scholarly journals Cognitive-Emotional Music Listening Paradigm in Professional Music Education

2021 ◽  
pp. 131-145
Author(s):  
Sabina Vidulin ◽  
Senad Kazić
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Emotional Experience ◽  
Historical Context ◽  
Interdisciplinary Approach ◽  
Music Listening ◽  
Ear Training ◽  
Musical Piece ◽  
Social And Emotional ◽  
19Th And 20Th Century

Music education is an important factor of students’ development. The positive effect of music training is evident in all areas, from the intellectual, psychomotor to social and emotional ones, and therefore music classes in the music school should focus both on music making and on experience, understanding and evaluating music, as well as on expressing one’s own ideas, feelings and thoughts. In ear training classes it can be achieved through the area of music listening. Didactical initiatives of the 19th and 20th century contributed to the recognition of the advantages of the auditory approach, while technological innovations allowed the practical application of music listening. Although there are examples that point to fostering the emotional experience in music classes, music listening is still focused on giving assignments of cognitive type and learning about music components. Some exceptions pertain to the application of multimodality in music teaching using both musical and extra-musical areas. The paper is aimed at pointing to the value of the cognitive-emotional music listening and to the possibilities it opens in ear training classes. The cognitive-emotional music listening focuses on experiencing, understanding and appreciation of classical music aimed at shaping students’ worldview and improving their music competences. It can be achieved by the multimodal and interdisciplinary approach to a musical piece. Students learn about the musical-historical context of the emergence of a piece in a given time and circumstances, about the composing approach and the theoretical and harmony features of the work, they develop their musical and critical thinking, make music, and evaluate both music and their own achievements. Repeated listening to a musical piece or excerpts from it, observing and familiarizing with the piece from different perspectives and discussion about the piece and experience after listening make it possible to better understand the piece and its specifics, as well as to discover and improve one’s own self and accept others and the different.

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

scholarly journals EDITORIAL

2017 ◽  
Vol 14 (2) ◽  
pp. 179-182
Author(s):  
THIERRY FAVIER
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Historical Context ◽  
Cultural Relativism ◽  
Music Teacher ◽  
Louis Xiv ◽  
National Education ◽  
Music Department ◽  
Norbert Elias ◽  
Musical Works

Recently I was advising a small group of students who were preparing to take the national exam that would qualify them for the position of music teacher at a secondary school. One part of the exam involves a comparative commentary on three musical works relating to a topic chosen by the candidate. Everyone involved in music education in France knows that the Music Department at the National Education Ministry (Inspection Générale de la Musique) has always been concerned with combatting social and cultural inequalities, and that classical music must be presented to younger generations with the least possible chronological and historical context in the name of cultural relativism. (This remarkable ideal, filtered through each successive stage of the educational system, sometimes inspires students to write that Louis XIV ordered Lully to compose operas in order to reduce the nobility to slavery – a radical reading of Norbert Elias indeed. But this is not my topic here.)

Predicting Music Appreciation with Past Emotional Responses to Music

2001 ◽  
Vol 49 (1) ◽  
pp. 57-70 ◽  
Author(s):  
Robert H. Woody ◽  
Kimberly J. Burns
Keyword(s):  
Classical Music ◽  
Emotional Experience ◽  
Emotional Responses ◽  
Music Appreciation ◽  
Classroom Teachers ◽  
Music Listening ◽  
Significant Relationships ◽  
Musical Background ◽  
Relationship Of ◽  
The Relationship

This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.

scholarly journals Music-listening regulates human microRNA transcriptome

2019 ◽  
Author(s):  
Preethy S. Nair ◽  
Pirre Raijas ◽  
Minna Ahvenainen ◽  
Anju K. Philips ◽  
Liisa Ukkola-Vuoti ◽  
...  
Keyword(s):  
Music Education ◽  
Neuronal Plasticity ◽  
Classical Music ◽  
Music Performance ◽  
Long Term Potentiation ◽  
Mapk Signaling ◽  
Music Listening ◽  
Musical Aptitude ◽  
Seasonal Plasticity ◽  
Microrna Sequencing

AbstractHere, we used microRNA sequencing to study the effect of 20 minutes of classical music-listening on the peripheral blood microRNA transcriptome in subjects characterized for musical aptitude and music education and compared it to a control study without music for the same duration. In participants with high musical aptitude, we identified up-regulation of six microRNAs (hsa-miR-132-3p, hsa-miR-361-5p, hsa-miR-421, hsa-miR-23a-3p, hsa-miR-23b-3p, hsa-miR-25-3p) and down-regulation of two microRNAs (hsa-miR-378a-3p, hsa-miR-16-2-3p) post music-listening. The up-regulated microRNAs were found to be regulators of neuron apoptosis and neurotoxicity, consistent with previously reported neuroprotective role of music. Some up-regulated microRNAs were reported to be responsive to neuronal activity (miR-132, miR-23a, miR-23b) and modulators of neuronal plasticity, CNS myelination and cognitive functions like long-term potentiation and memory. miR-132 and DICER, up-regulated after music-listening, protect dopaminergic neurons and is important for retaining striatal dopamine levels. miR-23 putatively activates pro-survival PI3K/AKT signaling cascade, which is coupled with dopaminergic signaling. Some of the transcriptional regulators (FOS, CREB1, JUN, EGR1 and BDNF) of the up-regulated microRNAs are sensory-motor stimuli induced immediate early genes and top candidates associated with musical traits. Amongst these, BDNF is co-expressed with SNCA, up-regulated in music-listening and music-performance, and both are activated by GATA2, which is associated with musical aptitude. Some of the candidate microRNAs and their putative regulatory interactions were previously identified to be associated with song-learning, singing and seasonal plasticity networks in songbirds and imply evolutionary conservation of the auditory perception process: miR-23a, miR-23b and miR-25 repress PTEN and indirectly activates the MAPK signaling pathway, a regulator of neuronal plasticity which is activated after song-listening. We did not detect any significant changes in microRNA expressions associated with music education or low musical aptitude. Our data thereby show the importance of inherent musical aptitude for music appreciation and for eliciting the human microRNA response to music-listening.

Mahler Is a DJ: Reconducting Classical Music Education

2020 ◽  
Vol 28 (2) ◽  
pp. 220
Author(s):  
Koopal ◽  
Vlieghe ◽  
de Baets
Keyword(s):  
Music Education ◽  
Classical Music

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

scholarly journals A qualitative study of the shared experience of humour between people living with dementia and their partners

Dementia ◽  
2018 ◽  
Vol 19 (6) ◽  
pp. 1794-1810
Author(s):  
Helen Hickman ◽  
Chris Clarke ◽  
Emma Wolverson
Keyword(s):  
Interpretative Phenomenological Analysis ◽  
Emotional Experience ◽  
Well Being ◽  
Future Research ◽  
Structured Interviews ◽  
Relationship Strength ◽  
Social And Emotional ◽  
People With Dementia ◽  
Care Partners ◽  
Person With Dementia

Humour is a complex social and emotional experience which could constitute a positive resource for people endeavouring to live well with dementia. However, little is currently known about the shared use and value of humour in dyads where one person has dementia. The purpose of this study was therefore to explore how people with dementia and their care-partners experience, use and draw meaning from humour in relation to their shared experiences of dementia and their ongoing relationships. Ten participant dyads (the person with dementia and their spousal partner) took part in joint semi-structured interviews. Interpretative Phenomenological Analysis revealed eight subthemes that were subsumed under three super-ordinate themes: ‘Humour Has Always Been There (and Always Will Be)’; ‘Withstanding Dementia’ and ‘Renewing the Value of Humour in Dementia’. Overall, the findings suggest that humour, in different forms, can represent a salient and enduring relationship strength that helps dyads maintain well-being and couplehood by providing a buffer against stressors associated with dementia. The findings highlight the potential value of integrating a dyadic perspective with strengths-based approaches in future research into how people live well with dementia.

scholarly journals Second Life and Classical Music Education: Developing Iconography That Encourages Human Interaction

2009 ◽  
Vol 2 (1) ◽  
Author(s):  
David Thomas Schwartz
Keyword(s):  
Music Education ◽  
Second Life ◽  
Virtual World ◽  
Classical Music ◽  
Human Interaction ◽  
Socratic Method ◽  
Web Based ◽  
Disney World ◽  
Educational Paths

Since January 2007, Music Academy Online , a web-based business dedicated to generating interest in classical music, has been developing a ‘Disney World for Classical Music’ in the virtual world of Second Life®. The virtual world provides a unique opportunity to teach classical music in an interdisciplinary fashion, the ability to reach out to a population that is hesitant to explore classical music, and a way for reaching out to those who have been disenfranchised by traditional educational paths. This has led to the development of iconography in Second Life that exploits the virtual world’s inherent ability to put seemingly disparate information together in a way that encourages questioning and discussion. But above all, this has led to the conclusion that the importance of human interaction and the Socratic method are the key elements in virtual world education.

scholarly journals Interdisciplinary Interaction between Music Education and History: Shaping the Musical Preferences in Classical Music of the 20th Century

2021 ◽  
Author(s):  
Jerneja Žnidaršič
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Primary Schools ◽  
Classical Music ◽  
Control Group ◽  
History Teachers ◽  
Contemporary Classical Music ◽  
Interdisciplinary Interaction ◽  
Western Classical Music ◽  
Experimental Group

The purpose of the current study was to investigate whether an experimental programme, based on interdisciplinary interactions between music education and history and the implementation of arts and cultural education objectives, could influence pupils’ interest in Western classical music of the 20th century. The programme was designed on the basis of collaborating with music education and history teachers at two Slovenian primary schools and a Slovenian composer. Classes of pupils, aged fourteen and fifteen, were divided into an experimental and a control group. According to the outcome, the pupils in the experimental group showed a higher level of interest in contemporary classical music after the experiment than their peers in the control group. Furthermore, the pupils in the experimental group reported having listened on their initiative, to more classical compositions after the experiment than the pupils in the control group had.

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