Eliciting Artistry

2021 ◽  
pp. 60-66
Author(s):  
Mary Ellen Pinzino
Keyword(s):  
Music Education ◽  
Teaching Techniques ◽  
Empowering Teachers ◽  
Musical Context

Chapter 4 addresses teaching techniques that draw artistry out of children. It describes the tender yet robust nature of children’s artistry and advises that how teachers prompt artistry can draw it out of children or send it into its shell. It identifies aspects of the musical context that are necessary for children’s artistry to thrive and encourages teachers to create the emotional as well as musical context within which children’s artistry can flourish. It also offers techniques for prompting the musical mind so that teachers can most effectively communicate with a developing sense of meter and sense of tonality, directing children’s mindset musically as well as emotionally for developing artistry. This chapter facilitates the application of concepts from previous chapters and builds on the motivation generated throughout this book, empowering teachers to uncover the artistry in their own classrooms and children’s choruses, and to champion children’s artistry in the field of music education.

Absolute Pitch and Relative Pitch in Music Students in the East and the West

2018 ◽  
Vol 36 (2) ◽  
pp. 135-155 ◽  
Author(s):  
Ken'ichi Miyazaki ◽  
Andrzej Rakowski ◽  
Sylwia Makomaska ◽  
Cong Jiang ◽  
Minoru Tsuzaki ◽  
...  
Keyword(s):  
Music Education ◽  
East Asian ◽  
Absolute Pitch ◽  
Music Students ◽  
Asian Countries ◽  
Japanese Students ◽  
Relative Pitch ◽  
Cultural Conditions ◽  
The Usa ◽  
Musical Context

Absolute pitch (AP)—an ability to identify an isolated pitch without musical context—is commonly believed to be a valuable ability for musicians. However, relative pitch (RP)—an ability to perceive pitch relations—is more important in most musical contexts. In this study, music students in East Asian and Western countries (Japan, China, Poland, Germany, and USA) were tested on AP and RP abilities. In the AP test, 60 single tones were presented in a quasirandom order over a five-octave range. In the RP test, ascending musical intervals from 1 to 11 semitones were presented in four different keys. Participants wrote down note names in the AP test and scale-degree names or musical interval names in the RP test. The conservatory-level Japanese students showed the highest AP performance and more than half of them were classified as accurate AP possessors, but only 10% were classified as accurate RP possessors. In contrast, only a small percentage of participants from Poland, Germany, and the USA were identified as accurate AP possessors, whereas many more were accurate RP possessors. Participants from China were typically intermediate on both measures. These noticeable contrasts between AP and RP performance in different countries suggest influences of the underlying socio-cultural conditions, presumably relating to music education. Given the importance of RP in music, the results suggest that more emphasis should be place on RP training, particularly in East Asian countries.

Implementing the Mixed Instrumental Ensemble Practice in Japan

2016 ◽  
pp. 188-212 ◽  
Author(s):  
Shizuka Sutani ◽  
Taichi Akutsu ◽  
Richard K. Gordon
Keyword(s):  
Music Education ◽  
Classroom Interaction ◽  
Musical Instruments ◽  
Social Phenomenon ◽  
Music Learning ◽  
Instrumental Ensemble ◽  
Affective Component ◽  
Human Practice ◽  
Musical Context ◽  
Flow Experiences

This chapter investigates the cases of implementing the mixed instrumental ensemble practice in the field of music education in Japan; it rests on the believe that considering music as social phenomenon and human practice with interaction. This study sets two specific aims as follows: to blend various different kinds of musical instruments in ensemble settings. Particularly, in the process of implementing the practice, researcher designed Instructional Template (Gordon, 2015) was applied as a tool to foster and organize classroom interaction among learners and teachers. This study also explores the possibility to assess the affective component of music learning in practice. Custodero's (1998, 2005) Flow Indicators in Musical Activities was cited to examine learners' flow experiences. Implementation of the mixed instrumental ensemble practice fostered interaction among learners; thus, students experienced flow in more varietical ways in their social/musical context.

scholarly journals Usage of Ulvi Cemal Erkin’s ‘Duyuşlar’ Compositions in Music Education Departments, According to the Opinions of Piano Educators

2018 ◽  
Vol 6 (11) ◽  
pp. 186
Author(s):  
Hamza Serdar Turan ◽  
Sirin Akbulut Demirci
Keyword(s):  
Music Education ◽  
Structured Interview ◽  
Teaching Techniques ◽  
Usage Frequency ◽  
Piano Literature ◽  
Piano Lessons ◽  
Piano Education ◽  
Teaching Music ◽  
Education Process ◽  
Research Analysis

Piano lessons which take place in music education departments involve example works of Turkish and world composers, education music examples, piano literature and learning-teaching techniques. Within this context, Ulvi Cemal Erkin, who is a member of The Turkish Five, wrote a composition called Duyuşlar, which consists of 11 pieces and is used in piano training. In this study, it was aimed to determine the usage of the composition Duyuşlar in the programs of institutions teaching music education in piano lessons in terms of technique, musical, and style characteristics. In accordance with this purpose, interviews are carried out by asking semi-structured interview questions to piano instructors who are using this work in their education process and working in Music Education Departments. The results of the interviews are determined into themes and codes using the qualitative research analysis program NVivo11. As a result, it is observed that the usage frequency in the direction of the themes and the recommended levels to use in the students vary, but the works contribute to piano education in terms of piano techniques, aksak measures, nuances, expressions, tempo and polyphonic techniques. It has also been proposed to increase the frequency of usage of Duyuşlar. It is thought that this study will contribute to the field of piano education in terms of the limited literature about this composition.

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