Contents
Academic literature on the topic 'Play ; Music – Instruction and study – Cyprus'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Play ; Music – Instruction and study – Cyprus.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Play ; Music – Instruction and study – Cyprus"
1
Goins Frewen, Katherine. "Effects of Familiarity With a Melody Prior to Instruction on Children’s Piano Performance Accuracy." Journal of Research in Music Education 57, no. 4 (November 13, 2009): 320–33. http://dx.doi.org/10.1177/0022429409351178.
Full textAbstract:
The main purpose of this study was to examine the effects of familiarity with the sound of a melody on children’s performance of the melody. Children in kindergarten through fourth grade ( N = 97) with no previous formal instrumental instruction were taught to play a four-measure melody on a keyboard during an individual instruction session. Before learning to play the melody, half of the children listened to a model of the melody repeatedly in music class to become familiar with the music. Children’s familiarity with the melody was assessed through a melodic error identification test administered immediately before and after instruction. The results indicated that children who were familiar with the melody played significantly more correct notes than did children not familiar with the melody and that performance accuracy increased with grade level.
2
Springer, D. Gregory, Amanda L. Schlegel, and Andrew J. Lewis. "Effects of Dark and Bright Timbral Instructions on the Production of Pitch and Timbre." Journal of Research in Music Education 68, no. 4 (August 6, 2020): 482–98. http://dx.doi.org/10.1177/0022429420944347.
Full textAbstract:
The purpose of this study was to examine the effects of timbral instructions on pitch and timbre production. High school ( n = 28) and collegiate ( n = 28) trumpeters played sustained tones at two octave levels (written C4 and C5) following three types of timbral instructions (dark-timbre, bright-timbre, or neutral instructions). Presentation orders were randomly assigned. Dependent variables included one acoustical measure of pitch (absolute cent deviation) and one acoustical measure of timbre (spectral centroid). Participants also reported which type of instruction they perceived to result in their “best sound” and their “most in-tune performance.” Results indicated a significant interaction between timbral instruction condition and octave. Post hoc testing revealed that timbral instructions affected participants’ absolute cent deviation, but different effects were observed in each octave. The effect of timbral instructions on participants’ spectral centroid was nonsignificant. Participants demonstrated a preference for the neutral instruction over the dark- and bright-timbre instructions, and their tuning accuracy varied by octave and instruction condition. These data suggest that music educators may need to use timbral instructions judiciously so that the instruction to play with a different timbre does not result in unintentional changes in pitch.
3
Seddon, Frederick, and Michele Biasutti. "Strategies Students Adopted When Learning to Play an Improvised Blues in an E-Learning Environment." Journal of Research in Music Education 58, no. 2 (June 30, 2010): 147–67. http://dx.doi.org/10.1177/0022429410369226.
Full textAbstract:
In this investigative study, the authors sought to reveal the learning strategies adopted by participants as they learned to play a 12-bar improvised blues with both hands together on a musical keyboard in an e-learning environment. There were 3 participants, 2 female and 1 male. Participants’ average age was 21 years. They worked individually in an e-learning environment with the assistance of “Blues Activities” text and supporting audio material. A remote facilitator was available via e-mail to provide advice, support, and encouragement during and after each of the learning sessions. Video observation techniques were employed, and a coding scheme emerged via a qualitative analysis procedure. A time analysis of the video data based on the emergent coding scheme revealed the percentages of time participants spent in five distinct learning activities, which were interpreted as instruction, copying, practicing, playing, and evaluating. The findings of the current study provide an insight into the learning strategies adopted by these 3 participants in this particular learning situation and provide empirical support for theories of learning to play by ear proposed in prior research reviewed in this article.
4
Miranda, Martina L. "Developmentally Appropriate Practice in a Yamaha Music School." Journal of Research in Music Education 48, no. 4 (December 2000): 294–309. http://dx.doi.org/10.2307/3345365.
Full textAbstract:
Pedagogical practices in a Yamaha Music School were explored using ethnographic techniques to collect data during one semester of instruction. Two groups of participants served as informants in this study: (1) children 4-6 years of age, who were enrolled in the Yamaha Junior Music Courses, and (2) their teachers and parents in the setting. Developmentally Appropriate Practice (DAP) guidelines as published by the National Association for the Education of Young Children were the theoretical grounding for the study. The following question guided the investigation: In what ways are the events and interactions in a Yamaha music class congruent or incongruent with DAP guidelines ? Congruent events and interactions were the pace and variety of instructional activities, recognition of individuals, involvement of parents, and inclusion of dramatic play. Incongruent events and interactions were the approach to two-hand playing, fixed accompaniment tempos, minimal peer interactions, and fixed curricular goals.
5
Guzzetta, Christine A. "Learning method preferences in a steel drum classroom: Exploring a learner-centered pedagogy through composition, peer teaching, and student-led Modern Band projects in a middle school setting." International Journal of Music Education 38, no. 2 (October 21, 2019): 267–82. http://dx.doi.org/10.1177/0255761419877575.
Full textAbstract:
This action research discovers the learning preferences of middle school students enrolled in an advanced steel drum class in central Florida, specifically their attitudes toward the learner-centered approach while composing and learning music. Sixteen participants compare the traditional teacher-led formal instruction to student-led informal learning across three projects: composition, peer teaching, and student-led small group with the introduction of Modern Band instruments. Students are given creative freedom to choose their own friendship groups, instruments, and songs. Ease, enjoyment, and success rates are measured through questionnaires, video recording, field notes, and interviews. Student preferences toward teacher-directed and peer-directed learning change throughout the study, from student-led learning to teacher-led instruction as the tasks become more difficult. In addition, preferred learning techniques of the steel drum are found to be reading notation, listening to the music, and demonstrating how to play the instrument through kinesthetic means. Music teachers can successfully implement a more learner-centered classroom by planning lessons that are in line with student ability and background knowledge, while incrementally increasing challenges.
6
Setiawan, Erick, and Erfan Erfan. "METODE PEMBELAJARAN PIANO DI PURWACARAKA MUSIK STUDIO PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 89. http://dx.doi.org/10.24036/jsu.v9i1.109555.
Full textAbstract:
This study aims to describe how the piano learning methodsare used in Purwacara Music Studio Padang. It is seen in terms of objective, material, method, and evaluation. This research used a Qualitative approach which produced descriptive data about Piano Instruction in Purwacara Music Studio Padang.T he data were collected through observation, interview, documentation, and interactive data analysis consisting of data reduction, data presentation, and conclusion drawing. The results show that the piano learning process in Purwacara Music Studio is in accordance with the determined curriculum whose learning objective is students are able to play piano in right fingeringand sitting attitude. In the learning process, the methods implemented are lecture method, questions and answers, demonstration, drill, and assignment. Meanwhile, thelearning materialsare divided into two materials: music theory and music practice. In addition, evaluation is always held in every course meeting, and final evaluation as well as a test for improvement levelis held every 6 months. To get more tangible and use fulbenefits, based onthe results of research and discussion about piano instruction in Purwacara Music Studio, forming a special team for designing piano learning materials in an guidebook is a suggestion the writer gives. This is due to the fact that available materials are not neatly arranged in a guidebook. Thus, the existence of the arranged materials in a guidebook can further enhance the process of learning.Keywords: method, learning, piano
7
Akutsu, Taichi. "Constructing a “fast protocol” for middle school beginner violin classes in Japan." International Journal of Music Education 36, no. 1 (February 3, 2017): 96–107. http://dx.doi.org/10.1177/0255761417689918.
Full textAbstract:
This study aimed to investigate the process of constructing a “fast-protocol” for violin instruction. Since learning string instruments has not been common, and because there are limited hours for music in Japanese schools, the author, a violinist, collaborated with the general music teacher at a middle school in the Tokyo metropolitan area, and co-created the protocol which contains three lesson units as follows: (1) to play an open string on the violin; (2) to discriminate pitch by string crosses on the violin; (3) to discriminate pitch by using fingers on the violin. As for data collection, the study videotaped students’ learning, and maintained log notes. This study also collected students’ commentary focusing on perceived challenges after each class ( N = 120). Based on all gathered data, after completing the coding process, researcher and teacher co-constructed the narrative. Findings include critical examinations of readiness in violin teaching and learning, and variations on violin-specific challenges associated with enjoyment and satisfaction for beginners.
8
Duke, Robert A., and Jacqueline C. Henninger. "Effects of Verbal Corrections on Student Attitude and Performance." Journal of Research in Music Education 46, no. 4 (December 1998): 482–95. http://dx.doi.org/10.2307/3345345.
Full textAbstract:
The present study was designed to compare the effects of negative feedback statements and specific directives in music performance instruction. Twenty-five college undergraduates and 25 fifth- and sixth-grade students were taught by rote to play on soprano recorder an accompaniment part to the theme to Sesame Street. All subjects were taught in individual lessons by the same teacher. In approximately half the lessons at each age level, the teacher communicated corrective information through negative feedback statements. In the remaining lessons, the teacher communicated corrective information through specific directives. Results indicate that subjects' attitudes and performance achievement were unaffected by the experimental conditions. All subjects expressed positive attitudes about the experience, and the time required to reach the final performance goal and the quality of student performance were not different between the group receiving negative feedback and the group receiving directives.
9
Kusumawati, Eny. "VISUAL GAME NOVEL ON READING CLASS: ENHANCEMENT OR USELESS WHEN IT USES IN THE EFL OF ESP CLASSROOMS." Cordova Journal : language and culture studies 9, no. 2 (December 10, 2019): 153–62. http://dx.doi.org/10.20414/cordova.v9i2.1484.
Full textAbstract:
Visual Games Novel (VGN) is effectively seen as a digital evolution books, with music, pictures, and occasionally even voice acting or movies. VGN mostly do not have a game play nor interaction outside of continuing the dialogue with a button press or make a decision even though the typical game drive the user do a lot. This activity applied in EFL reading class to enhance the students’ reading comprehension. Explicit instruction strategy is used to conduct this study, the aim of this qualitative study is to find out the students expressed and their perception toward VGN after being treated with an explicit strategy using VGN in one semester with 8 meetings. An -10 item with open-ended questionnaire which was followed by an in-depth interview. The data were obtained from examining the students’ perceptions towards the use of VGN in reading class. A total of 54 sophomore majoring in Mechatronics and Industrial Electronics Departmentsof an Indonesia state polytechnic (PoliteknikElektronikaNegeri Surabaya). The result showed that mostly students have positive attitudes respond towards VGN and they developed their integrative and instrumental motivation during the treatment.The pedagogy is that combining betweennatural and explicit vocabulary instruction is more effective in promoting reading comprehension to support the VGN. The language practitioners can rely on teaching reading, especially in ESP context, to help improve students’ comprehension in reading.
10
Arnautova, Larysa, and Liubov Tarasenko. "Modern correctional technologies in work with features of psychophysical development children." Scientific visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 16–20. http://dx.doi.org/10.33310/2518-7813-2019-65-2-16-20.
Full textAbstract:
The problem of teaching children of primary school age with the peculiarities of psychophysical development, who study in inclusive classes the article deals. The continuous development of pedagogical practice and the growth of the number of children with disabilities leads to the search for new more effective methods of work, new approaches to the organization of the educational process. The study is based on the use of Waldorf methodology – eurythmia, the main purpose of which is to develop a child's holistic perception of the world through the experience of its beauty, harmony, the formation of a positive attitude to themselves and other people, improving communication skills, harmonization of personality through a sense of joy, security and safety. Eurythmy is effectively used to improve the condition of children with different severity degrees of the disease and different levels of intellect. This subject is part of the school curriculum, as it «paves the way» for teaching other disciplines, and this, in turn, will form an integral system of school integration. A feature of the educational process organization in the first grade is that learners are engaged in eurythmia with music. They perform eurythmic special exercises for vowels and consonants with the teacher in the form of an accessible interesting play games. Training takes place on small poems and fairy-tale games, built on rhyme and rhythm. It is necessary to beat the rhythm of poems rhythmically, measuring its size in short and long steps. It was noted that the level of emotional stress in children is reduced. The exercises we use have a positive impact on the health, thinking, will, feelings of the child and contribute to the harmonious development of social skills, which in children with autism spectrum disorders are significantly impaired. The children learned to listen and understand the instruction of the teacher to perform the exercises immediately after the words of the master and without errors, quickly navigate in the concepts of «rightleft», «up and down»; «back and forth», to distinguish the quality of movement «loud-quiet, short-long steps; fastslow»; follow the steps on different surfaces of the foot; to recognize parts of the body to maintain balance while performing exercises on the bench and while driving on the forms to catch and throw the ball to move along defined trajectories independently and in a group. It is necessary to adhere to the systematic training and to form a positive emotional state in children and a steady interest in the lesson to obtain a successful result. It is necessary to combine the creation of an atmosphere of goodwill, assistance and mutual assistance and at the same timerequire clarity and correctness of the movements and exercises.
Dissertations / Theses on the topic "Play ; Music – Instruction and study – Cyprus"
1
Zachariou, Antonia. "Musical play and self-regulation : an exploration of 6- and 8-year old children's self-regulatory behaviours during musical play sessions at Cypriot primary schools." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708961.
Full text
2
Konstantinou, Chrysovalentini. "Introducing technology in Cypriot primary music education : examining change in teacher thinking and practice." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708379.
Full text
3
Flack, Michael A. "The effectiveness of Aebersold play-along recordings for gaining proficiency in jazz improvisation." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1290772.
Full textAbstract:
The purpose of this study was to determine whether an Aebersold play-along recording is an effective tool for becoming a more proficient jazz improviser. Participants (N=35) were undergraduate and graduate trumpet, trombone, and saxophone students enrolled in the jazz program at a mid-sized university in the mid-western United States.The study followed a pretest/posttest design in which participants were randomly assigned to either an experimental or control group. Both groups were asked to record a pretest of improvisation over two choruses of F blues, along with a rhythm section playalong recording. Three expert judges evaluated these pretest performances using the Instrumental Jazz Improvisation Evaluation Measure (IJIEM). Participants self-reported a total of four hours of individual practice over the next thirteen days, the control group practicing F blues without the aid of accompaniment and the experimental group practicing with a play-along accompaniment compact disc provided by the researcher. Participants recorded two choruses of improvisation as a posttest on day fourteen, which were subsequently evaluated by the three expert judges, again using the IJIEM. The pretest and posttest results for all three judges were then averaged and compared for differences.The results reveal a significant difference with positive gain scores in both groups. While both groups showed higher mean gain scores, the experimental group experienced a fifty-six percent gain over the control group (not statistically significant).School of Music
4
Alvarez, Sara P. "NUESTROS SONIDOS: A CASE STUDY OF BILINGUAL MUSIC AND PLAY AMONG PRIMARY-SCHOOL AGE HERITAGE LANGUAGE LEARNERS." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/7.
Full textAbstract:
The demographics in the United States continue to show a dramatic increase of immigrant students who speak a language other than English at home (Smitherman; U.S. Census); however, schooling ideologies and practices continue to treat developing bilingualism as a detriment to students entering school rather than a resource (Canagarajah; Heath; Matsuda; Valdés et al; Richardson; Santa Ana; Street). In this case study, conducted in the “Nuevo New South” (Mohl; Rich and Miranda), I observed how bilingual music and play in school-like settings can promote bilingual literacy practices and bridge gaps between traditional schooling practices and communities ways of languaging. Engaging in structured music and play practices creates spaces that can generate moments of felicidad and meta-construction of heritage language users as bilinguals.
5
Ching-Yun, Hung, and 洪菁筠. "The Study of Play-based Instruction for Music Rhythm in the Third Grade." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/67405602357230714492.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
101
The aim of this study was to investigate effects of rhythmic game-based teaching on rhythmic ability of third-grade elementary students. Based on research literature, a quasi-experimental design was used in this study. Two classes of third-grade students from an elementary school in New Taipei City were assigned into experimental and control groups. The experimental study was a curriculum with a total of 20 sections for a period of 10 weeks (two sections a week.) The experimental methods were pre-tests and post-tests of rhythmic ability designed by the author and validated by experts, and learning experience questionnaires for the experimental group. The results of the tests were analyzed with an independent sample t-test and paired sample t-test to understand the effectiveness and differences of rhythmic learning in the two groups before and after the experimental teaching. Additionally, the learning experience questionnaires in the experimental group were analyzed with a frequency distribution and percentage to serve as a basis for improving teaching. Based on the data analyses, the findings of this study can be summarized as follows, First, the rhythmic game-based teaching can enhance the rhythmic ability of third-grade elementary students. (A) The students who accepted the rhythmic game-based teaching made a significant improvement in the rhythmic ability. (B) The experimental group is better than the control group in the ability of rhythmic listening. (C) The experimental group is better than the control group in the ability of rhythmic mimicking. (D) The experimental group is better than the control group in the ability of sight-seeing and rhythmic clapping. Second, students had positive responses to the rhythmic game-based teaching. (A) Game-based teaching is a favorite learning style of the experimental group. (B) The experimental group who accepted the game-based teaching made great progress. (C) “Linguistic rhythm” is a favorite rhythmic content of the experimental group. According to the findings of this study, the author put forward specific proposals as a basis of curriculum design for textbook editing and music teaching, and as a reference for future studies.
6
Chen, Mei-I., and 陳美怡. "A Study on Metacognition and Learning Attitude of 6th Graders through Play-Based Music Appreciation Instruction." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/69057676791024734809.
Full textAbstract:
碩士國立臺南大學
音樂教育學系碩士班
94
This study aims to solve the insufficiency of music appreciation material in music classrooms and learners’ low learning motivation and to improve professional capability after the implementation of art and humanity curriculum. After understanding the content of music appreciation, play and metacognition through paper analysis, an action research was taken with the use of music appreciation teaching project based on play-based strategies and its implementation in three classes composed of 103 6th graders. Through the collection, processing, reflection and feedback of questionnaires, observation records, teaching journals, worksheet and learning portfolio, teaching efficiency was evaluated. This research is to understand the participants’ change of metacognition and learning attitude after the designed music appreciation teaching project and to offer music teachers reference. 7 points are concluded based on the findings and results: 1. This is study is to design music appreciation teaching mode and play-based music appreciation instruction by utilizing play-based teaching strategies such as personal concept feeling, corporative sharing and group competition to aim at the insufficiency of music appreciation material in music classrooms and learners’ low learning motivation and to improve professional capability after the implementation of art and humanity curriculum. 2. The cognitive ability of music and learning attitude are efficiently improved through the implementation of play-based music appreciation instruction. 3. An obvious change and promotion are found in 2 aspects of participants’ metacognitive static knowledge-the knowledge of people and questions through the implementation of play-based music appreciation instruction. 4. As for the dynamic adjusting perspective of respondents’ metacognition, play-based music appreciation instruction performs best in planning aspect and change slightly positively in both monitoring and checking-outcome aspects. 5. An obvious change and promotion are observed in curriculum expectation and practical application, while no apparent change is noticed in learning transfer through the implementation of play-based music appreciation instruction. 6. Participants’ emotional aspect in their music appreciation learning attitude changes apparently through the implementation of play-based music appreciation instruction. 7. Participants’ change in behavioral aspect of their music appreciation learning attitude is not identical through the implementation of play-based music appreciation instruction. At last, some related suggestions are provided for music teachers and future study in the basis of the research reflection, feedback and results. Keywords: play-based music appreciation instruction, teaching strategies, learning attitude, metacognition
Books on the topic "Play ; Music – Instruction and study – Cyprus"
8
Wood, Donna. Move, sing, listen, play: Preparing the young child for music. Toronto, Canada: Gordon V. Thompson, 1995.
Find full text
9
Flohr, John W. Storytelling with music: Sing, play, dance, and act. Denton, TX: Troost Press, 2008.
Find full text
10
Play the harmonica--today!: A revolutionary technique for learning to play the blues, rock & folk harmonica. New York, NY: Mud Puddle Books, 2010.
Find full text