Instructional Strategies for Academic Courses

2020 ◽  
pp. 153-174
Author(s):  
Colleen M. Conway
Keyword(s):  
Music Education ◽  
Instructional Strategies ◽  
Music Theory ◽  
Academic Courses ◽  
Asking Questions ◽  
Student Questioning

Chapter 8 outlines strategies most commonly utilized in courses in music theory, musicology, composition, conducting, and music education. However, the suggestions for lecture, discussion, and asking questions may also provide useful information for applied instructors when considering studio class interactions. I begin the chapter with a presentation of information regarding lectures and discussion-based lessons and interactions. The second part of the chapter presents strategies for getting students to read and helping students to write. I conclude with questions for discussion and suggested activities. A key focus of the chapter is on student questioning, getting students to read, and helping students to write.

Successful AP Music Theory Instruction: A Case Study

2017 ◽  
Vol 36 (2) ◽  
pp. 53-61
Author(s):  
Nathan O. Buonviri
Keyword(s):  
Instructional Strategies ◽  
Advanced Placement ◽  
Music Theory ◽  
Qualitative Data ◽  
Music Educators ◽  
Asking Questions ◽  
Field Notes ◽  
Attention To Students ◽  
Placement Exam

The purpose of this case study was to examine the instructional approach of a highly successful Advanced Placement Music Theory teacher. I visited the participant’s class twice a week for 14 weeks, taking field notes, conducting interviews, and collecting instructional artifacts. Analysis of qualitative data revealed three main themes: classroom atmosphere, instructional strategies, and the Advanced Placement exam. The participant’s classroom atmosphere was built on effective pacing, student rapport, and an active, open learning environment. His instructional strategies included offering individual attention to students, asking questions to model thinking, and connecting sight to sound. He used the Advanced Placement exam as both an instructional guidepost and motivational tool. Implications for music educators include the need to focus on specific approaches conducive to successful theory teaching, which may share both similarities and differences with approaches they use when directing ensembles.

“When I Was at School, I Played All Classical Music”

2018 ◽  
pp. 33-38
Author(s):  
Vic Hobson
Keyword(s):  
Public Schools ◽  
Music Education ◽  
New Orleans ◽  
Music Theory ◽  
Classical Music ◽  
Elementary Years

This chapter explores Armstrong’s education in music at Abijah Fisk School. He learned music theory using the tonic sol-fa system that was taught in all New Orleans public schools. He sang songs from the Eleanor Smith Manual of Music (book 1). The program of music education in New Orleans was entirely vocal: there were no instrumental lessons. The music in the elementary years was sung in unison without part singing.

scholarly journals Erratum

2013 ◽  
Vol 62 (1) ◽  
pp. 100-100
Keyword(s):  
Music Education ◽  
Advanced Placement ◽  
Music Theory ◽  
Large Scale ◽  
Course Design ◽  
Standardized Test ◽  
Aural Skills ◽  
Processing Strategies ◽  
Melodic Dictation ◽  
Big Picture

Paney, A.S. & Buonviri, N.O. (2013). Teaching Melodic Dictation in Advanced Placement Music Theory. Journal of Research in Music Education, 61(4), 396–414. (Original DOI: 10.1177/0022429413508411 ) This article was published with an abstract containing errors made by the publisher during the production process. The abstract should read: In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants’ positive attitudes toward a standardized test and their concern for the students’ psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students’ difficulties with rhythmic notation also were found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students’ reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.

Music composition for iPad performance: Examining perspectives

2018 ◽  
Vol 11 (2) ◽  
pp. 183-195 ◽  
Author(s):  
Patricia E. Riley
Keyword(s):  
Qualitative Research ◽  
Music Education ◽  
Music Theory ◽  
Music Composition ◽  
Music Majors ◽  
Education Majors ◽  
Audience Member ◽  
Large Ensembles ◽  
Performance Examining ◽  
Music Education Majors

This qualitative research investigated a music composition created specifically for performance on iPads. It examined perspectives of the composers, performers and audience member participants. Composers were undergraduate music education majors with concentrations in music composition, performers were undergraduate music education majors, and audience members included music majors, composers, music theory professors and conductors of traditional large ensembles. Data included the notated composition and written reflection statements by the composers, performers and audience members. Reflection questions guided the statements, and included: how does composing for iPad instruments differ from composing for more traditional instruments? How do you feel performing on an iPad differs from performing on more traditional instruments? What were the challenges that you encountered and how did you respond to them? And, what did you like best and least about this composition and/or performance? The data were analysed for emergent themes, and the themes discussed.

Beyond music psychology

2012 ◽  
Author(s):  
Adam Ockelford
Keyword(s):  
Music Education ◽  
Music Theory ◽  
Music Psychology ◽  
Open Mind ◽  
Music Theory And Analysis ◽  
To Come

This article argues that music psychology overlaps with a number of other disciplines, including music education, therapy, ethnomusicology, and music theory and analysis. There are tensions in each case, but benefits too for those who are prepared to explore with an open mind. Ultimately, however, music psychology cannot be extended beyond the boundaries of its epistemological box, always granted that the sides are flexible and subject to change: indeed, such movement is likely to come about through the influence of adjacent disciplines.

An Overview of Optical Music Recognition in China

2011 ◽  
Vol 225-226 ◽  
pp. 223-227
Author(s):  
Gen Fang Chen ◽  
Wen Jun Zhang
Keyword(s):  
Image Processing ◽  
Pattern Recognition ◽  
Music Education ◽  
Music Theory ◽  
Contemporary Music ◽  
Digital Music ◽  
Musical Score ◽  
Optical Music Recognition ◽  
Research Status ◽  
Music Recognition

OMR (Optical Music Recognition) is a technology for digital musical score image processing and recognition by computer, which has broad applications in the digital music library, contemporary music education, music theory, music automatic classification, music and audio sync dissemination and etc. This paper first has a brief description of OMR research and focuses on describing the research of Chinese OMR literature, it represents the research status and results in China, then the paper pointes out that the target of OMR research in China must tend to Chinese traditional musical score image processing and pattern recognition.

scholarly journals Examining the relationship between the attitudes towards harmony courses and piano playing habits

2020 ◽  
Vol 15 (1) ◽  
pp. 112-126
Author(s):  
Hakan Bagci
Keyword(s):  
Data Collection ◽  
Music Education ◽  
Music Theory ◽  
Significant Difference ◽  
Piano Education ◽  
Education Performance ◽  
The Relationship ◽  
Academic Year ◽  
Primary Problem ◽  
Piano Playing

The primary problem of this study is to determine whether there is a significant relationship between the attitudes towards harmony courses and the piano playing habits of the students. In this study, a correlational survey model was employed. The population of this study consisted of students who are studying at music departments in Turkey during the academic year of 2019–2020 and the sample included 248 students from nine different universities and four different departments related to music (Music Education, Performance, Musicology and Turkish Music). For data collection purposes, the scale of attitudes towards harmony courses developed, the scale of piano playing habits developed and a questionnaire to determine the variables affecting students’ habits and attitudes developed by the researcher were used. There is no significant difference found between the students’ departments and their piano playing habits. The study revealed that students’ piano playing habits varied according to their personal instruments. Keywords: Attitudes, harmony education, music education, music theory, piano education.

scholarly journals Kitarske šole slovenskih avtorjev od Adolfa Gröbminga do Stanka Preka / Guitar Schools by Slovenian Authors from Adolf Gröbming to Stanko Prek

2021 ◽  
Vol 16 (33) ◽  
pp. 109-130
Author(s):  
Branislav Rauter
Keyword(s):  
Music Education ◽  
Music Theory ◽  
Musical Notation ◽  
Musical Knowledge ◽  
The 1960S ◽  
Guitar Technique

The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.

The Public Music Theory of George Bernard Shaw

2021 ◽  
Author(s):  
Nicole Biamonte
Keyword(s):  
Music Education ◽  
Music Theory ◽  
George Bernard Shaw ◽  
Late Nineteenth Century ◽  
Music Criticism ◽  
The Public ◽  
Musical Knowledge ◽  
Musical Understanding ◽  
Bernard Shaw ◽  
Technical Terms

George Bernard Shaw is best known today for his plays, but he first exercised his incisive wit as a drama and music critic in London, intermittently from 1876, regularly from 1888 to 1894, and intermittently again to the end of his life. Shaw explicitly intended to make his reviews both educational and accessible to the general public, combining performance critiques with broader considerations, including aspects of music theory and music education, and avoiding technical terms to the extent possible. Thus, his music criticism serves as an example of public music theory. This chapter surveys Shaw’s music-theoretic comments through this lens, analyzing what they demonstrate about his own musical understanding and underlying ideologies, the educational purpose of his reviews, and the level of musical knowledge he assumed on the part of his late nineteenth-century London readership.

scholarly journals Creation and development process of terms used in music education in Turkey

2020 ◽  
Vol 15 (4) ◽  
pp. 667-673
Author(s):  
Gokhan Cagirgan ◽  
Gun Elvan
Keyword(s):  
Music Education ◽  
Music Theory ◽  
Development Process ◽  
Written Language ◽  
The Other ◽  
Historical Process ◽  
Musical Notation ◽  
Interaction Processes ◽  
Turkish People ◽  
Education In Turkey

Societies have different ways of transferring the products they created within their own cultural structures by using the basic elements of music. We see that some societies use verbal transfer, some societies use written transfer, while the other societies use both means of transfer. The signs, which are the basis of music theory and the tools of written language, are called "notes", and the text created with these signs is called "musical notation". This study was conducted to examine how music education terms emerged in the historical process, the beginning of using musical notation due to the need for notes among Turkish people, and the creation and development process of terms used in music education in Turkey. For this purpose, the development and dissemination of music theory from past to present were examined by a literature review, and the different opinions and historical information found in the literature were presented together. Also, the introduction of Classical Western Music to Turkish people, their interaction processes, and the changes that occurred regarding the musical sense as a result of the Westernization movements were examined in the study. In this process, particularly the developments in European music had a worldwide influence   Keywords: Music Education, Musical Terms, Process.

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