Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer

2003 ◽  
Vol os-40 (1) ◽  
pp. 41-58 ◽  
Author(s):  
Zsuzsanna Kiraly
Keyword(s):  
Music Education ◽  
Traditional Music ◽  
Learning By Doing ◽  
Computer Assisted ◽  
Ear Training ◽  
Music Learning ◽  
Learning And Teaching ◽  
Music Classroom ◽  
Computer Based ◽  
Motivation And Learning

The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning and teaching can change in quality, mainly in the area of “learning-by-doing” and “discovery learning” in the computer-assisted music classroom. It was found that computer-assisted music learning is more agreeable and effective than traditional music learning. Although results showed that we need a well-functioning, modern environment and a well-educated “researcher-teacher,” well-motivated pupils are the most important aspects.

Female Representation in the Traditional Music Classroom

2018 ◽  
Vol 32 (1) ◽  
pp. 18-22
Author(s):  
Megan Lam
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Traditional Music ◽  
Music History ◽  
Female Representation ◽  
Political Issues ◽  
Music Classroom ◽  
Student Aspirations ◽  
Professional Careers ◽  
Female Figures

This article discusses how the scarcity of female representation in music history curriculums, music textbooks, and traditional classical music repertoire affects student aspirations for professional careers in music and the way in which students relate to the music. The role of political issues and social movements in the classroom, such as those concerning gender issues, remains a controversial issue. However, it is also evidently a critical aspect in better understanding and re-creating the context for women in music. This article seeks to provoke discussion surrounding traditional music curricula in the vast disparity between male and female figures in music education and to encourage continual refinement of modern classical music curricula to present a more comprehensive view of music and music history.

Commentary: Music Learning and Teaching through Technology

2012 ◽  
pp. 428-432 ◽  
Author(s):  
Evangelos Himonides
Keyword(s):  
Music Education ◽  
Music Learning ◽  
Learning And Teaching ◽  
Modus Vivendi

This article presents an overview of Section 5 of the Oxford Handbook of Music Education, Volume 2. The section commences a critical but also constructive discourse about the role of “any” technology within the broader fields of music and education. The contributors have chosen different perspectives and foci in instigating this discourse, all of them diverse but, arguably, all celebrating how essential technology is (or should be) in our music infused modus vivendi.

scholarly journals COMPUTER-BASED TESTING: A NECESSARY EVIL OR A SENSIBLE CHOICE?

2020 ◽  
pp. 100-113
Author(s):  
Wojciech Malec
Keyword(s):  
Test Scores ◽  
Computerized Testing ◽  
Computer Assisted ◽  
Delivery Mode ◽  
Educational Testing ◽  
Teaching Resources ◽  
Learning And Teaching ◽  
Advantages And Disadvantages ◽  
Computer Based ◽  
Necessary Evil

For many students and teachers working in online environments during the current pandemic crisis, the use of computers for educational testing is often an unavoidable predicament. This may be due to the fact that computer- based materials are not merely a useful addition to the learning and teaching resources, but rather the only option available. However, although in some contexts computers may indeed be a significant hindrance to test developers and test takers alike, they actually offer a number of substantial benefits. It is also worth pointing out that, by and large, educational tests delivered through online platforms with the aim of measuring progress and achievement in learning have a lot in common with traditional paper-based tests. This article is thus an attempt at balancing the advantages and disadvantages of computerized testing with a view to finding out whether this mode of testing can be recommended as the preferred choice. Based mainly on a literature review of research and practice in the area of computerized and online educational testing, the paper provides a synthesis of key issues relevant to using electronic devices for the purpose of constructing, administering, and analyzing tests and assessments. In particular, the discussion focuses on the models of test administration, the merits and demerits of computer-assisted testing, the comparability of paper-based and computer-based test scores, as well as selected features of web-based testing systems, such as text-to-items converters, test generators, full-screen delivery mode, automated scoring (and human verification thereof), score reporting, feedback, as well as quantitative analysis of test scores. The article also puts forward some arguments in favour of developing one’s own testing application.

A Path From Self to Social

2020 ◽  
pp. 81-101
Keyword(s):  
New York ◽  
Music Education ◽  
Teaching Experience ◽  
Music Learning ◽  
Teaching Experiences ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Narrative Account ◽  
The U.S ◽  
Critical Perspectives

This chapter presents a narrative account of the author's music learning and teaching experience both in Japan and the U.S. The author reflects upon the processes of developing critical perspectives in musical pedagogy and developing the idea of transforming music education from self to social. The author analyzes how he encountered and learned music, and how those experiences improved and changed his playing with interaction in two different cultural contexts: Japan and the U.S. The author begins with the story of his early musical experiences in Japan. He then goes on to discuss his violin learning experiences at conservatories in Tokyo and New York. The author concludes with his performing and teaching experiences in Miami and New York as a professional violinist.

The Role of “Place” and Context

2017 ◽  
pp. 64-70
Author(s):  
Janice L. Waldron
Keyword(s):  
Music Education ◽  
Technology Use ◽  
Local Context ◽  
Music Learning ◽  
Cultural Assumptions ◽  
Learning And Teaching ◽  
Musical Genre ◽  
Use Of Technology ◽  
Local Contexts

In our eagerness to embrace the virtues of the “new,” we sometimes fail to critically examine the a prioris of the thing we are extolling—which, in the case of this book, is the use of technology in music learning and teaching. Advocates of technology use in the field usually begin by raising relevant issues based on personal but localized narratives. Although this is a good place to start—people rarely argue for change not grounded in their own experiences—building arguments for technology use requires a nuanced interpretation of what technology in music learning and teaching means to and for practitioners and researchers in specific local contexts. How does technology’s evolution from “thing” to “thing and place” change our perceptions of its use(s) in music learning and teaching? How do the roles of local context, cultural assumptions, and musical genre fit into a discussion of what constitutes technology and technology in music education?

YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community

2012 ◽  
Vol 31 (1) ◽  
pp. 91-105 ◽  
Author(s):  
Janice Waldron
Keyword(s):  
Music Education ◽  
Online Community ◽  
Participant Observation ◽  
Computer Mediated Communication ◽  
Music Learning ◽  
Mediated Communication ◽  
Learning And Teaching ◽  
Informal Music Learning ◽  
Music Community ◽  
Online Music

In this paper I examine the music learning and teaching in the Banjo Hangout online music community ( www.banjohangout.org/ ) using cyber ethnographic methods of interview and participant observation conducted entirely through computer-mediated communication, which includes Skype and written narrative texts – forum posts, email, chat room conversations – along with hyperlinks to YouTube and other Internet music-learning resources. The Hangout is an example of an online community based on the pre-existing offline interests of its founding members and it is thus connected to and overlaps with the offline Old Time and Bluegrass music banjo communities. Although I focus on the Banjo Hangout online community, this study also provides peripheral glimpses – embedded in the participants’ narratives – into the offline Old Time and Bluegrass banjo communities of practice. As a cyber ethnographic field study, this research also highlights the epistemological differences between on- and offline community as reflected in music education online narrative qualitative research and research practice.

scholarly journals Culturally responsive and meaningful music education: Multimodality, meaning-making, and communication in diverse learning contexts

2021 ◽  
pp. 1321103X2110093
Author(s):  
Georgina Barton ◽  
Stewart Riddle
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Meaning Making ◽  
Music Learning ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Learning Contexts ◽  
Diverse Learning ◽  
Musical Modes ◽  
Online Music

Music is learned and taught in multiple ways dependent on the socio-cultural contexts in which learning occurs. The processes employed by music teachers have been extensively explored by music educators and ethnomusicologists in a range of contexts, although there has been limited research into which modes are most predominantly used in different socio-cultural contexts. Further, it is unknown how students make meaning in these different contexts. This article presents three distinct music learning and teaching contexts—Carnatic music, instrumental music in Australian schools, and online music learning. Using a socio-cultural semiotic tool to identify musical modes, this article examines the ensembles of modes used during music learning events and considers how this knowledge may improve the learning and teaching of music for all students, particularly those whose culture and language differs from the majority of the population. It aims to identify how students make meaning in learning contexts through distinct modes of communication. Findings demonstrated that different “ensembles of modes” were used in diverse learning contexts and that these approaches were influenced by socio-cultural contexts. It is important for teachers to understand that varied combinations of modes of communication are possible because students may find learning more meaningful when related to their own personal frames of reference. Without this knowledge, music learning and teaching practices may continue to privilege some modes over others.

Introduction

2020 ◽  
pp. xxvi-17
Author(s):  
Janice L. Waldron ◽  
Stephanie Horsley ◽  
Kari K. Veblen
Keyword(s):  
Social Media ◽  
Music Education ◽  
Rapid Development ◽  
Music Learning ◽  
Practical Applications ◽  
Learning And Teaching ◽  
Theory Research ◽  
Networked Society ◽  
Organizing Principles ◽  
Do So

The rapid development of social media reflects both technologies and a field of scholarship that are constantly in flux. However, as boyd (2014) explains, although “the spaces may change, the organizing principles aren’t different” (p. 4). The chapters in this book explore theory, research, and practice in social media, along with the resulting implications for both how people think about social media and the practical applications for music learning and teaching. This includes informing and lowering boundaries between formal and informal music education practices in a digitally networked society. Social media and social networking in the 21st century have quickly changed the landscape of music learning and will continue to do so.

Social and Informational Affordances of Social Media in Music Learning and Teaching

2020 ◽  
pp. 425-442
Author(s):  
Anabel Quan-Haase
Keyword(s):  
Social Media ◽  
Music Education ◽  
Future Research ◽  
Positive Outcomes ◽  
Music Learning ◽  
Learning And Teaching ◽  
The Social ◽  
21St Century Learners ◽  
The Many

This chapter examines the role of social media in music learning and teaching with the aim of discerning the affordances created by specific features and functions. While much scholarship has outlined the many merits and possibilities of including social media in formal and informal music education, not much is known about what aspects of social media lead to positive outcomes. Music education is defined broadly here and includes both learning about music and learning with the purpose of achieving classroom goals. The majority of research either tends to focus on single platforms or discusses social media more generally. The present chapter starts with a close look at the affordance concept, tracing its historical roots and problematizing its definition. The chapter then discusses how various affordances can contribute to different aspects of music education. Much of the literature on social media has examined the social affordances of social media and neglected to consider the informational affordances. The chapter argues that both social and informational affordances are important in investigations of social media for music education. Finally, conclusions are discussed for 21st-century learners, and the advantages of employing the affordances framework in studies of music education and social media are outlined. Future research based on the affordances framework that could examine what features and functions of social media are beneficial for music learning and teaching are examined, including discussion of a series of constraints placed on learners and teachers by the technology.

Loaded Questions for an Emerging World of Music Education Technology

2017 ◽  
pp. 156-162
Author(s):  
John-Morgan Bush
Keyword(s):  
Music Education ◽  
Information And Communication Technology ◽  
Communication Technology ◽  
Instrumental Music ◽  
Classroom Technology ◽  
Music Learning ◽  
Music Classroom ◽  
The Social ◽  
Information And Communication ◽  
The Impact

In order to provide the best possible education for our students, it is imperative to consider the all-too-human reactions to ICT (information and communication technology) as experienced by all stakeholders in the music learning environment. We must carefully evaluate several loaded questions to fully investigate the impact that ICT can have in our classrooms. This Further Perspective questions the various ways classroom technology can destabilize the long-standing model of apprenticeship to mastery in instrumental music as well as how professional pressure points motivate or deter the use of ICT in the music classroom. In addition, this chapter explores how the unchecked use of ICT applications can destabilize the social structures within musical learning communities.

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