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1
Gumiandari, Septi. "INTRODUCING ENGLISH TO EARLY CHILDHOOD THROUGH SINGING WITH THE TOTAL PHYSICAL RESPONSE METHOD." Acitya: Journal of Teaching and Education 3, no. 1 (January 30, 2021): 86–94. http://dx.doi.org/10.30650/ajte.v3i1.2138.
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Introducing English from an early age should be supported by adequate media and infrastructure. Learning should be arranged in such a way as to give birth to learning activities that are important and fun. Therefore, it requires perfect and efficient teaching methods. Research on "Introducing English to early childhood through singing with the TPR method" aims to introduce English by singing to early childhood at al-Hidayah Kindergarten, Greged District, Cirebon. The method used is a descriptive analysis of activities carried out by fostering the ability to recognize English in early childhood. The process is carried out using several methods such as singing while playing and singing, with movements using learning media. The conclusion is that by using the singing and playing method, early childhood children can easily recognize the vocabulary, and can accidentally add to the vocabulary of the child.
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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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Khoiruddin, Khoiruddin. "Pengenalan Bahasa Arab melalui Nyanyian pada Anak Usia Prasekolah di PAUD Terpadu Ihyaul Ulum Puncu Kediri Jatim." Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini 1, no. 1 (June 10, 2017): 12. http://dx.doi.org/10.31004/obsesi.v1i1.27.
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The purpose of the event is to introduce Arabic through singing at early childhood in Education Ihyaul Ulum Gadungan Puncu Kediri Integrated School, and know the process of learning to teach Arabic through singing. The research method used a descriptive analysis of the activities undertaken in an effort to improve the ability to recognize Arabic language in early childhood. The process is done by using several methods such as singing while playing and singing using the movement and singing using the learning media. The conclusion of this activity is; (1) through singing with the method of play is singing with the movement, then pre-school children can easily recognize the vocabulary of Arabic, (2) Kindergarten children have a high interest in knowing Arabic. This can be seen from children's enthusiasm when singing familiar Hymnic songs, and (3) The content of short songs and easy-to-use language so that students easily digest and
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Torppa, Ritva, Andrew Faulkner, Teija Kujala, Minna Huotilainen, and Jari Lipsanen. "Developmental Links Between Speech Perception in Noise, Singing, and Cortical Processing of Music in Children with Cochlear Implants." Music Perception 36, no. 2 (December 1, 2018): 156–74. http://dx.doi.org/10.1525/mp.2018.36.2.156.
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The perception of speech in noise is challenging for children with cochlear implants (CIs). Singing and musical instrument playing have been associated with improved auditory skills in normal-hearing (NH) children. Therefore, we assessed how children with CIs who sing informally develop in the perception of speech in noise compared to those who do not. We also sought evidence of links of speech perception in noise with MMN and P3a brain responses to musical sounds and studied effects of age and changes over a 14–17 month time period in the speech-in-noise performance of children with CIs. Compared to the NH group, the entire CI group was less tolerant of noise in speech perception, but both groups improved similarly. The CI singing group showed better speech-in-noise perception than the CI non-singing group. The perception of speech in noise in children with CIs was associated with the amplitude of MMN to a change of sound from piano to cymbal, and in the CI singing group only, with earlier P3a for changes in timbre. While our results cannot address causality, they suggest that singing and musical instrument playing may have a potential to enhance the perception of speech in noise in children with CIs.
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Suryati, Suryati, and Tri Wahyu Widodo. "SIGHT SINGING SEBAGAI STRATEGI PEMBELAJARAN INSTRUMEN PIANO DI PRODI PENDIDIKAN MUSIK ISI YOGYAKARTA." Resital: Jurnal Seni Pertunjukan 21, no. 2 (June 1, 2021): 99–112. http://dx.doi.org/10.24821/resital.v21i2.3379.
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Sight Singing is the ability to read the notation and immediately sing the tune in accordance with the melody on the sheet music. Sight Singing is the activity of singing with solmisasi or movabel "do". This study aims to improve the ability to read beam notation in learning mandatory piano instruments using the Sight Singing approach. The Mandatory Piano Instrument course is one of the practical courses that must be taken by all Music Education Study Program students, ISI Yogyakarta. Not all new students in Music Education Study Program can read the beam notation, so this Piano Compulsory Instrument course course is always feared by students who have not read fluent notation. Sight singing as a strategy to enhance the learning of Piano Mandatory Instruments. This research is focused on the application of Sight singing in learning Mandatory Piano Instruments in Music Education Study Program. This research uses Classroom Action Research which can be categorized as a qualitative-experimental research by applying the Sight singing method. The results of this study are the learning process of the Mandatory Piano Instrument with the application of the Sight singing method more effectively to improve the ability to learn to read notation while playing the Piano Instrument, and students can be more expressing, impressed singing by accompanying themselves.
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Yadnyawati, Ida Ayu Gde. "BUILDING CHILDREN’S CHARACTER THROUGH TRADITIONAL BALINESE GAME: MEGALA-GALAAN REVISITED." International Journal of Interreligious and Intercultural Studies 1, no. 1 (October 1, 2018): 62–70. http://dx.doi.org/10.32795/ijiis.vol1.iss1.2018.37.
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Character is the values of human behavior associated with God Almighty, self, fellow human, environment, and nationality embodied in thoughts, attitudes, feelings, words, and deeds based on religious norms, law, etiquette, culture, and customs. Character education, according to Thomas Lickona (1991), is the education to shape the personality of a person through character education, whose results that can be seen in the actual actions of a person that are considered good, honest, responsible, respectful of the rights of others, hard work, and others. Building the character of children can be done through a traditional Balinese game called megala-galaan. This game is often played with accompaniment of singing Goak Maling Taluh. The poem Goak Maling Taluh sound simple with rhythm or easy rhythm, and the author was still anonymous until now. Behind the simplicity of his poetry hides a deep philosophical meaning about the nature of karma phala. The megala-galaan game with the singing Goak Maling Taluh implementation of fun learning concepts, a traditional Balinese educational concept that emphasizes aspects of learning while playing, and playing while learning.
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Palupi, Warananingtyas, Ruli Hafidah, and Karsono Karsono. "SONG AND MOVEMENT AS MEDIA OF EARLY CHILDHOOD LANGUAGE DEVELOPMENT." Early Childhood Education and Development Journal 1, no. 1 (August 23, 2019): 12. http://dx.doi.org/10.20961/ecedj.v1i1.33020.
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The early childhood learning should cover many aspects of development, ranging from religious and moral values, social, emotional, cognitive, physical motor, linguistic and artistic. Song and Movement are still identified with motion. Early childhood learning is synonymous with singing, clapping and playing while active. Motion and song activities are very tightly attached and can not be separated, especially in providing learning to young children. Motion and song learning is an activity in playing while learning and learning through playing, so activities performed through motion/movement and song are expected to please the child as well as touch the development of language, sensitivity to the rhythm of music, motor development, confidence, and the courage to take risks. Through motion or movement and song, children learn to develop their linguistic ability, it is through listening song dan music rhythm, children develop their receptive ability in language. And children’ expressive ability in language is developed while children sing the song. Therefore, it is necessary for an activity that can train early childhood educators in giving stimulation to children through motion and song.
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Trollinger, Valerie L., and Robert T. Sataloff. "It’s All about the Voice . . . for Wind Instrumentalists, Too!" Music Educators Journal 105, no. 2 (December 2018): 36–42. http://dx.doi.org/10.1177/0027432118803430.
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While many music teachers are familiar with strategies to prevent damage due to vocal abuse or misuse, they are generally not acquainted with other vocal problems that can affect their own or their students’ singing ability. Such damage can also occur when playing a wind instrument. While vocal abuse and misuse are commonly understood in music education, problems (in children and adults) associated with laryngopharyngeal reflux (LPR), continuing unresolved issues in child voice pedagogy, and issues concerning protecting the larynx in young wind instrumentalists are not as well known to music educators. This article presents some new research of importance to music educators.
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Hidary, Richard. "Revisiting the Sabbath Laws in 4Q264a and Their Contribution to Early Halakha." Dead Sea Discoveries 22, no. 1 (April 17, 2015): 68–92. http://dx.doi.org/10.1163/15685179-12341312.
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This article evaluates the reconstruction of 4Q264a offered by Vered Noam and Elisha Qimron. While those scholars find precedent in this scroll fragment for later rabbinic and Karaitic Sabbath prohibitions regarding playing musical instruments, using fire, and reading Scripture, the current article argues that this reconstruction is anachronistic and has insufficient support in the text. Instead, this article supports previous scholars whose reconstructions of this fragment of Sabbath laws include a rule encouraging singing, a prohibition against using fire for cooking but not for other uses, and a requirement to study Scriptures on the Sabbath.
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Erlina, Erlina. "Mengenal Bahasa dan Budaya Asing dengan Bernyanyi dan Bermain Bersama Siswa SDN Desa Pantai Bahagia 02 Muara Gembong." Metahumaniora 7, no. 2 (September 3, 2017): 145. http://dx.doi.org/10.24198/metahumaniora.v7i2.18836.
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ABSTRAKAda banyak cara bagi anak-anak untuk belajar, salah satu diantaranya melalui bermaindan bernyanyi. Apapun yang mereka pelajari, metode ini dapat dianggap sebagai metode yangpaling efektif sekaligus menyenangkan. Karena bermain dan bernyanyi adalah bagian darikehidupan anak-anak, masa kanak-kanak, dinamika belajar ini sesuai untuk mengembangkandaya pikir anak-anak melalui tawa ria. Tak ada yang harus mereka khawatirkan, tak perlumenghapalkan aturan-aturan dalam tatabahasa, tak harus menghapalkan kosa kata yangrumit; mereka dapat melupakan semua kesulitan yang dapat membayangi keceriaanmereka tersebut, yang perlu mereka lakukan hanyalah untuk bergabung bersama dengananak-anak lain untuk mengulangi syair-syair yang dinyanyikan, mengikuti gerakan-gerakanyang dicontohkan sambil bernyanyi riang. Ada lebih dari lima puluh siswa sekolah dasar,dari SDN 02, Desa Pantai Bahagia, Muara Gembong, turut berpartisipasi di lokasi tempatpelaksanaan Pengabdian Kepada Masyarakat se Universitas Padjadjaran SuperCamp 2017untuk mengikuti pengenalan bahasa dan budaya asing. Pengenalan bahasa dan budaya asingmelalui bermain dan bernyanyi ini sebagai bagian dari wujud nyata pengabdian masyarakatFakultas Ilmu Budaya Universitas Padjadjaran memperlihatkan efek-efek yang positif;anak-anak berpartisipasi penuh karena mereka menganggap mereka tidak sedang belajartapi sedang bermain, mereka paham apa yang harus mereka lakukan meskipun instruksidiberikan dalam bahasa asing, mereka memberikan perhatian penuh pada penjelasanyang diberikan karena mereka tidak ingin ketinggalan gerakan-gerakan yang mereka inginlakukan, dan segala sesuatunya menjadi mudah manakala mereka melakukannya sambilbersenang-senang dan bergembira berkumpul bermain bersama yang lain.Kata kunci: bernyanyi, bermain, Super Camp 2017, SDN Desa Pantai Bahagia 02ABSTRACTThere are many ways for children to learn, one of them is through playing andsinging. No matter what subject they learn, this method can be identified as the most effectiveway as well as fun. Since playing and singing is a part of their life, a childhood life, the dynamicof learning is appropriate to develop their mind through laughter and cheers. They shouldnot worry about memorizing any rules of grammar, any complicated vocabularies; they canforget the hardship surrounding them, all they need to do is just to come along by repeating,imitating, and making some moves while singing. There are more than fifty students of primaryschool, SDN 02, Desa Pantai Bahagia, Muara Gembong, the location of Unpad’s SuperCamp2017 join the activity, the introduction of foreign language and culture. The introduction tosome foreign languages and cultures through playing and singing which is given as a partof Universitas Padjadjaran’s community service, ‘Pengabdian Kepada Masyarakat’, showspositive effects; the children participate fully as they feel like they are not studying but264 | METAHUMANIORA, Vol. 7, Nomor 2 September 2017: 263—272Erlina, 2Yuyu Yohana Risagarniwa, 3Taufik Amperaplaying, they understand what to do though the instruction is in foreign languages, they payattention to the explanation as they do not want to miss the move they want to do. Andanything becomes easy when they are having fun and happy gathering together with others.Keywords: singing, playing, SuperCamp 2017, SDN Desa Pantai Bahagia 02
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., Erlina. "Mengenal Bahasa dan Budaya Asing dengan Bernyanyi dan Bermain Bersama Siswa SDN Desa Pantai Bahagia 02 Muara Gembong." Metahumaniora 7, no. 2 (September 3, 2017): 145. http://dx.doi.org/10.24198/mh.v7i2.18836.
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ABSTRAKAda banyak cara bagi anak-anak untuk belajar, salah satu diantaranya melalui bermaindan bernyanyi. Apapun yang mereka pelajari, metode ini dapat dianggap sebagai metode yangpaling efektif sekaligus menyenangkan. Karena bermain dan bernyanyi adalah bagian darikehidupan anak-anak, masa kanak-kanak, dinamika belajar ini sesuai untuk mengembangkandaya pikir anak-anak melalui tawa ria. Tak ada yang harus mereka khawatirkan, tak perlumenghapalkan aturan-aturan dalam tatabahasa, tak harus menghapalkan kosa kata yangrumit; mereka dapat melupakan semua kesulitan yang dapat membayangi keceriaanmereka tersebut, yang perlu mereka lakukan hanyalah untuk bergabung bersama dengananak-anak lain untuk mengulangi syair-syair yang dinyanyikan, mengikuti gerakan-gerakanyang dicontohkan sambil bernyanyi riang. Ada lebih dari lima puluh siswa sekolah dasar,dari SDN 02, Desa Pantai Bahagia, Muara Gembong, turut berpartisipasi di lokasi tempatpelaksanaan Pengabdian Kepada Masyarakat se Universitas Padjadjaran SuperCamp 2017untuk mengikuti pengenalan bahasa dan budaya asing. Pengenalan bahasa dan budaya asingmelalui bermain dan bernyanyi ini sebagai bagian dari wujud nyata pengabdian masyarakatFakultas Ilmu Budaya Universitas Padjadjaran memperlihatkan efek-efek yang positif;anak-anak berpartisipasi penuh karena mereka menganggap mereka tidak sedang belajartapi sedang bermain, mereka paham apa yang harus mereka lakukan meskipun instruksidiberikan dalam bahasa asing, mereka memberikan perhatian penuh pada penjelasanyang diberikan karena mereka tidak ingin ketinggalan gerakan-gerakan yang mereka inginlakukan, dan segala sesuatunya menjadi mudah manakala mereka melakukannya sambilbersenang-senang dan bergembira berkumpul bermain bersama yang lain.Kata kunci: bernyanyi, bermain, Super Camp 2017, SDN Desa Pantai Bahagia 02ABSTRACTThere are many ways for children to learn, one of them is through playing andsinging. No matter what subject they learn, this method can be identified as the most effectiveway as well as fun. Since playing and singing is a part of their life, a childhood life, the dynamicof learning is appropriate to develop their mind through laughter and cheers. They shouldnot worry about memorizing any rules of grammar, any complicated vocabularies; they canforget the hardship surrounding them, all they need to do is just to come along by repeating,imitating, and making some moves while singing. There are more than fifty students of primaryschool, SDN 02, Desa Pantai Bahagia, Muara Gembong, the location of Unpad’s SuperCamp2017 join the activity, the introduction of foreign language and culture. The introduction tosome foreign languages and cultures through playing and singing which is given as a partof Universitas Padjadjaran’s community service, ‘Pengabdian Kepada Masyarakat’, showspositive effects; the children participate fully as they feel like they are not studying but264 | METAHUMANIORA, Vol. 7, Nomor 2 September 2017: 263—272Erlina, 2Yuyu Yohana Risagarniwa, 3Taufik Amperaplaying, they understand what to do though the instruction is in foreign languages, they payattention to the explanation as they do not want to miss the move they want to do. Andanything becomes easy when they are having fun and happy gathering together with others.Keywords: singing, playing, SuperCamp 2017, SDN Desa Pantai Bahagia 02
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Harrison, Scott D. "A perennial problem in gendered participation in music: what's happening to the boys?" British Journal of Music Education 24, no. 3 (November 2007): 267–80. http://dx.doi.org/10.1017/s0265051707007577.
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Despite three decades of research, gendered participation in music continues to be problematic. While many aspects of Western society maintain a patriarchal stance in the workplace, it is apparent that girls have made some significant changes in their musical choices. Males, it seems, are maintaining the same preferences for instruments as they did 100 years ago, avoiding ‘gentler pursuits’ like singing and playing the flute. This paper seeks to investigate the continued existence of stereotyping of musical participation and to discover some of the underlying reasons for this in the musical choices for boys through the literature. Furthermore, themes arising from existing research are investigated through fieldwork recently conducted in Australia.
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Götell, Eva, Steven Brown, and Sirkka-Liisa Ekman. "Influence of Caregiver Singing and Background Music on Posture, Movement, and Sensory Awareness in Dementia Care." International Psychogeriatrics 15, no. 4 (December 2003): 411–30. http://dx.doi.org/10.1017/s1041610203009657.
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Background and Aim: Previous research suggested caregiver singing could influence persons with severe dementia to communicate with increased competence, to cease aggression, and to cease disruptive screaming, while at the same time they seemed to understand what was going on when being cared for during morning care sessions. The aim of this study was to illuminate the posture, body movements, and sensory awareness of patients with dementia during three types of morning care sessions with professional caregivers: (a) the usual morning care situation, (b) a caring session in which familiar background music was played, and (c) a caring session in which the caregiver sang to and/or with the patient throughout. Nine patients with late-stage dementia and 5 professional caregivers participated in this study, and 27 sessions were videotaped (9 patients x 3 caring situations). Data Collection and Method: Data collection was done by means of video recording and the data were analyzed using qualitative content analysis. Results: During the usual caring situation, patients demonstrated slumped posture, sluggish and asymmetric motion, listlessness, minimal awareness of both egocentric space and the physical environment, and a poor ability to perform to completion activities necessary for personal care. Both background music playing and caregiver singing had strong influences on the body and on sensory awareness. Patients had straightened posture, stronger and more symmetric movements, and a greatly increased awareness of themselves and their environment. Patients appeared to regain skills necessary for daily living, and demonstrated that they could perform tasks with intention, purpose, and competence. Caregiver singing, in particular, was very effective at drawing out capabilities that appeared to be lost in these patients. In addition, caregiver singing elicited a larger degree of mutuality in the interaction between patient and caregiver than was seen with background music. Discussion: These results provide further support for the use of caregiver singing in dementia care, and the findings on how caregiver singing can be used to help in dementia caring situations are discussed.
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Ismail, Md Jais, Loo Fung Chiat, and Azu Farhana Anuar. "LEARNING MUSIC THROUGH RHYTHMIC MOVEMENTS IN MALAYSIA." Malaysian Journal of Learning and Instruction 18, Number 1 (January 31, 2021): 241–63. http://dx.doi.org/10.32890/mjli2021.18.1.10.
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Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music classes, hence to improve students’ music performance skills. Methodology – The study was carried out within the framework of a ten-week action-research design involving 35 primary school students at Putrajaya, Malaysia. Data collection was through group observation on students’ musical behaviours. Researchers also conducted an in-depth interview with rhythmic movement experts. Findings – Result shows that there is a significant changing of musical behaviours among primary students from week 8 to week 10. Experts agreed that rhythmic movement can create a meaningful music class with an active participation by students. There are three rhythmic procedures recommended by the experts to strengthen a music class pedagogy. Significance – Learning music through movements has turned music class into active and fun. Rhythmic movement activity makes this intention to become more meaningful. The study helps students to explore music through movements while they have the chance to play, communicate to each other, learn through observation and express their creativity in their own way. This intervention helps students to grasp almost all the music concepts while doing activities. This study also provides ideas for teachers to integrate rhythmic movements in music instructional process. Keywords: Dalcroze Eurhythmics, rhythmic movement, music education, qualitative, primary students, singing, playing percussion.
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Dukaļska, Iveta. "MUSIC-MAKING IN A FAMILY – THE LIFELONG LEARNING TRADITIONS AND CHALLENGES OF HOME-LEARNING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 78–89. http://dx.doi.org/10.17770/sie2021vol4.6424.
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The aim of the present study is to compare the training of folk musical instrument play within families until 1960s in the traditional cultural environment of Latvia’s countryside to the opportunities of the same training in the early 21st century – outside the formal education but within the context of life-long learning.Data for the research were acquired in field study, questionnaires in the virtual environment, and also the information from the Internet on the offer of music schools and institutions of non-formal education in the field of musical instrument play was used.Until 1950s and ‘60s the basics of the musical instrument play were acquired by children within their respective families, with the musicians of the elderly generation being their tutors. The aspirations to become a musician were sparked by family traditions, the high esteem of a musician as a personality by the local community, as well as the child’s own willingness and perseverance in acquisition of an instrument’s technique. The field-study interviews show musicians always referring to past experience and family tradition, namely, some member of the family already was a musician – granddad, dad, uncle – while granny or mother have been good singers. In the cultural environment of 1960s’ countryside the two traditions – singing and music-making – are separated. The tradition of singing (both everyday and church) and its functioning in the local community was mainly sustained by the women, while playing the instruments was the part of the men. The children started to acquire the technique of a musical instrument roughly at the age of 6–10 years, while the full status of a musician within a community could be acquired by the aspiring player as early as at the age of 16, after having played for several times at some community events (an open-air dance “zaļumballe” or an evening get-together „večerinka” in Latgale). During that period the playing skills were acquired without the ability to read score, based on musical memory.At the end of the 20th century and the early 21st most frequently the playing skills of an instrument (like violin, clarinet or accordion) are acquired attending some institution of music education, while both children and adults have an opportunity to learn the technique of some folk instrument (zither, harmonica, little drum, etc.) within some non-formal education setting or that of an amateur group.The present study analysis the factors either helping or hindering the continuation of the folk music- making tradition in the cultural environment of the 21st century, based on the opportunities for learning the techniques within the home-learning and life-long learning contexts.
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Ghozali, Imam. "Professional Competence of Teachers in Learning Music at Elementary Schools in Pontianak." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 84–94. http://dx.doi.org/10.15294/harmonia.v20i1.24932.
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Learning the art of music that has characteristics, special characters, and is carried out within an integrative thematic frame in elementary schools, needs to be supported by the professional competence of classroom teachers. The purpose of this study was to determine the professional competence of classroom teachers in learning music in elementary schools. This paper is the result of interpretive descriptive research with the main data source of classroom teachers, while the source of supporting data are students and principals. Data collection techniques are done by tests, observations, and interviews. The data collection process is carried out starting before the learning stage until the learning evaluation process. Based on the results of the study showed that: (1) the average mastery of classroom teachers to the knowledge of music theory needed in learning has only reached 45%; (2) the average teacher mastery of musical basic competencies has only reached 42.5%; and (3) the average teacher mastery of musical instrument playing skills competencies needed in learning has only reached 33.75%. The results of tests conducted on the teachers turned out to be relevant to the data obtained during the implementation of learning. It was proven that learning material in the form of musical knowledge such as music symbols, time bars, and various tempos is only taught by one class teacher. The practice of singing traditional songs is not supported by the teacher’s ability to give examples of reading song notation in accordance with the demands of the teacher’s handbook. Practical learning material for playing musical instruments is also only implemented by one classroom teacher. The implementation of music art learning in which most of the time allocation is filled with singing songs that are mastered (memorized) by the teacher. This shows that the classroom teacher in the implementation of music art learning has not been supported by adequate professional competence.
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Rosselli, John. "From princely service to the open market: Singers of Italian opera and their patrons, 1600–1850." Cambridge Opera Journal 1, no. 1 (March 1989): 1–32. http://dx.doi.org/10.1017/s0954586700002743.
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We are used to thinking of ‘opera singer’ as a profession. But no such profession existed when opera emerged as a genre at the turn of the sixteenth and seventeenth centuries, when the first public opera house opened in Venice in 1637, or for three or four decades after that: operas were too few to occupy most of anyone's time. In the early seventeenth century not even ‘singer’ was as yet a clearly defined trade. Many singers were also instrumentalists: some accompanied themselves (and some also composed their own music), while others switched between singing and playing; the commonest Italian term for them all was musici. Others again were actors or actresses who could sing, like Virginia Andreini, drafted in an emergency to create the title part in Monteverdi's Arianna of 1608.
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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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Guiard, Yves. "Failure to Sing the Left-Hand Part of the Score during Piano Performance: Loss of the Pitch and Stroop Vocalizations." Music Perception 6, no. 3 (1989): 299–314. http://dx.doi.org/10.2307/40285591.
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An experiment compared the ability of classical pianists to sing, during keyboard performance, the right- and the left-hand part of the score being played. Upon instructions requiring them to "sing" one or the other voice of the score, the subjects spontaneously chose to sing and name the notes simultaneously, in keeping with the French traditional way of reading music, thus producing a two- dimensional tonal and verbal vocal act in response to each visual stimulus. Singing the right-hand part of the music, whether in unison with or in place of the right hand, while concurrently playing the left-hand part was judged easy by all subjects, and performance, typically, was correct in all respects. The other task, consisting of singing the left-hand part of the music, was judged more difficult by all subjects, and performance, more often than not, was poor. Careful inspection of the many errors that were recorded in the latter task revealed a few clear-cut regularities. Failures were vocal, but not manual. More specifically, vocal failures took place on the tonal dimension of the vocal response, but not on its verbal dimension: The song, but not the naming of the notes, was prone to fail, with either a loss of the pitch, or a systematic trend toward singing unduly—albeit accurately—the notes of the right-hand part. A number of subjects were found to display this intriguing tonal/verbal dissociation—naming a note at a pitch corresponding to another note—in a continuous regime. It is emphasized that this phenomenon amounts to the spontaneous production of musical events that belong to the Stroop category.
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Borhani, Maya T. "New Vox in Poetic Inquiry." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 316–46. http://dx.doi.org/10.18432/ari29511.
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As a doctoral candidate ever-deepening my understandings of arts-based research methods, in general, and performative and poetic methods of inquiry in particular, this paper advances several new theories of Vox in poetic inquiry (Prendergast, 2009, 2015, 2020), playing with the generative possibilities found with/in such poeticizing as writing method, performative gesture, and reflexive praxis, while addressing intersections between the personal/public and poetry as political currency. Woven as a métissage of poetic offerings within theoretical exposition, this essay links theory, research methods, and personal explorations with/in poetic inquiry. Found poems and original compositions punctuate the proposal of several new Vox to help elucidate our myriad voices within a growing chorus of poetic inquirers singing to a variety of purposes. A journey through methodological praxis unfolds, poses further questions, and encourages ongoing exploration and practice of poetic research methodologies in diverse, rhizomatically fruiting tendrils and directions.
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Lajic-Mihajlovic, Danka, and Smiljana Djordjevic-Belic. "Singing with gusle accompaniment and the music industry: The first gramophone records of gusle players` performances (1908−1931/2)." Muzikologija, no. 20 (2016): 199–222. http://dx.doi.org/10.2298/muz1620199l.
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The gramophone record industry had developed in the Yugoslav region from the beginning of the 20th century. The paper is based on an analysis of the corpus of 78 rpm records of singing with gusle accompaniment, which were produced between 1908 and 1932. Available recordings highlight the issue of representing both the epic and the gusle playing tradition in this media format and its relationship with ?unmediated? live gusle playing practice. Therefore the authors opted to analyze gramophone records as both a text in culture and an actor in tradition. After introductory theoretical and methodological remarks, the authors offer a brief description of the historical, political and socio-cultural context that emphasized epic singing with gusle accompaniment as a representative traditional genre in this area. For that reason it was noteworthy for both western and local production companies which made recordings in the Balkans (Deutsche Grammophon Gesellschaft mbH., Odeon Records, Marsh Laboratories, Inc., Edison Bell Penkala Ltd.). Analysis of the recordings is focused on examination of the way in which gusle players responded to different requirements of the new media (e.g. the insufficient capacity of a record itself compared to the usual duration of a performance; the reduction of a complex form of artistic communication to an oral, auditory message, while additional forms of non-verbal communication are excluded). Through discussion of the treatment of verbal and musical components of the recorded performances it has been shown that tradition was simultaneously exemplified and reshaped by this new medium. In addition to the guslars themselves, being already recognized artists in this traditional genre and the acoustic source (the voice accompanied by the gusle), the representative base of the epic tradition comprised traditional (poetic) texts, although modifications / innovations are recognizable at different levels of verbal content, as well as on the level of music interpretation. On these bases, it is possible to talk about the contribution of new media to the professionalization of guslars? practice and the creation of ?stars? among them on the one hand, and the progressive transformation of once-active audience members (in the sense of potentially exchangeable performer / listener positions) into passive buyers and consumers, on the other. It is noted that these, first gramophone records of guslars had a great role in and impact on the survival of the epic singing tradition, brokering its promotion in urban areas and among the ?cultural elite?. Finally, in this way they contributed to the strengthening of this tradition in a historical period that brought disintegration of the system of traditional culture and ?crisis? of the most of the current classic folklore genres.
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Varner, Edward. "General Music Learning Is Also Social and Emotional Learning." General Music Today 33, no. 2 (November 28, 2019): 74–78. http://dx.doi.org/10.1177/1048371319891421.
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The purpose of this article is to highlight the relationship between general music and social and emotional learning. Social and emotional learning involves a set of social, emotional, behavioral, and character competencies that are essential to success in school, in the workplace, within relationships, in the community, and in life. Music teachers are uniquely positioned to help students become more socially and emotionally competent while simultaneously developing the skills outlined in the general music curriculum. Many general music program activities reinforce and help students understand the concepts of self-management, self-awareness, responsible decisionmaking, relationship skills, and social awareness. Activities such as improvisation, ensemble playing and singing, and defining emotions with music can be used to develop social and emotional learning skills in the general music classroom. The primary objective of this article is to help general music teachers understand that general music learning environments naturally lend themselves well to aiding in these efforts.
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Toiviainen, Petri. "Modeling the Target-Note Technique of Bebop-Style Jazz Improvisation: An Artificial Neural Network Approach." Music Perception 12, no. 4 (1995): 399–413. http://dx.doi.org/10.2307/40285674.
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In cognitive science and research on artificial intelligence, there are two central paradigms: symbolic and analogical. Within the analogical paradigm, artificial neural networks (ANNs) have recently been successfully used to model and simulate cognitive phenomena. One of the most prominent features of ANNs is their ability to learn by example and, to a certain extent, generalize what they have learned. Improvisation, the art of spontaneously creating music while playing or singing, fundamentally has an imitative nature. Regardless of how much one studies and analyzes, the art of improvisation is learned mostly by example. Instead of memorizing explicit rules, the student mimics the playing of other musicians. This kind of learning procedure cannot be easily modeled with rule- based symbolic systems. ANNs, on the other hand, provide an effective means of modeling and simulating this kind of imitative learning. In this article, a model of jazz improvisation that is based on supervised learning ANNs is described. Some results, achieved by simulations with the model, are presented. The simulations show that the model is able to apply the material it has learned in a new context. It can even create new melodic patterns based on the learned patterns. This kind of adaptability is a direct consequence of the fact that the knowledge resides in a distributed form in the network.
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Admi, Letty Maulida. "تعليم اللغة العربية على أساس الذكاءات المتعددة بمؤسسة الدورية مركز العربية بباري كديري." لسـانـنـا (LISANUNA): Jurnal Ilmu Bahasa Arab dan Pembelajarannya 10, no. 2 (January 31, 2021): 262. http://dx.doi.org/10.22373/ls.v10i2.8829.
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The purpose this research is to describe Arabic learning based on linguistic intelligence, use of methods on kinesthetic intelligence, and use media on visual and musical intelligence in learning Arabic in "Markaz Arabiyah" course institute in the I'dad and Syarqi awal programs. This research apply a qualitatif design using case study methods. Data collection techniques include interviews, observations and documentation. Then the data analysis technique in this study used the concept of Miles and Huberman who stated that activities in the analysis include data reduction, data display and data verification. The results of this study indicate that: (1) learning Arabic at the Pare Kediri Arabiyah Markaz Course Institute based on linguistic intelligence is speaking, debate, developing vocabulary, istima ’, telling stories, brainstorming, weekly speaking, weekly speeches, compulsory boarding speeches, daily expressions, weekly brainstorming, vocabulary development and language improvement. (2) demonstration as a method of learning Arabic has been used in learning Muhadatsah on the map chapter, playing eat bulaga, playing puppets, on extracurricular activities in dhomir material. (3) pictures and music become a learning media that is suitable for students who have visual intelligence and musical. The media image is used during ta'birat learning, speaking extracurricular activities, eat bulaga games in ta’birat learning and in the drama liqa 'usbu'. While music is used as a learning medium in speaking learning in the syarqi awal program and joint singing activities when liqa'usbu '.
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Noya, Aksa. "City Branding Ambon City Of Music Sebagai Folk Identity Music Di Maluku." Resital: Jurnal Seni Pertunjukan 21, no. 3 (August 6, 2021): 138–49. http://dx.doi.org/10.24821/resital.v21i3.4488.
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The article of city branding on Ambon City of Music discusses the legalisation of folk music identity in Maluku. By using the qualitative research method with a case study approach. Data obtained were primary data in the field, and the secondary data were obtained from various media. Data was collected by doing direct interviews and essential documents. Ambon City of Music is an iconic branding that becomes the identity for the people of Maluku. The people of Maluku have music DNA so that it is worth mentioning as a City of Music. It can be seen through the selection of Ambon city as a City of Music by UNESCO in October 2019. Ambon City has become a new identity to introduce the musical culture of the Maluku people. Music is used as social capital in creating peace, while the acculturation of the folk music genre is a symbol of community identity in Maluku. The author argues that the branding of Ambon City of Music itself elevates the dignity of folk music identity. The people of Maluku are known as having the highly musical skills, singing, and experts in playing traditional instruments, such as tifa, totobuang, bamboo flute, tahuri, etc. The recognition by UNESCO strengthens the musical identity of the people of Maluku in the world. Ambon city branding is a legitimation of Maluku folk identity in music and singing and a city of peace because of the music, with the result of the people of Maluku collectively having an awareness of primordial relations.
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Siswanta, Jaka. "Pengembangan Karakter Kepribadian Anak Usia Dini (Studi Pada PAUD Islam Terpadu Di Kabupaten Magelang Tahun 2015)." INFERENSI 11, no. 1 (June 1, 2017): 97. http://dx.doi.org/10.18326/infsl3.v11i1.97-118.
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The purpose of this study is to describe the values developed in the development of the child’s personality character, describe the implementation of the development of children’s personality traits, the strategy of developing the personality character of children, the constraints in the implementation of the development of child personality character in the Integrated Islamic School of Magelang District 2015. With a qualitative approach using purposive sampling technique. The results pointed. PAUD Integrated Aisyiyah Insan Robbani Muntilan and Islamic Early Childhood Ibnu Hadjar refers to the provisions of the implementation of Character Education established by the Ministry of National Education, early childhood education developed values of personality traits based on the value determined by the school. Implementation of character formation is done as an effort to form the character of child’s personality. Character development strategy is done by the method of playing while singing, exemplary methods, methods of advice, methods of supervision and method of habituation. Constraints, especially parents support factors related to school policy in the development of children’s personality traits.
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Rao, Neeraj. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3485.
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Music has been a means of entertainment and fun for human beings since time immemorial. Since ancient times, humans have used various types of means for their entertainment, as the human developed his civilization, his understanding and understanding attracted him to dance, singing and playing. Humans learned music by understanding civilization and culture while harmonizing themselves with nature. It is also mentioned in our mythological texts that, seeing the singing posture of Maa Parvati, Lord Shankar composed five ragas Hindol, Deepak, Shree, Megha, Kaushik etc., and the origin of music of Lord Shiva's Tandava and Mother Parvati. The target assumed dance. In this way the rhythm of the "Ta" of the Tandava, and "L" of Lasya were formed by these two words.
मनुष्य को आदिकाल से ही संगीत मनोरंजन एवं आमोद-प्रमोद का साधन रहा है। आदिकाल से ही मानव ने अपने मनोरंजन के साधन के लिये विभिन्न प्रकार के प्रयोग किये जैसे-जैसे मानव अपनी सभ्यता का विकास करता गया वैसे-वैसे उसकी समझ और सूझ-बूझ ने नृत्य, गायन और वादन की ओर आकर्षित किया। मानव ने सभ्यता और संस्कृति को समझकर अपने को प्रकृति के साथ तालमेल करते हुए संगीत को सीखा। हमारे पौराणिक ग्रंथों में भी इस बात का उल्लेख है कि माँ पार्वती की गायन मुद्रा को देखकर भगवान षंकर ने क्रमषः पाँच राग हिंडोल, दीपक, श्री, मेघ, कौषिक आदि रागों की रचना की एवं संगीत की उत्पत्ति भगवान षिव के ताण्डव तथा माता पार्वती के लक्ष्य नृत्य से मानी गई। इस प्रकार ताण्डव के ‘‘ता’’’, और लस्य के ‘‘ल‘‘ इन दो षब्दों से ताल का निर्माण हुआ।
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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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Rybachok, Oksana. "3 March - International Day for Ear and Hearing Care." Spravočnik vrača obŝej praktiki (Journal of Family Medicine), no. 3 (March 1, 2020): 76–79. http://dx.doi.org/10.33920/med-10-2003-10.
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We are surrounded by a wonderful world filled with a wide variety of sounds. The well-known Czech novelist, short-story writer and playwright Karel Čapek had an absolutely fair saying: “Hearing is more than just understanding the words.” As a rule, some sounds give us peace and joy, while others on the contrary cause irritation and negative emotions. However, not everyone can hear. There are people who are doomed to live in a world without sounds, while some are born with similar disorders, and others acquire this problem as a result of inflammatory diseases or traumatic factors. Be that as it may, thousands of people around us are forced to exist without ability to hear the sound of the wind and the sound of raindrops; they cannot appreciate the beauty of birds singing or playing a musical instrument. In order to draw public attention to these hearing-impaired patients and to support people with disabilities, the World Health Organization has launched the International Day for Ear and Hearing, which is celebrated annually worldwide on the 3rd March. This day acquired the status of an official holiday in Beijing, the capital of China, in 2007 at the 1st International Conference on the Prevention and Rehabilitation of Hearing Impairment.
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Indrayani, A. A. Diah, and I. Kadek Widiantana. "Pendidikan Karakter Dalam Satua Anak Agung Di Mesir." Cetta: Jurnal Ilmu Pendidikan 3, no. 2 (June 25, 2020): 256–69. http://dx.doi.org/10.37329/cetta.v3i2.453.
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Over the past few years, the government has given a spesific attention to the character education due to its main purpose to develop good and right behaviour for the students since their early age. To achieve this, one of them is through education. In Bali, according to the concept of its society, education is translated by local values in a simple way, such as learning while travelling, learning while singing, learning while playing a game and so on. The Balinese folklore (Satua) is an implementation of Hindu values which give an understanding on conscience and behaviour to the children since early age. This research is a qualitative research using the hermeneutics method. Bali has many literary heritages which are full of the value of character education, one of them is Satua Bali. Among the many Satua that are available, Satua that will be used is Satua I Nengah Tinggen's with titled Anak Agung di Mesir. He is one of the Balinese literary maestros. The study of this folklore refers to six pillars of character proposed by SD Westwood, covers trustworthiness, respect, responsibility, caring, citizenship, and fairness. It can be concluded that Satua is somewhat effectively used as a character education media because it contains the values of character education needed for the nation's character development and can be taught early with Satua.
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Jansen, Lisa, and Michael Westphal. "Rihanna Works Her Multivocal Pop Persona: A Morpho-syntactic and Accent Analysis of Rihanna's Singing Style." English Today 33, no. 2 (February 13, 2017): 46–55. http://dx.doi.org/10.1017/s0266078416000651.
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Singing is a very dynamic and innovative mode of communication through which artists often express themselves with a set of various voices. Today, pop music circulates across national boundaries and English is the main medium of communication in transnational pop culture. In this special context different varieties of English meet at a high density. Rihanna's single Work is an example of this prevalent multivocality in pop music culture. Her language performance attracted public attention of various sorts as she audibly incorporates several Caribbean English Creole (CEC) features. While some critics describe her lyrics as ‘gibberish’ (cf. Noelliste, 2016), others acknowledge her performance as a ‘reclamation of her Barbadian heritage’ (Gibsone, 2016). The example of Rihanna shows that singers can be transporters of English varieties: she is a Caribbean artist who started a successful career in the US, and whose music today has global reach. Singers, like Rihanna, are thus mobile, transnational linguistic agents. On the one hand, she physically travels the world playing concerts to her audiences. On the other, her persona, music, videos, and further media commodities are part of the global ‘mediascape’ (Appadurai, 1996). In other words, her products easily spread across the globe and are reproduced, transcending national and social boundaries. New technologies (e.g. smart phones, tablets) and applications (Facebook, Twitter, Instagram) facilitate as well as accelerate the transnational dissemination of media resources. Moreover, singers show that the linguistic (and cultural) resources as such are mobile. Different language influences are formed into individual linguistic repertoires. Singers often playfully employ certain features to highlight parts of their identity or locate themselves in a particular music genre.
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Trinite, Baiba. "THE COMPREHENSION OF THE CONCEPTS OF NOISE AND SILENCE IN PRIMARY SCHOOL CHILDREN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 3 (May 20, 2020): 618. http://dx.doi.org/10.17770/sie2020vol3.4832.
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Acoustically ergonomic classrooms prevent teachers’ voice disorders and improve comprehension of learning instructions by pupils. High activity noise in the classroom, which increases voice loudness, is one of the most common complaints by teachers. The aim of the study was to find out how primary school children comprehend the concepts of noise and silence. Two hundred eighty five children representing Grade 1 to four were included in the study. Children were asked to draw how they imagine the silence and noise. Drawings were categorised in the following groups: sources of noise and silence, effects of noise and silence, noisy and silent places. Drawings imagining school environment were analysed separately. We found that primary school pupils can identify noise sources in the classroom, at home, and in environment. They can detect the impact of noise on the psycho-emotional state of the person. Children reflected a much more extensive range of noise generating activities than activities related to silence. The silence was mostly associated with sleeping and learning while noise with positive (singing, playing) and negative (screaming, fighting) actions.Not only teachers but also pupils should know about classroom acoustic ergonomics. Teachers’ education programs should provide education in ergonomics, and teachers should forward this knowledge to children.
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Anggrarini, Natalia. "ACTIVITIES IN TEACHING ENGLISH VOCABULARY FOR YOUNG LEARNERS IN FIVE KINDERGARTENS IN INDRAMAYU." ENGLISH JOURNAL OF INDRAGIRI 2, no. 2 (December 6, 2018): 30–42. http://dx.doi.org/10.32520/eji.v2i2.235.
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Childhood Education essentially aims at providing stimulation in all aspects of child development especially in language development. This study is attempted to investigate activities in teaching English vocabulary to young learners. To provide good education in early childhood the teacher has to understand their characteristics and know their needs according to their developmental level. In accordance with the world of early childhood, children learn through play (learning through play) and interesting learning process for them (playing is learning).Thus, the teacher needs to provide activities that meet the students needs and present them in a proper way. This study describes the activities done by teachers in five kindergartens in Indramayu. The participants in this study were five teachers in those five kindergartens. The findings showed that the teachers in five kindergartens in Indramayu taught vocabulary by presenting some activities such as; listen and do, listen and repeat, modeling and demonstration, singing song, look and say, listen and identify, and question and answer. In Grade A the dominant activity was Listen and Repeat with frequency 40% in one semester while in Grade B, Look and say was the dominant activity with frequency 30,76% in one semester. Those activities are done based on the consideration that the activities done in Grade A were emphasized on their level of development such as imitating. While children in Grade B were more developed, the activities were emphasized on recognizing word and learn to pronounce it clearly.
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Verma, Vinita. "'NEW EXPERIMENTS IN CLASSICAL DANCE': KATHAK AND HAVELI MUSIC TERMS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3430.
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Music, that is, singing, playing and dancing, is supernatural and supernatural because of its nature. Spiritual music is the path leading to salvation through self-promotion by making life sacred. The dance has originated from the core of religion. Mystics have defined it as the basis of ecstasy.Dance and singing are said to be the best means of attaining salvation here. The Kathak dance, which is otherwise called 'Natvari dance', implies that Kathak dance relies mostly on Krishnacharitra for its expression. Uto Kathak has traditionally been exhibited on many verses, thumri, bhajans, etc. But for some years, a unique adornment of its own art is being done by art seekers through innovative experimentation in every field of art which is known as art (fans ) Is also well appreciated and accepted. Kathak dance, while staying within the limits of scripture, has always made new experiments in the field of emotion display.
संगीत ंअर्थात् गायन, वादन और नृत्य अतिप्राचीन और ब्रह्मस्वरूप होने के कारण अलौकिक है । आद्यात्मिक संगीत जीवन को पवित्र बनाकर आत्मोन्नति द्वारा मोक्ष की ओर ले जानेवाला मार्ग है । नृत्य का आरंभ धर्म के मूल भाव से हुआ है । मनीषियों ने इसे परमानंद का आधार निरूपित किया है ।नृत्य और गान को हमारे यहांॅं, मोक्ष प्राप्ति का श्रेष्ठतम साधन बताया गया है । कथक नृत्य जिसका अन्य नाम ही ‘नटवरी नृत्य’ है, इसका द्योतक है कि कथक नृत्य अपनी अभिव्यक्ति के लिए अधिकांशतः कृष्णचरित्र पर ही निर्भर है । यू ंतो कथक में परंपरागत अनेकों पद, ठुमरी, भजन इत्यादि पर भाव प्रदर्शन किया ही जाता रहा है किंतु कुछ वर्षो से कला के हर क्षेत्र में नवीन प्रयोग द्वारा अपनी अपनी कला का एक अपूर्व श्रृंगार कला साधकोें द्वारा किया जा रहा है जिसे कला (प्रशंसकों) द्वारा भी सहर्ष सराहा एवं स्वीकारा जा रहा है । कथक नृत्य ने भी शास्त्र की सीमा में रहते हुए भाव प्रदर्शन के क्षेत्र में नित नवीन प्रयोग किये है ।
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Turker, Sabrina, and Susanne M. Reiterer. "Brain, musicality, and language aptitude: A complex interplay." Annual Review of Applied Linguistics 41 (March 2021): 95–107. http://dx.doi.org/10.1017/s0267190520000148.
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AbstractMusic and language are highly intertwined auditory phenomena that largely overlap on behavioral and neural levels. While the link between the two has been widely explored on a general level, comparably few studies have addressed the relationship between musical skills and language aptitude, defined as an individual's (partly innate) capacity for learning foreign languages. Behaviorally, past research has provided evidence that individuals’ musicality levels (expressed by singing, instrument playing, and/or perceptive musical abilities) are significantly associated with their foreign language learning, particularly the acquisition of phonetic and phonological skills (e.g., pronunciation, speech imitation). On the neural level, both skills recruit a wide array of overlapping brain areas, which are also involved in cognition and memory.The neurobiology of language aptitude is an area ripe for investigation, since there has been only limited research establishing neurofunctional and neuroanatomical markers characteristic of speech imitation and overall language aptitude (e.g., in the left/right auditory cortex and left inferior parietal areas of the brain). Thus, as noted above, in this short review for ARAL, the aim is to describe the most recent neuroscientific findings on the neurobiology of language aptitude, to discuss the complex interplay between language aptitude and musicality from neural and behavioral perspectives, and to briefly outline what the promise of future research in this area holds.
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Suharyanto, Agung. "Punk: Pengamen Jalanan dan Sebuah Subkultur Dari Kehidupan Urban di Kota Medan." Anthropos: Jurnal Antropologi Sosial dan Budaya (Journal of Social and Cultural Anthropology) 7, no. 1 (June 24, 2021): 98. http://dx.doi.org/10.24114/antro.v7i1.24738.
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This article aims to describe street children Punk in the life patterns of the people of Medan City. Medan city is one of the things that cannot be separated from the life pattern of street singers. This means that the life of street singers has become part of the overall life of the people of Medan City. Don't know who started it, now there are so many Punk communities scattered at the crossroads, living in groups while busking. Their identity is very different from other street singers, both in terms of clothes, hairstyles and body piercing as well as tattoos on several parts of the body. All things that are very different from the identity of the other buskers whose taste is also piling up. What makes the other street singers the same is that their songs and music are no different, which are trending and melancholy. They also use the media of music to create space for themselves to speak out. Music is used as a tool to empower himself. Apart from looking for food, playing music is also a tool to build solidarity. On certain occasions they played music together. So, you could say, young people in Medan who are singing on the streets and wearing all-Punk make-up in Indonesia are very likely inspired by something very different from their predecessor Punk generation in their home country.
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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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Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (January 28, 2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.
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<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>
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Khongprasert, Surasa. "109 Thai Traditional Game-Based Exercise for Gait and Balance of People with Parkinson's Disease." Age and Ageing 48, Supplement_4 (December 2019): iv18—iv27. http://dx.doi.org/10.1093/ageing/afz164.109.
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Abstract Falls and recurrent falls are serious complications for people with PD. Poor standing balance, impaired ambulation, impaired lower-limb motor planning, postural instability and falling in previous year are associated with falling in PD. Exercise based computer game (Exergaming) have been used for motor rehabilitation to promote gait and balance and can encourage therapeutic activity. However, many commercially available games are not affordable for some people with Parkinson ’s disease. The aim of this study was to evaluate the effectiveness of Thai Traditional game (TTG) based exercise on gait and balance in people with Parkinson ’s disease. A total of 22 participants with PD (mild –moderate severity) were randomly assigned to either a TTG group or a control group. Participants in TTG completed 1 hour, 3 sessions a week for 10 weeks. The TTG comprises 10 games involved instruction in sit to standing, slow and fast walking speed, turning, weight shifting, reaching, obstacle stepping, cognition, clapping and singing. Gait and balance were assessed before and after the training sessions. Measures included the Berg Balance Scale (BBS), Balance platform, Timed Up and Go (TUG) and The GaitRite walkway. Participants in TTG groups showed significantly improved BBS, TUG, gait velocity and sagittal mean sway with eyes open (p <0.05). Thai Traditional Game based exercise incorporated therapeutic movement could lead improvement in gait and balance and participants seem to enjoy playing as an activity while maintaining their functionality. Future studies should incorporate larger groups and focus on long-term compliance and follow-up.
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Khongprasert, Surasa, and Keerati Sooksai. "163 Thai Traditional Game-Based Exercise for Gait and Balance of People with Parkinson's Disease." Age and Ageing 48, Supplement_4 (December 2019): iv34—iv39. http://dx.doi.org/10.1093/ageing/afz164.163.
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Abstract Falls and recurrent falls are serious complications for people with PD. Poor standing balance, impaired ambulation, impaired lower-limb motor planning, postural instability and falling in previous year are associated with falling in PD. Exercise based computer game (Exergaming) have been used for motor rehabilitation to promote gait and balance and can encourage therapeutic activity. However, many commercially available games are not affordable for some people with Parkinson’s Disease. The aim of this study was to evaluate the effectiveness of Thai Traditional game (TTG) based exercise on gait and balance in people with Parkinson’s Disease. A total of 22 participants with PD (mild –moderate severity) were randomly assigned to either a TTG group or a control group. Participants in TTG completed 1 hour, 3 sessions a week for 10 weeks. The TTG comprises 10 games involved instruction in sit to standing, slow and fast walking speed, turning, weight shifting, reaching, obstacle stepping, cognition, clapping and singing. Gait and balance were assessed before and after the training sessions. Measures included the Berg Balance Scale (BBS), Balance platform, Timed Up and Go (TUG) and The GaitRite walkway. Participants in TTG groups showed significantly improved BBS, TUG, gait velocity and sagittal mean sway with eyes open (p <0.05). Thai Traditional Game based exercise incorporated therapeutic movement could lead improvement in gait and balance and participants seem to enjoy playing as an activity while maintaining their functionality. Future studies should incorporate larger groups and focus on long-term compliance and follow-up.
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Basri, Hasan. "Social condition of japanense geisha as reflectd in short story Madame Butterfly by John Luther Long." COMMICAST 2, no. 1 (February 2, 2021): 15. http://dx.doi.org/10.12928/commicast.v2i1.2731.
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In this undergraduate thesis, the writer discusses short story Madam Butterfly written by John Luther Long. This study is aimed: (1) to describe the Geisha social life condition in Japanese society as reflected in Madame Butterfly (2) to describe the social class in Japanese society in 1903s as reflected in Madam Butterfly. In doing this research, the writer uses descriptive qualitative method which refers to description of things, characters, meaning and symbols. There are two types of data in this study.The findings of the research show that Geisha in Japan through Cho Cho San the main character in Madame Butterfly was a reflection of Geisha’s life condition in Japanese society. The writer conclude that Social condition of Geisha in Japan in 1930s are an entertainer because they are has been train for accompany all of the guests. Serve the drink, singing, dancing and playing music instrument were the Geisha’s job while accompany the guest. The guest also did some flirting to the Geisha. In 1930s American missionary and American Navy enter Japan for some mission, there are also American people who married Japanese girl. Beside the Geisha social life condition, there are two class in Japanese society that exist in 1903s Kazoku (Nobleman) and Heinin (Proletar). The social class in Japan in that time is very contrast between the Nobleman and Ploretar. Madam Butterfly include to high class people because of she married to a foreigner because according to Japanese, if they married a foreigner it can rise their social status.
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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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Cipta, Febbry, and Sandie Gunara. "Sirojul Ummah: Music in Social Interaction." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 153–60. http://dx.doi.org/10.15294/harmonia.v20i2.21456.
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This article describes music’s role in social interactions carried out by female members of the Marawis group Sirojul Ummah. The Marawis music is the medium they use in their efforts to convey Islamic knowledge and understanding, both for this group itself and for the surrounding community. The research method used is qualitative, in which data are collected from observations, interviews, and literature review, while the technique in analyzing data is done through a contextual approach. Social interaction in this study is viewed from the associative and dissociative aspects in the form of actions that include rational instrumental action, value rational action, effective action, and traditional action. Music is present in each of these actions. Music is both a subject and an object in social interaction, both in-groups, and out-groups. The associative and dissociative aspects of in-groups can be seen from how musical ideas and performances are developed and honed through practice activities. This activity is carried out because good musical performance is supported by techniques and methods of singing, playing, and presenting musical articulation, ornamentation, and harmonization. At the same time, the associative and dissociative aspects of out-groups can be seen from their activities in filling out events in society. The interaction process is built-in pleasant and informal situations which are shaped by an interest in music and family relationships. Since childhood, they have known each other; thus, they understand the characteristics of each person. Maturity, the maturity of thinking, and acting tend to avoid emotional conflicts that may occur. In this context, music is not only a medium for interaction, but can be a motivation in building these interactions.
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Masykuroh, Khusniyati. "PENANAMAN NILAI KEISLAMAN PADA ANAK DHUAFA DI PAUD INSAN CERDAS KOTA BEKASI." EARLY CHILDHOOD : JURNAL PENDIDIKAN 4, no. 1 (July 14, 2020): 44–56. http://dx.doi.org/10.35568/earlychildhood.v4i1.804.
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This study aims to find out an overview of the instilling of Islamic values ??on disadvantaged children, to find out the methods used in instilling Islamic values, to find out the obstacles and supports in instilling Islamic values, and to know the impact of instilling Islamic values ??for disadvantaged children at PAUD Insan Cerdas, Kota Bekasi. The method used in this study is a qualitative research by collecting data through observation, interviews, and documentation. Data analysis was carried out through three lines of data reduction, data presentation, and conclusion. As for the validity of the data, triangulation of various sources is used. The results of the study show that: 1) Instilling Islamic values ??on disadvantaged children at PAUD Insan Cerdas through four main components, they are: the introduction of faith, the practice of worship, morality, and the introduction of reading and short surah of the Qur'an; 2) The methods of instilling Islamic values ??used are storytelling, singing, playing, demonstrating, practicing, and answering question 3) The obstacles faced in instilling Islamic values ??are the parents background who had low education and low knowledge of Islam. While for the supports are the ‘Insan Cerdas Foundation’ and donors who care not only about children's education through Islamic curriculum programs, but also provide religious education for parents so they can synergize in instilling Islamic values ??at home and at school; 4) The impact of instilling Islamic values ??on disadvantaged children can be seen from the changes of their behavior : knowing Allah through their creations, behaving and saying well, helping each other and loving, being able to practice worship movements such as ablution, prayer, reading prayers, Hajj rituals, and knowing how to read and memorize short surah of Qur'an.
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Edo, Sri Imelda, and Damianus Dao Samo. "LINTASAN PEMBELAJARAN PECAHAN MENGGUNAKAN MATEMATIKA REALISTIK KONTEKS PERMAINAN TRADISIONAL SIKI DOKA." Mosharafa: Jurnal Pendidikan Matematika 6, no. 3 (August 25, 2018): 311–22. http://dx.doi.org/10.31980/mosharafa.v6i3.320.
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AbstrakMateri pecahan merupakan salah satu materi matematika yang rumit. Kerumitan pecahan tidak saja dialami oleh siswa, tetapi juga mahasiswa dan guru. Penyebabnya adalah penguasaan konsep pecahan yang rendah. Karena guru pada jenjang pendidikan Dasar memperkenalkan pecahan dengan metode ceramah dan langsung memberi contoh soal kemudian siswa mengerjakan soal latihan. Guru mengajarkan algoritma rutin dalam mengerjakan soal, Edo. I.S (2016). Metode ini dipraktekan secara turun temurun. Karena itu siswa merasa jenuh dan tidak tertarik belajar. Elly Risman (2008) mengatakan bahwa,” Ada tiga cara penyampaian yang efektif bagi anak, yakni dengan bermain, bernyanyi, dan bercerita. Sementara Pendekatan pembelajaran yang berlandaskan pada filosofi bahwa matematika merupakan aktivitas Insani adalah pendekatan Pembelajaran Matematika Realistik. Karena itu penelitian ini bertujuan untuk mengetahui bagaimana desain pembelajaran pecahan dengan menggunakan pendekatan Matematika Realistik Konteks Permainan Siki Doka (taplak). Adapun metode penelitian yang digunakan adalah Desain Riset yang dilaksanakan di SDN. Angkasa Kupang dan SDK. Kristen Tunas Bangsa Kupang pada siswa kelas III. Hasilnya adalah siswa sangat antusias dan menikmati seluruh aktivitas pembelajaran karena mereka belajar melalui kegiatan bermain, menggambar, mewarnai, menggunting dan menyusun kertas origami yang berwarna warni. Siswa bukan saja telah memahami konsep pecahan sederhana, membandingkan pecahan sederhana, dan memecahkan masalah yang berkaitan dengan pecahan sederhana tetapi juga mereka sudah terlibat dalam aktivitas yang berhubungan dengan konsep penjumlahan dan kelipatan pecahan.Kata Kunci: Pembelajaran Pecahan, Konsep Pecahan, Perbandingan Pecahan, Pembelajaran pecahan dengan RME, pembelajaran pecahan conteks permainan tradisional.AbstractFraction is one of hard subject of mathematics. Fractional complexity is not only experienced by students, but also students and teachers. They found difficulty to solve any mathematics problems related to fractions due to weak of fraction concept and disspointed learning method. Because teachers in elementary taught them using lecture method through routin algorthm. Teacher began the lessons by given short explanation, then some routin example provided on students’ text book. In the end of the lessons students did some exercise, Edo.I. S (2016). Therefore, students bored to follow all of learning process. Whereas Elly Risman (2008) said that there are three effective ways to teach children i.e. by playing, singing and storytelling. While Mathematics learning approach which assume that mathematics as human activity is Realistics Mathematics Education (RME). Therefore, this study aimed to design simple fraction learning trajectory using RME approach through traditional game namely siki Doka as a context. The Research method used in this research is Design Research which conducted in SDN Angkasa Kupang and SDK. Tunas Bangsa Kupang in the third grade students. The result showed that students were very enthusiastic and enjoy all the learning activities because they learned while playing, drawing, Coloring, cutting and arrange colorful origami paper. Students not only understand the concept of simple fractions, compare simple fractions, and solve problems related to simple fractions as well they are already involved in the activities to found the concept of fractional addition and its multiples.Keyword: Fractional Learning, Concepts of Fraction, comparing fraction, Fractional Learning using RME approach, fraction learning using traditional game.
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Syarfina, Syarfina, Elindra Yetti, and Lara Fridani. "PEMAHAMAN GURU PRA-SEKOLAH RAUDHATUL ATHFAL (RA) TENTANG KESIAPAN SEKOLAH ANAK." JPUD - Jurnal Pendidikan Usia Dini 12, no. 1 (April 30, 2018): 153–63. http://dx.doi.org/10.21009//jpud.121.13.
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Preschool teachers including Raudhatul Athfal (RA) teachers have an important role in building children's school readiness. The purpose of this research is to find out to what extend RA teachers’ understanding about children’s school readiness. The research was conducted by using qualitative approaches. Data were collected through questionnaires distributed to all RA teachers in Langsa. The results show that teachers understand school readiness as a child's readiness to continue school based on the age, independence in daily activities, and the ability to write, read and count. Activities implemented by RA teachers in building children's school readiness by playing, singing, and field trips while materials used such as colors, props, cards, and beams. Teachers assessed children’s school readiness by observing daily activities and evaluating of student’s work. Family factors are considered as a major impact on children's school readiness. Recommendation are made in term of findings is planning some intervention to improve teacher's understanding on children's school readiness concept.
Keywords: school readiness, children’s shool readiness, preshcool teacher, preparedness program.
Guru prasekolah termasuk guru Raudhatul Athfal (RA) memiliki peran penting dalam membangun kesiapan sekolah anak. Tujuan dari penelitian ini adalah untuk mengetahui sejauh mana pemahaman guru RA tentang kesiapan sekolah anak. Metode yang digunakan adalah metode kualitatif. Data dikumpulkan melalui kuesioner yang disebarkan kepada seluruh guru RA di Kota Langsa. Hasilnya menunjukkan bahwa guru memahami kesiapan sekolah sebagai kesiapan anak untuk melanjutkan sekolah berdasarkan usia, kemandirian dalam melakukan aktivitas harian, serta kemampuan dalam hal menulis, membaca dan berhitung. Kegiatan yang dilakukan guru RA dalam membangun kesiapan sekolah anak meliputi bermain, bernyanyi, dan field trip dengan material berupa warna, alat peraga, kartu, dan balok. Guru menilai kesiapan sekolah anak dengan melakukan observasi harian dan evaluasi hasil karya. Faktor keluarga dianggap yang memberi pengaruh besar dalam hal kesiapan sekolah anak. Rekomendasi dari penelitian ini agar adanya tindakan untuk meningkatkan pemahaman guru terhadap konsep kesiapan sekolah anak.
Kata kunci: Kesiapan sekolah, Kesiapan sekolah anak usia dini, guru prasekolah, program persiapan.
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Rodsakan, Tepika. "Comparison of the Effects of Using Traditional Thai Musical Instruments and Carl Orff’s Instruments on Mentally Disabled Children’s Perception and Reaction to the Musical Elements." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 35. http://dx.doi.org/10.24821/ijcas.v2i2.1796.
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This research dealt with the comparison of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The objectives of the research were 1) to study the results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The sample used in the research were 11 educable mentally disabled children from Panyawutikorn School aged between 8-10 years old. The sample had been tested and confirmed by the psychologist to have IQ range from 50-70, to be non-sound sensitive and to be devoid of any multiple handicaps. The sample were selected using purposive sampling. The tool used in this research were an interactive 9-question test of the sample group’s perception and reaction to musical elements using traditional Thai musical instruments and Carl Orff’s instruments. The sample group responded accordingly to the different given tasks in the test including singing, physical movement, playing musical instruments and musically melodic creation. The data obtained are then analyzed using statistical calculation, i.e. median, percentage and mean. The test results revealed the following findings; the results were as follows: 1. Results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. 2. Results of the effects of using Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. When considered each factor individually, the perception and reaction to sound was in the “fair” criteria while the perception and reaction to rhythm and melody were in the “good” criteria. 3. By comparing the results of the effect of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, it was found to be different on the whole. When considered each factor individually, there was a difference in the perception of sound while there was no difference in perception and reaction to rhythm and melody.
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Falls, J. Bruce. "Does song deter territorial intrusion in White-throated Sparrows (Zonotrichia albicollis)?" Canadian Journal of Zoology 66, no. 1 (January 1, 1988): 206–11. http://dx.doi.org/10.1139/z88-029.
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The role of the song of the White-throated Sparrow (Zonotrichia albicollis) as a deterrent to potential intruders was assessed by removing territorial males of the white-striped morph and replacing them with loudspeakers playing back their songs. Following removals, intrusions of new singing birds were both delayed and fewer in inner zones of playback territories, as compared with similar areas of control territories that had no playback. In peripheral zones (outside the area defined by loudspeakers), or after playback ended (after 2 days), there were no significant differences between playback and control territories. During the playback period, intrusions were reduced within 10 m of speakers but not at greater distances. Thus, song tends to inhibit territorial intruders from singing and thereby asserts the resident male's dominance. To achieve this effect, I suggest that a resident needs to sing to some extent throughout its territory. These results are compared with those obtained in studies of the Great Tit (Parus major).
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Sharma, Sangeeta. "DISTANCE LEARNING TO BREAK INTO GURU SHISHYA TRADITION." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3426.
Full textAbstract:
Nature brings before us a treasure of happiness in its thousands of colors, but this vibrant color of music has left its impact on the human mind and brain, it is beyond imagination. Music singing, playing and dancing are a coordinated form of the three arts. Presenting these three parts separately is to destroy the liveliness of music. Only by coordinated performance of these three organs does the person become self-centered after being cut off from all external conditions.Music is an art that integrates different sounds, through which the performance of emotions bring out interestingness, melody and beauty. Music is also related to tone and emotion. Music is present in every particle of the universe. The music is unlimited, untouched and uninterested. Scholars have considered music as the greatest means of attaining God. It has also proved that there is confusion, deviation in all the paths of the world. A person wanders into it, but music is the only medium that, while free from all thoughts, leads to the path of salvation.
प्रकृति अपने हजारों रंगों में हमारे सामने खुशियों का खजाना लाती हैं, किंतु संगीत के इस चटकीले रंग ने मानव मन और मस्तिष्क पर अपना जो असर छोड़ा हैं, वह कल्पना से परे है। संगीत गायन, वादन तथा नृत्य तीनों कलाओं का समन्वय रूप है। इन तीनों अंगों को अलग-अलग प्रस्तुत करना संगीत की सजीवता को नष्ट करना हैं। इन तीनों अंगों के समन्वित प्रदर्शन से ही व्यक्ति समस्त बाह्यय परिस्थितियों से कटकर आत्मकेन्द्रित हो जाता है।संगीत विभिन्न ध्वनियों को समन्वित करने वाली वह कला है, जिसके द्वारा मनोभावों के प्रदर्शन में रोचकता, माधुर्य एवं सुन्दरता आती है। संगीत का संबंध स्वर तथा भावों से भी होता हैं। संगीत सृष्टि के कण-कण में विद्यमान हैं। संगीत असीमित, अछोर व अशेष है। विद्वानों ने संगीत को ईश्वर प्राप्ति का सबसे बड़ा साधन माना है। यह भी साबित कर दिया है कि संसार के सभी रास्तों में उलझाव है, भटकन है। व्यक्ति इनमें उलझ कर भटक जाता है, परंतु संगीत ही एक ऐसा माध्यम है, जो समस्त विचारों से मुक्त रखते हुए, मोक्ष के मार्ग तक पहुँचाता है।
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Upadhyay, Dwijesh, and Nirmala Joshi. "A critical analysis of teaching of Indian classical music through distance learning system in higher education." International Journal of Research -GRANTHAALAYAH 5, no. 2 (February 28, 2017): 225–32. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1727.
Full textAbstract:
The relation of any fine art expresses the elixir of human, physical, and physical world. As civilization grows more and more civilized and cultured, the development of fine arts reaches its peak. Music is a major part of the fine arts. The place of music in Indian civilization is paramount in the fine arts. The great Indian civilization has been underlining the importance of music education since its height. From ancient Vedic and medieval to modern times, the Indian educational system has been concentrating on the education of music; all its parts such as singing, playing and dancing. In the present era, radical changes in the teaching system can be reflected. Divisions like traditional and distance education can also be reflected in the teaching system. Today, the importance of a flexible and alternative system of remote education system cannot be denied. Needless to say that through remote learning, changes in the importance of traditional teaching of music, guruship relations, internal learning method of music and music in life; the importance of all its organs. In the present era, while on the one hand there has been a remarkable change in social and personal life, changes in the teaching method of all subjects can also be targeted. The importance of many new dimensions developed in music education through remote means can be understood. State-of-the-art mediums such as audio, audio, video via Internet, sophisticated equipment of communication, television and radio etc. can be used successfully in music teaching by remote media.The objective of the paper presented is to find a way to solve the problems arising out of it and the benefits of acquiring higher education of Indian classical music through a distance learning system.
किसी भी ललित कला का संबंध मानव के दैहिकए दैविक और भौतिक जगत के उत्कर्ष को व्यक्त करता है। सभ्यता ज्यों.ज्यों अधिकाधिक सभ्य एवं सुसंस्कृत होती जाती है त्योंदृत्यों ललित कलाओं का विकास अपने चरम पर पहुंचता जाता है। संगीतए ललित कला का एक प्रमुख अंग है। भारतीय सभ्यता में संगीत का स्थान ललित कला में सर्वोपरि है। महान भारतीय सभ्यता अपने उत्कर्ष काल से ही संगीत की शिक्षा के महत्व को रेखांकित करती आई है। प्राचीनए वैदिक एवं मध्यकाल से आधुनिक काल तक भारतीय शिक्षण प्रणाली संगीत ;उसके सभी अंगों यथा गायनए वादन एवं नृत्यद्ध की शिक्षा पर अपना ध्यान केन्द्रित करती रही है। वर्तमान युग में शिक्षण प्रणाली में आमूल चूल परिवर्तन को परिलक्षित किया जा सकता है। शिक्षण प्रणाली में पारम्परिक एवं दूरस्थ शिक्षा जैसे विभाजनों को भी परिलक्षित किया जा सकता है। आज दूरस्थ शिक्षा प्रणाली की लचीली तथा वैकल्पिक व्यवस्था के महत्व को नकारा नहीं जा सकता। कहना न होगा कि दूरस्थ शिक्षण माध्यम से संगीत की पारम्परिक शिक्षाए गुरूदृशिष्य संबंधोंए संगीत की आंतरिक शिक्षण पद्धति तथा जीवन में संगीत;उसके सभी अंगोंद्ध के महत्व में आए बदलावों को अनुभव किया जा सकता है। वर्तमान युग में जहां एक ओर सामाजिक एवं व्यक्तिगत जीवन में आश्चर्यजनक परिवर्तन आया है वहीं सभी विषयों की शिक्षण पद्धति में भी परिवर्तन को लक्षित किया जा सकता है। दूरस्थ माध्यम से संगीत शिक्षा में विकसित कई नए आयामों का महत्व समझा जा सकता है। तकनीकी के अत्याधुनिक माध्यमों दृ जैसे ऑडियोदृविडियो माध्यमए इंटरनेटए संचार के अत्याधुनिक उपकरणए टेलीविजन एवं रेडियो आदि का उपयोग दूरस्थ माध्यम द्वारा संगीत शिक्षण में सफलतापूर्वक किया जा सकता है । प्रस्तुत शोधपत्र का उद्देश्य दूरस्थ शिक्षण प्रणाली के माध्यम से भारतीय शास्त्रीय संगीत की उच्च शिक्षा ग्रहण करने के लाभए इससे उत्पन्न समस्याओं एवं उनके निराकरण का मार्ग खोजना है ।