Parents’ Goals, Knowledge, Practices, and Needs Regarding Music Education for Their Young Children in South Korea

2013 ◽  
Vol 61 (3) ◽  
pp. 280-302 ◽  
Author(s):  
Hyun Kyung Youm
Keyword(s):  
Young Children ◽  
Music Education ◽  
Music Programs ◽  
Children's Music ◽  
South Korean ◽  
Seoul Metropolitan Area ◽  
Korean Parents ◽  
Negative Case ◽  
Qualitative Research Methodology ◽  
Depth Interviews

The purpose of this study was to explore South Korean parents’ understanding of and desires for music education for their children. Following a constructivist paradigm and qualitative research methodology, data collection involved in-depth interviews, observations, written questionnaires, family music materials, and the researcher’s journals. The participants were 22 South Korean mothers whose children (younger than 5 years old) attended music programs in the Seoul metropolitan area. Data were analyzed by coding, description, constant comparison, inductive analysis, contextualization, negative case analysis, classification, and interpretation. Analyses revealed that these parents’ goals for their children’s participation in music programs included facilitating the child’s development, enriching the child’s life, preparing for future learning, and providing opportunities to play through music. They described the music programs according to the activities they observed or experienced but did not show deeper understanding about a program’s philosophy or history. Family music practices indicated that the primary activities were singing, listening to music, playing instruments, and dancing/movement. Participants expressed the desire to learn music skills and knowledge not only for their children but also for themselves. The findings of this study demonstrate the necessity of education for parents of young children relating to various aspects of children’s music education.

Assessing Music in Early Childhood

2019 ◽  
pp. 444-476
Author(s):  
Maria Runfola
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Teaching And Learning ◽  
Student Assessment ◽  
Deep Understanding ◽  
Children's Music ◽  
National Network ◽  
Music Assessment ◽  
Early Childhood Music ◽  
Utilitarian Value

In this chapter, pros and cons of assessing young children’s music skills and content knowledge are explored. An integrative literature review is included as well as a thematic review lending support to core themes. Several reasons were identified as to the importance of promoting student assessment as children participate in early childhood music. Use of music assessments in the classroom and for research should consider practices consistent with musical age as well as chronological age. Increased recognition of the importance of music in total development of the child supports need for effective early childhood assessment systems especially by the music education research community as they continue to gather evidence regarding the utilitarian value of music in early childhood. Researchers need to be aware of environmental factors that may impact early music learning and cognizant of current best practices in music education for early childhood. Researcher-developed criterion measures often are not investigated for quality characteristics, and thus rigorous guidelines for such criterion measures are needed. It appears there are no definitive policy or ethics statements regarding early childhood music assessment but both should be considered vital priorities for the profession. Most likely only those scholars with profound interest in assessment and teachers with deep understanding of the role of assessment in teaching and learning will volunteer to respond. Everything developed in such a national network will be useful, providing we start with clearly defined, intended outcomes and then develop assessments to document student attainment of those musical outcomes.

“I can’t just post anything I want”: Self-management of South Korean sports stars on social media

2021 ◽  
pp. 101269022110141
Author(s):  
Eunhye Yoo
Keyword(s):  
Social Media ◽  
Self Management ◽  
Public And Private ◽  
Daily Lives ◽  
The Public ◽  
South Korean ◽  
Digital Labor ◽  
Close Relationship ◽  
Study Participants ◽  
Depth Interviews

This study explores the influence and sociocultural meaning of self-management of South Korean sports stars in the context of their social media activity. The study utilizes netnography to analyze social media posts to determine the meaning of sports stars’ self-management. Data were collected through in-depth interviews with study participants. Ten South Korean sports stars, who are active users of Instagram, were selected as the study participants. Photographs, videos, and stories from their accounts—around 1800 posts in total—were analyzed. The results indicated that the sports stars attempted to share their daily lives on social media to build a close relationship with the public. Moreover, they used their accounts to publicize their commercialized selves and to promote their sponsors. They uploaded only strictly composed and curated posts on their accounts as a form of self-censorship. Finally, it was determined that digital labor was used for self-management on social media, where there is no distinction between public and private territory. A sports star has become a self-living commercial today, and self-management is now a prerequisite for survival. Thus, self-management on social media has become a requirement for sports stars.

The charmed dyad: Multimodal music lessons for pupils with severe or multiple disabilities

2021 ◽  
pp. 1321103X2097480
Author(s):  
Melissa Bremmer ◽  
Carolien Hermans ◽  
Vincent Lamers
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Teaching Practice ◽  
Meaning Making ◽  
Multiple Disabilities ◽  
Children's Music ◽  
Four Dimensions ◽  
Music Lessons ◽  
Multiple Case ◽  
Teaching Music

This multiple-case-studies research explored a multimodal approach to teaching music to pupils (from 4 to 18 years old) with severe or multiple disabilities. By combining music with, for example, tactile stimulation, movement, or visuals, meaning-making processes in music of these pupils was stimulated, helping them to understand the internal structures and expressive qualities of music. Three music teachers and a social worker participated in this study. Individual and collective video reflections and microanalysis were applied to gather data about their multimodal teaching practice. The data were analyzed through Schmid’s framework (2015) of “multimodal dimensions of children’s music experiences,” developed for general music education. This framework consists of four dimensions: narrativity, sociality, materiality, and embodiment. Based on the findings, Schmid’s framework could be revised for special education, thus providing music teachers with a tool for designing multimodal music lessons for pupils with severe or multiple disabilities.

ELEMENTARY MUSIC IN THE SOVIET UNION: PREREQUISITES FOR IMPLEMENTATION IN THE TRAINING AND EDUCATIONAL SPACE

2020 ◽  
Vol 1 (4) ◽  
pp. 13-19
Author(s):  
V. F. Kochekov ◽  
Keyword(s):  
Soviet Union ◽  
Music Education ◽  
Educational Process ◽  
Music Teacher ◽  
Elementary Music ◽  
Children's Music ◽  
Movement Education ◽  
The Soviet Union ◽  
Carl Orff ◽  
Music Theorist

The purpose of the work is to study historical aspects of the development in the USSR of Elementary Music Education, created by a German teacher, musician and composer Carl Orff. The article substantiates the value of this pedagogical system and the prospects for its use in the training and educational process. The initial stage of the introduction of Elementary Music Method in the Soviet Union and the organization of the Carl Orff Pedagogical Society are considered. As a result of applying theoretical scientific research methods, the main factors that influence the process of introducing a new direction in music education are established. The significance of the unified system of music and movement education created by Carl Orff is defined. The system developed by Russian and Soviet enlightener, music theorist, teacher, performer and public figure Boleslav Leopoldovich Yavorsky correlates with German teacher's system. The author analyzes the reasons for which the system developed by B. L. Yavorsky is not widespread in our country. The significance of the activities of the musicologist, historian and publicist Oksana Timofeevna Leontyeva, an active promoter of the Elementary Music System and the first researcher of Orff-composer and Orff-children's music teacher, is determined. The article stresses the first contacts between Soviet musicians and their German colleagues during the visit to the Carl Orff Institute in Salzburg. Emphasis is placed on the importance of publishing literature describing the content, methods and principles of Elementary Music for Soviet teachers interested in new areas of music education and upbringing. Educational institutions are indicated, in which attempts are made to use C. Orff's methods in classrooms. The author reveals the optimization of processes of introducing domestic musicians to the methods of music and movement education, caused by the arrival in the USSR of foreign experts in the field of musical pedagogics. The role of Lev Vyacheslavovich Vinogradov, one of the first followers of new directions in music education, is priceless, as is the importance of his pedagogical activity and his contribution to the popularization and implementation of the method combining music and movement education.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

Teaching the Core Arts Standards in Modern Band

2021 ◽  
Vol 108 (1) ◽  
pp. 25-33
Author(s):  
Matthew Clauhs ◽  
Bryan Powell
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Performance Standards ◽  
The United States ◽  
Music Programs ◽  
The Core ◽  
Grade Levels ◽  
Band Class ◽  
National Coalition ◽  
New Framework

The National Coalition for Core Arts Standards released standards for music education in 2014. These standards are guided by artistic processes and measured by performance standards specific to content areas and grade levels. As school districts in the United States adopt the Core Arts Standards for their music programs, it is imperative that modern band teachers demonstrate how their curriculum aligns with this new framework. Modern band is one approach to popular music education that is particularly well suited to address this new framework; the emphases of songwriting, improvising, critical listening, and group work in a learner-centered modern band class/ensemble are associated with a wide variety of standards. This article explores connections between popular music pedagogies and each of the processes in the Core Arts Standards and examines which standards may be most appropriate for modern band contexts.

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