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Articoli di riviste sul tema "Woman music teachers"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2025

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1

Filocamo, Gioia. "Hungry women: sin and rebellion through food and music in the early modern era." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 101–13. http://dx.doi.org/10.30674/scripta.67449.

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Longing for food has always had different implications for men and women: associated with power and strength for men, it tends to have a worrying proximity to sexual pleasure for women. Showing an interesting parallelism throughout the Cinquecento, Italian humanists and teachers insisted on forbidding women music and gluttony. Food and music were both considered dangerous stimulants for the female senses, and every woman was encouraged to consider herself as a kind of food to be offered to the only human beings authorized to feel and satisfy desires: men and babies. Women could properly expres

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2

Janicka, Jowita. "„Lubiły szczególniej muzykę, która część ich wychowania stanowiła”. Domowa edukacja muzyczna polskich szlachcianek epoki oświecenia." Studia Edukacyjne, no. 60 (March 15, 2021): 263–78. http://dx.doi.org/10.14746/se.2021.60.14.

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The education and upbringing of youth was one of the main issues considered by the aristocracy of Polish-Lithuanian Commonwealth in the age of the Enlightenment. A significant part of this current was music education (learning to play the instruments, singing and dancing) acknowledged as compulsory for women with reading, writing, learning foreign languages and history altogether. Every well-educated woman aristocrat could elegantly play the instrument and sing. They were gaining that knowledge primarily at home from foreign and domestic teachers. Despite the popularity of such education and c

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3

Jane, Philip. "The Impact of Professional Music Diplomas on Women Music Teachers in Early Twentieth-Century New Zealand." Journal of Historical Research in Music Education 39, no. 2 (2017): 148–70. http://dx.doi.org/10.1177/1536600617690003.

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At the end of the nineteenth century, music was an accomplishment that many women were encouraged to pursue. For some, this was merely an additional “ornament” to enhance marriage prospects, but a growing number took the opportunity to turn musical ability into a career option. A small group of musically educated women in New Zealand at the start of the twentieth century is studied. At this time, two British examining bodies, Trinity College, London, and the Associated Board, introduced professional diplomas as the culmination of their graded music exams. In their first five years, forty-five

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Fischer-Croneis, Sarah H. "Career Intentions and Experiences of Pre- and In-Service Female Band Teachers." Journal of Research in Music Education 64, no. 2 (2016): 179–201. http://dx.doi.org/10.1177/0022429416650167.

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The purpose of this study was to examine pre- and in-service female band teachers’ perspectives regarding their experiences in realizing their professional goals. Domains guiding this inquiry included (a) gaining entry into the profession of band teaching, (b) navigating the profession, and (c) gender issues. Findings from this multiple case study indicated that numerous outside factors affected the career paths of the participants, resulting in all of the women pursuing elementary, middle, or multi–grade level jobs. These factors included (a) the positions available at the time of the initial

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Tongwei, Pan. "Love, Suffering and the Fight for Freedom: the “New Woman” Image in Nie Er’s Vocal Music." Университетский научный журнал, no. 75 (August 25, 2023): 118–24. http://dx.doi.org/10.25807/22225064_2023_75_118.

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The article is devoted to the “new woman” image in the vocal music of the Chinese composer Nie Er, the founder of Chinese proletarian music. The heyday of his work was in the 1930s, when a large-scale anti-Japanese anti-imperialist struggle took place in China. Nie Er, an active supporter of national salvation, translated national liberation ideas and the spirit of struggle into mass patriotic and lyrical songs. This also applies to songs dedicated to the fate of Chinese women. From simple peasants to educated teachers, the women in Er’s songs, even suffering from injustice and oppression, nev

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Morales Villar, Maria del Coral, and Mercedes Castillo Ferreira. "From prima donna to teacher. Two female pioneers in singing education in the Nineteenth Century: Virginia Boccabadati and Matilde Esteban." Multidisciplinary Journal of Gender Studies 11, no. 2 (2022): 100–123. http://dx.doi.org/10.17583/generos.9045.

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During the 19th-century, the teaching of singing became a career opportunity for the women who had worked in the lyrical stage. The core objective of this article is to reclaim the role of women in music education by studying two prime donnewho, after building a career as successful professional singers, became singing teachers and were pioneers in publishing their methods for female voice education. This research is based on the review and analysis of documentation, mostly historical. By looking at the biographies of the Italian singer, Virginia Boccabadati (1830-1922) and the Spanish s

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7

Tolley, Kim. "Music Teachers in the North Carolina Education Market, 1800-1840." Social Science History 32, no. 1 (2008): 75–106. http://dx.doi.org/10.1017/s0145553200013936.

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Social historians have demonstrated that although men comprised the majority of teachers in North Carolina schools and academies during the early national period, women predominated by the end of the nineteenth century. This study concludes that among the music teachers who taught in academies and venture schools, women gained a majority decades earlier. In an effort to understand some of the underlying social processes that contributed to this shift, the following discussion analyzes the changing proportion of men and women in a sample of 65 music teachers, tracks the tuition they charged in

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8

Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.

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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in th

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Sullivan, Jill M. "Women Music Teachers as Military Band Directors during World War II." Journal of Historical Research in Music Education 39, no. 1 (2017): 78–105. http://dx.doi.org/10.1177/1536600616665625.

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The purpose of this study was to determine how women music teachers became the United States’ first female military band directors. Interviews with seventy-nine World War II military bandswomen revealed that seven of the ten chosen female directors were music teachers prior to their enlistment in the Army, Coast Guard, or Marines—band and orchestra teachers, music supervisors, and a college professor. Six of those seven directors are included in this study. Research questions pertained to their childhood music education, formal schooling, music-teacher employment, why they quit teaching to enl

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Wing, Cheong Ku. "Understanding the Pull Motivations of Malaysian Women Music Teachers as Music Entrepreneurs." Malaysian Journal of Music 7 (March 2, 2018): 78–99. http://dx.doi.org/10.37134/mjm.vol7.5.2018.

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11

Fjellman-Wiklund, Anncristine, Christine Brulin, and Gunnevi Sundelin. "Physical and Psychosocial Work-related Risk Factors Associated with Neck–Shoulder Discomfort in Male and Female Music Teachers." Medical Problems of Performing Artists 18, no. 1 (2003): 33–41. http://dx.doi.org/10.21091/mppa.2003.1007.

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The aim of this cross-sectional study was to investigate the relationship between individual, physical, and psychosocial aspects of the work environment and musculoskeletal discomfort in the neck-shoulder region, in male and female music teachers. A questionnaire was distributed by mail that was based on the Standardised Nordic Questionnaire on work-related musculoskeletal disorders (WMSD) and the demand-control-support questionnaire on psychosocial work factors. The questionnaire included additional items on playing habits, weekly amount of performing and practice time, physical exercise duri

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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, return

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Edling, Cecilia Wahlström, and Anncristine Fjellman-Wiklund. "Musculoskeletal Disorders and Asymmetric Playing Postures of the Upper Extremity and Back in Music Teachers: A Pilot Study." Medical Problems of Performing Artists 24, no. 3 (2009): 113–18. http://dx.doi.org/10.21091/mppa.2009.3025.

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To play a musical instrument, such as the violin or flute, requires controlled, adequate movements performed by the arm, hand, and fingers in an asymmetric playing posture. The movements are monotonous and often of long duration, involving static and repetitive muscle work of the upper extremity and neck-shoulder muscles. This situation may lead to an increased risk of contracting musculoskeletal problems. The aim of this cross-sectional study was to investigate the relationship between physical workload, defined as playing posture and playing time per week, and musculoskeletal disorders in mu

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Jeremić, Mirko, and Nada Ivanović-O'brajen. "The creative work of women composers in 20th-century Serbian Music in general Music Education." Inovacije u nastavi 36, no. 4 (2023): 80–94. http://dx.doi.org/10.5937/inovacije2304080j.

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The Curriculum for Music Education in primary and high schools includes Serbian music in the 20th century, both modern and postmodern, as a teaching topic. The opus of the composers such as Ludmila Frajt, Ljubica Marić, and Isidora Žebeljan has left an indelible mark on Serbian music and has become part of the world's musical heritage. However, their creative work is not adequately represented in the teaching practice of primary and secondary schools, nor in the Curriculum that prescribes and suggests the selection of compositions for singing and listening. A special emphasis is placed on thei

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15

Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.

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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, al

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Silveira, Jason M., and Sarah C. Goff. "Music Teachers’ Attitudes Toward Transgender Students and Supportive School Practices." Journal of Research in Music Education 64, no. 2 (2016): 138–58. http://dx.doi.org/10.1177/0022429416647048.

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The purpose of this study was to measure music teachers’ attitudes toward transgender individuals and toward school practices that support transgender students. Participants ( N = 612) included men and women who teach a variety of music subjects in elementary, middle, and high schools, in urban, suburban, and rural areas. An online questionnaire was distributed to participants representing 28 states in the United States. The questionnaire consisted of demographic information and several attitudinal statements designed to measure music teachers’ attitudes toward transgender individuals (MT-ATTI

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Lesser, Andrew. "Toward a New Vision of Equality: Perspectives of Male Teachers in the Elementary Music Classroom." Update: Applications of Research in Music Education 36, no. 1 (2016): 20–27. http://dx.doi.org/10.1177/8755123316661854.

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Research concerning men working in predominantly female environments has suggested that stereotyping can occur when gender norms are violated, such as men teaching at the elementary school level. The present study investigated the presence and perspectives of male elementary school music teachers in specific geographical regions of the Northeastern United States. A qualitative analysis of six public school districts representing multiple states in the Northeastern United States revealed that women still hold a majority among elementary music teachers. Interviews were then conducted with three

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J Julia, Sandie Gunara, Tedi Supriyadi, et al. "The Effect of Training Participation on Self-efficacy and Innovative Work Activities of Non-Music Specialist Teachers." International Research Journal of Multidisciplinary Scope 06, no. 02 (2025): 241–54. https://doi.org/10.47857/irjms.2025.v06i02.03563.

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To enhance elementary school teachers’ skills in music, they are required to participate in various music-related training programs as part of their professional development. This study aims to analyse the relationship between these training programs and the self-efficacy and innovative work activities of music teachers in elementary schools. A quantitative, correlational research design was used, involving 51 elementary school teachers in the Sumedang Regency, West Java Province, Indonesia, of whom 19 were men and 32 were women. The results of the study show the following findings. First, whi

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Nurul Aini, Eny Maulita Purnama Sari, and Ahmad Efendi. "Realisation of Music Teacher's Complaint Act with Gender Perspective in Solo Song WhatsApp Group." Attractive : Innovative Education Journal 6, no. 3 (2024): 289–301. https://doi.org/10.51278/aj.v6i3.1327.

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This qualitative study applies a pragmatic approach that investigates the complaining speech act (CSA) used by male and female music teachers based on the substansion of the Solo Song Competition in WhatsApp Group. Data were collected from the utterances of 13 participants using note-taking. The results indicated several findings. First, male music teachers have the highest preference for using the expression of disapproval with annoyance in the substance of after TM. In contrast, female music teachers have the highest preference for using the hint and the blame with explicit blame for person

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Cronenberg, Stephanie, and Brandon Williams. "Standing in the Gap: Middle Level Music Learning in the United States and Its Territories." Bulletin of the Council for Research in Music Education, no. 237 (July 1, 2023): 23–44. http://dx.doi.org/10.5406/21627223.237.02.

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Abstract All students deserve access to quality music education and qualified music teachers prepared to teach them; however, there are some gaps in the field's knowledge of how all students across the United States are served in music education. One such knowledge gap is focused on middle level (fifth through eighth grade) music learning, a critical period in both student and program development. This national survey aimed to understand the status of middle level music education at public and public charter schools throughout the United States and its territories during the 2020–2021 school y

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Nikšić, Naka. "Methodical applicability of playing on the def [tambourine] in the music education." Metodicka praksa 28, no. 1 (2025): 126–40. https://doi.org/10.5937/metpra28-54883.

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Until the 1970s, women in the Novi Pazar region partied separately from men. On that occasion, in accordance with the customs of this environment, they could only be cheered by women who played the def [tambourine]. This instrument was accompanied by singing and playing during posedak/poijelo [evening visit to friends], džumbus [party], krna [a party where a girl prepares for marriage by painting parts of her body]. This form of music disappeared over time, but in the last twenty years, it has been revived and today it is an essential element of socalled bachelorette parties. Contemporary scie

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Littleton, Danette. "Song lines and soundtracks: Autoethnographic narratives across four generations." Journal of Popular Music Education 6, no. 1 (2022): 101–16. http://dx.doi.org/10.1386/jpme_00077_1.

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Music is personal. While self-reflection is common to performers, composers, teachers and researchers, there exists a musical dimension ‐ the source of these experiences ‐ wanting recognition. These experiences, I suggest, are the personal memories of one’s deep involvement with music. Reported here are rich narratives across four generations of women in my family. Each one demonstrates separate cultural identities and influences according to her musical heritage, religious traditions, upbringing and access to music at a given time, place and environment. Each one’s story reveals a profound se

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Littleton, Danette. "Song lines and soundtracks: Autoethnographic narratives across four generations." Journal of Popular Music Education 6, no. 1 (2022): 101–16. http://dx.doi.org/10.1386/jpme_00077_1.

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Abstract (sommario):

Music is personal. While self-reflection is common to performers, composers, teachers and researchers, there exists a musical dimension ‐ the source of these experiences ‐ wanting recognition. These experiences, I suggest, are the personal memories of one’s deep involvement with music. Reported here are rich narratives across four generations of women in my family. Each one demonstrates separate cultural identities and influences according to her musical heritage, religious traditions, upbringing and access to music at a given time, place and environment. Each one’s story reveals a profound se

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Pomerleau Turcotte, Justine, Maria Teresa Moreno Sala, and Francis Dubé. "Factors Influencing Technology Use in Aural Skills Lessons." Revue musicale OICRM 4, no. 1 (2017): 1–16. http://dx.doi.org/10.7202/1040297ar.

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In North America, aural skills (as) are usually taught to children during the instrumental music lessons. While learning musical dictation and sight-singing can be difficult for some learners, the use of appropriate technological tools could facilitate the process. However, the use of information and communication technologies (ict) by music teachers in aural skills instruction to children have not been documented. An online survey was conducted in the Province of Quebec (Canada) in order to answer the following questions: 1) To what extent do instrumental music teachers use ict when teaching

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Özevin, Banu. "Music Class and Abuse." Athens Journal of Education 9, no. 4 (2022): 575–92. http://dx.doi.org/10.30958/aje.9-4-3.

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It is important for the teacher, who is one of the main actors in the cognitive, mental and psychological development of their students, to create a safe educational environment. However the state in Turkey has received reports that have found abusive behavior by some teachers. The main objective of this study is to question the existence of abuse by music teachers. The participants of the study consisted of 902 students studying in different Faculty of Education departments in Turkey. The research is a descriptive study and employed a survey model. The data were collected through an “Abuse in

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Howe, Sondra Wieland. "Swiss-German Music Books in the Mason-McConathy Collection: Accounts from Europe to the United States." Journal of Research in Music Education 48, no. 1 (2000): 26–38. http://dx.doi.org/10.2307/3345454.

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This article describes an examination of the Swiss-German music books in the Luther Whiting Mason—Osbourne McConathy Collection, undertaken to learn about music education in nineteenth-century Switzerland and its influence on American music education. Pfeiffer and Nägeli introduced Pestalozzi's ideas to Swiss schools, teaching the elements of music separately and introducing sounds before symbols. Swiss educators in the mid-1800s published numerous songbooks and teachers' manuals for an expanding school system. Foreign travelers praised the teaching of Schäublin in Basel. In Zurich, a cultural

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Green, Lucy. "Music, Gender and Education A Report on Some Exploratory Research." British Journal of Music Education 10, no. 3 (1993): 219–53. http://dx.doi.org/10.1017/s0265051700001789.

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Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through interpreting the findings of some questionnaire research, which was intended to tap teachers' common-sense and sometimes unspoken assumptions about gender, music and education. A considerable amount of both overt and implicit consensus between teachers is revealed. Questions are raised about the implications of such a consensus, both for the musical education of children, and

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Nafie, Juan Ardiles. "Pemaknaan Profesi Perempuan Dalam Video Musik Lokal Di Nusa Tenggara Timur." Jurnal Communio : Jurnal Jurusan Ilmu Komunikasi 9, no. 1 (2020): 1538–63. http://dx.doi.org/10.35508/jikom.v9i1.2311.

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The appearance of women in music videos is a site that shows various ideologies which influence the thinking of a society about the construction of women, including the construction of the profession of women. The appearance of women is inseparable from values and is not solely in the interests of women but there are certain interests. This study wants to see whether the representation of the women's profession in the local music video shows strength in women or leads to a new repression for local women in East Nusa Tenggara. The aims of this study are to provide an overview of the meani

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Mills, Janet, and Jan Smith. "Teachers' beliefs about effective instrumental teaching in schools and higher education." British Journal of Music Education 20, no. 1 (2003): 5–27. http://dx.doi.org/10.1017/s0265051702005260.

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What makes instrumental teaching, including vocal teaching, effective? And is this the same in schools and in higher education (HE), including conservatoires? We asked 134 local education authority (LEA) instrumental teachers to state what they believe makes good teaching in schools and in HE, and to list the strengths and weaknesses of the teaching that they recall receiving as students. We found that many teachers believe that good teaching in schools differs from good teaching in HE. There are differences in the beliefs held by teachers with and without qualified teacher status (QTS), and a

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Talbot, Brent C., and Donald M. Taylor. "Queer Futurity and Afrofuturism: Enacting Emancipatory Utopias in Music Education." Philosophy of Music Education Review 31, no. 1 (2023): 43–58. http://dx.doi.org/10.2979/pme.2023.a885191.

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Abstract: Inspired by the life and works of GrammyAward® winning artist, Lil Nas X, we explore ways a young Black queer musician has enacted emancipatory utopias to disrupt dominant cultural modes of being—offering unapologetic expressions and expansions of race, gender, and sexual identity. In this paper, we draw upon José Esteban Muñoz and Ytasha Womak to consider how utopian thinking through the lenses of queer futurity and Afrofuturism provides a way to dismantle the hegemonic and proleptic trappings of music education and contemplate how music learners and teachers might enact emancipator

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McArton, Lloyd. "Imposter syndrome: A case study on the experiences and perspectives of a teenage feminist indie band." Journal of Popular Music Education 6, no. 2 (2022): 165–81. http://dx.doi.org/10.1386/jpme_00082_1.

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This research article features the perspectives of two young women who create and perform as an indie band together. Their stories demonstrate a stark contrast between their relative success in this early stage of their career and the obstacles that they continue to face. Linked to an underlying feeling of imposter syndrome, they reveal an ongoing struggle with confidence as musicians, resentment of the gentrification and closure of music venues, unsupportive high school teachers and administration and age-related barriers to the indie music scene. Encounters with sexism and ageism within the

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Russell, Dave. "Key Workers: Toward an Occupational History of the Private Music Teacher in England and Wales, c.1861–c.1921." Royal Musical Association Research Chronicle 47 (2016): 145–72. http://dx.doi.org/10.1080/14723808.2016.1140369.

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Making particular use of material drawn from the Census of England and Wales, this article confirms that music teaching was above all an urban activity, increasingly dominated by women, albeit with some local variation, and that the highest provision of teaching was invariably in middle-class areas. Seaside resorts and suburbia were especially prominent market locations by the early twentieth century, with the south-east particularly favoured. The often-derided part-time teacher is shown to have been a key figure in working-class communities. While teachers showed little interest in formal pro

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Öner, Onur. "Music in Early Twentieth-Century Istanbul." Archiv orientální 89, no. 1 (2021): 63–84. http://dx.doi.org/10.47979/aror.j.89.1.63-84.

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This study addresses the social history of music in early twentieth-century Ottoman Istanbul. The paper argues that private music schools were at the center of transformations in music and that their history is profoundly related to the political crises the Ottoman state experienced after the turn of the twentieth century. More precisely, by approaching the Ottoman bureaucracy from a musical perspective, the paper tries to link the reorganization of the Ottoman bureaucracy in 1909 with the emergence of private music schools in Istanbul. To explore the process, the paper follows some official f

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Borgström Källén, Carina Lena Marie, and Birgitta Sandström. "Kropp, blick och plats – konstruktioner av dans- och vokalundervisning." Educare - vetenskapliga skrifter, no. 2 (June 20, 2019): 73–92. http://dx.doi.org/10.24834/educare.2019.2.5.

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By focusing on dance and on the voice as a music instrument, and applying a gender perspective, this article problematizes constructions of dance and music education – arenas where girls and women are in the majority. The result is based on the meta-analysis of a common issue found in four qualitative studies, three conducted at the aesthetic programs at upper-secondary schools in Sweden and one conducted in higher music education. The studies were produced through participatory observation, video-documented teaching situations, discussions with teachers about critical incidents, focus group d

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Bernabé-Villodre, Mª del Mar, and Vladimir E. Martínez-Bello. "Analysis of gender, age and disability representation in music education textbooks: A research update." International Journal of Music Education 36, no. 4 (2018): 494–508. http://dx.doi.org/10.1177/0255761418763900.

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According to International and European Law, teachers are encouraged to analyse, challenge and to help to eliminate sexist stereotypes and distortions in curricular materials. We aimed to characterize and compare the efficacy of implementation of the gender equality-based approach in the Spanish educational system, through a content analysis of the illustrations in music education (ME) textbooks following a coding scheme constructed by the research team according to guidelines from previous studies about the depiction of women and girls in ME textbooks during two periods of Spanish democracy:

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Lewis, Amy B. "Dreaming Out Loud: Four Music Educators Dream for the Future of Music Education." Bulletin of the Council for Research in Music Education, no. 232 (April 1, 2022): 64–80. http://dx.doi.org/10.5406/21627223.232.04.

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Abstract In order to hold hope for a future music education profession that addresses racial inequities in music teaching, music educators must possess the tools and concepts needed to discuss race and racism. This research specifically explores how four music educators, informed by critical race theory, dream for the future of music education. Two participants identify as cisgender women; one teaches middle school band (Beth) and the other high school band (Angela). The other two participants identify as cisgender men; one teaches elementary general music (Jesse) and the other high school bea

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Herrera Torres, Lucía, Rafael Enrique Buitrago Bonilla, and Aida Karina Ávila Moreno. "Empatía en futuros docentes de la Universidad Pedagógica y Tecnológica de Colombia." Journal of New Approaches in Educational Research 6, no. 1 (2016): 30–37. http://dx.doi.org/10.7821/naer.2016.1.136.

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<p class="AbstractText">This study analyzes cognitive and emotional empathy in students who started their training at the Education Science Faculty of the Pedagogical and Technological University of Colombia. The sample was formed by 317 students enrolled in the study programs of Preschool, Plastic Arts, Natural Sciences, Physical Education, Philosophy, Computer Science, Foreign Languages, Mathematics, Music, Psychopedagogy, and Social Sciences. The Cognitive and Affective Empathy Scale (TECA for its Spanish initials) was used to collect data. Both the reliability of TECA and its constru

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Jiang, Huanru. "Teaching Design of Who Says Women Enjoy Leisure from the Perspective of Ideological and Political Education." Journal of Education and Educational Research 12, no. 1 (2025): 104–9. https://doi.org/10.54097/xmjqvd56.

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Compulsory Education Art Curriculum Standards (2022 edition) emphasizes that art curriculum should be based on moral education as the fundamental task, and junior high school music education as an important gateway to moral education in middle school, exploring the ideological and political elements of music curriculum is a far-reaching and significant work. Through research, it is advantageous to promote ideological and political education in the opera art course. The opera art contains excellent traditional music culture, condenses the traditional virtues of the Chinese nation, and integrate

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Pellegrino, Kristen, Julie Derges Kastner, Jill Reese, and Heather A. Russell. "Examining the long-term impact of participating in a professional development community of music teacher educators in the USA: An anchor through turbulent transitions." International Journal of Music Education 36, no. 2 (2017): 145–59. http://dx.doi.org/10.1177/0255761417704214.

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Peer mentoring and participating in professional development communities (PDCs) have been documented as supporting individuals through the transition into the teacher educator profession. However, Gallagher, Griffin, Parker, Kitchen, and Figg (2011) suggested future researchers examine the lasting impact of participating in PDCs. The purpose of this study was to explore and describe the long-term impact of participating in a PDC of music teacher educators. We, as four participant-researchers and one participant, were five early-career women music teacher educators in tenure-track positions at

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Madsen, Clifford K., and Carl B. Hancock. "Support for Music Education: A Case Study of Issues Concerning Teacher Retention and Attrition." Journal of Research in Music Education 50, no. 1 (2002): 6–19. http://dx.doi.org/10.2307/3345689.

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This study is an investigation of several issues relating to teacher retention and attrition. In the spring of 1995, a questionnaire was sent to 225 certified teachers who had all finished a BME during the past 10 years and graduated from the same university. Results indicated that of the senders of 137 returned responses, 24 (17.5%) had chosen not to teach at that time. Specific questions concerned demographic data including years of teaching, area of specialization, amount of professional development, and especially the degree of perceived support received from administration, school, and pa

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Appiah, Kofi Nyantakyi, Emmanuel Aboagye, and Daniel Darkwa Mensah. "Students’ Perception of Integration of Physical Education, Music, and Dance (PEMD) as a Course in Colleges of Education in Ghana." European Journal of Education and Pedagogy 4, no. 2 (2023): 237–45. http://dx.doi.org/10.24018/ejedu.2023.4.2.627.

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The integration of courses (subjects) is currently trending in all facets of the educational curriculum. Therefore, studies must be done to holistically look into the impacts and perceptions of teachers and learners on the integration of courses in our educational systems. This paper examined students’ perception of the combination of Physical Education and Music and Dance as an integrated course in colleges of education in Ghana. Semi-structured interviews were used to collect data from 10 purposively sampled students (five women and five men) in two strategically selected colleges of educati

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Ziemba, Anita. "Ways of spending free time by teachers of physical education in Tarnów." Health Promotion & Physical Activity 7, no. 2 (2019): 18–22. http://dx.doi.org/10.5604/01.3001.0013.2755.

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Aim of the study: The aim of the work was to conduct research in the field of interests and their impact on spending free time by physical education teachers teaching at schools in Tarnów. Material and methods: The research was carried out in 2018 among 30 teachers in the 30–50 age group, teaching physical education in primary schools, junior high schools and upper secondary schools in Tarnow, taking part in thematic workshops. The research was carried out by means of a diagnostic survey, and a survey technique was used to obtain the necessary information and data. Results: The surveyed PE tea

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Westerlund, Heidi, and Heidi Partti. "A cosmopolitan culture-bearer as activist: Striving for gender inclusion in Nepali music education." International Journal of Music Education 36, no. 4 (2018): 533–46. http://dx.doi.org/10.1177/0255761418771094.

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Although music education scholars have increasingly advised teachers to take heed of values, principles, and strategies of musical practices outside of school, very little has been written in music education regarding the ideological underpinnings of musical practices in these contexts. This article argues that musical practices outside of school do not necessarily provide ideal models to be directly applied in the music classroom, but need to be critically examined and transformed to better align with global imperatives such as inclusiveness. In addressing the imbalance between “inauthentic”

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İZGİ TOPALAK, Şefika. "MUSIC AND ART TEACHER CANDIDATES ATTITUDES DIRECTED TO VIOLENCE AGAINST WOMEN IN THE NAME OF HONOR ( KTU SAMPLE )." INTERNATIONAL REFEREED JOURNAL OF HUMANITIES AND ACADEMIC SCIENCES 3, no. 8 (2014): 17. http://dx.doi.org/10.17368/uhbab.201488868.

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Schmidt, Charles P., Stephen F. Zdzinski, and Dennis L. Ballard. "Motivation Orientations, Academic Achievement, and Career Goals of Undergraduate Music Education Majors." Journal of Research in Music Education 54, no. 2 (2006): 138–53. http://dx.doi.org/10.1177/002242940605400205.

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This study is an examination of motivation orientations (mastery, intrinsic, cooperative, individual, competition, ego, approach success, avoid failure, hypercompetition, personal development competition) and musical self-concept in relation to measures of academic achievement and career goals of preservice music teachers. The research questions addressed (a) relations among motivation and self-concept variables and their underlying factors, and (b) relations between the motivation and self-concept variables and academic achievement, class level, sex, and immediate and long-term career goals.

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Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.

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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the

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Gülbahçe, Arzu, Taner Çalmaşur, and Erdoğan Tozoğlu. "Analysis of the Communication Levels of the Students Studying in Music Education and Preschool Education in Terms of Music and Different Variables." Journal of Education and Training Studies 7, no. 3S (2019): 120. http://dx.doi.org/10.11114/jets.v7i3s.4163.

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The aim of this study was to investigate the communication levels of the students who are studying in music education and preschool education in terms of music and different variables. The universe of the research is composed of students studying in the music education and preschool Department of Ataturk University Kazım Karabekir Faculty of Education in 2017-2018 academic year. The sample group consists of 237 people, 128 women and 109 men, who were educated in music education and preschool education.In this study, “communication skills inventory” developed by ersanlı and balci (1998) was use

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Bradley, John, Frances Devlin-Glass, and Elizabeth Mackinlay. "Diwurruwurru: Towards a New Kind of Two-Way Classroom." Australian Journal of Indigenous Education 27, no. 2 (1999): 24–26. http://dx.doi.org/10.1017/s1326011100600546.

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A project is currently underway at http://arts.deakin.edu.au which is innovative on a number of fronts. It has multiple beginnings: in the proactive, as culture dissemination work of a number of Yanyuwa and Garrwa women, who proclaimed in the white man’s world that they were ‘bosses themselves’ (Gale 1983) and who in various ways have sought to bring their culture to the attention of the wider world. This has been accomplished through a prize-winning (Atom Australian Teachers of Media awards in 1991) film, Buwarrala Akarriya: Journey East (1989), of are-enacted ritual foot-walk in 1988 from Bo

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van der Geest, Sjaak. "Orphans in Highlife: An Anthropological Interpretation." History in Africa 31 (2004): 425–40. http://dx.doi.org/10.1017/s0361541300003582.

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In 1971 and 1973 I carried out anthropological fieldwork in Kwahu-Tafo, a rural town of about 5,000 inhabitants on the Kwahu plateau in the Eastern Region of Ghana. The first research project was a case study of the family I was staying with; the second was on ideas and practices concerning sex and birth control. As usual in anthropological research, my attention was drawn to many other things around me. One of these was Highlife. This short essay discusses the texts of some Highlife songs, which intriguingly related to my experiences in the field.It was impossible not to be struck by the impo

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Musser, Jordan. "Carl Czerny's Mechanical Reproductions." Journal of the American Musicological Society 72, no. 2 (2019): 363–429. http://dx.doi.org/10.1525/jams.2019.72.2.363.

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Abstract (sommario):

This article reassesses the “mechanical” style of playing featured in Carl Czerny's pedagogical works and keyboard arrangements—specifically, the Complete Theoretical and Practical Piano Forte School, op. 500 (1839), its supplementary text Letters to a Young Lady (ca. 1840), and the four-hand transcription of Beethoven's Symphony no. 9 in D Minor, op. 125 (the “Choral”). The first part of the article situates opus 500 within the larger pedagogical milieu of Biedermeier music culture and Johann Heinrich Pestalozzi's progressivist educational reforms, exploring the way it tasked predominantly wo

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