Journal articles: 'Music skills'

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Burns, Kimberly. "Teaching Music Listening Skills." General Music Today 8, no. 3 (April 1995): 31–32. http://dx.doi.org/10.1177/104837139500800309.

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Decuir, A. A. "Musicianship and Music Skills Training for Music Therapists." Music Therapy Perspectives 7, no. 1 (January 1, 1989): 88–90. http://dx.doi.org/10.1093/mtp/7.1.88.

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Reifinger, James L. "Teaching Pitch Notation–Reading Skills." General Music Today 33, no. 3 (December 7, 2019): 21–28. http://dx.doi.org/10.1177/1048371319891419.

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The teaching of music-reading skills has been cited as a neglected area of music education needing improvement. Music reading is the process of translating notation into sounds. Producing the notated sounds by singing, more specifically referred to as sight-singing, is especially demanding because it requires the individual to first mentally construct aural images of the sounds, an essential process that is challenging to teach and assess. This article describes a series of activities for teaching music-reading skills in general music or choir, focusing mainly on reading and singing pitch notation, though many of the ideas could also be used to teach rhythm reading. The activities are sequential, are easy to implement, and allow for the assessment of skill acquisition at various stages of development.

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van Vuuren, Eurika Jansen, and Caroline van Niekerk. "Music in the Life Skills classroom." British Journal of Music Education 32, no. 3 (November 2015): 273–89. http://dx.doi.org/10.1017/s0265051715000340.

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Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject advisors, often have had no music training. The twofold purpose of this study was to determine the extent of challenges experienced in the music component of Life Skills and Creative Arts in South Africa and how this can best be dealt with. In the current study, mixed methods research was conducted to ascertain the problems experienced with music tuition in Life Skills and Creative Arts classrooms. It was found that generalist educators have to teach music, whether they have the requisite skills or not. The subject has low status and is frequently used as a filler subject for teachers. Lack of music knowledge, scarce resources, limited support and ever-changing educators are some reasons for the absence of quality music tuition. Mentoring by competent subject advisors and senior educators and the re-alignment of school and university curricula will assist music in enjoying its rightful place in the school curriculum.

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Naughton, Christopher. "Thinking skills in music education." British Journal of Music Education 13, no. 1 (March 1996): 15–20. http://dx.doi.org/10.1017/s0265051700002916.

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After working with many groups that have been culturally displaced, from victims of the holocaust to black teenagers from the ghetto, Reuven Feuerstein, an Israeli psychologist, has come to the conclusion that we learn everything through cultural transmission. Without a common value system young people do not have the necessary tools to connect with mainstream education. From this starting point Feuerstein believes learning has to be ‘modelled’ and mediated by the teacher to ensure understanding and progression. Above all, Feuerstein sees knowledge and skills as transferable, so that children who develop skills in one activity should be able to examine what they've accomplished and apply this in other areas of activity. Feuerstein's ideas have been seen to be universally applicable in education as a whole, and these principles have much to offer the class music teacher.

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Mehrens, Christopher E. "Music Library and Research Skills." Music Reference Services Quarterly 12, no. 1-2 (June 2009): 55–59. http://dx.doi.org/10.1080/10588160902963587.

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Mizener, Charlotte P. "Enhancing Language Skills Through Music." General Music Today 21, no. 2 (January 2008): 11–17. http://dx.doi.org/10.1177/1048371308316414.

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Johnson, Vicky V. "Preservice Music Teachers’ Social Skills." Update: Applications of Research in Music Education 32, no. 2 (February 5, 2014): 18–25. http://dx.doi.org/10.1177/8755123314521035.

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Yoo, Hyesoo, Sangmi Kang, Camilo I. Leal, and Abbey Chokera. "Engaged Listening Experiences: A World Music Sampler." General Music Today 33, no. 3 (November 25, 2019): 14–20. http://dx.doi.org/10.1177/1048371319890291.

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As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.

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A., Makhammatov, and Abilov M. "Ways To Develop The Performance Skills Of Future Music Teachers." American Journal of Social Science and Education Innovations 02, no. 11 (November 23, 2020): 125–29. http://dx.doi.org/10.37547/tajssei/volume02issue11-21.

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Robertson, A. "Results of Medical and Hospice Music Therapy Internship Directors’ Views of Advanced Guitar Skills Needed for Interviews." Music Therapy Perspectives 38, no. 2 (December 6, 2019): 205–9. http://dx.doi.org/10.1093/mtp/miz022.

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Abstract The purpose of this study was to determine which guitar skills beyond the American Music Therapy Association (AMTA) functional guitar skill competencies are important for prospective music therapy interns to perform during the medical and hospice music therapy interview process. Participants (n = 32) for this study were medical or hospice music therapy internship supervisors from AMTA approved and university-affiliated internship sites that were asked to rate eight advanced guitar skills on their importance during the internship interview process. Of the 64 internship directors to whom the survey was sent, 32 (50%) participants representing five of the seven AMTA regions responded. The majority of internship directors (94%) reported the guitar as the primary instrument for therapy at their facility. Results indicated that four of the eight advanced guitar skills in question were considered important for interns to perform during the interview process, suggesting students should learn these advanced skills before applying to a medical or hospice music therapy internship. These findings are consistent with previous research suggesting the use of advanced guitar skills to meet musical demands within contemporary music therapy practice.

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Kaleli, Yavuz Selim. "An Investigation of Pre-Service Music Teachers’ Self-Regulatory Skills." International Journal on Social and Education Sciences 3, no. 3 (July 17, 2021): 548–62. http://dx.doi.org/10.46328/ijonses.226.

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Self-regulatory skill is one of the important factors affecting academic orientation and performance of learners at all levels in learning-teaching processes. The aim of this study is to compare the self-regulatory skills of pre-service teachers studying in music education departments based on the variables of gender, class, overall achievement and performance in individual instruments lessons. The study was conducted with 198 Pre-service Music Teachers studying at Necmettin Erbakan University and Gazi University. Data were collected by using Academic Self-regulatory Skills Scale. Research findings showed that pre-service music teachers’ self-regulatory skills differed based on the variables of year of study, achievement levels in individual instrument lessons and overall academic achievement. It was found that students with high academic achievement levels had effective self-regulatory skills. However, no significant difference was found between the self-regulatory skills of male and female pre-service music teachers.

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Tsang, Christine D., and Nicole J. Conrad. "Music Training and Reading Readiness." Music Perception 29, no. 2 (December 1, 2011): 157–63. http://dx.doi.org/10.1525/mp.2011.29.2.157.

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several reports have noted significant associations among phonological awareness, early reading skills, and music perception skills in young children. We examined whether music processing skills differentially predicted reading performance in a broad age range of 69 children with and without formal music training. Pitch perception was correlated with phonological awareness, a finding consistent with the hypothesis that basic auditory processing skills underlie the association between music and reading abilities. Nevertheless, the correlation between music skills and reading skills was affected by the presence of formal music training: pitch discrimination predicted reading ability only in children without formal music training. Studies examining the association between music perception and reading (and perhaps other cognitive domains as well) should not ignore the factor of music training.

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Talalienė, Živilė, and Henrika Šečkuvienė. "Expression of Leadership Skills of Music Teacher." Pedagogika 119, no. 3 (September 23, 2015): 134–46. http://dx.doi.org/10.15823/p.2015.029.

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Leadership in contemporary society is perceived as a process, which contributes to efficient solution of constantly emerging problems in business, pedagogical and social spheres. Over the last period a rapid progress of science and various technologies has been observed and leadership has acquired a significant status in education as well. To make leadership a natural phenomenon at school, there is a need for a harmoniously functioning link: authorities-leaders; teachers - leaders, who should educate a new generation of school learners-leaders. A teacher of music or a leader of music collective has to rally school learners for attainment of common goals: to develop music abilities during lessons of music; to satisfy needs for music expression during non-formal activities. Therefore, this mission may be implemented only by a teacher-leader. The object of the research: leadership skills of music teacher. The goal of the research: to reveal peculiarities of expression of music teacher’s leadership skills. The research methods: analysis of scientific literature, semi-structured interview, qualitative content analysis. The analysis of scientific literature on leadership issues was carried out during the research and leadership skills that are most characteristic of music teachers were highlighted. On the basis of the distinguished abilities, the model of expression of leadership skills of music teacher of general education school was designed. The semi-structured interview was conducted and its sample included six respondents. The data acquired during the interview were processed employing the qualitative content analysis. The results of the research showed that the identified leadership skills of music teacher may be characterised through the following features: • Motivation (inspiration) for music activities is manifested during lessons and extracurriculum music activities. • Communication and collaboration is seen through joint activities with teachers of other study subjects, administration and learners’ parents. Successful communication is predetermined by friendly, sincere, mutual and responsible style of communication. • Ability to solve problems that emerge during music activities is revealed through collaboration with class master, colleagues and specialists, clarification of situation, individual conversations, sincere communication, professional attitude, understanding of group needs, prioritising of the goal to be attained over personal needs. • Management of stressful situations is expressed through recognition of conflict situations, application of various conflict resolution ways, control of emotions, positive attitude and understanding of behaviour, which typical of a certain age group of a learner. The research results showed that leadership skills are very important to successful activities of a music teacher because a music teacher-leader has a vision and able to rally children for joint music activities to achieve as good results as possible.

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Akyuzluer, Fatima. "The effects of the music teacher trainıng program on the problem solving skills of music teacher candidates." International Journal of Academic Research 6, no. 3 (May 30, 2014): 222–28. http://dx.doi.org/10.7813/2075-4124.2014/6-3/b.33.

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Jacob, Udeme Samuel, and Jace Pillay. "Effectiveness of music therapy on reading skills of pupils with intellectual disability." Cypriot Journal of Educational Sciences 16, no. 1 (February 25, 2021): 251–65. http://dx.doi.org/10.18844/cjes.v16i1.5526.

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Objective: Reading is an indispensable skill. The study investigated the effects of music therapy on the reading skills of pupils with intellectual disability. Methods: An experimental research design was used. The sample was purposively selected from two special schools for pupils with intellectual disability in Ibadan, Nigeria. Seventeen pupils were randomly assigned to two groups (music therapy and control groups). Eighteen sessions of music therapy were conducted with the experimental group only. The Reading Skills Test was used before and after the intervention to collect data. Analysis of Covariance (ANCOVA) was used for data analysis. Results: The data indicated that there was a significant statistical difference between pre-test and post-test results. The interaction effect of treatment and parents’ socio-economic status was not significant for the participants’ reading. Conclusion: Music therapy enhanced the reading skills of pupils with intellectual disability and should be adopted in teaching pupils with intellectual disability. Keywords: Music therapy; parents’ socio-economic status; pupils with intellectual disability; reading skills

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Uhlig, Sylka. "Functional Voice Skills for Music Therapists." Voices: A World Forum for Music Therapy 19, no. 2 (June 14, 2019): 2. http://dx.doi.org/10.15845/voices.v19i2.2728.

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This informative book is a guide for the development of functional voice skills for music therapists and students, young clinicians, educators and other health professionals in clinical settings. It presents techniques for emerging a rich, varied, engaging, and healthy clinical voice for use in music therapy practice. The book has a beautiful cover, and invites the reader to take a journey through the uniqueness of the authentic voice. It guides them to discover vocal challenges as well as to find personal vocal strength.

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McClung, Alan C. "Extramusical Skills in the Music Classroom." Music Educators Journal 86, no. 5 (March 2000): 37–68. http://dx.doi.org/10.2307/3399635.

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FAUTLEY, MARTIN. "Why Music Educators Really Understand Skills." British Journal of Music Education 35, no. 1 (March 2018): 1–4. http://dx.doi.org/10.1017/s0265051718000049.

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The issue of knowledge and skills as competing factors in education has been considered in BJME editorials previously, notably 30(2) and 33(2) (Fautley & Murphy, 2013, 2016). This is a matter which not only affects the English system specifically, however, as there are strains of it being felt in many jurisdictions throughout the world. It is worth revisiting in this editorial because of a number of elements of the ways in which conceptualisations of this dichotomy are influencing what is enacted in policy. This is having an impact at both the macro and micro levels in and between schools and education systems (Schmidt, 2017).

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Smith, Amy R. "Functional voice skills for music therapists." Journal of Music Therapy 57, no. 1 (November 26, 2019): 120–23. http://dx.doi.org/10.1093/jmt/thz015.

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Cutietta, Robert A. "Does Music Instruction Aid Mathematic Skills?" General Music Today 9, no. 3 (April 1996): 28–30. http://dx.doi.org/10.1177/104837139600900309.

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Cutietta, Robert A. "Does Music Instruction Aid Academic Skills?" General Music Today 10, no. 1 (October 1996): 24–27. http://dx.doi.org/10.1177/104837139601000108.

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Mutlu Yıldız, Yıldız. "The Evaluation of Third-Grade Music Lessons and Student Writing Skills with Student Diaries." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 6 (December 29, 2017): 26–32. http://dx.doi.org/10.18844/prosoc.v4i6.2908.

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This study aims to evaluate the case of reaching the outcomes of music lessons and the development of written expression skills with student diaries. Document review technique as a part of qualitative research design was used and purposeful sampling was applied. Thirty students studying in third grade during the 2013–2014 academic year participated in the research. The participants were asked to keep a diary for 8 weeks in relation to the outcomes covered at the music lesson. Student diaries were examined based on content analysis and written expression skill was evaluated with rubrics prepared in connection with the outcomes. It was found that students developed their written expression skill in their diaries after the activities and they used the terms related to music in an appropriate way, while expressing the knowledge and skills they acquired during treatment. Student diaries can be used for all lessons, especially in primary schools. Keywords: Student diary, music education, writing skills, third grade;

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Corrigall, Kathleen A., and Laurel J. Trainor. "Associations Between Length of Music Training and Reading Skills in Children." Music Perception 29, no. 2 (December 1, 2011): 147–55. http://dx.doi.org/10.1525/mp.2011.29.2.147.

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previous research has found that music training in childhood is associated with word decoding, a fundamental reading skill related to the ability to pronounce individual words. These findings have typically been explained by a near transfer mechanism because music lessons train auditory abilities associated with those needed for decoding words. Nevertheless, few studies have examined whether music training is associated with higher-level reading abilities such as reading comprehension, which would suggest far transfer. We tested whether the length of time children took music lessons was associated with word decoding and reading comprehension skills in 6- to 9-year-old normal-achieving readers. Our results revealed that length of music training was not associated with word decoding skills; however, length of music training predicted reading comprehension performance even after controlling for age, socioeconomic status, auditory perception, full-scale IQ, the number of hours that children spent reading per week, and word decoding skills. We suggest that if near transfer occurs, it is likely strongest in beginning readers or those experiencing reading difficulty. The strong association in our data—between length of music training and reading comprehension—is consistent with mechanisms involving far transfer.

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Dvorak, Abbey, Eugenia Hernandez-Ruiz, and Kevin M. Weingarten. "Course-Based Undergraduate Research Experience: Music Education and Music Therapy Student Outcomes." Journal of Music Teacher Education 30, no. 3 (March 23, 2021): 26–39. http://dx.doi.org/10.1177/10570837211002167.

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The purpose of this study was to evaluate a course-based undergraduate research experience (CURE) in a required music psychology course and to measure student outcomes and conduct reliability estimation for the Research Skill Development Questionnaire (RSDQ) and Undergraduate Research Student Self-Assessment (URSSA). Student researchers ( N = 33) completed the URSSA and RSDQ. We analyzed URSSA Likert-type items using descriptive statistics and performed content analysis on open-ended responses. Student researchers reported moderate improvement across three subscales of Thinking and Working Like a Scientist, Personal Gains, and Research Skills, and some change for Attitudes and Beliefs. A comparison of pretest and posttest RSDQ subscale scores showed no significant change in participants’ self-reported research knowledge, skills, or dispositions. URSSA and RSDQ subscales demonstrated strong internal consistency. Based on content analysis of URSSA open-ended responses, participants reported interest in graduate school, greater understanding of and confidence about research, and plans to use research in their career.

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Mukhitdin Kadirovich, Muradov, and Khalilov F.N. "Improvement of professional quality of skills of music teachers." International Journal on Integrated Education 2, no. 4 (September 20, 2019): 16–18. http://dx.doi.org/10.31149/ijie.v2i4.102.

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Much profile is a discriminating particularity to activity of the teacher of the music. As is well known, lesson of the music comprises of itself choral chant, performance on music instrument, listening the music and analysis heard, questions historian-theoretical cycle, solfeggio and t d. Teacher of the music must possess deep "three-dimensional" knowledge’s, broad range of the music professions

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Gardiner, Paula, and Rachel Kilby. "Music is music? Striking the balance in music education in Wales." Journal of Popular Music Education 5, no. 1 (April 1, 2021): 39–54. http://dx.doi.org/10.1386/jpme_00042_1.

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Through the examination of past and current practice, survey and interview, this article discusses how music from the widest parameters may be included in mainstream education in Wales. In 2014, the Welsh Government commissioned Professor Graham Donaldson to review the curriculum and assessment arrangements in schools in Wales. The outcome, Successful Futures: Independent Review of Curriculum and Assessment Arrangements in Wales (2015), was adopted by the Welsh Government for implementation by 2021. This new curriculum and its approach to learning and teaching offers the opportunity to re-examine the provision of music in schools, outlining a significant shift from ‘…“learning about” to “learning to” with a growing skills focus and an emphasis on application and development of higher-order skills, particularly creativity (entrepreneurship) and digital literacy’ (Donaldson 2015: 18). This vision requires exploration and engagement in a greater diversity of music.

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Campayo–Muñoz, Emilia–Ángeles, and Alberto Cabedo–Mas. "The role of emotional skills in music education." British Journal of Music Education 34, no. 3 (July 24, 2017): 243–58. http://dx.doi.org/10.1017/s0265051717000067.

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Developing emotional skills is one of the challenges that concern teachers and researchers in education, since these skills promote well-being and enhance cognitive performance. Music is an excellent tool with which to express emotions and for this reason music education should play a role in individuals’ emotional development.This paper reviews the results of previous studies that explore the connections between active engagement with music and the development of emotional skills, specifically in the field of music education. A sample of 21 investigations was analysed.The results from the selected studies show that music has multiple benefits for the development of certain aspects of emotional skills and positive implications for education. Suggestions for music educators gathered from the previous research are presented and potential areas of interest for further exploration in the field are identified.

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Vasil, Martina, Lindsay Weiss, and Bryan Powell. "Popular Music Pedagogies: An Approach to Teaching 21st-Century Skills." Journal of Music Teacher Education 28, no. 3 (December 12, 2018): 85–95. http://dx.doi.org/10.1177/1057083718814454.

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Changes in the world economy and U.S. educational policy present music educators with the challenge of reassessing traditional pedagogy to ensure they are instructing and assessing in ways that contribute to students’ development of 21st-century knowledge and skill sets. Educators are responding by incorporating pedagogical approaches that challenge students to think critically, problem solve collaboratively, and use technology and media efficiently. Popular Music Pedagogies (PMPs) invite students, music teachers, and music teacher educators to take risks, learn alongside one another, and address 21st-century knowledge and skills through engaging with the music that students choose and create. In this article, we define PMPs and discuss how music teacher educators can incorporate PMPs into music teacher education programs to better prepare preservice and inservice music teachers to function within a Partnership for 21st Century Learning framework.

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Alexander, Michael L., and Michele L. Henry. "The Development of a String Sight-Reading Pitch Skill Hierarchy." Journal of Research in Music Education 60, no. 2 (May 21, 2012): 201–16. http://dx.doi.org/10.1177/0022429412446375.

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This study was designed to determine a pitch skill hierarchy for string sight-reading, to determine the effects of key on string sight-reading achievement, and to determine the validity of a tonal pattern system as a measurement of melodic sight-reading skill for string players. High school string students ( n = 94) obtained a mean score of 27.28 out of 31 on a modified version of the Vocal Sight-Reading Inventory. Success rates ranging from .99 to .72 were established for 31 pitch skills, grouped into eight tonal categories. Significant differences were found between skills appearing in the keys of D and E, with 11 of 31 skills obtaining significantly differing results by key. A .95 correlation between note-by-note and skill-based scoring systems indicates that skill-based scoring is a valid measurement of string players’ sight-reading of tonal pitch skills within a melodic context. Researchers should explore whether these pitch skills hold their relative difficulty level with less accomplished players and between instrument types, establish a hierarchy for rhythm skills, further investigate the effect of key, and identify anxiety levels for sight-reading when the consequences of performance quality vary.

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Hughes, Jenny. "Improving communication skills in student music teachers. Part Two: questioning skills." Music Education Research 7, no. 1 (March 2005): 83–99. http://dx.doi.org/10.1080/14613800500042158.

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Dankovicová, Jana, Jill House, Anna Crooks, and Katie Jones. "The Relationship between Musical Skills, Music Training, and Intonation Analysis Skills." Language and Speech 50, no. 2 (June 2007): 177–225. http://dx.doi.org/10.1177/00238309070500020201.

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Otondo, Felipe. "Music technology, composition teaching and employability skills." Journal of Music, Technology and Education 9, no. 3 (December 1, 2016): 229–40. http://dx.doi.org/10.1386/jmte.9.3.229_1.

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This article explores the relationship between the creative skills taught as part of the music technology BA course at Lancaster University and the skills valued by graduates and employers in the creative industries. The study investigated ways of enhancing specific and generic employability skills intrinsic to music technology teaching while working in close collaboration with industry partners and Lancaster University graduates. A survey of students, graduates and industry experts showed that generic and discipline-based skills linked to music technology composition teaching, such as communication, planning and organizing and critical listening, are highly valued by both recruiting professionals and students. These results are in line with findings from an earlier project that showed the importance of non-disciplinary knowledge shared among students from different backgrounds for the design and implementation of successful interdisciplinary collaborations. Future developments of the project will investigate ways of enhancing generic and specific employability skills within interdisciplinary learning environments for art and science students.

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Shan, Senquan. "The Status Quo and Promotion Strategy of Music Score Literacy of Junior School Students." Science Insights Education Frontiers 10, S1 (September 13, 2021): 22. http://dx.doi.org/10.15354/sief.21.s1.ab052.

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Understanding the music score is a fundamental skill in Music learning. It used to be the training of basic skills in the music class before the curriculum reform. However, this skill was gradually marginalized in the initial stage of curriculum reform in that it is too difficult for students to have a delightful learning experience. Since the publication of Criterion for music Curriculum 2011, music score literacy has gained a foothold again. Its theory stage is higher than before. Owing to various causes, teaching this skill is still in a dilemma in practice. With the improvement of compulsory education quality, reading music score as a necessary music skill becomes a vital position again. However, current teaching conditions cannot meet this task. Therefore, this paper chose the music proficiency test of junior school students in an area to analyze the current condition of reading music score and develop the proper improving strategies.

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Klein, Eve, and James Lewandowski-Cox. "Music technology and Future Work Skills 2020: An employability mapping of Australian undergraduate music technology curriculum." International Journal of Music Education 37, no. 4 (August 6, 2019): 636–53. http://dx.doi.org/10.1177/0255761419861442.

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This study explored how Australian music technology courses teach employability skills. A curriculum mapping of 63 undergraduate courses was conducted with course learning outcomes aligned against two benchmarks. The first benchmark was the Ten Skills for the Future Workforce which identifies key employability skills graduates will require in the coming decade. The second benchmark was the Australian Qualifications Framework Specification for the Bachelor Degree which defines the generic skills graduates must obtain through Australian Bachelor Degrees. This curriculum mapping reveals that Australian music technology courses teach Novel and Adaptive Thinking, Computational Thinking, New Media Literacy, and Design Mindsets universally. However, this curriculum mapping also reveals a deficit in employability skills related to Cross-Cultural Competency, Transdisciplinarity, Virtual Collaboration, and Collaboration more generally. The implications of this mapping is that Australian music technology educators seem to be prioritizing specific technical and creative skills over higher-order applications of skills and knowledge which are contextualized in their broader social and cultural contexts. Finally, this article shows how curriculum mapping can be implemented to embed employability skills progressively across a program sequence using a case study from the School of Music, University of Queensland.

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Hutchins, Sean. "Early Childhood Music Training and Associated Improvements in Music and Language Abilities." Music Perception 35, no. 5 (June 1, 2018): 579–93. http://dx.doi.org/10.1525/mp.2018.35.5.579.

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Adult musicians tend to outperform nonmusicians in a variety of language and language-relevant tasks. Moreover, children who take music lessons will show an increased ability in several types of language skills. However, it is still unclear what the time course of these developmental effects might be, and the degree to which young children improve in their musical abilities. Here, we present the first year of data from an ongoing longitudinal study, aimed at finding if measurable improvements in musical and linguistic abilities can be seen among children taking music classes. We studied 90 children (age 3–6) who were enrolled to take group classes in a conservatory setting. We measured their musical, language, and perceptual abilities both at the beginning and the ending of the school year. Pre vs. post comparisons showed an increase in vocabulary size, pre-reading skills, and singing ability; these increases were beyond what could be attributed to normal development during the time. We also found that singing ability was correlated with language skills. Taken together, these results show that early childhood music training can lead to associated improvements in both musical skills and language skills, strengthening the evidence for a developmental link between these two abilities.

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Revenchuk, Valentyna. "Formation Problem of Students' Music-Analytical Skills." Research Notes, no. 1 (October 26, 2017): 131–34. http://dx.doi.org/10.31654/2663-4902-2017-pp-3-131-134.

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Thomson, Helen. "Tap brainwaves to jazz up music skills." New Scientist 237, no. 3168 (March 2018): 13. http://dx.doi.org/10.1016/s0262-4079(18)30423-8.

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Lee, Juyoung, Katrina Skewes McFerran, and Jane W. Davidson. "Motivations and skills investments of music therapists." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 40–41. http://dx.doi.org/10.1080/08098131.2016.1179943.

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Cotik, Tomas. "Entrepreneurship and PR Skills for Music Students." American String Teacher 67, no. 2 (May 2017): 54–55. http://dx.doi.org/10.1177/000313131706700206.

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Knight, A., and B. Matney. "Music Therapy Pedagogy: Teaching Functional Percussion Skills." Music Therapy Perspectives 30, no. 1 (January 1, 2012): 83–88. http://dx.doi.org/10.1093/mtp/30.1.83.

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Overy, Katie, Roderick I. Nicolson, Angela J. Fawcett, and Eric F. Clarke. "Dyslexia and music: measuring musical timing skills." Dyslexia 9, no. 1 (2003): 18–36. http://dx.doi.org/10.1002/dys.233.

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Byrne, Charles, John Halliday, Mark Sheridan, Rebecca Soden, and Simon Hunter. "Thinking Music Matters: Key Skills and Composition." Music Education Research 3, no. 1 (March 2001): 63–75. http://dx.doi.org/10.1080/14613800123764.

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Merrill, James D. "Rhythmic and Vocal Creativity Builds Music Skills." General Music Today 17, no. 3 (April 2004): 14–20. http://dx.doi.org/10.1177/10483713040170030104.

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Howard, Sandra A., and Karen J. Seaver. "Music Educators’ Self-Perceptions of Interpersonal Skills." Update: Applications of Research in Music Education 32, no. 1 (September 25, 2013): 18–24. http://dx.doi.org/10.1177/8755123313502343.

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Ritblatt, Shulamit, Sascha Longstreth, Audrey Hokoda, Bobbi-Nicole Cannon, and Joanna Weston. "Can Music Enhance School-Readiness Socioemotional Skills?" Journal of Research in Childhood Education 27, no. 3 (July 2013): 257–66. http://dx.doi.org/10.1080/02568543.2013.796333.

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Schellenberg, E. Glenn, Kathleen A. Corrigall, Sebastian P. Dys, and Tina Malti. "Group Music Training and Children's Prosocial Skills." PLOS ONE 10, no. 10 (October 27, 2015): e0141449. http://dx.doi.org/10.1371/journal.pone.0141449.

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Solanon, Stephanie O., Claribel Astrid D. Idong, Ariel Epan San Jose, and Maria Gregoria Robles Concepcion. "HEEDING TO ENGLISH MUSIC AND SONGS ENHANCES LISTENING SKILLS." International Journal of New Economics and Social Sciences 12, no. 2 (December 31, 2020): 131–42. http://dx.doi.org/10.5604/01.3001.0014.6887.

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Undeniably, teaching English listening is challenging. These challenges did not only involve teaching proper pronunciation, articulation, accent, dialectal variation but also the lack of modern listening devices and equip-ment. This qualitative research determined whether heeding to English music and songs could improve the listening skills of the students. Using focus groups, the researchers obtained the information through in-depth inter-views among 16 musically inclined freshmen English major students. Findings revealed that the participants were not genre oriented; they listened to English music and songs was a self-decision or influenced by peers; they bene-fitted from listening to English music and songs like making them emotionally stable, sharpening their mental and language abilities; they were able to keenly distinguish properly enunciated English words; they became linguis-tically aware of dialectal variations; and they were able to differentiate hearing and listening to music. Moreover, they listened to English music and songs as those were part and parcel of their lives. It implies that music and songs may be used in learning English in schools to facilitate psychological and linguistics faculties of tudents.

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Saarikallio, Suvi. "Access-Awareness-Agency (AAA) Model of Music-Based Social-Emotional Competence (MuSEC)." Music & Science 2 (January 1, 2019): 205920431881542. http://dx.doi.org/10.1177/2059204318815421.

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Social–emotional competence (SEC) is a set of psychological resources, highly relevant for adaptive growth and wellbeing. Music has been argued to support social–emotional skills, yet there is little theoretical consensus about the underlying impact mechanisms and the special nature of music as a medium for SEC. This article presents a theoretical model of music-based SEC that combines research from general SEC models with music-specific literature from music psychology, music education, music therapy, and music for health and wellbeing. The proposed access-awareness-agency (AAA) model defines music-based social–emotional competence (MuSEC) as interplay of embodied access, reflective awareness, and sense of agency. These three components are defined as the core competencies that music in particular facilitates; competencies that underlie and explain further competence in behaviors ranging from affective self-regulation to social interaction. The article elaborates these MuSEC components and their potential connections to particular equivalents in general SEC and proposes hypotheses for empirically testing the model. The model offers a novel, integrative SEC-based perspective for advancing theoretical coherence in the growing field of music as social–emotional wellbeing and growth.

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FORGEARD, MARIE, GOTTFRIED SCHLAUG, ANDREA NORTON, CAMILLA ROSAM, UDITA IYENGAR, and ELLEN WINNER. "THE RELATION BETWEEN MUSIC AND PHONOLOGICAL PROCESSING IN NORMAL-READING CHILDREN AND CHILDREN WITH DYSLEXIA." Music Perception 25, no. 4 (April 1, 2008): 383–90. http://dx.doi.org/10.1525/mp.2008.25.4.383.

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PAST RESEARCH HAS SHOWN THAT MUSIC and language skills are related in normal-reading children as well as in children with dyslexia. In both an ongoing longitudinal study with normal-reading children and a pilot study with children with dyslexia, we found a strong relationship between musical discrimination abilities and language-related skills. In normal-reading children, musical discrimination predicted phonological and reading skills (Studies 1 and 2). These relationships were stronger in children with music training than in control children without music training. In children with dyslexia,musical discrimination predicted phonological skills, which in turn predicted reading abilities (Study 3). Furthermore, normal-reading children with music training surpassed both normal-reading controls and children with dyslexia in melodic discrimination. Controls also outperformed children with dyslexia (Study 4). Taken together, these findings suggest that a music intervention that strengthens the basic auditory music perception skills of children with dyslexia may also remediate some of their language deficits.

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Journal articles on the topic 'Music skills'

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