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Journal articles on the topic 'Singing lesson'
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McConville, Katherine. "Navigating the “Passaggio” Between Voice Therapy and a Singing Lesson: Ethical Considerations for the Speech-Language Pathologist." Perspectives of the ASHA Special Interest Groups 5, no. 3 (June 30, 2020): 658–61. http://dx.doi.org/10.1044/2020_pers-20-10003.
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Purpose The purpose of this article is to discuss factors that guide ethical decision making in determining what constitutes medically necessary voice therapy that involves or targets singing, which is distinct from a singing lesson. Method Different treatment tasks and scenarios are identified, and their rationales are compared with deference to precedent literature and relevant portions of the American Speech-Language-Hearing Association Code of Ethics. These materials are referenced in an effort to define the boundaries between voice therapy involving singing technique and a singing lesson. Results Suggestions regarding goal writing and documentation to highlight apparent boundaries are made. Conclusions In the care of injured voices, both precedent and ethical principles support speech-language pathology treatment that targets singing. However, it is incumbent upon the treating speech-language pathologist to determine when they are venturing into tasks that no longer serve a therapeutic purpose and to refer the patient for voice lessons as appropriate.
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Caliga, Marina. "12. The Methodology of Music Education Lesson Completeness by Means of the Vocal-Choral Singing Dominant Activity." Review of Artistic Education 19, no. 1 (April 1, 2020): 93–99. http://dx.doi.org/10.2478/rae-2020-0012.
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AbstractChoral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.
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Wilson, Sarah J., David F. Abbott, Dean Lusher, Ellen C. Gentle, and Graeme D. Jackson. "Finding your voice: A singing lesson from functional imaging." Human Brain Mapping 32, no. 12 (December 15, 2010): 2115–30. http://dx.doi.org/10.1002/hbm.21173.
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Jaminar, Jaminar. "Improving Reading Skills At First Class Students Sdn 04 Koto Ranah Kecamatan Iv Nagari Bayang Utara Kabupaten Pesisir Selatan Through Model Of Singing Learning." Jurnal Ilmiah Pendidikan Scholastic 2, no. 2 (October 28, 2018): 53–63. http://dx.doi.org/10.36057/jips.v2i2.273.
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The existence of elementary school as a basic educational institution is very high to participate in helping children grow. For Students class I SDN 04 Koto Ranah District IV Nagari Bayang Utara Pesisir Selatan District Lesson Year 2015/2016 is a place to play, socialize and also learn is quite representative. In general, people know that learning in class I Sdn 04 Koto Ranah District IV Nagari Bayang Utara Pesisir Selatan District Lesson Year 2015/2016 apply the principle of playing while learning or learning while playing. But in its application, it turns out that between theory and practice are not aligned. It was found that in the first grade students of SDN 04 Koto Ranah, Sub District IV Nagari Bayang Utara, Pesisir Selatan District, the Lesson Year 2015/2016 has been taught the lesson and its delivery as it is to teach the lessons to the children of Advanced School. Concerns arise when society generally thinks that the standard of teaching success in class I SDN 04 Koto Ranah Subdistrict IV Nagari Bayang Utara Pesisir Selatan District Lesson Year 2015/2016 is students who have completed education in elementary school able to write, read and count. Parents will feel proud when their son graduated from elementary school has been fluent in reading, writing and counting. Based on what the authors have done, can be drawn some conclusions that: Reading practice in teaching and learning process with singing techniques more easily ditangkapa by grade I SDN 04 Koto Ranah District IV Nagari Bayang Utara Pesisir Selatan District Lesson 2015/2016. During this activity, there is a seriousness of the children to follow the lesson. Children can learn to read without feeling depressed and always in a pleasant atmosphere. The results of monitoring quantitatively shows that 75% of children are able to read smoothly so that invites students class I SDN 04 Koto Ranah District IV Nagari Bayang North Pesisir Selatan District Lessons 2015/2016 reading practice with singing techniques proved to foster interest in reading children early on. A teacher meeting program with parents who are held once a month before delivering materials to children is very influential in helping children to succeed in SDN 04 Koto Ranah Sub District IV Nagari Bayang Utara Pesisir Selatan District Lesson 2015/2016. The author realizes that the delivery of the material has not been implemented optimally, given the number of children who exceed the capacity. If implemented more intensively and with the ideal ratio of teachers and children, then the quantitative and qualitative of course the result will be better.
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Nafisi, Julia. "Gesture and body-movement as teaching and learning tools in the classical voice lesson: a survey into current practice." British Journal of Music Education 30, no. 3 (June 11, 2013): 347–67. http://dx.doi.org/10.1017/s0265051712000551.
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This article discusses the use of gesture and body-movement in the teaching of singing and reports on a survey amongst professional singing teachers in Germany regarding their use of gesture and body movement as pedagogic tools in their teaching. The nomenclature of gestures and movements used in the survey is based on a previous study by the author (Nafisi, 2008, 2010) categorising movements in the teaching of singing according to their pedagogical intent intoPhysiological Gestures, Sensation-related Gestures, Musical GesturesandBody-Movements. The survey demonstrated thatGestureswere used by a significant number of voice teachers to enhance explanation and/or demonstration, that a significant number of voice teachers encouraged their students to carry out similar Gestures whilst singing to enhance their learning experience and that another type of essentially non-expressiveBody-Movementswas also encouraged by a significant number of voice teachers to enhance students’ learning. The paper validates the author's nomenclature and offers some hitherto unpublished insights.
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Grape, Christina, Maria Sandgren, Lars-Olof Hansson, Mats Ericson, and Töres Theorell. "Does singing promote well-being?: An empirical study of professional and amateur singers during a singing lesson." Integrative Physiological & Behavioral Science 38, no. 1 (January 2002): 65–74. http://dx.doi.org/10.1007/bf02734261.
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van Orden, Kate. "CHILDREN'S VOICES: SINGING AND LITERACY IN SIXTEENTH-CENTURY FRANCE." Early Music History 25 (August 17, 2006): 209–56. http://dx.doi.org/10.1017/s0261127906000179.
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Around 1600, students in France learnt to read with printed primers. They began with the letters of the alphabet, learning them by playing with little wooden or cardboard tablets or picking them out of books, and then moved on to syllables, which were learnt from syllabaries printed in large letters and containing the Pater noster, Ave Maria, Credo, Confiteor and the Benedicite. When they began to spell out whole words, children moved on to another syllabary containing the Magnificat, the Nunc Dimittis, Salve Regina, the Seven Penitential Psalms and the litanies of the Saints, all of them common prayers. Two pages from Jacques Cossard's Methodes pour apprendre a lire, a escripre, chanter le plain chant, et compter (Paris, 1633) can give us some idea of what these early modern primers looked like (see Figures 1–2). In the first lesson the text of the Pater noster is broken into syllables, whereas in the second lesson the students must discern the syllables of the Ave Maria themselves, a task aided by the small numbers Cossard has placed beneath the text to show how many letters should be read together as a syllable.
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Soykunt, Neriman, and Başak Gorgoretti. "Student Opinions on Psychomotor Learning Activities Used in Music Lessons." Journal of History Culture and Art Research 10, no. 3 (September 30, 2021): 27–36. http://dx.doi.org/10.7596/taksad.v10i3.3089.
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This study aims to determine the situation by examining the opinions of 8th-grade students about psycho-motor activities used within the scope of 8th-grade music lessons. Semi-structured interview technique was used as a qualitative method in the research. With this method, data were collected by conducting one-on-one interviews with 8th-grade students. The study was conducted with forty-four 8th-grade students. The obtained data were analyzed by making content analysis. According to the findings obtained from the interviews; It is understood that the psycho-motor activities used in schools are mostly similar, but there are problems in the implementation process, the activities cannot be used effectively and efficiently, and music lesson activities are not given enough importance due to the problems arising from the deficiencies in the material and learning environment. From the students' opinions, it is understood that the theoretical parts of the music lessons are long and the lessons conducted in this way are boring. Based on the students' opinions, it is understood that the singing activity is the most used psycho-motor activity, but this activity is not used to improve the musical knowledge and skills taught in the lessons, but to increase the students' interest in the lessons. It is understood that rhythm exercises, body percussion and instrument playing activities are less involved in music lessons than singing activities.
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Vitale, Alessia Rita. "The singing lesson. Phenomenology of the non-verbal dynamics appearing in studying the Instrument-voix." Musicae Scientiae 12, no. 1_suppl (March 2008): 111–28. http://dx.doi.org/10.1177/1029864908012001051.
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The novelty of this approach lies in studying singing from the point of view the multifunctionality and polyvalence of the voice in all the typically plural dimensions that contribute to making it a unique instrument, the only instrument embodied/ incarnated in its interpreter, both material and transcendent. An “object” both external and internal, both the most intersubjective and the most personal — to the point of requiring “someone other than oneself” to help one take one's distance from it to study it — the voice has the faculty of bringing together simultaneously the polar opposites of Being. With a methodology at the crossroads of the human sciences, this study forms part of a broader systematic investigation I engaged in concerning the detailed analysis of the singing lesson and the comparison of its specific psycho-dynamic processes with those involved in the learning of other musical instruments. I deal with the role and influence that non-verbal/non-vocal languages assume in the teaching and learning about the voice in its singing dimension when it is used with the value of a musical instrument. This is what I refer to as the “instrument-voix”. The notion of gesture is of pivotal importance in non-verbal language, and this notion is twofold in nature: it involves the problematic of Time, which (itself) necessarily involves that of Memories. Dealt with here will be the influence of nonverbal languages upon mnesic activities.
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Asare, Masi. "Vocal Colour in Blue." Performance Matters 6, no. 2 (March 16, 2021): 52–66. http://dx.doi.org/10.7202/1075800ar.
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This essay invokes a line of historical singing lessons that locate blues singers Bessie Smith and Ethel Waters in the lineage of Broadway belters. Contesting the idea that black women who sang the blues and performed on the musical stage in the early twentieth century possessed “untrained” voices—a pervasive narrative that retains currency in present-day voice pedagogy literature—I argue that singing is a sonic citational practice. In the act of producing vocal sound, one implicitly cites the vocal acts of the teacher from whom one has learned the song. And, I suggest, if performance is always “twice-behaved,” then the particular modes of doubleness present in voice point up this citationality, a condition of vocal sound that I name the “twice-heard.” In considering how vocal performances replicate and transmit knowledge, the “voice lesson” serves as a key site for analysis. My experiences as a voice coach and composer in New York City over two decades ground my approach of listening for the body in vocal sound. Foregrounding the perspective and embodied experience of voice practitioners of colour, I critique the myth of the “natural belter” that obscures the lessons Broadway performers have drawn from the blueswomen’s sound.
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Sigurðardóttir, Þórunn, and Þorsteinn Helgason. "Singing the News in Seventeenth-century Iceland." Quaerendo 50, no. 3 (August 7, 2020): 310–36. http://dx.doi.org/10.1163/15700690-12341470.
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Abstract In 1631 the Protestant town of Magdeburg fell to the Catholic Imperial army and was burned to the ground with casualties of some 20.000 people. This event reverberated far and wide in broadsheets and pamphlets, songs and images, and not only in Germany. The destruction of Magdeburg echoed in faraway Iceland, where pastor Guðmundur Erlendsson wrote a poem about the event. In this article we argue that news of the event (perhaps in the form of broadsides) must have arrived quite early to Iceland and travelled through the learned community around the diocese of Hólar in the northern region of Iceland. Furthermore, we explore the intentions of the poet and his observations and perceptions of the events. The poem was most likely intended to be sung or recited and was disseminated in handwritten copies. We explore the questions: Why produce a poem about atrocities in foreign lands? What was the lesson of the events in Magdeburg for peaceful Iceland?
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Serikbol, Shynybaev, Kazhimova Karylgash, Akparova Zhanna, Urazaliyeva Moldir, and Taubaldieva Zhumatay. "Formation of singing skills of future music teachers through digital resources." World Journal on Educational Technology: Current Issues 14, no. 1 (January 31, 2022): 282–93. http://dx.doi.org/10.18844/wjet.v14i1.6726.
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The purpose of this study is to investigate the determination of the formation of singing skills of future music teachers through digital resources. The quantitative research method was used in the study, and the research was conducted in the fall semester of 2021–2022. 376 volunteer music teachers who continue their studies in Kazakhstan participated in the study. In the study, 4 weeks of online training was provided to music teachers. In the study, the ‘digital music platform’ measurement tool developed by the researchers and compiled by experts in the field was used. The measurement tool was delivered and collected by the online method of music teachers. The analysis of the data was carried out using the SPSS programme; frequency analysis was carried out using the t-test; and the results obtained were added to the study accompanied by tables. According to the survey results, in live lessons, music teachers use the songs with the formation and this takes place where digital content is also very low. In the event of very frequent use, it was seen that by projecting courses in distance education systems the music rates are quite high.
Keywords: Music Teachers, Digital Content, Live Lesson, Teachers of the Future;
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Stramkale, Ligita. "MEMORIZING SONG LYRICS IN PRIMARY EDUCATION DURING THE MUSIC LESSON." Journal of Education Culture and Society 11, no. 1 (June 27, 2020): 273–80. http://dx.doi.org/10.15503/jecs2020.1.273.280.
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Aim. The aim of the study is to identify what techniques students use to memorise song lyrics, how much time is needed to do that, and whether and in what way their parents help them learn the song. The theoretical part of the study analyses previous researches on memorisation in the context of general psychology, age-related psychology, and music psychology.
Method. The empirical study involved 47 (N=47) second-grade students of the comprehensive school (25 girls and 22 boys). Three study questions are raised in this paper: what techniques do students use to learn how to memorise song lyrics? How much time does a student need to learn singing a song by heart? Do parents help students memorise the song lyrics and in what way? To answer these questions, after having sung a song by memory each student was asked to write an essay about his/her thoughts on how he/she had learned this song at home. The content analysis was used in order to process the information contained in the essays and thus obtain a concise and detailed description of the song memorising techniques.
Results. As a result of the obtained data analysis, it was determined that the most commonly used memorising techniques were: reading the song lyrics, singing the lyrics, and repeating them several times. The study also revealed that slightly more than half of the students did not get any parental assistance to learn a song by heart.
Conclusion. The students who learn to sing a part of a song by heart during music lessons need less time to learn the whole song at home when compared with those students who do not learn parts of the songs in class.
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Jamiluddin Yacub. "PENDAMPINGAN PENERAPAN MANAJEMEN PEMBELAJARAN BERBASIS MULTIPLE INTELLIGENCES DI SMA KECAMATAN WAY JEPARA KABUPATEN LAMPUNG TIMUR." As-Salam: Jurnal Studi Hukum Islam & Pendidikan 10, no. 1 (June 22, 2021): 65–86. http://dx.doi.org/10.51226/assalam.v10i1.237.
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This study aims to describe, reveal, and find the dominant factors of multiple intelligence-based learning management in improving learning achievement in the field of life skills. The focus of this research is on planning, organizing, implementing, evaluating, and learning outcomes. This study uses a qualitative design with a naturalistic approach and based on constructivism, which views reality as having multiple dimensions, data were collected through interviews, observation, documentation, and triangulation. The results of this study conclude that multiple intelligence-based learning management is very effective for fulfilling students' life skills, that each student can develop their respective types of intelligence in various ways, intelligence is not only limited to IQ, but there are other intelligences including linguistic intelligence, Mathematical logic, spatial, kinesthetic, musical, interpersonal, intrapersonal, and naturalistic. Learning management based on multiple intelligences begins with MIR (multiple intelligences research for each new student as the basis for preparing lesson plans. The learning implementation is preceded by apperception containing alpha zones in the form of special greetings, fun stories, ice breaking, or singing. The core activities consist of exploration, elaboration, and singing). confirmation, apperception exploration in the form of warmer, pre-teach, and scene setting, elaboration containing learning strategies and methods, while confirmation in the form of teacher and student questions and answers to determine lesson acceptance, Evaluation by means of authentic assessment which includes three domains of knowledge (cognitive) consisting of tests daily, UTS, UAS, annual test, attitude (affective) assessment of teachers, self, friends, and anecdotal records, assessment of skills (psychomotor) in the form of performance (performance), work (product), and making projects (project). The obstacle to learning management based on Multiple Intelligences is changing the paradigm a teacher, making lesson plans, choosing varied learning strategies, and conducting authentic student assessments.
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Imelia, Lisa, and Heliany Kiswantomo. "Korelasi Subtes IST dengan Nilai Mata Pelajaran di Sekolah yang Berada di Bawah Naungan Yayasan ‘X’ Bandung." Humanitas (Jurnal Psikologi) 2, no. 2 (August 23, 2018): 165–82. http://dx.doi.org/10.28932/humanitas.v2i2.1572.
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The purpose of this research is to measure the Correlation between IST Subtest with Academis Scores at Schools in Yayasan ‘X’ Bandung. IST is one of the intelligence test currently used to measure students' intelligence at school. Student achievement is influenced by intelligence. This study uses multiple correlational design, to measure correlation strength between the two variables. Respondent are are 10th grade high school students in Yayasan ‘X’ Bandung. The instrument used in this study is the IST to measure the intelligence. Academic scores taken from student scores in every lesson. The results of this study indicate that the function of intelligence correlates with almost all forced lessons, except for cultural arts, singing, design and sports. For subjects of IPA concentration, intelligence function is supposed to be a predictor of Physics, Mathematics, Biology and Chemistry, whereas for subjects of IPS concentration, intelligence function can only be predictor of geography.
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Perepeliuk, Olha. "Educational and Methodological Support for the Training of Choristers of Parish Churches of the Kyiv Diocese in the Second Half of the 19 th Century." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 36 (June 2021): 27–34. http://dx.doi.org/10.31652/2411-2143-2021-36-27-34.
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The purpose of the article is to identify the historical processes that led to increased attention to the study of church singing in the second half of the nineteenth century and the analysis of methodological support for the training of future choristers of churches in parish schools. The methodological basis of the research is formed by general historical methods (analysis and synthesis), as well as the principles of scientificity, historicism, and objectivity. The scientific novelty lies in the fact that on the basis of the analysed publications of the church press and the available research of modern authors, for the first time, the recommendations that were provided to singing teachers for the preparation of future choristers are highlighted. The teaching aids and some methodological recomndations that were provided to facilitate the learning of students are indicated. Conclusions. In the ХІХ century, a number of reforms were carried out in all eparchies of the Russian Empire, concerning various spheres of spiritual education. There was a reorganization of educational institutions and an update of educational programs. The church singing became one of the main subjects; it was introduced for compulsory study in educational institutions of all levels – from academies to parish schools. Pupils of theological educational institutions mastered its theory and practice at the divine services. The Holy Synod issued provisions that regulated the volume of educational material and even a list of chants and prayers. In addition, church singing could be studied not for one semester or a year, but for the entire period of study. The main aspect requiring improvement in the reform process is the creation of church choirs. Since most of the teachers had a low level of solfeggio knowledge, they are not able to teach singers – teaching aids and methodological recommendations were developed to solve this problem. The useful information for singing teachers was distributed for giving the lesson: easy ways to study musical notation, elementary musical theory, examples of melodies, and so on. Their popularization was carried out with the help of church publications. The article analyses publications of the church press of the ХІХ century, as well as modern researches, which contains information on teaching church singing and advice for teachers who train children-choristers.
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Gul, Gulnihal. "Music Teachers' Usage of the Breathing and Voice Exercises in Song Teaching." Journal of Education and Training Studies 6, no. 9 (July 9, 2018): 69. http://dx.doi.org/10.11114/jets.v6i9.3429.
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Singing has a profound effect on the child's mental and emotional development and is directly related to the basic mental functions and physiological development. In this context, it is considered that voice training with the aim of using the voice correctly and effectively is necessary in the general music education and breathing and voice exercises have a particular importance for good and quality sound production in this process.With this idea, in this research, it was aimed to determine the situation of music teachers in Turkey on using breathing and voice exercises while singing in events held in the context of the general music education. According to findings obtained from the research, it has been determined that music teachers' usage of breathing and voice exercises differ according to the institution they are studying, the weekly hours of the music lesson and the inadequacy of the classroom equipment influenced the use of breathing and voice exercises by music teachers in song teaching and teachers felt that they were sufficient enough to accompany themselves to voice exercises.
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Angraini, Vivi, and Tulus Handra Kadir. "PELAKSANAAN PEMBELAJARAN VOKAL GROUP DALAM MATA PELAJARAN SENI BUDAYA DI KELAS VII-4 SMP NEGERI 3 PADANG." Jurnal Sendratasik 9, no. 1 (February 13, 2020): 26. http://dx.doi.org/10.24036/jsu.v8i3.108106.
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Abstract This study aims to describe implementation of group vocal learning in cultural arts subject at Class VII-4 in SMP Negeri 3 Padang.. Type of this research was a descriptive study with using qualitative method. The research instrument was the researcher. It was assisted by using supporting instruments such as stationery, camera, and voice recorder. Techniques of data collection were carried out by taking observation, interviews, documentation and literature study. The steps in analyzing data were done by collecting, identifying, classifying, clarifying, describing and summarizing data. The results show that group vocal learning carry out by the teacher at class VII-4 in SMP Negeri 3 Padang is not going well and does not catch the target of learning objectives. It can be seen from the planning, implementation, and evaluation that is less relevant between the lesson plans and those implemented by the teacher. The teacher does not understand the concepts and techniques of group vocal singing well so that the students do not understand singing in the form of group vocals. At the time of learning, the teacher should provide musical training to students, so that students' understanding of singing group vocal can be carried out properly, and not just memorizing the song. Therefore, there are still some students who have not been able to practice it properly, due to lack of guided practice, lack of understanding of the material and practice of singing vocal groups correctly which impact on the student grades. In the results of the evaluation of learning to sing in vocal groups of the students at class VII-4, the highest score only reach 87 and the lowest score is 75. Keywords: Implementation, learning, vocal group, cultural arts
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Satrianingrum, Arifah Prima, Yulsyofriend Yulsyofriend, and Syahrul Ismet. "Metode Pengenalan Berbahasa Inggris di Pioneer Montessori School Padang." Diklus: Jurnal Pendidikan Luar Sekolah 4, no. 2 (September 30, 2020): 101–11. http://dx.doi.org/10.21831/diklus.v4i2.31571.
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AbstrakMasa usia dini disebut juga dengan golden age yang sangat tepat untuk mendukung perkembangan dan pertumbuhan anak. Aspek bahasa merupakan salah satu aspek yang penting. Penelitian ini bertujuan untuk mendeskripsikan berbagai metode pengenalan berbahasa Inggris di Pioneer Montessori School Padang. Penelitian ini menggunakan metode deskriptif kualitatif. Informan dalam penelitian ini ialah kepala sekolah dan guru. Teknik pengumpulan data yang digunakan terdiri dari observasi, wawancara dan dokumentasi. Teknik analisis data yang dilakukan melalui reduksi data, penyajian data dan verifikasi data. Sedangkan teknik pengabsahan data menggunakan uji kredibilitas, uji transferabilitas, uji dependabilitas dan uji konfirmabilitas. Hasil penelitian menunjukkan bahwa di Pioneer Montessori School Padang terdapat 12 (dua belas) metode pengenalan berbahasa Inggris untuk anak usia dini. Metode tersebut terdiri dari TPR (Total Physical Response), singing song, dancing, concrete things, art, reward, story telling, three period lesson, games, sport, listen and repeat, serta pembiasaan dan pengulangan dalam berbahasa. THE INTRODUCTION METHOD TYPE OF ENGLISH AT PIONEER MONTESSORI SCHOOL OF PADANGAbstractThe early childhood era also called by golden age which is precise for them to support their development and growth. Language aspect is one of the important aspect. The purpose of this research is to describe what kind of method th at Pioneer Montessori School of Padang use for introducing English. This researchis using descriptive- qualitative method. The informantion gained from the head master and teachers of the school. The technical of data aggregation are observation, interview and documentation. Data analysis conducted through data reduction, data display, and data verification. The technical of approval was using credibility, transferability, dependability and confirmability. The result of research showed that in Pioneer Montessori School of Padang there are 12 (twelve) English introduction methods for early childhood. The method are TPR (Total Pyshical Response), singing song, dancing, concrete things, art, reward, story telling, three period lesson, games, sport, listen and repeat, also habituation and repetition.
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Hartina, St. "Teachers’ Techniques in Teaching English to Young Learners." Indonesian TESOL Journal 1, no. 1 (March 31, 2019): 78–88. http://dx.doi.org/10.24256/itj.v1i1.538.
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The objectives of this research were to find out the teachers’ techniques in teaching, the problems in teaching and the best teaching techniques used by the teacher in teaching English to young learners at TK Bambini School of Makassar. It applied descriptive qualitative research. The subjects of the research were three kindergarten teachers of TK Bambini School of Makassar. The data were obtained through interview and observation. The data were analyzed based on procedure of data analysis that consisted of the data collection, the data reduction, the data display, and conclusion: drawing/verification. The findings showed that (1) the teachers’ techniques in teaching English to young learners were singing a song, games, presentation practice and production, drilling, demonstration, story-telling, reading aloud, and dictation, (2) the teachers’ problems in applying the certain teaching techniques were learners’ lack of self-confidence, learners’ uncontrollable movement when singing and playing the games, learners’ misunderstanding towards the games rules and the story, learners’ less focus on teachers’ presentation and instructions, learners’ unfamiliarity of the spelling words, learners’ inability to read and write the word or sentences, and the teachers’ difficulty in explaining the lesson and in performing science experiment, (3) the best teaching techniques implemented by the teachers were playing games, demonstration and presentation practice and production.
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Febri, Doni, Tulus Handra Kadir, and Harisnal Hadi. "PELAKSANAAN PEMBELAJARAN BERNYANYI SECARA UNISONO BERDASARKAN KURIKULUM 2013 EDISI REVISI DI KELAS VII-2 SMP NEGERI 3 PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 75. http://dx.doi.org/10.24036/jsu.v9i2.110562.
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This study aims to explore and describe the implementation of Culture and Arts instruction based on the revised 2013 curriculum of 2016 edition at SMP Negeri 3 Padang. This is a qualitative research using descriptive method. The research instrument was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data were collected through literature study, observation, interview, and documentation. The data analysiswas conducted through collecting the data, describing the data, taking conclusion and making suggestions. The results showthat the unisono singing instruction conducted by teachers in class VII-2 of SMP Negeri 3 Padang has not gone well and had not met the targets of the learning objectives and the objectives of the revised 2013curriculum. This can be seen from the planning, implementation, and evaluation. Thereisnorelevancy between the lesson plans and those implemented by the teacher in the classroom. Teachers do not fully understand the concepts and techniques of singing unisono so that students do not understand the subject matter. The results of the unisono learning evaluation of students in class VII-2show that the highest score got only reached 87, the lowest score was 75, and 10 students did not reach the cut score.Keywords : Implementation, Instruction, 2013 Curriculum
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Smolej Fritz, Barbara, and Cirila Peklaj. "A case study of music instruction according to E. Willems’ pedagogy in children with intellectual disabilities: Its impacts on music abilities and language skills." International Journal of Music Education 37, no. 2 (March 13, 2019): 243–56. http://dx.doi.org/10.1177/0255761419833082.
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The aim of this case study was to explore the effects of music instruction according to the E. Willems teaching method on the music abilities and language skills in students with intellectual disabilities (ID). Eight students with ID (average age 9.64 years) participated in the study. They attended 35 music lessons during the school year. Each lesson included tasks for developing four domains: auditory perception, rhythm, singing songs and natural body movement. We developed the tasks for measuring music abilities and language skills and applied them three times: before the music training, immediately after the training and in delayed measurement 10 months after the training. Results showed a significant improvement in the music abilities in rhythm between the first and the second measurements. The improvements between the first two measurements were also found in language skills, in following instructions and in discrimination and repetition of phonemes in pairs. The research method used does not allow for the generalization of results, but it is the first step in empirical research into the effects of music instruction according to the principles of E. Willems’ pedagogy in children with ID.
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Batņa, Liene. "Music in school teaching processes through the centuries." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 423. http://dx.doi.org/10.17770/sie2013vol1.568.
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Acquisition of music terms is a significant component in a contemporary music lesson in a comprehensive school nowadays. Methodology of teaching music as a separate branch in Latvia started developing in the beginning of the 20th century with the analysis of music educators’ experience published by I. Palevics. However, music as a subject at school has a longer history therefore it would be important to explore the pedagogic role of music in different periods because during music lessons not only students’ musicality and personal development are facilitated but also the tradition of singing which includes the tradition of Song Festival is maintained. In 2008 the tradition of Baltic Song and Dance Festival was included in the UNESCO List of Representative Human Non-material Culture Heritage. Therefore it is important to explore what pedagogic aspects had provided the vital capacity of Song and Dance Festival tradition throughout centuries. The aim of the article is to analyze the place of music in the pedagogic process in different historic periods. When analyzing the topicality of the article, following aim has been nominated: to explore - how the music learning traditions are formed in Latvian schools, polyphony and choir traditions, teacher education, the knowledge of music teaching inheriting from generation to generation until the.
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Sutela, Katja, Marja-Leena Juntunen, and Juha Ojala. "Applying music-and-movement to promote agency development in music education: a case study in a special school." British Journal of Music Education 37, no. 1 (July 8, 2019): 71–85. http://dx.doi.org/10.1017/s0265051719000184.
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AbstractIn this article, we describe the agency development in one student with special needs through Dalcroze-based music-and-movement activities. The case study was conducted in the context of classroom music education in a special school. The data were produced via a teaching experiment (from August 2015 to March 2016), in which a group (n = 13) of 15- to 16-year-old students participated in added lessons (one lesson per week) provided by the first author. The lessons included a variety of Dalcroze-based activities, such as singing with movement, quick reaction and follow exercises, movement improvisation, body percussion exercises, dances, and relaxation exercises. The data consist of video-recordings of the lessons, a research diary, and interviews with teachers, teaching assistants, a therapist, and a specialist of special education. During the teaching experiment, the case student’s agency developed from being a passive outsider to being an active participant and leader. The change in agency was noticed also outside the classroom. The study suggests that using music-and-movement in a music classroom offers possibilities for nonverbal embodied interaction and thereby opportunities for the development of students’ agency and autonomy foremost by developing their body and social skills. On a more general level, the article contributes to developing such music education theory and practice that acknowledges the significance of experience in learning music and in embodied interaction, where individuals interact and make sense of the world through nonverbal communication. In addition, this study highlights the strength of such education in supporting the development of the whole human being.
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Sysoieva, Svetlana, Natalia Ovcharenko, and Olga Chebotarenko. "Professional training of future music art teachers for inclusive education: theoretical and technological aspects." SHS Web of Conferences 75 (2020): 04006. http://dx.doi.org/10.1051/shsconf/20207504006.
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The article is devoted to the actual problem of contemporary art education ἦ#x201C; to improve the professional training of future music art teachers for children’s inclusive education. Its purpose is to present the results of theoretical understanding of the developmental and healing potential of music, to develop technological support in future music art teachers’ professional training for children’s inclusive education. According to the results of the study, the basic concept of the study was defined as: “professional training of future music art teachers for inclusive education”, which is seen as an educational process aimed at ensuring students’ readiness to provide a system of educational services to persons with special educational needs in their future professional activity, and it involves mastering their inclusively oriented musical and pedagogical knowledge, skills and personal qualities. To improve the professional training of future music art teachers for children’s inclusive learning, the findings of the latest research in the field of art and musicpedagogical theory concerning the harmonizing and music-therapeutic influence of music on the personality of a child in need of educational inclusion were used; criteria of musical works selection for children with psycho-physiological disabilities have been identified; there was developed and substantiated developmental and corrective technique of training singing that can be used in inclusive classes of different age, gender and cognitive abilities of children. Developmental and corrective technique of training singing includes innovative content of children’s teaching, comprising a specially selected vocal repertoire; lesson and extracurricular forms of training; specific teaching methods for students with special educational needs.
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Ibad, Taqwa Nur, and Muhammad Ardy Zaini. "Understanding Algebra." Bidayatuna: Jurnal Pendidikan Guru Mandrasah Ibtidaiyah 2, no. 2 (October 29, 2019): 250. http://dx.doi.org/10.36835/bidayatuna.v2i2.441.
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Today, many students are not familiar with algebra. They consider algebra to be a scary lesson. Not even a few who really hate this lesson. Starting from there, algebra material always tries to be presented in a more pleasing form. Appearances that feel new are indeed worth showing to increase the love of algebra. The concept of algebra, consciously or unconsciously, has actually been taught from an early age in kindergarten, Play Group. For example when studying while playing / singing accompanied by a knock on a table, chair or other object. By paying attention to the sequence of repeating beats, the teacher can simply explain the concept of algebra to the child according to his level of reasoning. One difficulty in solving problems is to explain the answers we try to find from the unknown. In algebra if they are numbers, they are often explained by letters such as 'a' or 'x'. This usually leads to misunderstanding. In arithmetic, letters are used as abbreviations for measurements, for example if the length of the garden is known to be 12 m. which means 12 meters. sometimes 3a + 4b which means '3 apples and 4 bananas'. In the context of algebra, 3a + 4b means 3 times a plus 4 times b, that is, a and b do not represent apples and bananas, they stand alone for unknown numbers. If ‘a’ is 5 and ‘b’ is 2 then 3a + 4b will be 3x5 + 4x2 = 15 + 8 = 23.
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Podbrežnik, Andrej. "Katherine Mansfield in Slovene translations." Acta Neophilologica 34, no. 1-2 (December 1, 2001): 39–57. http://dx.doi.org/10.4312/an.34.1-2.39-57.
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During her short life Katherine Mansfield wrote numerous short stories, which place her among the best authors of this genre in world literature. The au thor of this paper tries to establish the reception of Mansfield's work and the critics' response in Slovenia. First translations of her stories were published in various Slovene magazines and reviews after the Second World War. However, the most complete and artistically successful presentation of her work was prepared in 1963 when Jože Udovič published twenty-eight short stories written by this author under the title Katherine Mansfield: The Garden Party. Udovič also contributed the introduction about the author and her work. The book was very well received in Slovenia not only by the reading public, but also by critics, who praised Mansfield and Udovič's translation as well. After that more than twenty years passed, before Katarina Mahnič translated Katherine Mansfield's short story "The Singing Lesson" in 1988. We can conclude that hopefully some new translations of Katherine Mansfield's stories will appear soon.
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Fitria, Rini, Ervina Ervina, Kurniati Kurniati, and Riki Astafi. "Pendampingan peningkatan kemampuan bahasa Inggris siswa panti asuhan Dayang Dermah Bengkalis." ABSYARA: Jurnal Pengabdian Pada Masyarakat 2, no. 1 (July 31, 2021): 56–61. http://dx.doi.org/10.29408/ab.v2i1.3540.
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In addition to studying in formal schools, children can also study in non-formal schools, such as taking courses to understand a lesson. However, to be able to take the course certainly costs a lot. The symptoms found were that some students came from underprivileged families. Found it difficult to divide their study time with their busy lives at the orphanage, lacked interest in learning English, and did not have English language manuals other than textbooks from school. This service activity aims to improve students' English through courses at the Dayang Dermah Bengkalis Orphanage. The method used in this service activity is through fun courses in games, singing, and short conversations. The result of this service is that students' English skills have increased with this course, as evidenced by the increase in students' average English scores from 78 on the initial test to 87 on the final test. It can be concluded that using the course method is an effective way to Improving Students' English at Dayang Dermah Bengkalis Orphanage
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Gün, Elvan. "The opinions of the preservice music teachers regarding the teaching of orchestra and chamber music courses during distance education process." Cypriot Journal of Educational Sciences 16, no. 3 (June 30, 2021): 1088–96. http://dx.doi.org/10.18844/cjes.v16i3.5827.
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This study was carried out to determine the opinions of preservice music teachers on the processing and efficiency of Orchestra and Chamber Music courses which are based on collective playing and singing, among the online music teaching undergraduate courses conducted in the distance education process that started in Turkey in March 2020 due to the COVID-19 pandemic. The study group of the study consisted of 40 students studying at the 3rd and 4th grades in Mehmet Akif Ersoy University, Fine Arts Education Department, Music Education Department. In this study, the case study method which is one of the qualitative research methods, was used. The study data were collected online with a semi-structured interview form prepared by the researcher based on the literature and current researches, and were tabularized by evaluating with content analysis. According to the results of the study, it was determined that the preservice music teachers thought that the Orchestra and Chamber Music courses were not suitable for distance education and were not taught efficiently, and partition playing and video merging techniques were used in their online courses. In addition, it was concluded that they thought that lesson teaching methods in distance education had no advantage and that the biggest disadvantage was the not being able to play music together. Preservice music teachers suggested that face-to-face education should be initiated in order to teach lessons more efficiently, or that courses should be taught by eliminating connection and technical problems on different online platforms that allow making music together.
Keywords: Distance Education, Music, Orchestra, Chamber Music
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Miyazaki, Ken’ichi, and Yoko Ogawa. "Learning Absolute Pitch by Children." Music Perception 24, no. 1 (September 1, 2006): 63–78. http://dx.doi.org/10.1525/mp.2006.24.1.63.
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This study is an attempt to depict the learning process of AP in Japanese children in a cross-sectional design. In this study, 104 children of 4 to 10 years of age in a music school were tested. The children had been trained within a music education system of the school since they entered the school at the age of 4. They had received a one-hour keyboard lesson a week in school and probably had everyday practice at home. The training during the initial 2-year course emphasized imitative singing with syllables in the fixed-do system while playing on the keyboard at the same time. In this training, particular emphasis was placed on establishing associations between pitches and solfège labels. In the AP test, test tones presented to the children ranged from C3 (131 Hz) to B5 (988 Hz). Children were instructed to name each tone out loud as rapidly as possible. The test score markedly increased for a fairly good number of the children with remarkable improvement from the age of 4 to 7. Children seemed to learn pitches in order of their appearance in music lessons; first, white-key notes, then black-key notes. However, one should be cautious about concluding from the present results that anyone can learn to develop AP with appropriate training, because there may be confounding factors (e.g., sampling bias and a certain dropout rate). Nevertheless, the present results are consistent with the early-learning theory of AP, and may explain the existence of partial AP (greater accuracy for white-key notes) and a high prevalence of AP in Japan.
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Petkevičius, Vaclovas. "THE IMPORTANCE OF THE MUSIC LESSONS TO A PERSON‘S MATURITY: A POINT OF VIEW OF A HIGH–SCHOOL GRADUATE." ŠVIETIMAS: POLITIKA, VADYBA, KOKYBĖ / EDUCATION POLICY, MANAGEMENT AND QUALITY 3, no. 2 (August 25, 2011): 31–39. http://dx.doi.org/10.48127/spvk-epmq/11.3.31a.
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Music educators (J. Kievišas, 2007; V. Jakoniuk, 2011; Z. Rimkevičius, 2011 etc.) recognize /face the fact that the present–day /contemporary/modern teaching process is oriented to the do-main of thinking, disregarding the emotional domain. Therefore the subject of music plays a sec-ondary role, in respect to its entity it could be very useful while learning the subjects oriented to-wards the domain of thinking. During the research the attitude was considered that a learner (and not the learning disci-pline) to be the most important object in the educational process. The gymnasium learners of the II form participated in the research. It was expected for open, simple and earnest answers, so the method of an unfinished sentence was chosen. The questionnaire comprised the four unfinished sentences (i.e. “During the music lessons it was the most valuable .... for me“, “While leaning the subject of music it was the most difficult ... for me“, “To overcome difficulties … helped me ...“, and “Having overcome the difficulties I feel …”). Accordingly, the three parts of rating with the marks from 1 to 10 were used: to assess the teacher during the music lesson; a learner / a respondent as-sessing himself / herself about preparation and activity in the music lessons. The third question con-tained the considerations about the perfection and achievement in musical culture choosing the two marks while assessing: „from – to“. The thoughts of the learners‘, the reflection, the point of view, and the changing views were important both in the assessment and the reflection of the teacher‘s work as well as in the development of the didactics of the teaching subject. In summary, some conclusion was drawn: The music lessons were important not only to educate the learners, but also to develop the musical matter and it helped learn other disciplines (e.g., the interdisciplinary relationship and sys-tem within the content of the history subject) as well as it was necessary to the learner as means of relaxation (e.g., listening the classical music, singing), that had the formative influence on the suc-cessful education. The learners appreciated the use of enriching their cognitive interests; they acknowledged perfection of their abilities; they estimated positively the alteration of a sense of values; they noted the role of the environment in educational process (i.e. a teacher, an emotional setting) in achieving the results. Many difficulties experienced in the music lessons, were temporal and surmountable, if only some attention was payed to education. Naturally, the personal characteristics of a learner played there the best role in the process of education. The difficulties that were shaped by a setting, e.g., attitudes in advance on the music subject which was considered as being silly and unnecessary, required by a long way much more time, patience and stamina for a teacher and a learner to achieve the quality in teaching and learning. Key words: ability, musical education, the lesson, learner‘s achievements, the subject of music, a sense of cultural /spiritual values.
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Wingate, Owen. "Singing Lessons for Children." Perspectives on Voice and Voice Disorders 12, no. 2 (July 2002): 17–18. http://dx.doi.org/10.1044/vvd12.2.17.
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Jacobs, Marjorie Lee. "Musical Odyssey: From Pain to Recovery." Music and Medicine 11, no. 3 (July 26, 2019): 206. http://dx.doi.org/10.47513/mmd.v11i3.673.
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Psychiatric rehabilitation aims to promote health recovery from significant losses, both physical and psychological, that have derailed the lives of adults and young adults diagnosed with a serious mental illness (SMI) so that they can actively participate in rebuilding and recreating themselves. The population faces premature morbidity and experiences higher than average rates of chronic and life-threatening disorders. When participants join the BU Center for Psychiatric Rehabilitation services’ programs, they take on the role of student, increasing their knowledge, skills, and supports to further their personal goals and recovery journeys. The submission, Musical Odyssey: From Pain to Recovery, is an original poem informed by the values and practices of my work in the field of psychiatric rehabilitation as well as my recent medical experience as a patient. The poem was inspired primarily by my four-month experience of having to navigate through the primary care system and advocate for myself to get services for two herniated discs while working. During this period I was teaching three courses: Empowering Ourselves through Song, Buddhist Psychology’s Path of Recovery, and Mindfulness: The Practice of Buddhist Psychology.In the 2018 fall semester, I was role modeling recovery-oriented rehabilitation for my students, a Certified Peer Support Specialist, and three interns (two from BU School of Social Work and one from Tufts University). Despite excruciating pain from two herniated discs, I taught almost all the classes before and after a micro-discectomy and hemi-laminectomy surgery at the Beth Israel Deaconess Medical Center and prepared detailed lesson plans for my interns who had the opportunity to develop their clinical and teachings skills while receiving my support. My suffering and sharing of daily meditation, music listening, and singing helped grow everyone’s awareness, compassion, and commitment to mindfulness practice.
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York, James. "Music and MEXT: How songs can help primary school English teachers teach and their students learn." Language Teacher 35, no. 4 (July 1, 2011): 62. http://dx.doi.org/10.37546/jalttlt35.5-8.
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In this paper, I address Japanese primary school teachers who may find themselves having to teach English for the first time as a result of MEXT’s plan to introduce compulsory English education in primary schools nationwide. I propose that using music and singing in such contexts is beneficial for both students and teachers. For students, I argue that music has positive effects on lowering the affective filter, provides the opportunity to practice pronunciation, can help improve acquisition of the target language, and can assist in the development of automaticity. For teachers, the paper provides practical lesson ideas separated into speaking and listening language skills. I also provide an overview of how specific songs may be incorporated into the fifth-grade English syllabus proposed by MEXT. 文部科学省による学習指導要領改訂で、公立小学校における外国語活動が新設され、初めて英語を教えるという小学校教師が多いと思われる。本論では、そんな小学校教師への提言を行う。そのような場面では、音楽や合唱が児童にも教師にも有益である。音楽は学習者の情意フィルターを下げ、発音練習の機会を与え、目標言語の習得に好影響があり、automaticityの養成にも役立つ。教師にとって実用的な授業のアイディアを、スピーキングとリスニングのスキル別に提案する。また、特定の曲を題材に、文科省の第5学年のシラバスへの取り入れ方も提案する。
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LO, WAI HAN. "The music culture of older adults in Cantonese operatic singing lessons." Ageing and Society 35, no. 8 (May 22, 2014): 1614–34. http://dx.doi.org/10.1017/s0144686x14000439.
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ABSTRACTCantonese operatic singing, one of the regional opera forms in China, flourishes mainly in the southern province of Guangdong. By exploring the culture of Cantonese operatic singing, this study relates older people's music participation to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing. The study also illustrates how the musical participation of older adults can be influenced by the lifecourse and ageing in terms of both vocal abilities and levels of participation. Data analysed through participation observation in two Cantonese operatic singing lessons identify the rituals and core values of Cantonese operatic singing lessons. The findings help to explain how this particular music genre interacts with ageing.
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Kucher, L. I. "Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.
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Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the fathers of professional musical education not only in Lviv, but in Western Ukraine as a whole. Yet, Lviv’s fi rst educational institution – the Higher Musical Institute – was created other than a standard conservatory of Russian Imperial Musical Society with quite a perfect educational system – it was closer to West European establishments on a parallel basis attended by secondary and higher school students, who studied only musical disciplines in the conservatory. A. Vakhnyanin (who taught theory and history of music) has become the fi rst Director of Lviv Higher Musical Institute with O. Bandrovs’ka and L. Ulukhanova teaching solo singing. In the year of 1912, after the death of M. Lysenko, the Higher Musical Institute was given his name. Lviv’s M. Lysenko Higher Musical Institute gained authority and prominence by constantly improving its educational system. Together with the conservatory of Polish Musical Society and K. Shimanovski conservatory, it became one of those educational establishments, on which basis M. Lysenko Lviv State Conservatory was created upon the reunion of West European lands. As of today, it is among our country’s leading musical universities. Vocals faculty exists since the day of Lviv conservatory’s foundation. In this period, they prepared numerous singers for opera and operetta theaters, philharmonic halls, teachers of secondary and higher schools. Having been founded in 1959, the opera studio functions as a training subdivision of the conservatory, being the source of professional growth for outstanding representatives of national vocal arts and opera conductors. The studio’s fi nancial position has been troubled for many years – there is no own premises and full-time soloists. And yet, teachers’ dedication has always allowed the studio to work so as to serve the basis for practical training of the vocals faculty students. The studio was offi cially opened on November 16, 1959 in M. Zan’kovetska Theater. A year later, on November 16, 1960, the premiere performance of “Zaporozhets za Dunayem” opera by S. Gulak-Artemovsky took place (conductor M. Lobaniv, director V. Shevchenko, assistant conductor – 4th year student S. Turchak). The entire faculty worked on the performance – vocals students enthusiastically participated in ballet scenes, their teachers sang leading parts together with students, teaching the mastery lesson to their mentees onstage. But it was emphasized in 1960 annual report by the Director of Lviv State Conservatory professor M. Kolesa that, with opera studio’s certain achievements, there also was a weak point, and namely the absence of creative and organizational contact between solo singing and opera training departments. In autumn 1963, Lviv opera studio performed in Kyiv at the Republican conference dedicated to education of actor singers, representing fragments from “Taras Bulba” (M. Lysenko) and “La traviata” (G. Verdi) performances. The conference stressed the necessity to alter the course of training – to educate actor singers, performer singers, rather than just “sound professional”. By the Order of the Ministry of Culture of Ukraine of January 25, 1966, opera training department was founded in Lviv State Conservatory. The functions of the Head of department were vested in the associate professor of solo singing department V. Kobrzhitsky. In this period, absence of creative contacts between the two departments of the vocals faculty continues to be felt, with their teachers exchanging accusations. They do not show aspiration to do the common cause – to educate actor singers. In the beginning of academic year 1971-72, the department was joined by Ukraine’s Honored Artist conductor O. Gritsak, who already in his fi rst year of work showed himself as a talented manager. It was stated in the department’s annual report that working stability, which is defi nitely a positive factor, is not always typical for the students. The number of performances for students’ practical training is insuffi cient. The repertoire must have at least three performances, so that students could be involved in several parts for a multifaceted disclosure of their creative abilities. The department made the resolution to improve its operation by fundamentally altering its organizational principles and the methodology, for which purpose to replace the department’s management.
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Hedden, Debra G. "Lessons from Lithuania: Teacher beliefs and behaviors in teaching young children to sing." International Journal of Music Education 38, no. 4 (November 12, 2019): 593–612. http://dx.doi.org/10.1177/0255761419888015.
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The purpose of this naturalistic case study was to uncover beliefs and behaviors of successful teachers who produced excellent children’s singing in Lithuania. The research questions guiding the study were: What particular beliefs did music teachers hold about their ability to teach children to sing and the necessary components to teach children good singing? What specific behaviors did music teachers exhibit and embrace in public and singing school music classes to achieve good singing that is accurate, tuneful, resonant, expressive, and in head voice? In this naturalistic case study, data from informants ( N =18) consisted of interviews ( n = 12) and observations in their classrooms ( n = 22) and concerts ( n =7) in an urban area in a city in Lithuania. The conceptual framework underpinning the study was supported by the data, relating to their beliefs and behaviors about their knowledge and skill in teaching, their use of a variety of teaching strategies, and their use of highly sequenced literature. Of most importance was that they emphatically lived their beliefs in order to achieve success with children’s singing. Implications are offered that relate to music teacher preparation.
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Mürbe, Dirk, Martin Kriegel, Julia Lange, Lukas Schumann, Anne Hartmann, and Mario Fleischer. "Aerosol emission of adolescents voices during speaking, singing and shouting." PLOS ONE 16, no. 2 (February 10, 2021): e0246819. http://dx.doi.org/10.1371/journal.pone.0246819.
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Since the outbreak of the COVID-19 pandemic, singing activities for children and young people have been strictly regulated with far-reaching consequences for music education in schools and ensemble and choir singing in some places. This is also due to the fact, that there has been no reliable data available on aerosol emissions from adolescents speaking, singing, and shouting. By utilizing a laser particle counter in cleanroom conditions we show, that adolescents emit fewer aerosol particles during singing than what has been known so far for adults. In our data, the emission rates ranged from 16 P/s to 267 P/s for speaking, 141 P/s to 1240 P/s for singing, and 683 P/s to 4332 P/s for shouting. The data advocate an adaptation of existing risk management strategies and rules of conduct for groups of singing adolescents, like gatherings in an educational context, e.g. singing lessons or choir rehearsals.
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Poruthiyil, Prabhir Vishnu. "Singing with Dignity." International Journal of Social Quality 8, no. 1 (June 1, 2018): 69–87. http://dx.doi.org/10.3167/ijsq.2018.080105.
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Scholars of organization studies are right to be concerned with the limited contributions the field has made to public policy despite the societal relevance of the insights it contains. The combination of bulkiness and of insulated pockets of specialization could help explain the relative isolation from policy making that tends to require a combination of speed and multifaceted application. The social quality (SQ) approach is simultaneously an analytical tool and a political project to secure dignity of precarious individuals. The multilevel framework adopted by SQ can effectively channel the wide range of contributions from organization studies in the service of public good. Using an ethnography of music lessons followed by older adults in a cultural institution facing imminent closure because of austerity measures, the article connects SQ work to contributions from organization theory, which can shed light on organizing principles critical to well-being of older persons.
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Demorest, Steven M., and William V. May. "Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance." Journal of Research in Music Education 43, no. 2 (July 1995): 156–67. http://dx.doi.org/10.2307/3345676.
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In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N= 414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the number of years of school choir experience was the strongest predictor of individual success, followed by years of piano, instrumental, and vocal lessons, respectively. Scores for the more challenging Melody Condition B were significantly lower than those for Melody A. An analysis of covariance revealed that students in the movable-do groups scored significantly higher than did those in the fixed-do groups. However, this finding was tempered by the existence of other differences between the groups regarding private lessons, the consistency of method in the students' early solfege training, and the sight-singing assessment procedures used in each school district.
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Casas-Mas, Amalia, Guadalupe López-Íñiguez, Juan Ignacio Pozo, and Ignacio Montero. "Function of private singing in instrumental music learning: A multiple case study of self-regulation and embodiment." Musicae Scientiae 23, no. 4 (March 5, 2018): 442–64. http://dx.doi.org/10.1177/1029864918759593.
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The aim of this article is to explore a range of largely embodied vocalisations and sounds produced by learners of string instruments and how they relate to the potential self-regulatory use provided by such vocalisations. This type of “singing” while learning to play an instrument may have similarities to the use of private speech in other types of learning tasks. This report describes a multiple case study based on the naturalistic observation of learners playing string instruments in different situations. We observed private rehearsals by six adult guitarists from different music cultures (classical, flamenco and jazz) who had different approaches to learning (traditional and constructivist). In addition, we observed the one-to-one lessons of a constructivist cello teacher with a 7-year-old beginner and a 12-year-old student. All sessions were recorded. We applied the System for Analysing the Practice of Instrumental Lessons to the video lessons and/or practices and participant discourse for constant comparative analysis across all categories and participants. From the theoretical framework of private speech, we identified a set of qualities in private singing, such as whistling, humming, and guttural sounds, with different levels of audibility. Self-guidance and self-regulation appeared to be the functions underlying both psychomotor learning and reflective-emotional learning from an embodiment approach. Guitar learners from popular urban cultures seemed to use less explicit singing expression than classical guitar learners, the explicitness of which may be related to the instructional use of the notational system. In the one-to-one cello lessons, we observed a process of increasing internalisation from the younger to the older student. Both results are consistent with the literature on private speech, indicating that this process is a natural process of internalisation at higher literacy levels. Singing is not as frequent in music lessons as might be expected, and it is even less frequently used as a reflective tool or understood as an embodied process. The examples provided in this article shed light on the multiplicity of applications and on the potential benefits of private singing in instructional contexts as a powerful learning tool.
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Goldenberg, Rachel B. "Singing Lessons for Respiratory Health: A Literature Review." Journal of Voice 32, no. 1 (January 2018): 85–94. http://dx.doi.org/10.1016/j.jvoice.2017.03.021.
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Killian, Janice N., and Michele L. Henry. "A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance." Journal of Research in Music Education 53, no. 1 (April 2005): 51–65. http://dx.doi.org/10.1177/002242940505300105.
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High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.
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Phuthego, Mothusi. "The Identification of Needs for the Provision of In-service Training in Music Education in Botswana." British Journal of Music Education 15, no. 2 (July 1998): 191–200. http://dx.doi.org/10.1017/s0265051700009347.
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This study investigates the in-service training needs of the primary school generalist teacher in Botswana. The findings established that singing is a major cross-curricular activity in schools. Dance on the other hand, despite being the most popular form of entertainment in and outside school, is not regarded as an aspect of music education. Instrumental teaching is virtually non-existent. Teachers' interests in further musical training are influenced by a misconception that singing should be the main activity in music lessons. As a result most are only interested in improving their skills in areas that will improve their singing, such as theory of music to aid sight reading.
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Czajkowski, Anne-Marie Louise, Alinka Elizabeth Greasley, and Michael Allis. "Mindfulness for Singers: A Mixed Methods Replication Study." Music & Science 4 (January 1, 2021): 205920432110448. http://dx.doi.org/10.1177/20592043211044816.
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Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total n=52) and their teachers ( n=11) from a university and a music college over a period of two years. Results: Levels of mindfulness increased over the intervention for experimental participants in comparison to controls. Considering their total student cohort, teachers identified 61% of eligible mindfulness singing participants as having completed the mindfulness intervention. Experimental participants reported that learning mindfulness had positive effects in lessons, solo and group instrumental practices, and when performing on stage. They described more focus and attention, positive effects of increased body awareness on singing technique, enhanced socio-collaborative relationships, reductions in performance anxiety, and beneficial effects whilst performing, such as more expressivity and enjoyment. Conclusions: Learning mindfulness had positive holistic effects on vocal students and was well received by their mindfulness-naïve singing teachers. Findings suggest that it would be highly beneficial for mindfulness to be made available in music conservatoires and university music departments alongside singing lessons for singers to enhance their present experience as vocal students and their futures as performers and teachers.
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Custodero, Lori A., and Elissa A. Johnson-Green. "Passing the Cultural Torch: Musical Experience and Musical Parenting of Infants." Journal of Research in Music Education 51, no. 2 (July 2003): 102–14. http://dx.doi.org/10.2307/3345844.
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Using a regionally focused national survey of parents with 4–6-month-olds (N = 2, 250), we addressed associations between musical experience and the frequency and content of playing music and singing for infants. The possible mediation of a classical CD distribution to new parents in hospitals was also investigated. Five variables of experience were considered: (1) respondents' recollections of their mother or (2) father singing to them, (3) playing an instrument, (4) singing in a choir, and (5) taking music lessons. Chi-square analyses indicated that musical experience was highly associated with increased frequency of playing and singing. The content of what was played and sung was less uniformly linked, and revealed individual profiles for each mode of formal experience. Differences were found between those who did and those who did not receive the CD. Results support a systems view of the child in the context of families and society, and have implications about indirect effects of music education.
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Howard, David M. "Technology For Real-Time Visual Feedback In Singing Lessons." Research Studies in Music Education 24, no. 1 (June 2005): 40–57. http://dx.doi.org/10.1177/1321103x050240010401.
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Nikolaeva, Elena V. "Individual and Personal Approach to Children at the Initial Stage of Learning Choral Singing." Musical Art and Education 8, no. 2 (2020): 140–60. http://dx.doi.org/10.31862//2309-1428-2020-8-2-140-160.
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The article presents a theoretical justification of the pedagogical feasibility of implementing an individual and personal approach to children at the initial stage of learning choral singing and reveals its essence, pedagogical potential, and features of its use in music lessons. Three main pedagogical conditions necessary for its implementation are described: 1) the teacher’s knowledge of the features of children’s singing voices, the quality of their singing intonation, which must be taken into account when presenting certain singing tasks of varying complexity to the class; 2) the teacher’s knowledge of various ways of choral arrangement and processing of the song material that is supposed to be learned, focusing on the specific composition of the class choir; 3) the orientation of the educational process to the formation in each child a positive emotional and value attitude to their own voice and ideas about its expressive capabilities, ways of protection, the ability to observe its condition and development. Special attention is paid to the characteristics of pedagogical tools that can guide a music teacher-choirmaster in implementing an individual and personal approach to young singers who are just beginning to master the basics of choral singing.
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Osborne, Evelyn. "Adult Reflections on a Childhood Kissing Game." Children's Folklore Review 39 (August 9, 2018): 28–61. http://dx.doi.org/10.14434/cfr.2018.vol39.0.25375.
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Beyond simple nostalgia, how do the games we play as children affect us as adults? Which hidden rhyming lessons are ripe for mature understanding? Using McLoed and Wright’s “happy childhood narrative” this article examines singing game, “King William was King George’s Son” and its use by two adult sisters for nostalgia, memory recall, historical lessons, enculturation, connecting with others of their generation, and creating new art.
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Nichols, Bryan E. "Task-Based Variability in Children’s Singing Accuracy." Journal of Research in Music Education 64, no. 3 (August 26, 2016): 309–21. http://dx.doi.org/10.1177/0022429416666054.
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The purpose of this study was to explore the effect of task demands on children’s singing accuracy. A 2 × 4 factorial design was used to examine the performance of fourth-grade children ( N = 120) in solo and doubled response conditions. Each child sang four task types: single pitch, interval, pattern, and the song “Jingle Bells.” The results indicated that children’s singing accuracy varied by task type, with poorer performance on patterns and songs than on single pitches and intervals. Performance was significantly better for all tasks in the doubled condition than in the solo condition, and a significant interaction indicated task-based performance varied by response mode. Students who indicated some history of private lessons ( n = 54) performed significantly better than those without. Internal reliability using five test items for each type of singing task was satisfactory. Application of the Spearman-Brown formula suggests that a minimum of three items can be included in each task in future research for a reliability coefficient of .75, and four items for a coefficient greater than .80. Performance on these singing tasks was significantly intercorrelated.