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Mulenga, Emmanuel Tinnash, Yan Tu e Dixian Teng. "Contemporary problems and solutions for early childhood music education in Zambia". International Journal of Visual and Performing Arts 3, n. 1 (19 giugno 2021): 53–61. http://dx.doi.org/10.31763/viperarts.v3i1.340.
Testo completoAbstract (sommario):
Music education is now receiving attention from all works of life especially from psychologist studying children’s mental development scientist has revealed that music education in early childhood helps children develop auditory sense nerves and most of the musical activities aid cycle motor development and children who learn musical instruments have a strong memory function abilities which help them to solve problems in other learning subjects. Learning music in early childhood educations is the bed lock of future education. This is the main reason why early childhood music education researchers are working day and night year in year out to find proper teaching methods to use when interacting with children. As much focus is devoted to studies on children's music education aiding cognitive learning in developing countries, it is a wake-up call for Zambia to develop music education in early childhood education. So this paper investigation endeavors to point out problems and offers sound solutions on the most proficient method to improve music schooling in early childhood education in Zambia by performing a complete overview of the evidence on elementary school education curricula in both government-funded and non-government schools.
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Zhou, Jue. "The Value of Music in Children’s Enlightenment Education". Open Journal of Social Sciences 03, n. 12 (2015): 200–206. http://dx.doi.org/10.4236/jss.2015.312023.
Testo completo
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Fortuna, Sandra, e Luc Nijs. "Children’s verbal explanations of their visual representation of the music". International Journal of Music Education 38, n. 4 (1 luglio 2020): 563–81. http://dx.doi.org/10.1177/0255761420932689.
Testo completoAbstract (sommario):
Recent findings in music research are increasingly confirming the embodied nature of music cognition. Assuming that a bodily engagement with music may affect the children’s musical meaning formation, we investigated how young children’s interaction with music, based on verbal description after listening versus body movement description while listening, may be reflected in the verbal explanation of their own visual representations of the music they listened to. In this study, 47 children (aged 9–10) without any formal music education participated in a verbal-based versus movement-based intervention. Before and after the interventions, children created a visual representation of the music and provided a verbal explanation of their drawing. Thematic analysis and statistical tests on the verbal data revealed a significant change in semantic themes, time dimension, and the number of music parameters gathered by children involved in body movement description of the music. Our results offer interesting insights on the role of body movement on children’s pattern perception and musical meaning formation.
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Rosmiati, Ana. "Teknik Stimulasi dalam Pendidikan Karakter Anak Usia Dini melalui Lirik Lagu Dolanan". Resital: Jurnal Seni Pertunjukan 15, n. 1 (10 novembre 2014): 71–82. http://dx.doi.org/10.24821/resital.v15i1.801.
Testo completoAbstract (sommario):
Media musik melalui lirik lagu dolanan anak dapat membantu pembentukan karakater padaanak usia dini. Anak-anak dapat merasakan kehadiran musik sebagai sarana untuk menemani aktivitasdalam bermain. Teknik stimulasi melalui media musik ternyata memiliki dampak positif dalamperkembangan pembentukan emosional anak. Anak-anak bisa terkontrol emosinya dari kebiasaanyang tidak baik. Penelitian ini memakai teknik stimulasi melalui pemaknaan lirik lagu dolanan anakyang dapat membentuk karakter anak pada usia dini. Penelitian ini menggunakan metode deskriptifkualitatif yang mendeskripsikan secara sistematis, faktual dan akurat mengenai fakta-fakta, sifat, sertahubungan antara fenomena yang diselidiki. Penelitian ini mengidentifikasikan contoh pemaknaanlagu dolanan anak yang dapat membantu dalam pembentukan karakter pada anak-usia dini. Anakdapat menggali nilai-nilai kehidupan dari makna pada lirik lagu dolanan berupa nilai pendidikan,pengetahuan, religius, sosial, dan budaya.The Stimulation Technique on the Character Education of Early Age Children through theLyrics of Children’s Song. The music media through the children’s song lyrics can help building the childrencharacter of the early age children. Children can feel the presence of the music as the media for accompanyingthe children’s play activities. The stimulation technique through the music media, in fact, has the positiveimpact in developing the children emotional building. The children are able to control their emotion awayfrom the bad habits. The aim of the research is to find the appropriate stimulation technique through theunderstanding of the children’s song lyrics which can be used to build children character in the early age.This research uses a qualitative descriptive method describing systematic, factual, and accurate informationon the facts, nature, and the relationship between the phenomena investigated. The result of the researchhas been identified by some examples of children’s songs which can help children in their character buildingsince the early age. Children can explore their values of life from the meanings on the children’s song lyricswhich consist of values on education, knowledge, religious, social, and culture.
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Tanja, Linnavalli, Soni García Adriana e Tervaniemi Mari. "Perspectives on the Potential Benefits of Children’s Group-based Music Education". Music & Science 4 (1 gennaio 2021): 205920432110335. http://dx.doi.org/10.1177/20592043211033578.
Testo completoAbstract (sommario):
Recent empirical evidence suggests that attending individual instrumental training in music schools benefits the development of cognitive skills such as language and executive functions. In this article, we examine studies that have found these transfer effects provided by group-based music education in school and preschool contexts. We conclude that group-based music lessons may enhance children’s language skills and possibly executive functions, but evidence for the impact of music activities on intelligence—as measured by nonverbal intelligence tests—or long-term prosocial abilities is scarce. Although the beneficial effects of music on language skills and executive functions are small, they seem to be discernible. However, we do not know if they apply to all children or only to, for example, children who enjoy engaging in musical activities. We suggest that group-based music education should be part of the national school and preschool curricula, because of both the enjoyment of learning music-related skills and the impact it may have on children’s general learning. In parallel, we encourage new empirical longitudinal projects to be launched, enabling further investigations into the promises of music.
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Barrett, Margaret S., Katie Zhukov, Joanne E. Brown e Graham F. Welch. "Evaluating the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music". Psychology of Music 48, n. 1 (16 agosto 2018): 120–36. http://dx.doi.org/10.1177/0305735618790355.
Testo completoAbstract (sommario):
This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.
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Ilari, Beatriz, Susan Helfter e Tina Huynh. "Associations Between Musical Participation and Young Children’s Prosocial Behaviors". Journal of Research in Music Education 67, n. 4 (16 ottobre 2019): 399–412. http://dx.doi.org/10.1177/0022429419878169.
Testo completoAbstract (sommario):
Collective music making has been associated with the emergence of prosocial behaviors in children and adults. Yet, the associations between participation in early childhood music education programs and prosocial skills in young children remain elusive. The purpose of this exploratory study was to examine how children with varied amounts of music participation—in a formal program and in the home—performed in two prosocial tasks (i.e., instrumental helping and sharing) and how their parents rated their prosocial tendencies and interests for music. Thirty-six children (ages between 3 and 4 years) with varied amounts of participation in an early childhood music program completed prosocial tasks of instrumental helping and sharing. Results indicated that there were no significant age or sex differences in children’s prosocial responses. Instrumental sharing was positively correlated with time spent in the music program. Sharing scores, in turn, correlated with children’s active musical participation and parental prosocial ratings. These findings are discussed in light of theories of musical and prosocial development in childhood.
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Sakai, Winfried. "Music Preferences and Family Language Background". Journal of Research in Music Education 59, n. 2 (9 giugno 2011): 174–95. http://dx.doi.org/10.1177/0022429411406172.
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Turkish migrants are the largest national group in Germany. Nevertheless, neither in music psychology research nor in intercultural research can empirical data on the music preferences of Turkish-German primary schoolchildren in the migrational context be found. This study thus examined the music preference responses of children with Turkish language backgrounds, who were at the end of primary school education, to music examples representing the differences between occidental and oriental music systems. A total of 267 children participated in an investigation in the city of Ludwigshafen am Rhein that involved primary schools that had relatively high and relatively low numbers of children with migrational backgrounds. The data analysis indicated interesting coherences between the children’s family language backgrounds and their music preferences. In the context of migration, however, the children’s responses represented varied possibilities of locating in a local, transnational, or global music culture.
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Sysoieva, Svetlana, Natalia Ovcharenko e Olga Chebotarenko. "Professional training of future music art teachers for inclusive education: theoretical and technological aspects". SHS Web of Conferences 75 (2020): 04006. http://dx.doi.org/10.1051/shsconf/20207504006.
Testo completoAbstract (sommario):
The article is devoted to the actual problem of contemporary art education ἦ#x201C; to improve the professional training of future music art teachers for children’s inclusive education. Its purpose is to present the results of theoretical understanding of the developmental and healing potential of music, to develop technological support in future music art teachers’ professional training for children’s inclusive education. According to the results of the study, the basic concept of the study was defined as: “professional training of future music art teachers for inclusive education”, which is seen as an educational process aimed at ensuring students’ readiness to provide a system of educational services to persons with special educational needs in their future professional activity, and it involves mastering their inclusively oriented musical and pedagogical knowledge, skills and personal qualities. To improve the professional training of future music art teachers for children’s inclusive learning, the findings of the latest research in the field of art and musicpedagogical theory concerning the harmonizing and music-therapeutic influence of music on the personality of a child in need of educational inclusion were used; criteria of musical works selection for children with psycho-physiological disabilities have been identified; there was developed and substantiated developmental and corrective technique of training singing that can be used in inclusive classes of different age, gender and cognitive abilities of children. Developmental and corrective technique of training singing includes innovative content of children’s teaching, comprising a specially selected vocal repertoire; lesson and extracurricular forms of training; specific teaching methods for students with special educational needs.
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Золотухіна, С. Т., О. М. Іонова e С. Є. Лупаренко. "МУЗИЧНА ОСВІТА ШКОЛЯРІВ У ЗАКЛАДАХ ЗАГАЛЬНОЇ СЕРЕДНЬОЇ ОСВІТИ КНР: ТЕНДЕНЦІЇ ТА ПЕРСПЕКТИВИ". Теорія та методика навчання та виховання, n. 47 (2019): 37–49. http://dx.doi.org/10.34142/23128046.2019.47.04.
Testo completoAbstract (sommario):
The relevance of the study is predetermined by insufficient development of the problem of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China and the significance of the use of educationally valuable Chinese experience in music education in Ukrainian educational practice. The aim of the study is to reveal the tendencies and prospects for schoolchildren’s music education in general secondary education institutions in the People’s Republic of China. Various methods have been used to carry out this research, namely: general scientific (analysis, synthesis, systematization, generalization, comparison, classification), historical, empirical and prognostic methods. The general tendencies of development of music education in general secondary education institutions in the People’s Republic of China in historical, content and organizational-methodical aspects have been revealed. The general trends of development of music education in general secondary education institutions in Ukraine and the People’s Republic of China have been determined. They are the progressiveness of the general strategy of music education, its focus on the development of spirituality of the nation, democratization of educational process, openness to the world and European experience, constant modernization of the content of education, forms and methods of mastering it, improvement of the conditions of educational process, increased attention to Music teachers’ professional training. The prospects for development of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China have been specified. They are the intensification of scientific research and intensifying the implementation of innovations into the practice of music education, the creation of a national concept of general music education taking into consideration the progressive world experience and national cultural traditions, development of curricula of general secondary music education taking into account the specificity and opportunities in the region, the combination of tradition and innovation in music pedagogy. The directions of the use of Chinese experience in modern schools in Ukraine have been determined. They are the development of a concept of schoolchildren’s music education taking into account the realities and prospects for the development of national education, universal and national cultural traditions, children’s assimilation of the most important values by means of musical art, providing pedagogically appropriate organization and improving the conditions of children’s music education, increasing the requirements for Music teachers’ professionalism
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Ritchie, Laura, e Aaron Williamon. "Primary School Children’s Self-Efficacy for Music Learning". Journal of Research in Music Education 59, n. 2 (11 maggio 2011): 146–61. http://dx.doi.org/10.1177/0022429411405214.
Testo completoAbstract (sommario):
The Self-Efficacy for Musical Learning questionnaire was adapted and tested with 404 primary school children, producing a robust Cronbach alpha (0.87) and confirming a single underlying factor through exploratory factor analysis. Test–retest scores showed the measure’s stability over a 9-month period. Data were collected on children’s prior music experience, extracurricular activities, and typical daily activities. Children also completed the Short Warwick-Edinburgh Mental Well-Being Scale and the Strengths and Difficulties Questionnaire. Those currently engaged in music tuition (learning an instrument or singing) had significantly higher self-efficacy scores than children who were not, and overall, girls’ scores were significantly higher than boys’. Correlations with various additional measures, including wellbeing and reading for pleasure, highlighted multifaceted relationships of self-efficacy to children’s lives. Regression analyses revealed that prior experience with instrumental tuition was the strongest predictor of music self-efficacy for learning; prosocial behaviors predicted boys’ scores, and well-being predicted girls’ scores.
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Koops, Lisa Huisman. "The Enjoyment Cycle: A Phenomenology of Musical Enjoyment of 4- to 7-Year-Olds During Musical Play". Journal of Research in Music Education 65, n. 3 (28 giugno 2017): 360–80. http://dx.doi.org/10.1177/0022429417716921.
Testo completoAbstract (sommario):
The purpose of this phenomenological study was to describe children’s lived experience of enjoyment during musical play. Data sources included class video from 15 weeks of a 24-week extracurricular music class for 4- to 7-year-olds taught by the researcher, parent-filmed video of child participant music-making in home settings during the same period, and transcripts of exit interviews with parents and children. Participants included 12 children and 4 adults, all of whom had contributed to prior studies on children’s music-making in family settings. Phenomenological data analysis followed Moustakas’s approach. Five elements emerged as hallmarks of children’s musical enjoyment and provided the textural description of “what” occurred during musical enjoyment, including active musical engagement, signs of physical engagement, a balance of familiarity and novelty, inclusion of activities allowing for student control or choice, and a safe and playful environment. Structurally, participants’ enjoyment occurred in four ways: within a balance of structure and freedom, within a balance of community and individual expression, as a cycle between children’s musical enjoyment and participation, and as a springboard to musical risk-taking and musical agency. Implications for practice and research are discussed.
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Youm, Hyun Kyung. "Parents’ Goals, Knowledge, Practices, and Needs Regarding Music Education for Their Young Children in South Korea". Journal of Research in Music Education 61, n. 3 (20 agosto 2013): 280–302. http://dx.doi.org/10.1177/0022429413497233.
Testo completoAbstract (sommario):
The purpose of this study was to explore South Korean parents’ understanding of and desires for music education for their children. Following a constructivist paradigm and qualitative research methodology, data collection involved in-depth interviews, observations, written questionnaires, family music materials, and the researcher’s journals. The participants were 22 South Korean mothers whose children (younger than 5 years old) attended music programs in the Seoul metropolitan area. Data were analyzed by coding, description, constant comparison, inductive analysis, contextualization, negative case analysis, classification, and interpretation. Analyses revealed that these parents’ goals for their children’s participation in music programs included facilitating the child’s development, enriching the child’s life, preparing for future learning, and providing opportunities to play through music. They described the music programs according to the activities they observed or experienced but did not show deeper understanding about a program’s philosophy or history. Family music practices indicated that the primary activities were singing, listening to music, playing instruments, and dancing/movement. Participants expressed the desire to learn music skills and knowledge not only for their children but also for themselves. The findings of this study demonstrate the necessity of education for parents of young children relating to various aspects of children’s music education.
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Koops, Lisa Huisman. "Songs From the Car Seat". Journal of Research in Music Education 62, n. 1 (4 marzo 2014): 52–65. http://dx.doi.org/10.1177/0022429413520007.
Testo completoAbstract (sommario):
The purpose of this qualitative case study was to investigate the musical “place” of the family vehicle by describing the music making of nine young children, ages 10 months to 4.5 years, that occurred in vehicles over the course of 9 weeks during which the children were enrolled in a researcher-led early childhood music course. Research questions examined the qualities of children’s music making in the car, optimal activities, and comparison of in-car and at-home music spaces. Data included parent journals on music activities that occurred in a vehicle, parent-filmed videos of children’s music-making activities both in and out of vehicles, videos of early childhood music classes, researcher field notes of music classes, and exit interviews with parents regarding their perceptions of music-making in the vehicles. The children sang, moved, listened to music, composed, and improvised while in the car, with activities mostly similar to those that occurred inside of the home. The family vehicle provided several advantageous characteristics as compared with the home, including reduced distractions; proximity to siblings, leading to increased sibling interaction at times; and opportunity for parent and child reflection.
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Tao, Xiangyi, e Robyn Ewing. "Images of the child in preschool music education: Case studies in Australia and China". International Journal of Music in Early Childhood 14, n. 2 (1 dicembre 2019): 147–65. http://dx.doi.org/10.1386/ijmec_00002_1.
Testo completoAbstract (sommario):
This article explores images of young children in preschool music curricula in an Australian and a Chinese preschool. The ‘images of the child’ relevant to each country are presented by including children’s voices, teachers’ perceptions of children’s personalities and their ways of learning, and children’s roles in learning as designated in official documents on early childhood education. Framed by a sociocultural perspective, this qualitative case study responds to the changing contexts of early childhood music education (ECME) in both countries. Crystallization as a methodological lens is applied to shed light on the variations and complexities from the teachers’ and the children’s perspectives. Data-gathering methods include document analysis, classroom observations, teachers’ interviews and conversations with children. This article particularly reflects the images and experiences of the children through their own lenses and enriches the scope of current ECME research.The main findings suggest the existence of both alignment and gaps, in varying degrees, between the official policy documents, the teachers’ perceptions, and the children’s understandings of their musical experiences. First, images of the child in the policy articles are interpreted differently in Australia and China, and there is a marked difference between the countries in their definitions of child-centred learning in specific contexts. Finally, implications and directions for future research are suggested to facilitate children’s musical exploration in preschools.
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Hauge, Torunn Bakken. "RHYTHMIC MUSIC PEDAGOGY: A SCANDINAVIAN APPROACH TO MUSIC EDUCATION". Journal of Pedagogy and Psychology "Signum Temporis" 5, n. 1 (1 giugno 2012): 4–22. http://dx.doi.org/10.2478/v10195-011-0049-y.
Testo completoAbstract (sommario):
ABSTRACT Rhythmic music pedagogy is a relatively new Scandinavian approach to classroom music education that offers a variety of methods and strategies for teaching and learning music, especially within the performance of improvised and rhythmic music. This article is based on two earlier projects published in Norwegian, in which the concept of rytmisk musikkpedagogikk (or “rhythmic music pedagogy”) as well as its applications and implications were thoroughly described. This research confirms that rhythmic music pedagogy may be an effective strategy for learning music in general, but most especially for learning skills associated with ensemble musicianship and playing by ear. In a multicultural and fluid society in which there are tendencies toward passivity and fragmentation, it may be more important than ever to maintain the idea of music as a collaborative creative process that extends across borders; in this context, rhythmic music pedagogy can play a central role in children’s social development. As a social medium, ensemble playing requires the participant to decentralize socially, since the perspectives of the other participants are necessary for a successful performance. The activity’s general potential for re-structuring social settings and moving boundaries in a positive way should not be underestimated.
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Harrop-Allin, Susan. "Multimodality and the Multiliteracies Pedagogy". Journal of Research in Music Education 65, n. 1 (1 febbraio 2017): 25–51. http://dx.doi.org/10.1177/0022429417694874.
Testo completoAbstract (sommario):
Drawing on a study of children’s musical games in urban South Africa, this article employs two theoretical frames: that of multimodality and the multiliteracies pedagogy. These are applied to a contextual analysis of the forms of musicality that musical games embody and to ways of incorporating children’s play into pedagogy. Based on ethnographic research in primary schools in Soweto, I first examine representative examples of musical games in order to demonstrate children’s musicianship in relation to the concept of multimodality. Analysis reveals the games’ sophistication in terms of children’s deployment of multiple modes and the inventiveness their methods imply. Furthermore, a multimodal theoretical frame and analytical approach enables an understanding of musicality as the capacity to “design.” Second, children’s multimodal musicality prompts questions about how such musicality may become a resource in formal learning. I propose that applying the multiliteracies pedagogy to music education offers a methodological solution for “recruiting” musical games so that the capacities children demonstrate in their games may be developed.
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Howard, Karen. "The Emergence of Children’s Multicultural Sensitivity: An Elementary School Music Culture Project". Journal of Research in Music Education 66, n. 3 (25 giugno 2018): 261–77. http://dx.doi.org/10.1177/0022429418784594.
Testo completoAbstract (sommario):
The purpose of this ethnographic study was to examine student outcomes of a curriculum designed to address the overlapping aims and practices of music education and multicultural education ideals in a fifth-grade music class. The following questions guided the research: What are the student outcomes as a result of a traditional music curriculum when it is designed to focus on selected musical cultures of Africa and the African diaspora? Are children capable of developing cultural understanding through a process of learning experiences that include emphasis on the sociocultural features of the musical cultures? What are the culturally specific musical skills that children develop in classes based on the goals of multicultural and music education? A curriculum was created to explore five selected musical cultures. This was followed by an examination of children’s responses and perspectives and the impact of the learning experiences. The most pertinent themes were: cultural authenticity in performance, social bias, and multicultural sensitivity. This study benefits music educators by offering evidence that children can develop musical and social understandings as a result of curricular design and consequently, how that learning shapes children’s understanding of processes that are historical, cultural, and even democratic.
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Baughman, Melissa. "Mentorship and Learning Experiences of Preservice Teachers as Community Children’s Chorus Conductors". Journal of Music Teacher Education 29, n. 2 (25 settembre 2019): 38–52. http://dx.doi.org/10.1177/1057083719876116.
Testo completoAbstract (sommario):
A service-learning model may be used to provide preservice music teachers with authentic context learning experiences and a range of pedagogical benefits, but research evidence specific to choral music contexts is limited. The purpose of this study was to investigate two preservice music teachers’ experiences as interns with a community children’s chorus. Through an examination of verbal and written reflections, I sought to understand how interns perceived themselves as music teachers, their ability to implement and recall specific instructional strategies, connections they made between teaching young singers in a community choir context and future field work in public school settings, and mentor influence. Study participants were two junior-level music education majors and two children’s chorus conductors. Data collection methods included questionnaires, interns’ weekly video journals, one semistructured interview with each mentor, and one video-stimulated recall interview with each intern. Both interns assisted in teaching a weekly, 60-minute choral rehearsal for 10 consecutive weeks, and attributed their increased confidence as music teachers to this experience. They also discovered their own deficiencies in error detection and choosing teaching methods on the spot. Mentors had a positive impact on the interns’ overall experience. Implications for music education include the need to engage preservice teachers in all types of authentic context learning experiences, and to further explore the mentor’s role in these experiences.
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Valerio, Wendy H., Alison M. Reynolds, Grant B. Morgan e Anne A. McNair. "Construct Validity of the Children’s Music-Related Behavior Questionnaire". Journal of Research in Music Education 60, n. 2 (9 maggio 2012): 186–200. http://dx.doi.org/10.1177/0022429412444450.
Testo completoAbstract (sommario):
The purpose of this research was to investigate the construct validity of the Children’s Music-Related Behavior Questionnaire (CMRBQ), an instrument designed for parents to document music-related behaviors about their children and themselves. The research problem was to examine the hypothesized factorial structure of the questionnaire. From a national sample, parents of children 5 years old or younger returned 616 usable questionnaires. Items were parceled, and the model was subjected to a confirmatory factor analysis to assess the goodness of model-data fit for a one-factor solution using the parcels as indicators. Internal consistency of subscale reliability estimates ranged from α = .77 to α = .97. Three multiple fit indices suggested that the one-factor model adequately fit the data: standardized root square residual (.028), comparative fit index (.968), and Tucker-Lewis index (.955). Greater knowledge regarding parents’ observations of music’s role in children’s development may help researchers, practitioners, parents, and policy makers collaboratively consider how best to meet musical needs of young children in childcare and school settings.
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Abu Bakar, Kamariah, e Mohamad Azam Samsudin. "Teaching Young Children Early Mathematics through Music and Movement". International Journal of Learning, Teaching and Educational Research 20, n. 5 (30 maggio 2021): 271–81. http://dx.doi.org/10.26803/ijlter.20.5.15.
Testo completoAbstract (sommario):
The purpose of this study was to explore the integration of music and movement elements into young children’s mathematics classrooms. Using a qualitative approach, this research was a case study. Three teachers were purposely selected as participants for this study. The teachers were interviewed to gain information about the songs and movements they chose to employ into their instruction. Additionally, their lessons were observed to attain the ways they incorporated music and movement. These sessions were video recorded to gain a rich picture of the songs and movements incorporated as well as the benefits of such practice in the teaching and learning of mathematics. The findings from the interviews (with teachers), classroom observations, and photographs exhibited that the teachers used familiar, easy and simple songs to be incorporated in their instruction. It was also evident that embedding music and movement activities into young children's mathematics lessons had a positive impact on the students' learning of early mathematics. The students focused on what the teachers were doing and repeating after them. This enhanced their mathematics learning. The implication of this study is that mathematics instruction should be employed in a fun yet meaningful way by incorporating music and movement activities as teaching and learning activities. More importantly, is that children learn mathematics with understanding.
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Ilari, Beatriz. "Musical Parenting and Music Education: Integrating Research and Practice". Update: Applications of Research in Music Education 36, n. 2 (21 giugno 2017): 45–52. http://dx.doi.org/10.1177/8755123317717053.
Testo completoAbstract (sommario):
Although teachers work constantly with parents, discussions concerning parental roles in children’s music learning are often left at the margins in music teacher training programs. The aim of this article is to offer a review of musical parenting research from an ecological perspective. Bronfenbrenner’s bioecological theory of human development is used as a lens to examine musical parenting research concerning infants, school-aged children, and adolescents. Issues pertaining to contemporary parenting in the Western world such as intensive parenting and concerted cultivation are also considered as they relate to parental music cognitions and behaviors. Implications for research and practice in music education are outlined at the end.
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Korobova, Alla G. "About Historical Dance Music and the Possibilities of Studying it in Children’s Music Schools". Music Scholarship / Problemy Muzykal'noj Nauki, n. 1 (marzo 2018): 145–55. http://dx.doi.org/10.17674/1997-0854.2018.1.145-155.
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Toropkova, Evgeniya R. "Music education in the context of new information and distance technologies". Vestnik of Saint Petersburg State University of Culture, n. 2 (47) (2021): 127–32. http://dx.doi.org/10.30725/2619-0303-2021-2-127-132.
Testo completoAbstract (sommario):
The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».
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Jeppsson, Cecilia, e Monica Lindgren. "Exploring equal opportunities: Children’s experiences of the Swedish Community School of Music and Arts". Research Studies in Music Education 40, n. 2 (2 ottobre 2018): 191–210. http://dx.doi.org/10.1177/1321103x18773153.
Testo completoAbstract (sommario):
This article explores the social stratification of the Swedish Community School of Music and Arts, which offers voluntary extra-curricular arts education to children in Sweden, and children’s experiences of attending the school. A survey was executed where sixth-graders in Sweden were asked about their experiences of the school and about background factors such as their gender, country of birth, parents’ level of education and family involvement in the music and arts. The results show that the typical Swedish Community School of Music and Arts student is a Swedish-born girl with well-educated parents. Children of parents who play an instrument or sing are more likely to find their way to the school, and the level of support that parents provide contributes to the children’s persistence in their studies. In sum, the results largely conform to cultural reproduction theory.
26
Sudaryanti, Endang Tri, Kusniati Nursika Sahara e Rohmalina Rohmalina. "MENINGKATKAN MOTORIK KASAR USIA PRASEKOLAH MELALUI GERAKAN TARI PADA KELOMPOK B TK NURANI". CERIA (Cerdas Energik Responsif Inovatif Adaptif) 1, n. 3 (31 luglio 2018): 48. http://dx.doi.org/10.22460/ceria.v1i3.p48-51.
Testo completoAbstract (sommario):
This research is aimed at increasing rough motor on early childhood. At early childhood, There are a lot of developmental aspects that must be stimulated and one of this is the rough motor movement. Children’s rough motor movement is the ability of children in moving using big muscles. Nowadays there are schools that focused more on the smooth motor movement such as writing, cutting and others that is due to factors of parents and demands of calistung (reading, writing, and counting) to enter the basic education unit. Rough motor movements become abandoned, but researcher intended to increase children’s motor movement, not only in smooth motor movement but also rough motor movement. One of the activity to increase children’s rough motor movement is through dance activities for childrens. Through this dance movement, children’s rough motor movement can be stimulated and children is given varied instruction, not only doing basic movements such as jumping, running and others but the childrens are also able to perform other dance movements accompanied with music. Therefore children is not only learning but also able to recognize fun dance movements.
27
Beegle, Amy C. "A Classroom-Based Study of Small-Group Planned Improvisation With Fifth-Grade Children". Journal of Research in Music Education 58, n. 3 (ottobre 2010): 219–39. http://dx.doi.org/10.1177/0022429410379916.
Testo completoAbstract (sommario):
The purpose of this study was to examine and describe children’s music improvisations and the interactions that transpired within their four-person groups during regular weekly music classes as they planned and performed music improvisations in response to three different prompts: a poem, a painting, and a musical composition. Participants were two classes of fifth-grade children at the elementary school where the researcher was the general music teacher. Sixteen children in four focus groups were chosen for closer observation and a series of interviews. Data were gathered over a 12-week period, utilizing audio- and video-recorded observations, daily field notes, and interviews following students’ viewing of their own performances on video. The findings of this study demonstrate that (a) all children utilized a similar planning process, and social roles and relationships were often correlated to musical roles and relationships; (b) children’s music products differed based on the nature of the prompt, and children viewed prompts along a continuum of providing freedom of expression; and (c) children evidenced three specific strategies and expressed three valued considerations for planning and evaluating improvisation performances.
28
Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger e Meredith Letain. "Children’s clapping games on the virtual playground". International Journal of Music Education 36, n. 4 (14 maggio 2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.
Testo completoAbstract (sommario):
This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participants in these videos, with other participant subcategories including mixed gender, teen, adult, and intergenerational examples. Seventy-one percent of the videos depicted playing episodes, and 40% were intended for pedagogical purposes; however, several categories overlapped. As of June 1, 2016, nearly 50 million individuals had viewed these YouTube postings.
29
Dansereau, Diana R. "Young Children’s Interactions With Sound-Producing Objects". Journal of Research in Music Education 63, n. 1 (aprile 2015): 28–46. http://dx.doi.org/10.1177/0022429415574001.
Testo completoAbstract (sommario):
The purpose of this study was to observe, analyze, and document the range of young children’s interactions with sound-producing objects in order to better understand the nature of such interactions. Of particular interest was whether theories of cognitive play, social play, object play, and existing research on musical play could guide concurrently the interpretation of children’s interactions with these objects and whether the interactions were consistent with these theories. Two groups of participants, nine 3-year-old children and seven 4-year-old children, played with sound-producing objects for approximately 15 min once a week for 12 weeks. Participants interacted with the objects in rich and varied ways, including explorations of the objects’ sound-producing capabilities and other physical attributes, nonmusical and musical functional and pretend play episodes, and construction behaviors. Movement and singing often were layered upon the children’s interactions with the objects. Musical functional play was the most frequently observed behavior across both ages of participants. The children were more likely to engage in solitary/parallel behaviors than group interactions, and group interactions were more common among the 4-year-old children than the 3-year-olds. All behaviors that were anticipated via the conceptual framework were observed, with the exception of group nonmusic exploration.
30
Nichols, Bryan E. "Task-Based Variability in Children’s Singing Accuracy". Journal of Research in Music Education 64, n. 3 (26 agosto 2016): 309–21. http://dx.doi.org/10.1177/0022429416666054.
Testo completoAbstract (sommario):
The purpose of this study was to explore the effect of task demands on children’s singing accuracy. A 2 × 4 factorial design was used to examine the performance of fourth-grade children ( N = 120) in solo and doubled response conditions. Each child sang four task types: single pitch, interval, pattern, and the song “Jingle Bells.” The results indicated that children’s singing accuracy varied by task type, with poorer performance on patterns and songs than on single pitches and intervals. Performance was significantly better for all tasks in the doubled condition than in the solo condition, and a significant interaction indicated task-based performance varied by response mode. Students who indicated some history of private lessons ( n = 54) performed significantly better than those without. Internal reliability using five test items for each type of singing task was satisfactory. Application of the Spearman-Brown formula suggests that a minimum of three items can be included in each task in future research for a reliability coefficient of .75, and four items for a coefficient greater than .80. Performance on these singing tasks was significantly intercorrelated.
31
Kriščiūnaitė, Asta, Diana Strakšienė e Remigijus Bubnys. "Non-Formal Musical Education in the Context of Children’s Experiences: Involving or Limiting?" Pedagogika 129, n. 1 (25 aprile 2018): 126–41. http://dx.doi.org/10.15823/p.2018.09.
Testo completoAbstract (sommario):
The article deals with analysis of experiences of music school students through focusing on the threat of involvement and discrimination (in the context of the problem of political and practical dualism) by employing the conception of universal education design. Analysis of the research data revealed students’ primary experiences in music school, identification of teacher’s behavior in the process of teaching and learning which significantly contributed to (non-)involvement and (non-)limitation of students as well as manifestation of formal assessment in the education process. Summing up, an assumption is drawn that non-formal music education of children is still incapable of full-fledged involvement of children and prevention from discrimination while meeting their individual needs; however, it aims at higher integration of children into the system, i.e. not to adjust the system to the learners but rather to adapt the learners to the system.
32
Kuuse, Anna-Karin. "“We will fight Goliath”: Negotiation of space for musical agency in children’s music education". Research Studies in Music Education 40, n. 2 (23 maggio 2018): 140–56. http://dx.doi.org/10.1177/1321103x18771796.
Testo completoAbstract (sommario):
Following a music philosophy debate deriving from the 1990s, this article puts the extra-musical and social outcomes of situated music educational practices at the fore. The Swedish replica of the choir and orchestra school El Sistema, a programme globally asserting social change and social impact, appeared useful for elaborating such outcomes in practice. Following this, the present study aims to empirically elaborate musical agency as an analytical concept to understand children’s experiences, while at the same time discussing musical agency in relation to a social discursive view on practice. A Swedish El Sistema children’s string orchestra was followed for three months and the material for analysis consists of audio recordings and observation notes from lessons, performances and family events, as well as documents surrounding the activities. Constructions of discipline, empowerment and space are revealed as affecting opportunities for musical agency. The study thus elaborates on discursive constraints and opportunities for agency negotiation while discussing social outcomes with and within music education.
33
Flohr, John W. "Best Practices for Young Children’s Music Education: Guidance From Brain Research". General Music Today 23, n. 2 (4 novembre 2009): 13–19. http://dx.doi.org/10.1177/1048371309352344.
Testo completo
34
Bíró, István Ferenc, Balázs Hörich, Tamás Szalai e Judit Váradi. "The Social Dimensions of Music Education". Studia Universitatis Babeş-Bolyai Musica 65, n. 2 (21 dicembre 2020): 37–50. http://dx.doi.org/10.24193/subbmusica.2020.2.02.
Testo completoAbstract (sommario):
"The aim of our study is to explore the factors influencing the cultural sensitivity of students aged 8–13 years. We set up our hypotheses based on the theory of Bourdieu and Passeron and the research of Hunyadi. Our main question is instrumental studies, the frequency of singing, and social status how affect cultural consumption. In our research, we examined the impact of parents’ attitudes to music on children’s musical consumption. To examine the role of cultural capital, we used international models. The aim of our exploratory research is to examine in what form and to what extent the different manifestations of cultural capital prevail in the dimension of cultural consumption. Our results supported that higher education, higher parental care, parents’ musical capital, and good financial status increase the chances of cultural consumption. Those family with higher social status can be characterized by a broader cultural consumption pattern, which in turn is accompanied by more frequent musical activity. Families in a better position are characterized not only by higher cultural consumption but also by more prudent methods of cultural transmission. Keywords: cultural consumption, music education, cultural capital"
35
Morozova, Nina W., e Irina A. Rastopina. "Studying and Development of the Musical Educational Needs of the Participants of the Pedagogical Process in the Children’s School of Arts". Musical Art and Education 7, n. 2 (2019): 155–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-155-176.
Testo completoAbstract (sommario):
During the public discussion of the development of additional music education in Russia, the authors of the article propose to turn to the study of the basic and musical-educational needs of students and other participants in the pedagogical process in the children’s art school. The focus of attention is the village school of art or the music school on the outskirts of the big city, serving as one of the few cultural centers in the area and in need of active support from parents and the public. The authors analyze the basic needs of students and their satisfaction in the process of music education, describe risky situations in the education of gifted children and adolescents that require the in tervention of adults, using concrete examples from practice show the positive impact of music education on learning motivation. The results of the study of the musical and educational needs of the subjects of the pedagogical process in rural children’s art school are disclosed, on the basis of which the school has created a promising development program. Primarily, the content and forms of work of the general aesthetic direction of education, as well as the cultural and educational activities of students and teachers, aimed at developing the musical needs of the rural public, have been updated. Children’s activity in choosing the direction of additional education is provided by the school of arts through a trial study of children in various areas of artistic activity. For preschoolers 5-6 years old, the Maestro program was developed.
36
Cunha, Sandra Mara da. "crianças e música: educação musical e estudos da infância em diálogo". childhood & philosophy 16, n. 36 (11 luglio 2020): 01–20. http://dx.doi.org/10.12957/childphilo.2020.48349.
Testo completoAbstract (sommario):
Children and music are the theme of this article conceived as a sort of rehearsal, with the aim of thinking a musical education of childhood. Its theoretical foundations emerge from conversations between music education and childhood studies, and formed the basis for the lecture workshop held at the II Congress of Childhood Studies, in September 2019, at the University of the State of Rio de Janeiro. The text addresses methodological openings present in creative approaches to curricula based on network formats and circles. Improvisations and compositions made by children and guided by professor-artists who know their craft, emerge from these experimental dynamics. The participation of children in collaborative action with their teachers gives, in turn, new meanings to the teacher’s role in the form of “double listening”—listening both to children and to their musical expressions. The development of research in children’s music has powerful implications both for musical education and for the field of education. This research also contributes to childhood studies, since listening to children's musical expressions makes it possible to know more about what they think, feel and do when they create their music. It also promises to result in greater visibility and audibility for the songs invented by them, and for the recognition of the importance of music education in schools.
37
Gagarina, Oksana A. "Pastoral Images in Debussy’s and Ravel’s Children’s Ballets". Music Scholarship / Problemy Muzykal'noj Nauki, n. 2 (giugno 2017): 42–50. http://dx.doi.org/10.17674/1997-0854.2017.2.042-050.
Testo completo
38
Ferencziné Ács, Ildikó. "The Nyíregyháza Model: The Teaching of Teaching Music / of Making Music". Studia Universitatis Babeş-Bolyai Musica 65, n. 2 (21 dicembre 2020): 9–36. http://dx.doi.org/10.24193/subbmusica.2020.2.01.
Testo completoAbstract (sommario):
"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"
39
Goins Frewen, Katherine. "Effects of Familiarity With a Melody Prior to Instruction on Children’s Piano Performance Accuracy". Journal of Research in Music Education 57, n. 4 (13 novembre 2009): 320–33. http://dx.doi.org/10.1177/0022429409351178.
Testo completoAbstract (sommario):
The main purpose of this study was to examine the effects of familiarity with the sound of a melody on children’s performance of the melody. Children in kindergarten through fourth grade ( N = 97) with no previous formal instrumental instruction were taught to play a four-measure melody on a keyboard during an individual instruction session. Before learning to play the melody, half of the children listened to a model of the melody repeatedly in music class to become familiar with the music. Children’s familiarity with the melody was assessed through a melodic error identification test administered immediately before and after instruction. The results indicated that children who were familiar with the melody played significantly more correct notes than did children not familiar with the melody and that performance accuracy increased with grade level.
40
Dullea, Rhoda. "Engagement, Participation, and Situated Learning in a Children’s Opera Chorus Program". Journal of Research in Music Education 65, n. 1 (8 marzo 2017): 72–94. http://dx.doi.org/10.1177/0022429417695751.
Testo completoAbstract (sommario):
In recent years, opera companies throughout the United Kingdom have begun to provide educational programs for children that offer opportunities for “apprenticeship” training in the context of professional opera productions, alongside formal choral musicianship training. This article outlines a qualitative case study of a recently established children’s opera chorus program located in a northern England city, in which I investigated the extent to which the children became engaged with opera as a genre through their participation in the program. This study also considers the extent to which such programs affected children’s emerging cultural identities and musical preferences in an acculturative sense. Findings suggested that the authenticity and situatedness of the learning experience had a positive impact on the children’s engagement, with those that had participated in main-stage productions being most likely to state that they wished to pursue opera or musical theatre as a career in later life.
41
Barrett, Margaret S., Libby Maree Flynn e Graham F. Welch. "Music value and participation: An Australian case study of music provision and support in Early Childhood Education". Research Studies in Music Education 40, n. 2 (19 giugno 2018): 226–43. http://dx.doi.org/10.1177/1321103x18773098.
Testo completoAbstract (sommario):
There is a growing body of evidence that early engagement in active music-making impacts beneficially on children’s wider development. Recent research indicates that individual and shared music-making in family settings contributes to positive parenting practices and identity development in young children. Children who participate in shared music-making at age 3 are better prepared for school experiences at age 5. These findings suggest music should be a compulsory requirement in any early childhood programme. This article reports the findings of a case study investigation of the provision of music in an Australian Early Childhood Education Centre. Findings suggest that music provision is best supported when there is a high value for music amongst staff, there is a range of value-added as well as integrated uses of music, and there is sustained music professional development for all staff.
42
Hanrahan, Fidelma, Ed Hughes, Robin Banerjee, Alice Eldridge e Chris Kiefer. "Psychological benefits of networking technologies in children’s experience of ensemble music making". International Journal of Music Education 37, n. 1 (17 ottobre 2018): 59–77. http://dx.doi.org/10.1177/0255761418796864.
Testo completoAbstract (sommario):
Little is currently known about the possible benefits of using networked technology to enhance ensemble performance. This study explored whether the introduction of specially devised technology – networked tablets using traditional music notation – to a primary school orchestra would enhance the experience of ensemble music. Particular emphasis was placed on how the technology could help children to overcome practical problems associated with ensemble playing for early-stage musicians (e.g., keeping in sync with other players), thereby leading to better engagement with the music and ultimately greater enjoyment. Findings from a thematic analysis of responses from a focus group with eight young orchestra players aged 9–11 years and from an interview with the orchestra conductor, together with indications from the statistical analysis of 28 orchestra participants’ questionnaire responses, suggest that the technology did help to reduce the practical problems associated with ensemble playing. This appeared to interrupt the downward spiral of frustration and lack of confidence in playing for some young people, and enhanced the likelihood of feelings of enjoyment and belonging.
43
Hietanen, Lenita, Satu Uusiautti e Kaarina Määttä. "ENHANCING ENTREPRENEURSHIP IN LEARNERS – AN IMPLEMENTATION AND EVALUATION OF ENTREPRENEURSHIP EDUCATION THROUGH MUSIC EDUCATION". Problems of Education in the 21st Century 59, n. 1 (15 aprile 2014): 34–48. http://dx.doi.org/10.33225/pec/14.59.34.
Testo completoAbstract (sommario):
Entrepreneurship education is recommended to be a part of education already from the beginning of children’s school paths. Often, entrepreneurship education has been defined in a political level and through economic ideologies. However, one of the goals of entrepreneurship education is to achieve entrepreneurial ways of acting regardless of the context or community. This study is a case study of the implementation of entrepreneurship education in music education in basic education. The findings introduce and evaluate the pedagogical solutions in the music education of one Finnish seventh grade. The pupils were given opportunities to set their own goals, experiment multiple options, make decisions and reflect on their actions. They were encouraged and guided to become aware of their entrepreneurial features, skills, and ways of acting. The most important result was that entrepreneurial education can be included in basic education. Suggestions for teachers are given based on the findings. Key words: basic education, entrepreneurial way of acting, entrepreneurship education, learning environment, music education, non-business school context.
44
Paşca, Eugenia Maria. "History and Modernity in Artistic Education from Romania". Review of Artistic Education 18, n. 1 (1 marzo 2019): 347–52. http://dx.doi.org/10.2478/rae-2019-0039.
Testo completoAbstract (sommario):
Abstract The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.
45
Hedden, Debra G. "Lessons from Lithuania: Teacher beliefs and behaviors in teaching young children to sing". International Journal of Music Education 38, n. 4 (12 novembre 2019): 593–612. http://dx.doi.org/10.1177/0255761419888015.
Testo completoAbstract (sommario):
The purpose of this naturalistic case study was to uncover beliefs and behaviors of successful teachers who produced excellent children’s singing in Lithuania. The research questions guiding the study were: What particular beliefs did music teachers hold about their ability to teach children to sing and the necessary components to teach children good singing? What specific behaviors did music teachers exhibit and embrace in public and singing school music classes to achieve good singing that is accurate, tuneful, resonant, expressive, and in head voice? In this naturalistic case study, data from informants ( N =18) consisted of interviews ( n = 12) and observations in their classrooms ( n = 22) and concerts ( n =7) in an urban area in a city in Lithuania. The conceptual framework underpinning the study was supported by the data, relating to their beliefs and behaviors about their knowledge and skill in teaching, their use of a variety of teaching strategies, and their use of highly sequenced literature. Of most importance was that they emphatically lived their beliefs in order to achieve success with children’s singing. Implications are offered that relate to music teacher preparation.
46
Elkoshi, Rivka. "When sounds, colors, and shapes meet: Investigating children’s audiovisual art in response to classical music". International Journal of Music Education 37, n. 4 (1 agosto 2019): 576–92. http://dx.doi.org/10.1177/0255761419866084.
Testo completoAbstract (sommario):
This study was designed to investigate children’s audiovisual art, following intuitive listening to complete classical works from different historical periods. The study aimed to examine the effect of different musical stimuli on children’s audiovisual output. Two related questions were asked: (1) How do children visually and verbally represent music from different historical periods? (2) What musical and extra-musical elements are represented? Participants were 181 second graders (age 7.0–8.5). Three compositions were presented: a 12th-century anonymous choral from the liturgical drama “ Danielis Ludus,” Chopin’s prelude op. 28 no. 10, and Bartók’s “ Melody in the Mist” Vol. 4 no. 107, from “ Mikrokosmos.” Each composition is based on distinct musical parameters: vocal timbre, melodic contour, and texture alternations, respectively. Data consisted of 495 audio-graphic productions and related accounts. Analysis progressed in three stages abbreviated MSC: Morphological dimensions, focusing on type of symbols employed; Structural dimensions, focusing on the overall graphical design; and Conceptual dimensions focusing on the generic meanings of the productions. Results indicated significant differences in children’s reactions to each of the three compositions, showing that MSC dimensions are influenced by the type of music presented and that differences in MSC dimensions are statistically significant. Experiencing “audiovisuology” in school is one way of promoting art integration.
47
Hardcastle, Elinor, Stephanie Pitts e José Luis Aróstegui. "A cross-cultural comparison of music education experiences and ambitions in two Spanish and English primary schools". International Journal of Music Education 35, n. 3 (22 settembre 2016): 381–90. http://dx.doi.org/10.1177/0255761416667471.
Testo completoAbstract (sommario):
A small-scale comparative study of music education provision in two Spanish and English primary schools was carried out in 2013–14, using questionnaires, interviews and observations. The study investigated the musical experiences of the children in the two schools, their ambitions for their musical futures, and the classroom practices and policy contexts that shaped these encounters with musical learning. Through thematic analysis and comparison of the data from the two schools, we examine music in children’s lives, music in the classroom, and musical ambitions and values, and consider how well the music curriculum serves the children in each setting.
48
Wright, Chrysalis L., Francesca Dillman Carpentier, Lesley-Ann Ey, Cougar Hall, K. Megan Hopper e Wayne Warburton. "Popular Music Media Literacy: Recommendations for the Education Curriculum". Policy Insights from the Behavioral and Brain Sciences 6, n. 2 (ottobre 2019): 186–93. http://dx.doi.org/10.1177/2372732219858631.
Testo completoAbstract (sommario):
Advances in technology have made music more readily accessible and geographic distance irrelevant in dissemination of music. Greater access to popular music has resulted in greater consumption by both children and adolescents. Popular music in the United States may contain the most sexual content, compared with other forms of media. Exposure to such content is associated with the development of gender ideals and identity, objectification and sexualization of women, permissive sexual attitudes and risky sexual behaviors, as well as greater acceptance of sexual and gendered violence. Even so, current education standards do not include media literacy, much less popular music media literacy, and do not prepare children for best practices related to media consumption. Some of the inadequacies in current education standards include introducing education about media influence on personal development at an age far later than children’s engagement with contemporary media, avoidance of controversial topics, and not making this education compulsory. Considering the lack of media literacy provided in the curriculum, we outline specific foundational curricular recommendations related to media education and specifically for popular music media literacy.
49
Rajan, Rekha S. "Preschool Teachers’ Use of Music in the Classroom: A Survey of Park District Preschool Programs". Journal of Music Teacher Education 27, n. 1 (4 luglio 2017): 89–102. http://dx.doi.org/10.1177/1057083717716687.
Testo completoAbstract (sommario):
The purpose of this study was to explore how preschool teachers use music and identify the types of music activities available to children in their classrooms. Preschool teachers ( N = 178) at park district programs throughout a large state in the American Midwest responded to an online questionnaire. Although teachers acknowledged using music every day, examples of music activities were primarily teacher-directed such as singing along to CDs or following music cues. Teachers also used music to build academic connections and to engage children during transitions. Teachers valued music as important to their teaching practice and for its contribution to children’s learning and development, but cited limited resources, a self-reported lack of music ability, and an absence of knowledge of the standards for music education, as inhibiting their use of child-centered music activities. Implications for teacher preparation and professional development course work in early childhood and music teacher education are discussed.
50
Bjørnsen, Egil, e Jane Woddis. "Music in our lives: Using the concept of “Bildung” to understand the role of music education policy in England". Research Studies in Music Education 42, n. 2 (28 giugno 2019): 192–207. http://dx.doi.org/10.1177/1321103x19841918.
Testo completoAbstract (sommario):
This article considers whether the German concept of “ Bildung”, meaning human personal growth—a term not often used in English debates about culture or education—can help in understanding differing pedagogical and philosophical approaches to recent music education policy in England. It explores connections between two conceptions of Bildung: “object-oriented” and “subject-oriented”; two key approaches to education: “traditional” and “progressive”; and two models of cultural policy: cultural democracy and democratisation of culture, in explaining one of the significant debates in music pedagogy about how to engage children and young people in music education. In considering these questions, the article examines recent developments in the provision of music education in the English school system, particularly the National Plan for Music Education, Music Education Hubs and the independent Musical Futures initiative. We conclude that recent government policies incorporate ideas of the authority of teachers and a musical canon, while other approaches give more priority to children’s own musical references and activity. Our three related theories shed light on this continuing debate about value and engagement in music education, and on the place of children and young people in their musical learning.