Bibliografie tematiche / Group music education

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Letteratura scientifica selezionata sul tema "Group music education"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 6 febbraio 2022

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Articoli di riviste sul tema "Group music education"

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.

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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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FAUTLEY, MARTIN. "Notation and Music Education". British Journal of Music Education 34, n. 2 (26 giugno 2017): 123–26. http://dx.doi.org/10.1017/s0265051717000031.

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Every year on the pre-service teacher education course with which I am associated in England, we have something we have come to refer to as ‘the notation argument’. When this happens varies, but it normally occurs fairly near the beginning of the course. In essence, what happens is that a divide opens up between those pre-service teachers who believe they need to teach western classical stave notation in isolation from other aspects of music, and that this needs to be done in advance of other musical activities, as preparation for them. The other group of pre-service trainee teachers counter this with the case that there should be some sort of a need for this knowledge, and that acquiring it in isolation is unlikely to happen anyway. This notation argument can rage, on and off, for a good proportion of the first term, depending on how the issues are dealt with, and how passionate the various advocates are.

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Hogenes, Michel, Bert van Oers, René F. W. Diekstra e Marcin Sklad. "The effects of music composition as a classroom activity on engagement in music education and academic and music achievement: A quasi-experimental study". International Journal of Music Education 34, n. 1 (4 giugno 2015): 32–48. http://dx.doi.org/10.1177/0255761415584296.

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The present study aims to contribute to the understanding of the effects of music education, in particular music composition as a classroom activity for fifth- and sixth-graders. The intervention (experimental condition) focused on a three-step-model for music composition, based on the Cultural Historical Activity Theory of education, and has been compared with a teacher-centered approach mainly based on students’ reproduction of music (control condition). Results indicated that after the six-month intervention period, students in the experimental group were more engaged in music education compared to students in the control group. The research did not show a statistical difference in learning outcomes with regard to intelligence, academic achievement and music achievement, although the students of the experimental group performed better with regard to reading comprehension than their counterparts in the control group. The authors conclude that music composition as a classroom activity is feasible and useful in elementary schools.

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Nwokenna, Edith N., Nneka Nwosu, Uche L. Igbokwe, Vera Victor-Aigbodion, Ogechi Nnamani e Bartholomew C. Nwefuru. "Music Intervention for Perceived Stress Among English Education Students". Global Journal of Health Science 11, n. 8 (17 giugno 2019): 23. http://dx.doi.org/10.5539/gjhs.v11n8p23.

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OBJECTIVE/BACKGROUND: This research objective was to examine the effect of music intervention on perceived stress among English education students. METHOD: Out of 200 students surveyed, 56 English education undergraduate students who were having high-stress level participated in the study. The 56 eligible participants were randomized into one of two study groups: music intervention group (n = 28) and waitlist control group (n = 28) using computer-generated random numbers. All participants completed baseline evaluation and posttests at 4, 8 and 12 weeks. Participants completed the Perceived Stress Scale. The statistical tool used for data analysis was within and between ANOVA. RESULT: There was a significant difference in perceived stress between English education students in the music intervention group and waitlisted group. Significant reduction in the level of perceived stress among English education students was observed in the music intervention group, but the waitlisted group demonstrated no significant reduction in their stress score both at 4, 8 and 12 weeks posttests respectively. CONCLUSION: Music intervention is an effective means of handling stress among English education students. Further studies are required to investigate the role of music therapy in burnout reduction among English education students in Nigerian universities.

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Öztürk, Erhan, e Ajda Aylin Can. "The effect of music education on the social values of preschool children". Cypriot Journal of Educational Sciences 15, n. 5 (29 ottobre 2020): 1053–64. http://dx.doi.org/10.18844/cjes.v15i5.5150.

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This study aims to explore the effect of music education on the acquisition of social values by preschool children. In this study, a quasi-experimental pattern model with the pretest–posttest control group is employed. The Preschool Social Values Scale is used for collecting the data. The participants of this study are 26 preschool children (the experimental and control groups contain 13 children each). Whilst the experimental group underwent 30 minutes of music training twice a week for 10 weeks, the control group pursued their preschool education. Music education with the experimental group consists of activities, where students are active and experience music. Songs containing social values were taught to children in the unity of play music and movement. At the end of the study, the scores related to the social values of the experimental group improved as compared to that of the control group. No meaningful difference was detected between the posttest and follow-up test social values’ scores. Keywords: Music education, social values, preschool education, value education.

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Thorpe, Vicki. "Assessing complexity. Group composing for a secondary school qualification". British Journal of Music Education 34, n. 3 (7 settembre 2017): 305–20. http://dx.doi.org/10.1017/s0265051717000092.

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This article examines a unique music curriculum and assessment environment through the findings of a practical action research project carried out in secondary schools. I address two current international educational issues: the relationship between formal and informal learning in music, and how individuals’ contributions in collaborative groups might be summatively assessed. Following this I present a model of group composing and explain how it was used as a pedagogical tool in secondary music classrooms. The purpose of this was to help students and their teacher to conceptualise collaborative composing, thereby leading to a clearer understanding and more valid assessment of the processes in which they were engaged.

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Swanwick, K. "Music education liberated from new praxis". International Journal of Music Education os-28, n. 1 (novembre 1996): 16–24. http://dx.doi.org/10.1177/025576149602800102.

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This article is in response to that of Robert Walker (IJME, 27, 2-15). It is proposed that attempts to define music in terms of either sonic material or socio-cultural acoustic phenomena are inadequate. Furthermore, it is important to distinguish between the view that all music is culturally rooted and the doubtful assertion that all music is uniquely reflective and expressive of a culture. This form of referentialism overlooks the transactional nature of musical discourse. The concept of discourse suggests a group of principles for music educators: care for music as conversation, care for the autonomy of students, teaching for expressiveness and promoting fluency before literacy. These complement the main dimensions of a formal music curriculum: analysis of cosmopolitan musical elements (by participation) and involvement in local musical events.

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Barratt, Elisabeth, e Hilary Moore. "Researching group assessment: jazz in the conservatoire". British Journal of Music Education 22, n. 3 (21 ottobre 2005): 299–314. http://dx.doi.org/10.1017/s0265051705006467.

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This article presents the results of research into methods and scorings for jazz assessment in Trinity College of Music, London, focusing on the possibility of introducing group assessment. It considers the advantages of group assessment methods, contrasting these with the more traditional approach, firmly established in conservatoires, of evaluating individual musicians. We question the role of jazz within the conservatoire, exploring not only the way institutions may transform jazz practice, but also the ways jazz may contribute to the evolution of higher education. The research formed part of a larger grant aimed at curricular development at Trinity College of Music. As such, we present it as an example of research's potential for immediate impact upon education policy. The project is also unusual in its use of students and instrumental professors not only as subjects of research but as participators fully involved in their own self-assessment and development.

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Prickett, Carol A., e Madeline S. Bridges. "Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors". Journal of Research in Music Education 46, n. 4 (dicembre 1998): 461–68. http://dx.doi.org/10.2307/3345343.

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An audiotape of the tunes of 25 standard songs assumed to be known by everyone who has finished Grade 6 was played for 273 undergraduate music therapy and music education students and 306 elementary education students who were beginning a music skills class. Music majors identified significantly more tunes than did elementary education majors, but the means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that those preparing elementary education students emphasize building a song repertoire and that those teaching music therapy and education students consider adding this goal to appropriate courses.

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Gül, Gülnihal. "Teachers' Views on Music Education Practices in Secondary Education in Distance Education During the COVID-19 Pandemic Process". Journal of Education in Black Sea Region 6, n. 2 (21 maggio 2021): 95–111. http://dx.doi.org/10.31578/jebs.v6i2.235.

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In this study, it was aimed to determine the views of music teachers who have worked in secondary education during the COVID-19 Pandemic process regarding the music lessons conducted via distance education. The study group of the research consisted of 11 music teachers who were determined by the convenience sampling method. The data were collected using a semi-structured interview consisting of 6 questions and a demographic information form. In line with the findings obtained from this study, it was determined that the music teachers participating in the research had difficulties in classroom management, parents' approaches, technological equipment, internet problems and students' motivation. Besides, it was determined that the teachers used different technological teaching materials in the course, the achievements in the curriculum were partially achieved and the course evaluation process could not be carried out effectively enough. Key words: COVID-19, pandemic, distance education, secondary education, music education

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Tesi sul tema "Group music education"

Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.

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This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.

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Thorpe, Vicki. "We made this song : the group song writing processes of three adolescent rock bands : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in History and Literature of Music /". ResearhArchive@Victoria e-Thesis, 2007. http://hdl.handle.net/10063/272.

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Jung, Joo Yeon. "Peer learning group among college voice majors | Collaborative inquiry case study". Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3594111.

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This collaborative inquiry case study investigated a pre-existing peer learning group composed of five Korean college voice students and a non-musician facilitator. The group was chosen for this research to understand the implications of a diversified learning context in addition to the typical master-apprenticeship context of higher music education. The main activity for this peer learning group was researching literature related to classical vocal music along with presenting a performance project. This performance was in connection to their learning, and the chosen theme was a musical autobiography. Data were collected during the performance project process that included participant observations, interviews, and artifacts. The peer group's learning experiences and how this process influenced their behaviors, attitudes, and performance, and the role of the facilitator were content analyzed and reported. Results revealed that the students' intense meaning making process included mutual communication, cooperative interaction, enhanced motivation with group cohesion, and a sense of autonomy in their music learning. The autobiographic aspects of each member's life as a musician proved to be transformative in their learning and positively influenced their identity development as musicians. Careful intervention regarding individual differences was found to be an important consideration. The role of the non-musician facilitator aided group development with a contrasting perspective, allowing for positive support to the individuals, and suggestions for long-term goals regarding pedagogical aspects despite his lack of a music background. Challenges of the peer learning group included a lack of available learning resources, time intensiveness of the process, and a lack of continuity with few consistent acknowledged goals.

This study illuminated the need to reflect on diverse learning contexts in addition to the traditional master-apprentice dyad in order to enhance students' initiatives in their learning process; allow for opportunities for the formation of their musical identities; and to encourage a facilitator role for the master teachers. Future research is recommended to replicate peer learning among diverse musicians and to focus further on autobiographic learning in addition to online learning opportunities. Continuous innovation in the learning process in higher music education will empower future musicians to be creative meaning makers and lifelong learners.

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Coetzee, Elthea. "Creative group music teaching and the principles of Gestalt play therapy in the foundation phase in South African education". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5290.

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Thesis (MMus (Music))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: Music teaching in groups is an important aspect of the development of the child in Foundation Phase teaching. Early childhood has been described as the most critical period in the child’s musical development. With the introduction of Outcomes based Education in South Africa, the curriculum regarding the presentation of music classes has changed. Similarities between music group classes and Gestalt Play Therapy were investigated, with the aim of incorporating concepts of Gestalt Play Therapy into music group classes. Legislation was studied in order to determine the expectations of the South African government, and specifically the education departments, relating to music teaching. In the present curriculum, the weight allocation for music in the Foundation Phase was significantly reduced from what it was previously. Teachers must structure their own music programme into their curriculum. Investigation into the presentation of creative music group classes, with the incorporation of the principles of Gestalt Play Therapy, was undertaken in this research study. Gestalt Play Therapy is a holistic approach that combines the principles of Gestalt theory with Play Therapy. Research was undertaken to investigate whether specific stages in Gestalt Play Therapy could be successfully combined with music group classes. This research emphasizes that the developmental stages of the child, specifically physical, neurological, cognitive and language development, should be taken into account when presenting lessons, and that children may be guided towards a higher level of integration and balance in themselves. Research into OBE principles suggests that the way forward could be a continuation of the OBE model, but with certain amendments. An inductive study of practical observation and presentation of creative group classes was undertaken. It was found that most teachers were not adequately qualified to present music classes, and creativity was not satisfactorily addressed in their lessons.
AFRIKAANSE OPSOMMING: Musiekonderrig in groepe is ‘n belangrike aspek rakende die ontwikkeling van die kind in Grondslagfase onderrig. Vroeë kinderjare word beskryf as die mees kritieke periode in die kind se musikale ontwikkeling. Met die inwerkingstelling van Uitkomsgebaseerde onderrig in Suid-Afrika, het die kurrikulum aangaande die aanbieding van musiekklasse verander. Ooreenkomste tussen musiekonderrig in groepe en Gestalt Spelterapie is ondersoek, met die doel om konsepte van Gestalt Spelterapie in musiekonderrig in groepe te inkorporeer. Wetgewing is bestudeer om die verwagtinge, aangaande musiekonderrig, van die Suid Afrikaanse regering, en spesifiek die onderwysdepartemente, te bepaal. Binne die huidige kurrikulum is die gewig toegeken aan musiek, binne die Grondslagfase, aansienlik verminder van voorheen. Onderwysers moet self hul musiekprogramme binne hulle kurrikulum struktureer. ‘n Ondersoek is geloods om die aanbieding van kreatiewe musiekonderrig in groepe te kombineer met die beginsels van Gestalt Spelterapie. Gestalt Spelterapie is ‘n holistiese benadering wat die beginsels van Gestalt teorie kombineer met Spelterapie. Navorsing is gedoen om te bepaal of spesifieke stadia in Gestalt Spelterapie suksesvol gekombineer kan word met musiekonderrig in groepe. Hierdie navorsing benadruk dat die ontwikkelingsstadia van die kind, spesifiek fisiologies, neurologies, kognitief en taalontwikkeling, in ag geneem moet word wanneer lesse aangebied word, en dat kinders hierdeur gelei kan word na ‘n hoër vlak van innerlike integrasie en balans. v Navorsing gedoen betreffende die beginsels van Uitkomsgebaseerde onderrig is aanduidend dat hierdie onderrigmodel wel voortgesit sou kon word, maar met bepaalde aanpassings. ‘n Induktiewe studie van praktiese waarneming sowel as aanbieding van kreatiewe groepsklasse is onderneem. Daar is bevind dat die meeste onderwysers nie voldoende gekwalifiseerd is om musiekklasse aan te bied nie, en kreatiwiteit is ook nie bevredigend in hulle lesse aangespreek nie.

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Hoffman, Kenneth Lloyd Jr. "Ohio Band Directors' Perceptions of Large Group Adjudicated Events". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397662993.

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Chivington, Amy D. "The Effect of Differential Choral Group Instruction on Children's Vocal and Rhythmic Performance of Taught and Transfer Patterns". The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391781895.

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Yahl, Ryan Michael. "Attitudes of High School Band Directors and Students Regarding Ohio Music Education Association Large Group Adjudicated Events". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1236051000.

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Stoll, Joni L. "The relationship of high school band directors' assessment practices to ratings at a large group adjudicated event". [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227713397.

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Thesis (Ph.D.)--Kent State University, 2008.
Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Jay Dorfman. Keywords: Assessment; instrumental music. Includes bibliographical references (p. 103-112).

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Cullen, Danielle M. "EXPLORING ELEMENTARY GENERAL MUSIC TEACHERS’ REFLECTIVE STRATEGIES WITHIN A TEACHER COLLABORATION GROUP: AN INSTRUMENTAL CASE STUDY". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/522804.

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Music Education
Ph.D.
The purpose of this instrumental case study was to describe the ways two elementary general music teachers participating in a teacher collaboration group (TCG) used reflective strategies in their classrooms. The following questions initially framed the case: When these two teachers engaged in reflective strategies, (1) What did they notice about their students’ performance and their own teaching practices? (2) What did they describe as the benefits and challenges of incorporating reflective strategies? and (3) What insights did they articulate as a result of their participation in a TCG? I (student investigator) invited two purposefully sampled elementary general music teachers to participate in a TCG focused on incorporating reflective strategies. In my interactions with the two teachers, I served three roles: researcher, facilitator, and colleague. The theoretical lens for this research was professional learning through collaboration. As researcher, I embraced the required tasks for this research, including studying existing literature, obtaining the necessary approvals, devising data collection tools, analyzing the data and drawing conclusions based on the data. Since I chose to conduct the research in the school district where I currently teach, I needed to be mindful of my professional relationships with all 10 of my elementary general music teacher colleagues, since the two of my elementary general music teacher colleagues participated in the TCG. Throughout the study I strove to maintain balance between my roles of researcher, facilitator and colleague as I drew on my review of research and practice literature on reflective strategies to make decisions throughout this research. To reduce over rapport during the study, I continually examined my motives for all choices, and sought to be mindful of how each choice affected research design, TCG agendas, and my colleagues’ professional responsibilities. I strove to identify sources of tensions relative to each of my roles, and remain as neutral as possible to each role during data analysis. The two teachers engaged in member checks, and I invited a critical friend with experience in qualitative research to serve as an auditor of the data. Based on my research on reflective strategies, I offered participants four reflective strategies, from which they chose one, to incorporate with a fourth grade general music class of their choice. Over seven months, the participants documented in their professional reflective journals what they noticed about their students and themselves while engaged in reflective strategies. The participants studied reflective practice independently and collaboratively. The participants completed two solo interviews and attended five group meetings. Data sources for this study were transcripts of TCG meetings and interviews, researcher’s field notes, participants’ professional reflective journals, and artifacts of student work shared with parent consent and student assent: video recorded teaching examples and students’ written classwork, both of which participants shared during TCG meetings. I studied the transcripts and professional reflective journals for emerging patterns and themes. Three themes emerged: Noticings About Students and Self, Learning About Students and Self, and Changing Attitudes and Beliefs about Teaching and Learning. The overarching theme, Sharing Experiences, served as the catalyst for participant noticing, learning, and changing. The participants reported that the use of reflective strategies designed for their elementary general music students informed their instruction and decision-making processes, and provided insights to their students’ levels of understanding. Additionally, the participants reported learning the value of reflection, both for themselves and for their students. The participants also reported that participating in the TCG as a form of collaborative professional development alleviated feelings of isolation and provided an opportunity for teachers to learn from one another in a professional environment. The research presented in this study has implications for teachers and administrators. Because of the benefits associated with engaging students in reflective strategies, teachers should consider how to include reflective opportunities appropriately as part of their instruction. Further, administrators should consider providing collaborative professional development opportunities for teachers of any subject area or grade level. The two elementary general music teachers in this research described gaining valuable insights regarding music teaching and learning by incorporating reflective strategies. Further, they valued the professional development in the form of the TCG, which developed over time and offered them an opportunity to reflect as partners who generated collective knowledge with each other as supportive peers, all while individually growing as teachers. Suggestions for future research include researching a curricular approach to implementing reflective strategies with PreKindergarten through 5th grade elementary general music students, reflective strategies elementary musical ensembles, investigating how reflective strategies relate to different approaches for teaching elementary general music, and exploring teacher collaboration groups consisting of music teachers from various grade levels or music teaching disciplines.
Temple University--Theses

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Rosenbalm, Kelly Lane. "Sample Lessons Plans to Effectively Incorporate Group Lessons Into the Private Studio of Young Beginning Suzuki Piano Students". Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1272035120.

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Libri sul tema "Group music education"

Kaplan, Phyllis R. Cooperative learning in music. Reston, VA: Music Educators National Conference, 1994.

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Lloyd, Pat. Let's all listen: Songs for group work in settings that include students with learning difficulties and autism. London: Jessica Kingsley, 2007.

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Wiebkin, Roger John. Look - listen - think - learn: Group composition, reflective learning and peer assessment in music education at Key Stage Two. Birmingham: University of Central England in Birmingham, 2000.

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Winter, Marilyn. Recorder EdVentures: Teaching recorder in the classroom. Butte, Mont. (1100 Legion Lane, Butte 59701): M. Winter, 1999.

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Peter, Felton, a cura di. Tommy wrought: A musical reflection of children with special needs. North Charleston, SC]: [CreateSpace Independent Publishing Platform], 2015.

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Symposium, International Council for Traditional Music Study Group on Performing Arts of Southeast Asia. (Re)producing Southeast Asian performing arts & Southeast Asian bodies, music, dance, and other movement arts: Local identity, tourism and commodification & institutionalizing Southeast Asian performing arts traditions in modern multi-cultural music education movement arts and the Southeast Asian body movement arts, music, ritual and theatre new research, proceedings of the 2nd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Manila: Philippine Women's University, 2013.

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Kalas, Gregor, e Ann Dijk, a cura di. Urban Developments in Late Antique and Medieval Rome. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989085.

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A narrative of decline punctuated by periods of renewal has long structured perceptions of Rome’s late antique and medieval history. In their probing contributions to this volume, a multi-disciplinary group of scholars provides alternative approaches to understanding the period. Addressing developments in governance, ceremony, literature, art, music, clerical education and the construction of the city’s identity, the essays examine how a variety of actors, from poets to popes, productively addressed the intermittent crises and shifting dynamics of these centuries in ways that bolstered the city’s resilience. Without denying that the past (both pre-Christian and Christian) consistently remained a powerful touchstone, the studies in this volume offer rich new insights into the myriad ways that Romans, between the fifth and the eleventh centuries, creatively assimilated the past as they shaped their future.

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Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. [Toronto, ON: s.n.]., 1986.

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Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. [Toronto, ON: s.n.], 1994.

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Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. [Ontario: s.n.], 1990.

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Capitoli di libri sul tema "Group music education"

Field, Ambrose. "Fostering effective group creativity". In Creative Teaching for Creative Learning in Higher Music Education, 240–54. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-18.

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Huhtinen-Hildén, Laura, e Jessica Pitt. "The Group as an Orchestra, Team and Learning Environment". In Taking a Learner-Centred Approach to Music Education, 74–88. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315526539-8.

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Koskela, Minja, Anna Kuoppamäki, Sidsel Karlsen e Heidi Westerlund. "The Paradox of Democracy in Popular Music Education: Intersectionalizing “Youth” Through Curriculum Analysis". In The Politics of Diversity in Music Education, 135–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_10.

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AbstractIn this chapter, we unpack the complex politics of popular music education (PME) in schools through an examination of the ways in which youth and youth culture are represented in the Finnish National Core Curricula (2004 and 2014). Interrogating commonly held conceptualizations of diversity in music education, we identify a paradox in school-based PME which, on the one hand, aims toward democratic classroom practice yet, on the other, neglects diversity by approaching youth as a homogenous group. Challenging common analytical points of departure in PME research, we argue that scholars and educators need to recognize the multiple and intersecting identities of students if PME is to afford them equal opportunities for participation. Overall, we suggest that through the analytical lens of intersectionality, PME may be better positioned to take into account students’ own experiences of inequalities, providing new perspectives on diversity at the policy level. Thus, intersectionality could provide a useful analytical frame in the process of furthering further democratic practice in the classroom.

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Varvarigou, Maria. "Nurturing Personal and Collaborative Creativity Through Group Playing by Ear from Recordings in Formal Music Education". In Artistic Thinking in the Schools, 175–93. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8993-1_10.

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Gould, Elizabeth. "Where Does Diversity Go Straight? Biopolitics, Queer of Color Critique, and Music Education". In The Politics of Diversity in Music Education, 151–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_11.

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AbstractDiversity discourses in music education have evolved from (white) liberalism of the 1990s that conceived difference in terms of dualisms such as insider/outsider to global neoliberalism currently in which sources of difference are interchangeable as long as the historicity of each remains occluded. In this way, so-called “diversity-relevant” groups, such as white queer people are positioned against non-white groups, straight or otherwise, in ways that support neoliberalism and contribute to violence against the latter. To ask where diversity goes straight assumes a place where it is not straight—if not exactly queer, with queer understood (in the context of race) as a “refusal to inherit” kinship relations in which queer(s) disappear(s). Whether conceived in terms of culture, race, (dis)ability, gender, and/or sexuality, diversity has become “all the rage” in music education and academic research generally. Theorizing diversity discourses in music education at their discursive limits, I argue that those limits are also where they also may be exceeded and demonstrate this through an example using queer of color critique to analyze interactions of sources of difference as a way to historicize and racialize “diversity” in music education.

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de-Miguel-Molina, María, e Virginia Santamarina-Campos. "Conclusions: Music as an Economic, Social, Cultural, Creative and Resilient Activity". In Music as Intangible Cultural Heritage, 139–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_9.

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AbstractMusic, like many cultural and creative industries, can be analysed from symbolic, political and economic dimensions. It is a vibrant, highly resilient sector that has continued to evolve over time from prehistory to the present. Moreover, the music industry has developed in lockstep with technology, creating fascinating business models since the inception of the Internet, forcing companies and artists to adapt continuously to the new environment. This is also related to music customers, who change their preferences as new genres and trends appear. Governments are well aware of the opportunities that music affords to local development and have created public policies that boost the sector. On the other hand, music has also proved its educational role, and its function as an identity builder, especially in local environments where music is present in many festivities in the shape of bands. Mediterranean locations have a rich tradition in this type of musical societies and groups which create a collective identity that is transmitted from one generation to the next. Finally, music has not been immune to the crisis caused by the pandemic, though it has once again shown resilience in this respect, adapting rapidly to the new economic, societal and educational challenges that are currently affecting the entire world.

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Conway, Colleen M. "Strategies for Active Learning in Music Classrooms". In Teaching Music in Higher Education, 175–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.003.0009.

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Chapter 9 provides a focus on learner-centered pedagogy and a move away from the transmission model of teaching leads to active learning. I open this chapter with an extended discussion of some of the various types of group work including cooperative as well as collaborative learning groups. Cooperative groups work together on a task that is most often presented or designed by the instructor whereas collaborative groups are often involved in task generation as well as completion. Strategies for grouping students as well as room set-up, planning for group work, and assessment of group activities are addressed. The second part of the chapter provides suggestions for specific types of problem-based learning including case-based teaching, games, and simulations.

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"Music Education, Cultural Capital, and Social Group Identity". In The Cultural Study of Music, 228–38. Routledge, 2012. http://dx.doi.org/10.4324/9780203149454-27.

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"Music Education, Cultural Capital, and Social Group Identity". In The Cultural Study of Music, 266–76. Routledge, 2013. http://dx.doi.org/10.4324/9780203821015-29.

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Matthews, Wendy K. "Music pedagogy for large group teaching". In Routledge International Handbook of Music Psychology in Education and the Community, 306–19. Routledge, 2021. http://dx.doi.org/10.4324/9780429295362-27.

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Atti di convegni sul tema "Group music education"

Calegario, Filipe, Giordano Cabral e Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.

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Vernia-Carrasco, Ana Mercedes. "Competency-based learning: Music education, the great forgotten". In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7473.

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Adapting to the European framework in education, without thinking about the approaches of UNESCO, assumed that there was no type of exclusion, neither by subjects nor by profiles, however, we find a clear void regarding the competencies that a professional of music must acquire, in their training and for their employability. Not only in the strictest areas such as the Conservatories, but also in elementary schools and at the University. Our work required the help of professionals from music schools, because current laws do not refer to work in the area of competences, except in some decrees where professional competences are mentioned, or in other cases, where reference is simply made to integrate the basic skills of primary schools. The results were a proposal of basic Competences in music, which could include both conservatories and music schools, regardless of the instrumental specialty, which is a first step to establish a criterion that unifies the criteria for this group of teachers.

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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training". In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.

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Gabnyte, Giedre. "Music Education Innovations as a Condition for Development of Non-formal Education: Learning in a Group". In 13th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2020. http://dx.doi.org/10.22616/reep.2020.006.

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SUDITU, MIHAELA. "Education for music & motion - as per the didactic discourse for primary education. Focus group analysis." In Psychology and the realities of the contemporary world. Romanian Society of Experimental Applied Psychology, 2016. http://dx.doi.org/10.15303/rjeap.2016.si1.a50.

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Moreira, Darlinda, e Gabriel Antão. "“Nobody is strange”: mobility and interculturality in higher education from the viewpoint of a group of Portuguese international music students". In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5329.

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The benefits of mobility are often related to the development of skills and competences on the adaptation to new environments and organizational forms, foreign languages, and cultures in general. In the specific case of the international students, mobility enhances the view of the institution of higher education as a global and intercultural learning space, which promotes the exchange of ideas, resources and opportunities for experimentation, global citizenship and professional opportunities. Nowadays we assist to a rising number of international students, a fact that deserves special attention and makes us turn our interest to what our own (Portuguese) international students believe as being important not only in their actual experience, but also relevant in its intercultural dimension and their academic and professional success. Henceforth, after theoretical considerations about mobility and the intercultural experiences amidst the internationalization of higher education institutions, our communication presents part of the results of a broader study focused on viewpoints and perspectives of a group of Portuguese international music students, about their intercultural experience in a foreign country ant its relationship with academic success.

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Corum, Kimberly, Kara Melike, Emma Talbot e Tatiana Ilina. "An analysis of students’ mathematical models for Music". In 42nd Meeting of the North American Chapter of the International Group for the Psychology of Mathematics Education. PMENA, 2020. http://dx.doi.org/10.51272/pmena.42.2020-146.

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Song, Zilong. "On Development and Change of Cucurbit Flute Music of the Dai Ethnic Group in Yunnan". In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.53.

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education". In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.

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"Study on Development of the Trans-Boundary Group Music in Yunnan Province under “The Belt and Road” Initiative". In 2018 International Conference on Social Sciences, Education and Management. Francis Academic Press, 2018. http://dx.doi.org/10.25236/socsem.2018.177.

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Rapporti di organizzazioni sul tema "Group music education"

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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