Exploring and Listening to Chinese Classical Ensembles in General Music

2017 ◽  
Vol 31 (1) ◽  
pp. 26-33
Author(s):  
Wenzhuo Zhang

Music diversity is valued in theory, but the extent to which it is efficiently presented in music class remains limited. Within this article, I aim to bridge this gap by introducing four genres of Chinese classical ensembles—Qin and Xiao duets, Jiang Nan bamboo and silk ensembles, Cantonese ensembles, and contemporary Chinese orchestras—into the general music classroom. The explanations of original cultural contexts, representative repertoire, and cultural elements embedded in each ensemble can be incorporated in a classroom as part of an exploration of classical music from China. No Chinese instruments are required in the class, since it would focus on listening and related music activities. Drawing on attentive and engaged listening, sample lessons demonstrate the use of these Chinese classic ensembles at all levels to relate the National Core Arts Standards to encourage students to perform, create, respond to, and connect with the music.

2019 ◽  
Vol 33 (1) ◽  
pp. 6-14
Author(s):  
Virginia Wayman Davis ◽  
Laura Singletary ◽  
Kimberly VanWeelden

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.


Notes ◽  
1959 ◽  
Vol 17 (1) ◽  
pp. 146
Author(s):  
Paul W. Mathews ◽  
Karl D. Ernst ◽  
Hartley D. Snyder ◽  
Alex H. Zimmerman

2019 ◽  
Vol 105 (3) ◽  
pp. 45-53
Author(s):  
Gina J. Yi

Korean folk music has been rarely included in the Western music curriculum due to limited materials for music teachers to use. This article introduces Ganggangsullae, a prominent Korean folk tradition (called a “folk play” by Koreans) that incorporates singing and dancing, and discusses its historical background and the unique elements of Korean folk music that it illuminates: Korean rhythm, minyo singing, dancing, and dialogue play. In addition, this article offers practical teaching guidance for incorporating Ganggangsullae into the elementary general music classroom.


1989 ◽  
Vol 6 (3) ◽  
pp. 243-273 ◽  
Author(s):  
Bruno H. Repp

According to a provocative theory set forth by Manfred Clynes, there are composer-specific cyclic patterns of (unnotated) musical microstructure that, when discovered and realized by a performer, help to give the music its characteristic expressive quality. Clynes, relying mainly on his own judgment as an experienced musician, has derived such personal "pulses" for several famous composers by imposing time and amplitude perturbations on computer-controlled performances of classical music and modifying them until they converged on some optimal expression. To conduct a preliminary test of the general music lover's appreciation of such "pulsed" performances, two sets of piano pieces by Beethoven, Haydn, Mozart, and Schubert, one in quadruple and the other in triple meter, were selected for this study. Each piece was synthesized with each composer's pulse and also without any pulse. These different versions were presented in random order to listeners of varying musical sophistication for preference judgments relative to the unpulsed version. There were reliable changes in listeners' pulse preferences across different composers' pieces, which affirms one essential prerequisite of Clynes' theory. Moreover, in several instances the "correct" pulse was preferred most, which suggests not only that these pulse patterns indeed capture composer- specific qualities, but also that listeners without extensive musical experience can appreciate them. In other cases, however, listeners' preferences were not as expected, and possible causes for these deviations are discussed.


2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.


2021 ◽  
pp. 104837132110344
Author(s):  
Kendra Kay Friar

Scott Joplin was an African American composer and pianist of singular merit and influence. This article is the final entry in a three-part series considering the biographical, artistic, and cultural contexts of Joplin’s life and work and their use in K–12 general music education. “Ragtime Spaces” focuses on cultural globalization and the modernist entertainment aesthetic which supported Joplin’s work. Scott Joplin’s creative and entrepreneurial activities embodied humanism, racial uplift, and craftsmanship at a time when society became increasingly racially segregated and dehumanized. The discussion is followed by suggested student activities written in accordance with National Association for Music Education’s 2014 National Music Standards.


2018 ◽  
Vol 37 (2) ◽  
pp. 11-14 ◽  
Author(s):  
Jacqueline Kelly-McHale

The terms culturally responsive teaching and culturally responsive pedagogy have become more common in the vernacular of public-school teaching. However, practical applications of cultural responsivity are not often clearly presented due to the nature of being responsive. Responsivity requires knowledge of students and community (context) specific to each teaching context. Content and materials should then be derived from the development of the contextual understanding. This is why presenting a tool box of culturally responsive practices is not possible when seeking to become more culturally responsive in the classroom. This article seeks to situate cultural responsivity as a mind-set as opposed to an approach or method within the elementary general music classroom. Practical steps that can be taken toward the development of this mind-set are then presented with a focus on context and content.


2021 ◽  
Vol 35 (2) ◽  
pp. 43-46
Author(s):  
Edward Varner

The purpose of this column is to promote the use of focused breathing and singing as access points to improved student self-awareness in the general music classroom. Singing is a holistic activity with the healing potential to improve and transform many traumatic life experiences endured by our students. Similarly, mindfulness breathwork is a holistic approach used to enhance self-awareness in the moment and can reduce anxiety. Both pursuits have the potential to help students overcome difficulties of fear, stress, and anxiety. Both practices expose participants to new ways of understanding themselves and the world around them while creating important access points to mindfulness and self-awareness.


2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.


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