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Cheng, Hao, Hao-ze Zhong, and Ke-cheng Ben. "Study on the Application of Digital Information Technology in Music Teaching." Mobile Information Systems 2022 (March 22, 2022): 1–9. http://dx.doi.org/10.1155/2022/2816848.
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In order to deal with the great challenge of the arrival of information society to the traditional music teaching concept and practice, an overview of the teaching ability structure of music normal students supported by information technology is put forward. The changes in the structure of teaching ability caused by information technology are analyzed, that is, to analyze the cultivation of teaching ability of music normal students by integrating music subject knowledge with information technology platform and promoting relevant elements in combination with teaching activities. By using Fitzgerald and our proposed long+short method to separate Beach Boys songs at the singing music ratio of -6, 0, and +6 dB, the singing signal (left column) and music signal (right column) are relative to the average values of SDR (first row), SIR (second row), and SAR (third row) of pure singing and pure music. Experiments show the effectiveness of this method.
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Ujvárosi, Andrea. "Foreign Language Interpretation in Teaching Soloist Singing." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 75–89. http://dx.doi.org/10.37441/cejer/2021/3/1/9354.
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The problems of singing in the original language have become a special feature of the soloist training in the Central and Eastern Europe. The linguistic aspects of soloist training is put to the test by international expectation that regards authentic singing in the original language as a natural part of professional efficiency. In this present paper we are looking for the answers to two questions. First, we examined what factors determine the choice of the language for vocal interpretation. Our second goal is to give an overview of a specific segment of today’s Hungarian students’ population in higher education. We examined institutional, personal and curricular components for perfecting singing in the original language. The empirical study field of our research was Hungary’s higher education institutions of music in the 2016/17 term. Our researches were based on two methodological techniques. Among the higher education instructors of solo singers we conducted structured interviews and students from six higher educational institutions with this profile were the respondents of our questionnaire. The quantitative analysis of the research unequivocally represented the stronger demand of students for the training of linguistic interpretation. Our empirical research showed that the language efficiency of the solo singer students does not meet professional expectations. Pronunciation, comprehension, vocabulary, command of language and intonation are not utilized while singing and using the mirror effect of singing in a foreign language does not help perfect language knowledge either.
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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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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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Lim, Eun-Jung. "A Study on the Development of a Teaching Model for Singing." Korean Society of Music Education Technology 32 (July 16, 2017): 1–20. http://dx.doi.org/10.30832/jmes.2017.32.1.
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이영화. "A Study of Singing Teaching Methodologies for Male Adolescents at Puberty." Journal of Research in Curriculum Instruction 15, no. 2 (June 2011): 577–601. http://dx.doi.org/10.24231/rici.2011.15.2.577.
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Mellor, Liz. "An investigation of singing, health and well-being as a group process." British Journal of Music Education 30, no. 2 (January 25, 2013): 177–205. http://dx.doi.org/10.1017/s0265051712000563.
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The aim of this paper is to explore perceptions of singing as a group process deriving from two research studies: (i) Study 1: CETL (Centre for Excellence in Teaching and Learning): C4C (Collaboration for Creativity) Research Project called Singing, Health and Well-being and (ii) Study 2: iSING. The studies consider singing in relation to health and well-being, personal ‘stories’ of singing which acknowledge the self in the process of research, and the effective use of presence in training using a lens developed from Gestalt psychotherapy. The research questions are: (a) What is the relationship between singing, health and well-being in group process? (b) How might this be researched? (c) What are the implications for pedagogic practice in music education?
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Fahey, Hannah. "Stylistic pluralism and the experiences of classically trained teachers of singing in the Republic of Ireland." International Journal of Music Education 39, no. 3 (February 2, 2021): 301–12. http://dx.doi.org/10.1177/0255761421991247.
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Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.
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Swain, Nicola, and Sally Bodkin-Allen. "Can't sing? Won't sing? Aotearoa/New Zealand ‘tone-deaf’ early childhood teachers’ musical beliefs." British Journal of Music Education 31, no. 3 (September 17, 2014): 245–63. http://dx.doi.org/10.1017/s0265051714000278.
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Singing is an important part of teaching for early childhood teachers. However, some teachers find this difficult and may even identify themselves as ‘tone-deaf’. We invited a group of early childhood teachers who self-identified as ‘tone-deaf’ to participate in a study to investigate their beliefs and behaviours about singing and musicality. Both quantitative and qualitative data were collected from 40 participants via a questionnaire. Results indicate that these teachers considered themselves to be unmusical and revealed negative feelings towards singing. They showed a general self-consciousness about their singing. These beliefs had been formed through various interactions with friends, family and in schools. While the teachers still participated in singing activities in the centres in which they worked, their participation was marred by feeling self-conscious when singing and they often altered their singing behaviour.
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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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ANUAR, AZU FARHANA, and MD JAIS ISMAIL. "INFUSING DALCROZE EURHYTHMICS IN IMPROVING SINGING SKILLS AMONG PRIMARY SCHOOL STUDENTS." Quantum Journal of Social Sciences and Humanities 2, no. 1 (February 16, 2021): 24–38. http://dx.doi.org/10.55197/qjssh.v2i1.27.
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Singing is one of the main music activities in Malaysian primary music education. It is believed that singing makes a class fun and it is closely related to students. As singing comprises vocal elements such as pitching, tempo, rhythm and expression, students are taught to master all the elements in producing a pleasant song. Nonetheless, the current teaching method does not meet the high level of singing skill among students where all the students scored C Grade (satisfactory) in the preliminary test conducted. Thus, researchers introduced Dalcroze Eurhythmics approach to intervene in the problem, creating a fun music class and further improving students' singing musicality. The ideas of the approach are found to be related to time, space and energy to mold students’ comprehension to the concept of tempo, meter and rhythm, further applying in their singing skill. The combination of rhythmic and solfege activities with the accompaniment of percussion enables students to master all the vocal elements in a fun learning environment. This study has patently found the increment of students' result from pre-test to post-test based on quantitative analysis by comparing two groups of students learning in different teaching environments. The strengths and significance of Dalcroze Eurhythmics approach is further discussed with some recommendations for the future studies.
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Перепелюк, Ольга. "TEACHING CHURCH SINGING IN THE KYIV DIOCESE AS A WAY OF PROFESSIONALIZING MUSICAL PERSONNEL (XIX – EARLY XX CENTURY)." Молодий вчений, no. 12 (100) (December 30, 2021): 26–29. http://dx.doi.org/10.32839/2304-5809/2021-12-100-6.
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The article is devoted to one of the pages in the history of the Orthodox Church in Ukraine – the study of church singing in all educational institutions of the spiritual department of the Kyiv diocese in the XIX – early XX centuries. The publications in the church press, as well as the reports of the Chief Procurator of the Holy Synod, concerning this topic, are analyzed. The main methods that were used in schools of different levels for the development of musical literacy by students have been determined. Particular attention is paid to the repertoire of singers – a list of prayers is presented, as well as the basic principles by which students were taught singing. It is noted what problems students, teachers, and schools faced during the practical implementation of the dissemination of musical literacy and the basics of church singing. The historical significance and importance of the study of church singing in the specified period, as well as its practical purpose, are emphasized.
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Ridwan, Ridwan, and A. Fajar Awaluddin. "PENERAPAN METODE BERNYANYI DALAM MENINGKATKAN PENGUASAAN MUFRADAT DALAM PEMBELAJARAN BAHASA ARAB DI RAODHATUL ATHFAL." DIDAKTIKA : Jurnal Kependidikan 13, no. 1 (August 16, 2019): 56–67. http://dx.doi.org/10.30863/didaktika.v13i1.252.
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This study aims to improve the acquisition of Arabic vocabulary in early childhood with singing techniques. Children of all ages are basically happy to listen, sing and learn with songs. Therefore, music in general is an important part of the teaching-learning process for young students. The results showed that early childhood students enjoyed learning Arabic by singing and it was easier to remember the vocabulary taught by the teacher. Thus, it can be concluded that the singing technique is able to improve the mastery of early childhood Arabic vocabulary especially for students of the Raodhatul Athfal Ma'had Hadits Al-Junaidiyah Blue Bone.Keywords: Singing technique, vocabulary mastery, Arabic
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Qiaoyu, Chen. "ON THE ART OF VOCAL TEACHING BY PROFESSOR JIN TIELIN." Arts education and science 1, no. 3 (2021): 35–40. http://dx.doi.org/10.36871/hon.202103005.
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Jin Tielin is a well-known Chinese singer and teacher who has devoted more than 40 years to the study of singing art, national traditions and the experience of foreign countries. The milestones of Professor Jin Tielin's life and creative activity are briefly recreated, his students are presented and the master's works are characterized. His valuable ideas, experience, and constant search for optimal methods of teaching young singers enriched Chinese vocal art and formed the basis for the singing school founded by him. In this regard, the study of Jin Tielin's vocal training deserves in-depth study, as evidenced by the publications of Chinese musicians on this topic. At the same time, it is necessary to generalize Jin Tielin's methods, theory and practice, his systematic approach to education, the use of Chinese national traditions along with European ones that are widespread. The article introduces Jin Tielin, a singer, teacher, prominent musical and public figure who brought up a great number of famous singers. It emphasizes the importance of his lectures on vocal teaching methods, articles, textbooks and books. Analysing Jin Tielin's training system the author identifies and summarizes some of the most important principles and attitudes of the master. It is stressed that one of the main advantages of his singing school is the synthesis of national traditions and European vocal pedagogy.
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Wadiyo, Wadiyo, Udi Utomo, and Slamet Haryono. "Western Song Singing Model to Improve Junior High School Students’ Singing Ability in Indonesia." Harmonia: Journal of Arts Research and Education 19, no. 1 (June 24, 2019): 48–54. http://dx.doi.org/10.15294/harmonia.v19i1.23490.
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Singing activities are general activities that seem very easy. It could be said that anyone can sing. However, to be able to sing well and correctly seems to need to be learned. For Junior High Schools in Indonesia, singing activities are included in the teaching material of cultural arts sub music material. This study aims to “analyze how singing activities are taught in classes on learning Art and sub music material”. The approach of this research is interdisciplinary which involves music disciplines and music learning. The research method applied is interpretive qualitative. The research location is Semarang, by involving Semarang Junior High School Students and Teachers as the subject of research. Data collection techniques used in this research is observation, interviews, and documentation studies. The data validity technique is using data source triangulation. Data analysis techniques used in this research are interactive flow. The results showed that teachers taught singing, both in classes Vll, Vlll, and Vlll. Singing activity for class Vll focused on basic singing techniques. The eighth grade is focused on singing, whose vocals or singing techniques are more applied to singing local songs and Nusantara songs. Meanwhile, singing activity in class VIII is more focused on improvising any song. This study concludes that teachers always emphasize the use of western song singing models as a basic technique, regardless of the type of song used in the learning process.
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Cuadrado, Albina, and Gabriel Rusinek. "Singing and vocal instruction in primary schools: an analysis from six case studies in Spain." British Journal of Music Education 33, no. 1 (January 11, 2016): 101–15. http://dx.doi.org/10.1017/s0265051715000273.
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This is an analysis of how specialist music teachers sing and teach how to sing, based on data collected from six case studies carried out in Spanish primary schools. The study aimed at understanding classroom singing practices, and in particular the provision or absence of vocal instruction in relation with teachers’ singing models. The findings support claims for thorough vocal training in the preparation of music teachers to enable them to face the challenges of the profession. Also suggested is the need to provide them with a coherent theoretical framework about the teaching and learning of singing.
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Rikhter, Nina P. "Musical Education in Urban Primary Schools of Russia in the Second Half of the 19th – Early 20th Centuries." Musical Art and Education 7, no. 3 (2019): 151–62. http://dx.doi.org/10.31862/2309-1428-2019-7-3-151-162.
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In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.
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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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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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Svec, Christina L. "The effects of instruction on the singing ability of children ages 5 to 11: A meta-analysis." Psychology of Music 46, no. 3 (June 1, 2017): 326–39. http://dx.doi.org/10.1177/0305735617709920.
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The purpose of the meta-analysis was to address the varied results within the area of singing ability research by statistically summarizing the data of related studies. Across 34 studies, analyses yielded an overall mean effect size for instruction of g = 0.43. Studies were limited to pretest-posttest or posttest-only quasi-experimental designs. The largest overall study effect size across categorical variables included the effects of same and different discrimination techniques on mean singing score gains. Overall mean effects by primary moderator variable ranged from trivial to moderate. Feedback yielded the largest effect regarding teaching condition, 8-year-old children yielded the largest effect regarding age, the Boardman assessment measure yielded the largest effect regarding measurement instrument, and song accuracy yielded the largest effect regarding measured task. Regarding gender, boys and girls improved similarly from singing interventions across studies. Implications for singing instruction pertain to the importance of intervention, especially between the ages of 5 and 8. Results from the meta-analysis have highlighted a tendency for singing interventions to improve singing ability more than traditional song-singing and more than no music instruction at all. Results from the meta-analysis have also highlighted the importance of self, teacher, and computer feedback in the development of singing.
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Rahardjo, Budi, Naning Sutriah, and Fachrul Rozie. "Strategi Pembelajaran Dalam Optimalisasi Kecerdasan Musikal Anak Di TK Dharma Bahagia Samarinda." EduBasic Journal: Jurnal Pendidikan Dasar 1, no. 1 (April 15, 2019): 37–42. http://dx.doi.org/10.17509/ebj.v1i1.26244.
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This study aimed to reveal the strategies implementation, supporting and challenging factors in singing learning strategies in Dharma Bahagia kindergarten school in optimizing children's musical intelligence. This research used a qualitative approach with case studies type. The research subjects included the school principal, teacher, trainer and 8 children aged 5-6 years. Data collection techniques used were in-depth interviews, observation, and documentation with interactive models of data analysis. The results revealed that the strategy used was a demonstration strategy when the teacher taught children directly the steps to memorize lyrics and direct teaching guided by the teacher in memorizing songs and tones. The trainer role was limited to the training process outside the classroom. Some challenging factors that arised are the teachers’ lack of preparation and the dependence of the trainer's schedule and the lack of learning media facilities to support singing activities. It causes an unconducive learning atmosphere and lack of song lyrics memorization. The supporting factors found included high children enthusiasm in participating in singing activities, the teachers’ activeness in directing children, and that involving music activities and a conducive space to practice singing activities. The results concluded that a demonstration strategy and direct teaching can optimize musical intelligence in classroom learning.
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Kennedy, Mary Copland, and Susan Carol Guerrini. "Patriotism, nationalism, and national identity in music education: ‘O Canada,’ how well do we know thee?" International Journal of Music Education 31, no. 1 (June 22, 2012): 78–90. http://dx.doi.org/10.1177/0255761411433722.
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The purpose of the study was to determine Canadian secondary school choral students’ skill in singing the national anthem. The sample ( N = 275) consisted of students from 12 schools, representing six provinces in Canada. Students were audio taped singing ‘O Canada’ in English, French, or in a combination of both languages and subsequently completed a questionnaire. Results indicated that few students could sing the national anthem perfectly. Although students were significantly more accurate in remembering the lyrics than in singing the melody ( p < .0001), only 67% were judged proficient in lyrics whereas a mere 46% were judged proficient in melody. Possible reasons for these poor results include the frequency with which students sing the anthem in secondary schools, the fact that three-quarters named a classroom teacher in the early/elementary years as being the one responsible for teaching them the anthem, the shift to solo versus group singing in public events, and the inconsistency with which music education is delivered in elementary schools. Implications for practice indicate that more emphasis be placed on assisting choir members to sing the anthem accurately, more opportunities be provided in secondary schools for students to sing the anthem, and more curricular attention be placed on teaching students both English and French versions.
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Jurkić Sviben, Tamara, and Nikola Sebastian Jambrošić. "(Non)Singing during the Covid-19 pandemic - Opinions and emotional experience of students from 5th to 8th grade of primary schools in the Republic of Croatia." Školski vjesnik 70, no. 2 (2021): 269–92. http://dx.doi.org/10.38003/sv.70.2.12.
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Singing is an important factor in the teaching of Music Culture and, in addition to the compulsory content, an activity that is carried out the most. The scientific literature confirms that singing sparks positive emotional reactions in students to a great extent. With the proclamation of the COVID-19 pandemic in March 2020, almost all singing activities have been suspended for a long time. The aim of the study was to determine whether there is a difference in the perception of dissatisfaction with the suspension of singing depending on whether the students were actively and intensively engaged in singing compared to those who were not engaged in the activity or were only slightly involved in it prior to the pandemic. The first problem was to research whether there was a difference in personal dissatisfaction (happiness) and the perception of dissatisfaction with the suspension of singing depending on whether the students were actively singing before the pandemic or not and whether they continued singing online during the pandemic or if they have completely stopped active singing. Hypotheses have been confirmed that students who are members of choirs and/or ensembles feel more intense lack and personal dissatisfaction with the suspension of musical activities during the pandemic than those who actively sang only in Music Culture classes as well as that students who played music online are more satisfied and show more positive emotions compared to those who have stopped playing music. Another problem was to research whether there is a difference in the perception of singing in-person and singing in a virtual environment. It has been confirmed that students who have experienced both in-person singing and singing online believe that singing in-person has a greater effect than singing in a virtual environment. The results confirm that singing has a positive effect on the singer and that restricting singing intensifies personal dissatisfaction.
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Lin, Yong, and Kang Mao. "Optimization of Vocal Singing Training Methods Using Intelligent Big Data Technology." Computational Intelligence and Neuroscience 2022 (July 9, 2022): 1–9. http://dx.doi.org/10.1155/2022/8589517.
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The development of art education and information technology has led to the importance of computer technology and multimedia technology in the development of students’ independent inquiry and research skills. In the context of “Internet+,” new modes of teaching phonics have emerged, reconfiguring the spatial and temporal relationship of phonics education. The use of Internet resources is not only a simple collection and sharing of educational resources, but also a new way of teaching voice, which has the magic charm of becoming one of the resources for the majority of voice enthusiasts. However, in practice, there are very few assistive software suitable for music classroom teaching. It is important to research and implement teaching aids suitable for music classroom teaching. Based on intelligent big data technology to optimize the phonetic training methods, the teaching methods are more specific, scientific, and diverse, and improve the self-learning ability and learning interest of Chinese phonetic learners. The experimental results show that the weight of the phonetic teaching optimization process is 0.154 higher than the weight before processing, which is expressed as the value of the control reliability fuzzy quantifier in this test. In other words, the reliability is “absolutely reliable.” Therefore, this study is expected to promote the modernization and scientific process of Chinese vocal education and propose a new way of thinking for Chinese vocal education.
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Glindemann, Helen Rae. "A Tale of Two Teaching Styles: A multi-genre singer's experience of music theatre and classical voice lessons." Australian Voice 22 (2021): 1–8. http://dx.doi.org/10.56307/hpoz5879.
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In order to meet the demands of the modern music industry, singers are expected to be able to perform across a wide range of singing styles (Bartlett, 2019; Rosenberg, 2016). Despite the growing acceptance of “contemporary commercial music” (CCM) and associated style-based pedagogies, there are limited training options for singers seeking to perform across a range of genres (Bourne & Kenny, 2016; Meyer & Edwards, 2014). As a practising multi-genre singer and teacher, I have experienced first-hand the challenges of performing and teaching across a spectrum of styles. My doctoral studies have focused my thinking on existing, genre-based teaching practices and how these might be synthesised to support multi-genre singers and teachers. This paper highlights preliminary findings from an artistic research project centred around an autoethnographic case study of genre-based teaching practices. Data were collected via journaling of video-recorded singing lessons, semi-structured interviews with participant singing teachers, instrumental and perceptual testing, pre and post data collection, and stroboscopic imagery collected via clinical visits with a medical specialist (ENT). The coding of the data set highlighted common themes including pedagogic tools and instructional language used by teachers, while pre and post measurements helped to evaluate possible vocal health impacts for performers.
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Kilpeläinen, Aino-Elina, and Marie Vejrup Nielsen. "Teaching Rituals: New Church Activities and Religious Education." International Journal of Practical Theology 22, no. 1 (May 30, 2018): 23–39. http://dx.doi.org/10.1515/ijpt-2016-0035.
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AbstractToday, a series of new initiatives are appearing within the established churches, many of them directed towards families with young children. The research presented in this article examines one specific new activity, “Babysalmesang” – baby hymn singing – within the Evangelical Lutheran Church in Denmark. This study rests firmly on the results of a national study and provides a qualitative perspective on what takes place in babysalmesang from the perspective of ritual education. The analysis of the data showed that babysalmesang is a ritualized activity that, at the same time, teaches about a ritual: baptism.
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Mubarak, Mahfuz Rizqi, Ahmadi Ahmadi, and Noor Amalina Audina. "KOMBINASI STRATEGI BERNYANYI DAN BERMAIN: UPAYA DALAM MENUMBUHKAN MOTIVASI MAHASISWA TADRIS BIOLOGI (TBG) DALAM PEMBELAJARAN BAHASA ARAB." ALSUNIYAT: Jurnal Penelitian Bahasa, Sastra, dan Budaya Arab 3, no. 1 (April 30, 2020): 15–31. http://dx.doi.org/10.17509/alsuniyat.v3i1.23996.
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This study aims to explore the process of lecturing Arabic by implementing a combination of singing and playing strategies. As for the main problems in this study are: (1) what is the process of implementing a combination of singing and playing strategies in Arabic lectures for Tadris Biology Study Program students? (2 how do their perceptions of the results of Arabic lectures by combining the two strategies?. This research uses a descriptive qualitative approach with triangulation techniques. The results of this study indicate that the implementation of a combination of singing and playing strategies uses the following steps: (1) The lecturer started the Arabic lecture by singing Arabic songs that the Lecturer got while still teaching Arabic at the Al-Azhar Pare Institute, Kediri, East Java, (2) The lecturer explained the theme of the material and the purpose of the lecture to be held, (3) The lecturer implemented the "Memory Game" which was adopted from the book "99 Games in Arabic Language Learning. Researchers also found that 80.6% (29 students) and 19.4% (7 students) of the 36 TBG study program students who participated in lectures gave very positive responses.
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Mufidah, Nuril. "FUN ARABIC TEACHING WITH SONG MEDIA FOR PRIMARY SCHOOLS/PENGAJARAN BAHASA ARAB MENYENANGKAN DENGAN MEDIA LAGU UNTUK MADRASAH IBTIDAIYAH." journal AL-MUDARRIS 2, no. 2 (August 18, 2019): 166. http://dx.doi.org/10.32478/al-mudarris.v2i2.277.
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Primary students, especially the basic class, have many difficulties learning Arabic because they are not used in daily communication, and there are differences in Arabic alphabets. There needs to be learning alternatives that are appropriate for the child's age and bring Arabic closer. Arabic is a close foreign language for students of Muslim faith; because they used to recite daily Arabic prayers. So that Arabic can be said to be far written in Indonesian but close verbally in the everyday religious life of students.This study describes vocabulary learning by singing in the process of learning Arabic for children. The research subjects of class 1 MIN 1 Malang city in the academic year 2018/2019, using a type of qualitative research with the method of collecting observation and interview data. The results of this study indicate that singing in vocabulary / mufrodat teaching can increase students' motivation and learning attractiveness towards Arabic so that students can be happy to add new Mufrodat next to be helped to write because they feel close to the word taught by singing. Arabic is close verbally but far in reading and writing for children can be overcome by using songs and songs as an alternative to teaching Arabic for children.
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Lei, Nu. "FEATURES OF GUO SHUZHEN'S PEDAGOGICAL STYLE." Arts education and science 2, no. 31 (2022): 36–41. http://dx.doi.org/10.36871/hon.202202005.
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Guo Shuzhen's creative and pedagogical heritage is a unique phenomenon in Chinese and world musical culture. However, only a small part of it has been studied to date, and all of these materials are in Chinese and are little accessible to the Russian reader. The purpose of this article is to reveal the basic principles of the singer's pedagogical practice. The study discusses some provisions of Guo Shuzhen's teaching method based on the unity of the development of the singing technique and the singer's figurative and emotional sphere. The author traces the professional path of Guo Shuzhen from her studies at the Moscow Conservatory to the height of her creative and pedagogical career. Special emphasis is placed on those aspects of the Moscow Conservatory vocal school that were directly applied in the singer's pedagogical activities — immersion into the culture of the country of the composer, development of professional singing technique, and psychological preparation of students to perform on the concert stage. Finally, conclusions are drawn about the effectiveness of Guo Shuzhen's method of teaching academic singing, as well as her role in the formation of the Chinese national vocal school.
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Arzamastseva, Olesya V., and Larisa A. Tyurina. "Features of the development of a professional singing sound of pop-jazz performers in the process of teaching performance skills." Tambov University Review. Series: Humanities, no. 191 (2021): 123–29. http://dx.doi.org/10.20310/1810-0201-2021-26-191-123-129.
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The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leading specialists in the field of music education and performance. The high degree of influence of the level of professional training of performers-vocalists on the national musical culture is proved. Practical recommendations for work on singing sound production in the process of professional training of pop-jazz singers in modern music educational institutions are presented.
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Polyák, Zsuzsanna, Zoltán András Szabó, and András Németh. "The Political Religion of Communism in Hungarian Children’s Choir Compositions between 1958–1989." Historia scholastica 7, no. 1 (November 2021): 85–109. http://dx.doi.org/10.15240/tul/006/2021-1-005.
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Like all cultures, totalitarian regimes develop their own symbols and rituals. As such symbols, music and music making play an important role in expressing values, norms of the community, as well as in providing models for living in it (Geertz, 1973). They are especially valuable tools for educating children. This paper summarizes the result of a pilot study in the lyrics of choral pieces for children, that were distributed along with the state-published methodological journal, Énektanítás [Teaching Singing] and its continuation, Az ének-zene tanítása [Teaching Singing-Music] between 1958–1989. Using political religion (Gentile, 2006) as conceptual framework for content analysis, the study presents: 1) how different characteristics of the communist doctrine appeared in the lyrics of choral pieces and 2) how they changed over time, outlining the life-cycle of the regime itself from militant mass movements to giving place to expressions of individualism and alternative faiths until it would dissolve in the end.
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Ryu, Ji Won, Mee Ryange Kweon, and Eun Ji Chio. "The development of a singing play program model: Based on the kindergarten and elementary school community." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 14 (July 31, 2022): 141–66. http://dx.doi.org/10.22251/jlcci.2022.22.14.141.
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Objectives This study tries to develop a new teaching model of Singing Play in kindergartens and elementary schools based on the community.
Methods This Community-based Singing Play Program was developed based on the ADDIE model. The ADDIE model is a stage of analysis, design, development, implementation, and evaluation. This Singing Play Program model applied to 13 kindergarten and elementary school students in Busan, and a final Singing Play Program model was developed.
Results First, it was confirmed that a community-based Singing Play kindergarten and elementary School linked program could achieve its meaningful goal. Second, a mixed-age community consisting of young and elementary school students is a strong organization that increases feelings of leadership and belonging as a member of the community, which adds meaning and value to communities. Third, the Community Singing Play Program combines traditional and modern background songs with play, thus playing a role in connecting traditional and modern culture for participants. Fourth, not only did the songs used for singing serve as a useful medium for forming communities, but also played the role of ‘play facilitator’ that encouraged the community to engage in the play. Fifth, the activities of singing programs spread to families, aided in the resolving of conflicts between families and distrust and misunderstandings about each other, leading to the restoration of family functions.
Conclusions The Development of Community-based Singing Play Program Model for Connected Education of Kindergarten and Elementary School that it have meaning and value as a program that implements children's and play-oriented curriculum, and the subjects have more leadership and sense of belonging than conflict caused by leadership tattoos or competition during play. In addition, this program played a bridging role in continuing traditional and modern games in this era when play was disappearing.
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Murphey, Tim. "Singing well-becoming: Student musical therapy case studies." Studies in Second Language Learning and Teaching 4, no. 2 (January 1, 2014): 205–35. http://dx.doi.org/10.14746/ssllt.2014.4.2.4.
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Much research supports the everyday therapeutic and deeper socialneurophysiological influence of singing songs alone and in groups (Austin, 2008; Cozolino, 2013; Sacks, 2007). This study looks at what happens when Japanese students teach short English affirmation songlet-routines to others out of the classroom (clandestine folk music therapy). I investigate 155 student-conducted musical case studies from 7 semester-long classes (18 to 29 students per class) over a 4-year period. The assignments, their in-class training, and their results are introduced, with examples directly from their case studies. Each class published their own booklet of case studies (a class publication, available to readers online for research replication and modeling). Results show that most primary participants enjoyed spreading these positive songlets as they became “well-becoming agents of change” in their own social networks. “Well-becoming” emphasizes an agentive action or activity that creates better well-being in others, an action such as the sharing or teaching of a songlet. The qualitative data reveals a number of types of well-becoming such as social and familial bonding, meaning-making, teaching-rushes, and experiencing embodied cognition. The project also stimulated wider network dissemination of these well-becoming possibilities and pedagogical insights.
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Mamykina, Olena. "Theoretical and methodological aspects of the development of the future Music teachers’ artistic taste in the process of teaching pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 3 (132) (September 24, 2020): 98–105. http://dx.doi.org/10.24195/2617-6688-2020-3-11.
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The article is devoted to the scientific development of the problem related to the development of an artistic taste of the future teachers specialised in Musical Art. The purpose of the article is to theoretically and methodologically substantiate the development process of an artistic taste of the future teachers specialised in Musical Art in the process of teaching pop singing. The purpose is realised through the implementation of relevant tasks using the methods of theoretical research: analysis, synthesis, deduction, induction, generalisation and extrapolation. The article considers the category "artistic taste" as a person's ability developed by social practice to evaluate aesthetic phenomena, to distinguish beautiful things from ugly ones. The artistic taste of the future teachers of Musical Art is defined as an individual, socially conditioned system of evaluation of phenomena reflected in works of art, aimed at widening the worldview of an individual. The component structure of the artistic taste of the future teachers specialised in Musical Art consists of four components: personal-motivational, sensory-perceptual, intellectual-interpretive and reflexive-projective. Professional training of the future Music teachers is considered as a platform for the formation of their artistic taste. We find the specifics of training future professionals in pop singing particularly important in the context of the study. The pop variety of vocal music is recognised as the one that provides for effective pedagogical influence; in particular, it is aimed at forming the artistic taste of the younger generation, based on the needs, interests and perception level of most students. A set of scientific approaches is considered as a methodological basis for the formation of the future Music teachers’ artistic taste in the process of teaching them pop singing: axiological, student-centred and holistic approaches. The study also presents pedagogical principles, the implementation of which ensures the formation of the future Music teachers’ artistic taste in the process of teaching them pop singing.
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JIANG, Ming, and Chao-Jung WU. "Investigation and Reflections on Gender Differences in Vocal Music Education." Revista de Cercetare si Interventie Sociala 79 (December 15, 2022): 59–69. http://dx.doi.org/10.33788/rcis.79.4.
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The purpose of this study is to explore the teaching methods and related theoretical studies of gender differences in bel canto. Focusing on four aspects: breathing, vocalization, resonance, and emotional expression, this study implements vocal music through gender-differentiated teaching methods and strategies. By carrying out a case study, the author summarizes the application and effectiveness of these teaching methods in the teaching of bel canto, and draws the following conclusions based on the research results: first, teaching methods tailored for gender differences enable students to make rapid progress in singing, breathing, vocalization, resonance, and emotional expression; their goals of learning vocal music are clearer. Second, the gender- dependent teaching methods promote the amelioration of vocal music teaching, break through the difficulties in practical teaching, and improve the teaching level and ability of instructors. Finally, this article puts forward teaching and research suggestions for vocal teachers and vocal education.
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Walton, Patrick. "Using Singing and Movement to Teach Pre-reading Skills and Word Reading to Kindergarten Children: An Exploratory Study." Language and Literacy 16, no. 3 (November 24, 2014): 54. http://dx.doi.org/10.20360/g2k88j.
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Kindergarten classrooms were randomly assigned to a songs group (n = 44) that used choral singing and movement to teach phonological skills, letter-sounds, and word reading, or to a control group (n = 49) where children received their regular language and literacy programs for equal amounts of time. The songs group teaching involved choral singing and movements created for the project to teach phonological skills, letter-sounds, and word reading. Children preferred songs that were quick to learn, had strong or soothing rhythms, and incorporated movements. Children in the songs group had increased letter-sounds, medial phoneme identity and word reading compared to children in the control group. Children in both groups made equal gains in rhyming and identifying phonemes in initial and final positions. Songs group children also read new words not presented in the songs program. Initial and medial phoneme identity and letter-sound knowledge made independent contributions to word reading.
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Emelianova, Olga. "Congregational singing in St. Petersburg diocese at the turn of the 19–20th centuries." St. Tikhons' University Review. Series V. Christian Art 46 (June 30, 2022): 74–89. http://dx.doi.org/10.15382/sturv202246.74-89.
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In the Russian Empire at the turn of the 19th – 20th centuries, there is a great interest in the practice of congregational singing. The documents of the Russian Local Council of 1917-1918, choir congresses, reports on the activities of church brotherhoods and societies, as well as publications in the press allow to judge to what significant extent the congregational singing at divine services was organized. Definitely, the support of the higher church hierarchy played a special role, as it is demonstrated by the Decrees of the Holy Synod, issued back in 1804 and 1847. At the beginning of the 20th century a solid foundation which enabled a broad participation of the people in divine service through singing and reading church hymns in the St. Petersburg diocese, where for a long time professional church singing and author's liturgical music were actively supported and developed, as well as in other large dioceses (Moscow, Tambov, Kazan, etc.) was built. These were special church orders that dispose the clergy to new parish activities, teaching parishioners and students of parish schools church singing, publishing materials for nationwide liturgical singing (Liturgy, Vespers, Matins, Moleben, Panikhida). Priests Mikhail Dubensky, Konstantin Lorchenko, Nikolai Kurlov, as well as the Alexander - Nevsky Temperance society were active organizers and leaders of the congregational singing at the turn of the 19th and 20th centuries in the St. Petersburg diocese.There is no doubt that the study of the history of the congregational singing and the accumulated rich practical experience is of high importance precisely today, when this ancient tradition, which remains a powerful means of not only uniting people in the church, but also of enlightening and educating them in the Christian faith, is reviving and expanding.
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Zulfitria, Zulfitria. "UPAYA MENINGKATKAN HAFALAN PERKALIAN MATEMATIKA DENGAN MENGGUNAKAN METODE BERNYANYI PADA SISWA KELAS 2 SD DI MUHAMMADIYAH 12 PAMULANG BANTEN." Instruksional 1, no. 1 (September 16, 2019): 17. http://dx.doi.org/10.24853/instruksional.1.1.17-24.
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Mathematics is one of the most frightening learning for students, the real ability of social teaching is low. One way to improve students' multiplication skills by memorizing multiplication using the singing method.Research to find out how to learn mathematics in multiplication learning through memorizing methods by singing at Muhammadiyah Elementary School 12 Pamulang-Banten. The subject of the study was the second grade students of Al-Farisi class from August to September 2018.The research results obtained from each cycle have expressions from each cycle. This can be done by using the method of memorizing multiplication more pleasant and making it easier for students to remember it. Student students learn the assignments given by the teacher.
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Bezpalko, Vladyslav, and Ivan Kuzminskyi. "Musical Heritage of the Pereyaslav Collegium." Kyivan Academy, no. 17 (March 10, 2021): 99–118. http://dx.doi.org/10.18523/1995-025x.2020.17.99-118.
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This article is an interdisciplinary study that aims to form a comprehensive view of music and church singing both in the educational process of collegium students and outside it. Thanks to the historical sources involved, we were able to clarify the mechanism of functioning of church singing both in the collegium and at the stage of primary (preparatory) education of future students, as well as its role in the life of collegium graduates who made careers in the major vocal chapel of the Russian Empire. The preparatory stage for the future students was studying in parish schools, where an obligatory discipline was irmoloinyi singing. It is probable that in the 18th century, the teaching of singing in the collegium was carried out in the primary classes, where Church Slavonic literacy was studied at the same time, and in the first years of the 19th century musical singing was officially reflected in the name of a separate class. All students of the collegium underwent compulsory liturgical singing practice. The most gifted of the students were members of the Episcopal Cathedral Vocal Chapel. The students of the collegium were not limited to singing only in the cathedral; they also sang during the festive processions, during the begging, as well as in the parish churches during the holidays, where they also taught church singing. Among the music books, we know for sure about several Irmologions that were used in the collegium. From the memoirs of an eyewitness of the first third of the 19th century, we learn about the singing of hymns during public exams, as well as the singing of vocal concerts during the traditional holiday greetings to the Bishop, Rector, and Prefect of the seminary. It was noted that this tradition existed in the last quarter of the 18th century. Such a practice did exist at the same time in Kyiv-Mohyla Academy, so this evidence seems plausible. The only evidence of the use of musical instruments among the students of the Pereyaslav Collegium comes from the descriptions of the May recreational festivities, when both vocal and instrumental ensembles from among the pupils were heard.
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Obukh, Liudmyla. "PSYCHOTECHNICS OF SINGING AS A MODERN DIRECTION OF VOCAL PEDAGOGY." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 106–10. http://dx.doi.org/10.36550/2415-7988-2021-1-195-106-110.
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The aim of the study is to solve the problem of development of vocal abilities and vocal qualities through the development of stress resistance during singing of students of artistic specialties from a psychophysiological point of view, which is still relevant and appropriate in terms of finding and implementing innovative teaching aids. Whereas singing must first and foremost be physiologically correct, a person's voice is a consequence of his or her physical and mental health. The key to the singer's success in the modern hyper-stressful world will be the ability to liberate the body and soul from certain psychophysiological overloads through certain exercises, trainings, etc. Certainly, for each organism of the singer it is necessary to select a separate set of special exercises, look for appropriate methods for educating psychophysiological freedom during singing, as well as to establish an individual singing regime. The article considers certain theoretical and methodological developments in the field of education and upbringing of a music artist, which allow to form an idea of traditions and innovations for effective work with students in the process of learning to sing. The described views of both vocal teachers and psychophysiologists resonate with each other, complementing each other and forming a new modern direction of vocal pedagogy – the psychotechnics of singing. In particular, the use in practice of publicly available trainings by D. Burns, A. Ellis and S. Genyk help to solve certain psychophysiological problems in vocal pedagogy, and the methods and techniques of R. Berkeley and A. Kalabin contribute to the release of psychophysiological feelings of the vocalist, expanding his professional opportunities. Therefore, research and implementation of interesting methods and practices of leading specialists not only in the field of vocal pedagogy, but also psychology, physiology and medicine in the educational process will help not only to expand singing potential and improve the work of the vocal apparatus. The study of such innovations is the prospect of further research to substantiate the psychotechnics of singing as a new direction of vocal pedagogy.
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Utomo, Udi, Abdul Rachman, and Mochammad Usman Wafa. "Development of Assessment Instrument for Singing Skills and Playing Musical Instrument for The Music Teacher Candidates of General Schools." Harmonia: Journal of Arts Research and Education 19, no. 2 (December 13, 2019): 185–92. http://dx.doi.org/10.15294/harmonia.v19i1.23616.
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The competences of music teacher candidates in teaching singing practice and playing a musical instrument are needed in the teaching-learning process at general schools. Hence, the process needs a comprehensive preparation for both competences. The objective of this study is to prepare an assessment instrument of singing practice and playing a musical instrument which is needed to assess the competences of music teacher candidates. The study used mix-method approach. The combination of qualitative and quantitative is required as the two methods are interrelated for both in the process of preparing assessment instruments and testing the instrument. The instruments consist of nine assignments. The six of which are the instruments for reading melodic and rhythmic notation and the other three instruments are to assess the skills to accompany songs. Based on the result, it can be found that the coefficient of instrument reliability is 0.817 in the type of consistency definition and 0.810 in the type of absolute agreement definitions. It can be concluded that the instrument made by using the analytic rubric of coefficient the reliability is better compared to the instrument made by a holistic rubric.
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Ferrer, Rita, Joan Puiggalí, and Montse Tesouro. "Choral singing and the acquisition of educational values." International Journal of Music Education 36, no. 3 (December 21, 2017): 334–46. http://dx.doi.org/10.1177/0255761417741521.
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The main objective of this study was to observe the extent to which the practice of collective singing in children’s and youth choirs offers a way of teaching values. The main working tool used was a questionnaire that was completed by the choir conductors and singers of the different choirs surveyed. The purpose of the questionnaire was to assess if choral singing can be a space for working on and developing values, and if these values lead to improvements in the overall education of the person. On the one hand, choir conductors considered respect to be the most important value for a choral group and friendship the most valuable aspect for singers. This view was not shared by the singers, who considered friendship to be less important. On the other hand, they agreed on the influence of respect and communication and that spontaneity is undervalued.
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Bitko, Natalia. "METHOD OF PROFESSIONAL TRAINING OF STUDENT-VOCALIST IN SOLO SINGING CLASSES." Academic Notes Series Pedagogical Science 1, no. 203 (March 2022): 38–42. http://dx.doi.org/10.36550/2415-7988-2022-1-203-38-42.
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The article investigates one of the aspects of professional training of future vocalists and teachers of solo singing in the system of university education. The accumulated scientific and pedagogical, vocal-methodical and practical experience in this field is analyzed. It was found that the methods of students' work on vocal works, which contribute to the effective formation of professional competencies, need scientific substantiation. The study of the process of work on vocal works in the class of solo singing allowed us to draw the following conclusions: 1) work on vocal works in the class of solo singing is the most important component of preparing future vocalists for professional activities; 2) mastering by students of scientifically substantiated and pedagogically expedient methods of work on vocal works promotes successful formation of vocal-performing, vocal-scenic, vocal-methodical and other professional competences; 3) the success of students' work on vocal works in the solo singing class depends on the ability of teachers to rationally combine general scientific, didactic and special musical principles, methods and teaching aids. The study does not cover all aspects of the problem. In our opinion, the search for innovative methods of concert-performance training of vocal students in extracurricular time is promising. The result of joint work of a student and a teacher on a vocal work in a solo singing class depends equally on the student's ability to master the necessary educational material and on the level of professional training of the teacher. Only under this condition it is possible to ensure the successful preparation of students for professional activities and the full formation of their professional and general competencies.
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Wadiyo, Wadiyo, Udi Utomo, Slamet Haryono, and Joko Wiyoso. "The Children’s Songs Composition: A Contribution to Fill in The Absence of Children’s Songs in Indonesian Preschool Education." Resital: Jurnal Seni Pertunjukan 22, no. 3 (February 28, 2022): 127–36. http://dx.doi.org/10.24821/resital.v22i3.6826.
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The song is one of the teaching media used by preschool teachers around the globe. Indonesian preschool teachers face a rising problem: the government regulates a standard curriculum where the educational song is compulsory. Yet, there is no concern to facilitate and fill in the absence of children's educational songs. This study aims to unveil the creative process of non-music education graduate teachers in composing educational songs as required by the curriculum. This study employs a qualitative design based on a case study of thirty-three teachers from eleven different preschools in Semarang, Central Java, Indonesia. The researchers analyze the preschools' curriculum, teachers' interviews, field observations, and documentation. The findings show that teachers can use their creativity to create songs with educational messages projected in a collective poetry singing performance. Poetry singing allows students' aesthetic skills development through continuous song probe and response between teachers and students.
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Sejati, Irfanda Rizki. "Bina Vokalia Learning As Extracurricular Activities In The Integrated Early Chilhood Education (PAUD) Of Salatiga Children Center." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 83–87. http://dx.doi.org/10.15294/jsm.v9i1.29450.
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The process of learning in early childhood education and kindergarten is never apart from musical activities, although it is mostly just singing and dancing. Singing is one of the learning activities that is carried out daily from beginning of class to the end of class. Integrated PAUD Satya Wacana Children Center Salatiga provides a form of extracurricular Bina Vokalia at school to support learning, improve and develop student talent in singing. Vocal teaching of children is definitely different than adults, the delivery of the song material should be interesting to learners and in teaching the child's vocal techniques is need patience and technique. In view of today's modern times, many parents are increasingly giving their children activities outside school, especially music. Integrated PAUD Satya Wacana Children Center provides a vocal building learning facility that might develop a child's talent for music. The problem considered in the study is "how the learning process of Bina Vokalia and how the obstacles and solutions to delivering vocal materials in integrated PAUD Satya Wacana Children Center "
The study employs qualitative research methods with descriptive exposure. Research subjects are students and teachers of integrated PAUD Satya Wacana Children Center salatiga. Data collection results with observation techniques, interviews, documentation and data analysis. Data analysis techniques divide into three phases that are data reduction, data presentation, and conclusions. The results of the interviews and observations already collected include the documentation, pictures, photographs, field notes, personal notes, and other documents after studied and researched than reduced to an abstraction.
As the results of research, researchers concluded that the Bina Vokalia PAUD activities could help students develop singing skills early on, not only good vocal techniques but training children to be bolder and more confident in the activities organized by the foundation. The advice is that music teachers should not be absent too often, requiring an additional event of school in order to make children more active and creative. It is necessary to increase the practice time and musical facilities so the children do not become bored prematurely.
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Hedden, Debra G., and Christopher Johnson. "The Effect of Teaching Experience on Time and Accuracy of Assessing Young Singers’ Pitch Accuracy." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 63–72. http://dx.doi.org/10.2307/40319339.
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Abstract The purpose of this study was to investigate the effect of pre-service and practicing music teachers’ experience on time and accuracy of assessing young singers. A total of 55 participants – freshmen (n = 14) and senior (n = 17) music education students, and beginning (n = 12) and experienced (n = 12) music teachers – listened to stimuli containing in-tune and out-of-tune singing of the first nine pitches of America on a neutral syllable, assessing the pitch-matching accuracy of the singing. Participants heard twenty stimuli of second-grade singers and responded through the use of the Continuous Response Digital Interface (CRDI) device. Each stimulus was heard only once, with distraction music inserted between stimulus examples. Results indicated that freshman participants responded much more slowly to the stimuli than did the other three groups, and that all groups were much more accurate assessing out-of-tune singers than in-tune singers; though there were no overall differences in assessment accuracy between groups. Based on these data, the implications for teaching music were questioned, and though it is considered that latency and accuracy are important for successful music programs, the degree of importance they play is not completely clear.
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Glasner, Joshua D., and John Nix. "Perception of vibrato rate by professional singing voice teachers." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54. http://dx.doi.org/10.1121/10.0015518.
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This study sought to investigate how voice clinicians perceive vibrato rate alterations when presented with controlled, synthesized singing voice samples which vary in vibrato rate and vibrato extent. Thirty-four professional voice teachers completed a twelve-item demographic survey and performed a visual sort and rate task (VSR). For the VSR task, each participant listened to twenty synthesized samples and sorted them from slowest vibrato rate to fastest vibrato rate. This task resulted in distance (i.e. individual perception of vibrato rate) and rank-difference measurements for each sample. Two generalized linear mixed effects models (GLMM) and one linear model (LM) were computed. Results for GLMM’s found significant associations between vibrato extent and vibrato rate and both individual perception of vibrato rate and rank-difference. Results for the LM found no significant relationships between demographic information and absolute total ranking error. From the results of this study, it seems that both vibrato extent and vibrato rate influence the perception of vibrato rate for professional voice teachers. Neither age nor teaching experience seemed to relate to the ability to discern vibrato rate accurately.
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Maróti, Emese, Edina Barabás, Gabriella Deszpot, Tamara Farnadi, László Norbert Nemes, Borbála Szirányi, and Ferenc Honbolygó. "Does moving to the music make you smarter? The relation of sensorimotor entrainment to cognitive, linguistic, musical, and social skills." Psychology of Music 47, no. 5 (June 5, 2018): 663–79. http://dx.doi.org/10.1177/0305735618778765.
Full textAbstract:
Several studies have shown the benefits of music training on multiple musical and non-musical skills. Because our perception of music is inherently rhythmic, it is possible that the underlying mechanism of the transfer effect of music is rhythmic entrainment. Previous studies found transfer effects of sensorimotor entrainment (SE), a form of rhythmic entrainment, but, to date, there has been no comprehensive study that has examined long-term effects of SE in multiple domains. In this study, we compared the transfer effects of two different SE-based (one with fixed rules, the other with free movement) music education methods and a singing-based (control) method on cognitive, linguistic, musical, and social skills in 6–7-year-old children. On the initial assessment, there were no significant differences in performance between the three groups. After 8 months, we found significant improvement for the entrainment-based methods compared to the singing-based method in pitch discrimination, working memory, phonological processing, and verbal skills, and the singing-based method improved executive functions more compared to the SE-based methods. Additionally, we found significant correlations between SE and attention, working memory, and phoneme awareness. Finally, we showed that different teaching methods of SE (rule-based vs. free movement) resulted in different transfer effects.
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Kalinde, Bibian, and Dorette Vermeulen. "Fostering children’s music in the mother tongue in early childhood education: A case study in Zambia." South African Journal of Childhood Education 6, no. 1 (December 3, 2016): 9. http://dx.doi.org/10.4102/sajce.v6i1.493.
Full textAbstract:
The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.
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Meissner, Henrique. "Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study." International Journal of Music Education 35, no. 1 (June 23, 2016): 118–35. http://dx.doi.org/10.1177/0255761416643850.
Full textAbstract:
This article presents findings from an action research project that investigated instrumental teachers’ strategies for facilitating children’s learning of expressive music performance. Nine teachers and 14 pupils (aged 9–15) participated in this project, which consisted of 10 weeks of teaching. At the beginning and end of this period pupils’ concerts were held and performances were audio-recorded. Participating teachers used various strategies for improving students’ expressive performance: teacher’s enquiry, discussion, explanation of expressive devices, gestures and movements, singing, imagery, modelling, “projected performance” and listening to own recordings. According to teachers these strategies had been useful in lessons. However, analysis of assessments of students’ performances did not show a significant improvement. Four out of five pupils who did improve their expressiveness were taught by teachers who used enquiry and discussion of musical character and instruction about modifying expressive devices. This project influenced the practice of participating tutors as they focused more on teaching expressive performance.