Opus (1995). A contrasting view of jazz as a technically demanding art form app

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Keller, Damián, and Victor Lazzarini. "Ecologically Grounded Creative Practices in Ubiquitous Music." Organised Sound 22, no. 1 (2017): 61–72. http://dx.doi.org/10.1017/s1355771816000340.

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Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active crea

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Fursenko, T. F. "Value Orientations Development in Adolescents by Means of Folk Music." Психологическая наука и образование 24, no. 2 (2019): 29–36. http://dx.doi.org/10.17759/pse.2019240203.

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The paper focuses on the pedagogical aspect of developing value orientations in adolescents by means of folk music. It provides an outline of various views on the issue; reveals the meaning of the value orientations concept; analyses the pedagogical settings necessary for the development of value orientations in adolescents and personality-oriented pedagogical technologies. The author describes her method of ‘value actualisation’ which is based on the use of some of the best pieces of folk music in contemporary arrangements that embody the values of the modern society and nourish universal hum

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34

Xu, Yanping, and Sen Xu. "A Clustering Analysis Method for Massive Music Data." Modern Electronic Technology 5, no. 1 (2021): 24. http://dx.doi.org/10.26549/met.v5i1.6763.

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Clustering analysis plays a very important role in the field of data mining, image segmentation and pattern recognition. The method of cluster analysis is introduced to analyze NetEYun music data. In addition, different types of music data are clustered to find the commonness among the same kind of music. A music data-oriented clustering analysis method is proposed: Firstly, the audio beat period is calculated by reading the audio file data, and the emotional features of the audio are extracted; Secondly, the audio beat period is calculated by Fourier transform. Finally, a clustering algorithm

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35

Ha, Taehyun, and Sangwon Lee. "A Study on Serendipity-Oriented Music Recommendation Based on Play Information." Journal of Korean Institute of Industrial Engineers 41, no. 2 (2015): 128–36. http://dx.doi.org/10.7232/jkiie.2015.41.2.128.

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36

Guralnyk, Nataliia, Alla Zaitseva, and Alla Rastrygina. "The Training of Music Teachers According to Humanistic Oriented Artistic Paradigm." Journal of History Culture and Art Research 9, no. 1 (2020): 249. http://dx.doi.org/10.7596/taksad.v9i1.2422.

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37

Tyson, F. "Analytically-Oriented Music Therapy in a Case of Generalized Anxiety Disorder." Music Therapy Perspectives 4, no. 1 (1987): 51–55. http://dx.doi.org/10.1093/mtp/4.1.51.

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38

Scaletti, C. A., and R. E. Johnson. "An interactive environment for object-oriented music composition and sound synthesis." ACM SIGPLAN Notices 23, no. 11 (1988): 222–33. http://dx.doi.org/10.1145/62084.62103.

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39

Kania, Paulina, Dariusz Kania, and Tomasz Łukaszewicz. "A Hardware-Oriented Algorithm for Real-Time Music Key Signature Recognition." Applied Sciences 11, no. 18 (2021): 8753. http://dx.doi.org/10.3390/app11188753.

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The algorithm presented in this paper provides the means for the real-time recognition of the key signature associated with a given piece of music, based on the analysis of a very small number of initial notes. The algorithm can easily be implemented in electronic musical instruments, enabling real-time generation of musical notation. The essence of the solution proposed herein boils down to the analysis of a music signature, defined as a set of twelve vectors representing the particular pitch classes. These vectors are anchored in the center of the circle of fifths, pointing radially towards

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40

Gramit, David. "The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department." Canadian University Music Review 19, no. 1 (2013): 19–33. http://dx.doi.org/10.7202/1014603ar.

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This paper argues that a number of recent responses within North American musicology to critical scholarship that has challenged disciplinary conventions have in common a deep loyalty to the aesthetic experience of music as a supreme value. The vigour with which this value is defended has close parallels in religion, and such defences have indeed sometimes resorted to explicitly religious terminology. The institutional situation of North American musicology in university music departments dominated by Western classical music instruction strengthens this ideology, which continues to resist soci

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41

Zavadska, Galina, and Jelena Davidova. "The Development of Prospective Music Teachers’ Harmonic Hearing at Higher Education Establishments." Pedagogika 117, no. 1 (2015): 72–85. http://dx.doi.org/10.15823/p.2015.068.

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The development of harmonic hearing is an essential component of the system of music teachers’ training. The paper is concerned with the type of a case study which deals with the study of professional groups (a bigger and more diffusive group of 14 students). The process of training music teachers at sol-fa classes in a higher education establishment is analyzed and described. The sol-fa classes are oriented towards the development of harmonic hearing. The purpose of the study is to develop a technology of conducting sol-fa classes oriented towards developing students’ – the prospective

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42

Hirata, Keiji, and Tatsuya Aoyagi. "Computational Music Representation Based on the Generative Theory of Tonal Music and the Deductive Object-Oriented Database." Computer Music Journal 27, no. 3 (2003): 73–89. http://dx.doi.org/10.1162/014892603322482547.

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43

Livingston, Carolyn. "Charles Faulkner Bryan's Legacy for General Music." Journal of Research in Music Education 46, no. 2 (1998): 223–38. http://dx.doi.org/10.2307/3345625.

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Charles Faulkner Bryan (1911-1955), music educator and ethnomusicologist, was best known as a composer who was influenced by Appalachian folk music. This study focuses on his ideas about general music and the qualities of exemplary music teachers. Bryans own general music curriculum and his teaching attributes are also examined. Bryan believed in solid planning for instruction and maintained that the general music curriculum should be eclectic, experiential, community-oriented, founded on local culture and student interests, and include both vernacular and art music. Bryan valued adaptability,

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44

Kalisch, Volker. "How seriously is it with the today's "serious music"?" Musicology of Kyiv, no. 58 (October 7, 2019): 175–96. http://dx.doi.org/10.33643/kmus.2019.58.14.

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Relevance of the study. Discussion, classification and evaluation of the new in music are still firmly anchored in a centrally work-oriented, historically reflected approach to music. The new «material» qualities brought to bear in the work and are appreciated, on the one hand, and the applied compositional techniques are acknowledged in their distinctiveness and novelty, on the other hand. In fact, such a view stems mainly from the 19th century, and an aesthetic orientation aimed at «autonomy». Although it has repeatedly been questioned, although it has often proved to be unsuitable for deali

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45

Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.

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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional mu

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Spahn, Claudia, Céline Wasmer, Franziska Eickhoff, and Manfred Nusseck. "Comparing Violinists’ Body Movements While Standing, Sitting, and in Sitting Orientations to the Right or Left of a Music Stand." Medical Problems of Performing Artists 29, no. 2 (2014): 86–93. http://dx.doi.org/10.21091/mppa.2014.2019.

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OBJECTIVES: For violinists, it is common practice to play while standing or sitting. When playing in an orchestra, generally two persons share one music stand, with one sitting to the right and the other to the left of the stand. The present study investigated specific movement patterns while playing in these different positions. METHODS: Using a posturographic device and 3D motion capture, the body weight distributions and specific body movements of 19 violinists were analyzed. RESULTS: Results showed unbalanced weight distributions while sitting in front of or oriented to the right of the mu

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47

Simonović Schiff, Jelena Dj, and Jere T. Humphreys. "Claude V. Palisca as Music Educator: The Yale Seminar on Music Education and the Norton Anthology of Western Music." Journal of Historical Research in Music Education 41, no. 2 (2019): 179–200. http://dx.doi.org/10.1177/1536600619836094.

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Claude V. Palisca (1921–2001) was a prominent American musicologist and music educator. He authored books and articles about Renaissance and Baroque music theory and developments in musicology, but is most widely known as the founder and first editor of the Norton Anthology of Western Music ( NAWM) and coauthor of A History of Western Music, the two music history textbooks that are still in use in classrooms worldwide. In this article, we trace Palisca’s first idea of the NAWM’s structure, content, and purpose through his writings and activities between the 1950s and late 1970s. The central pa

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48

Reva, Valentin P. "Practice-Oriented Strategies of Student Immersion in the Artistic World of Musical Compositions." Musical Art and Education 7, no. 1 (2019): 25–39. http://dx.doi.org/10.31862/2309-1428-2019-7-1-25-39.

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Music perception is a multi-level system of creative activity carried out in a unity of emotional and rational, collective and individual, physical and spiritual, conscious and intuitive, linear and non-linear mechanisms and actions. When a person perceives music, he cognizes not only the content, but also himself, realizes personal potential. In the article practice-oriented strategies for immersion into the artistic world of musical works: intonational-plastic, intonational-genre, intonational-contemplative, intonational-stylistic were grounded and experimentally tested. Covering a wide area

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Guo, Wei, and Leonard John Cosaitis. "A Cutting Edge Method in Chinese Piano Education: the Xindi Applied Piano Pedagogy." Higher Education Studies 10, no. 1 (2019): 7. http://dx.doi.org/10.5539/hes.v10n1p7.

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The Xindi Applied Piano Pedagogy (XAPP) was self-formulated by Professor Xindi, the Dean of the Music Education Institute of Xinghai Conservatory of Music (MEIXHCM), in 2001. After a series of scaffolding developments over a decade, the single instrumental teaching method is now developing into a holistic music educational system for the preparation of graduate music teachers at both primary and secondary levels. In addition, this particular pedagogy seems to have created a competitive force in the market of community music education in mainland China. This article explores the XAPP in a narra

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Leung, Man Chong, and Rebecca Y. M. Cheung. "Music engagement and well-being in Chinese adolescents: Emotional awareness, positive emotions, and negative emotions as mediating processes." Psychology of Music 48, no. 1 (2018): 105–19. http://dx.doi.org/10.1177/0305735618786421.

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Abstract:

The present study investigated the mediating processes of emotional awareness, positive emotions, and negative emotions between music engagement and well-being among Chinese adolescents. Through a process-oriented approach, the association between music engagement activities, including music listening, music instrument playing, and music training, and adolescents’ functioning were examined. A total of 1,318 Chinese adolescents at 12–15 years of age were recruited from secondary schools in Hong Kong. Findings based on structural equation modeling provided differential support for the associatio

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