scholarly journals THE INCLUSION OF MINSTREL TRADITION IN TRADITIONAL TURKISH FOLK MUSIC EDUCATION IN ACCORDANCE WITH THE OPINIONS AND EXPECTATIONS OF TODAY S MINSTRELS

2021 ◽  
Vol 14 (79) ◽  
pp. 38-65
Author(s):  
Uygar ONALAN ◽  
Ulku Sevim SEN
Keyword(s):  
Music Education ◽  
Folk Music

scholarly journals Music Education and Folk Music

2020 ◽  
Vol 9 (1) ◽  
pp. 64
Author(s):  
Cristina Rolim Wolffenbüttel
Keyword(s):  
Music Education ◽  
Folk Music ◽  
Basic Education ◽  
Specific Work ◽  
Music Teaching ◽  
Musical Work ◽  
Music Genres ◽  
Musical Activities

This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.

scholarly journals A Brief Analysis of Orff's Music Teaching Concept

2019 ◽  
Vol 2 (3) ◽  
pp. 21
Author(s):  
Chao Zhang
Keyword(s):  
Secondary Schools ◽  
Music Education ◽  
Folk Music ◽  
Teaching Method ◽  
Music Teaching ◽  
Profound Impact ◽  
Chinese Music ◽  
National Characteristics ◽  
Teaching Concept ◽  
The World

Orff music teaching method is one of the most famous and widely used music education systems in the world, named after Karl Orff, a famous German musician. It endows the music education with humanity and fraternity under the perspective of anthropology, which has a profound impact on music education in primary and secondary schools all over the world. During the process of Chinese folk music teaching in primary and secondary schools, we should draw on the advantages of Orff's music teaching philosophy and promote the national characteristics of Chinese music teaching.

scholarly journals Explore the Importance of Strengthening Folk Music Theory Learning in Music Lessons in Hohhot

2019 ◽  
Vol 3 (2) ◽  
pp. 171
Author(s):  
Zhang He
Keyword(s):  
Music Education ◽  
Music Theory ◽  
Folk Music ◽  
Teaching Method ◽  
Music Teaching ◽  
Related Concept ◽  
Teaching Reform ◽  
School Music ◽  
Concept Art ◽  
New Education

<p>At present our country's arts school is pushing new education plan, this made the related concept art education as well as major changes have taken place in the education mode. Also let the school music education realize the meaning of folk music is important, in the process of teaching reform, the local folk music also showed a more important role. In this paper, through the study of the characteristics and connotation of the folk music, we will sort out how to strengthen the learning and promotion of the folk music theory in the school music education in Hohhot. Based on the combination of music education and folk music, a more practical and complete music teaching method and system is constructed.</p>

scholarly journals Classification of Mode Archetypes and Modern Problems of Music Education

2019 ◽  
Vol 7 (2) ◽  
pp. 77-95
Author(s):  
Elena M. Alkon
Keyword(s):  
Music Education ◽  
Folk Music ◽  
Modern Human ◽  
New Classification ◽  
Important Place ◽  
The World ◽  
History Of ◽  
History Of Culture ◽  
Musical Mode

Modern problems of musical education are connected with the search for new and more efficient approaches considering the challenges of our time. One of such challenges is unprecedented in history of culture music stream falling upon the modern human. The relict musical mode archetypes, on the basis of which the music of the peoples of the world has been formed for centuries, and which nourish the creativity of the professionals, could be considered as ecologically friendly “musical products”. In this article, following a number of the range of previous publications, the author offers a new classification of mode archetypes based on previously designed principle of asymmetry/symmetry supplemented with several novel approaches. This classification obviously cannot cover all existing mode archetypes of music of people of the world, but definitely addresses their considerable part. Several tables with index-based ordering the most common mode archetypes are considered to be especially significant result of this paper. The author hopes that this method of designation will contribute to the development of a methodology for the analysis of the behavior of mode archetypes in various melodic contexts. The “Solveig’s Song” by E. Grieg is regarded as one of the most famous melodies, in which the musical mode archetype of Norwegian folk music occupies an important place.

How modes of instrumental practice are distributed in three musical genres and among vocalists and instrumentalists at music colleges

2018 ◽  
Vol 47 (5) ◽  
pp. 767-778
Author(s):  
Maria Sandgren
Keyword(s):  
Music Education ◽  
Folk Music ◽  
Classical Music ◽  
Music Students ◽  
General View ◽  
Negative Experience ◽  
Future Studies ◽  
New Findings ◽  
Classical Musicians ◽  
Musical Genres

The present study investigates whether past and present instrumental practices differ across musical genres (jazz, folk music, classical music) and vocalists in relation to instrumentalists ( N = 108). New findings were that vocalists and instrumentalists differed significantly in all practice experiences ( p < .05–.001), whereas fewer differences were found across genres. In line with previous research, classical musicians engaged more in solitary practice than folk music and jazz musicians did ( p < .001), yet jazz and folk music students practiced more in ensemble compared to classical musicians ( p < .05). In addition, the results contrasted with the general view of solitary practice as a demanding and unpleasant activity, as all groups of music students found solitary practice to be a more positive than negative experience. Future studies are warranted to more closely and empirically investigate vocalists’ practice habits, and to examine how emotions are related to instrumental practicing in music education.

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