Proposal of Activities to Unlock Creativity Using Reaper Software

2021 ◽  
Vol 66 (1) ◽  
pp. 55-62
Author(s):  
Alexandra Belibou
Keyword(s):  
Music Education ◽  
Educational Process ◽  
Technical Knowledge ◽  
Music Learning ◽  
Musical Education ◽  
Music Software ◽  
Starting Point ◽  
Teaching Learning ◽  
Good Environment ◽  
Musical Activities

"Using technology in a creative-based approach to music learning is beneficial when we refer to the development of creativity as the finality of artistic musical education. In its permanent movement, we notice that the educational process progressively removes everything that becomes dysfunctional outdated. Therefore, both through the act of teaching learning and through the act of evaluation, as the blockages of any nature that stand in the way of creativity are discovered, they can be diminished. This article proposes musical activities that use Reaper software, which provides a good environment for grooming students with aesthetic sensibilities that should always accompany technical knowledge. Moreover, this article serves as a starting point for teachers hoping to develop creativity through music software. Keywords: Reaper, software, creativity, music education. "

scholarly journals SPECIFICITIES OF STIMULATING MUSICAL TALENT WITHIN FORMAL MUSICAL EDUCATION

2021 ◽  
pp. 065
Author(s):  
Igor Nikolić
Keyword(s):  
Music Education ◽  
Gifted And Talented ◽  
Professional Musicians ◽  
Musical Education ◽  
High Level ◽  
Level Of Motivation ◽  
Musical Literacy ◽  
Musical Activities

The authors studying gifted and talented persons agree that adequate boosting of their development requires either specialized curricula or adaptation of the existing ones by acceleration and/or differentiation. The paper focuses on the specificities of boosting talent for music, taking into account the organized system of formal music education in Serbia. A special attention is paid to solfege teaching, as it constitutes the basis of musical literacy of future professional musicians. It is presumed that the implementation of the procedures highlighted in the paper, coupled with a special attention paid to the problems of organizing the work with talented pupils and students can lead to a degree of development enabling them to participate in various musical activities with a high level of motivation and no fear of lacking skills. The paper also points to the need to stimulate musical talent according to the pupils' and students' individual abilities, and in line with the specificities of the chosen field of specialization.

scholarly journals Impact of higher music education on coping with stress during COVID-19

2021 ◽  
Vol 9 (3) ◽  
pp. 55-67
Author(s):  
Oleksii Nalyvaiko ◽  
◽  
Kseniia Lykhoshvai ◽  
Keyword(s):  
Distance Learning ◽  
Music Education ◽  
Educational Process ◽  
Stress Coping ◽  
Coping With Stress ◽  
Musical Education ◽  
Offline Learning ◽  
Study Participants ◽  
Work Done ◽  
The Impact

The article is dedicated to the study if students with special musical education have any benefits of stress coping over students of other specialties during the pandemic. The main purpose is to study the attitude of student musicians to overcome stressful situations caused by COVID-19 in the learning process. Research objectives include: current state of music education in the context of forced quarantine distance learning; the impact of forced quarantine distance learning on stress among students of music and non-music specialties; the analysis of stress coping skills and the impact of music education on them; recommendations for improving the psychological and pedagogical interaction of the participants in the educational process. The study involved 160 respondents, 80 of them are music students and 80 students of other specialties that do not belong to the study of musical art. To collect information and data, the study participants were asked to fill out a Google form. The results of the study show that online learning is very time-consuming and that losing a satisfactory work-life balance is stressful. But students became more organized in managing their activities. Internet platforms have proven useful for sharing materials, communicating, sharing information and content, and keeping track of all work done. Thus, there is a tendency towards easier tolerance of stress by musicians, although our study showed that with a slight margin of 80.6%, people without musical education consider themselves happier by 82%. This is also confirmed by the fact that non-musicians are more optimistic about their future according to the results obtained on the Beck's Hopelessness Scale, where 2 units are for musicians and 1 for non-musicians. These results indicate that hopelessness has not been identified and students are optimistic about their future. In the context of stress coping recommendations for students are provided. In conclusion, based on the information gained and own experience there is a variety of ways to obtain benefits from both online and offline learning forms for both musicians and non-musicians.

The Oxford Handbook of Social Justice in Music Education

2015 ◽  
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Educators ◽  
Pedagogical Practices ◽  
Refugee Camps ◽  
Student Agency ◽  
Music Learning ◽  
Cultural Perspectives ◽  
Starting Point ◽  
Comprehensive Survey

This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.

On the Nature of Knowledge: What We Want and What we Get With Measurement in Music Education

2003 ◽  
Vol os-40 (1) ◽  
pp. 100-115 ◽  
Author(s):  
José Luis Aróstegui
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Philosophical Argument ◽  
Music Learning ◽  
Instructional Process ◽  
Types Of Knowledge ◽  
Starting Point

This paper is a philosophical argument about the possibility – or lack thereof – of truly evaluating music learning. The starting point is that the nature of knowledge conditions all assessment. For this reason, the first section is dedicated to discussion of the two global types of knowledge, positivist and interpretive. In the second section, these two kinds of knowledge to the different concepts of classical music are related. This is followed by discussion on how these two types of knowledge affect music education. Finally, conclusions state that positivist and interpretive knowledge are complementary. Instruction and assessment must be done according to the different circumstances of the instructional process, whereby a student interacts with his or her realm, using both the positivist and the interpretive.

scholarly journals CLASSICAL GUITAR INTRODUCTORY EDUCATION FOR CHILDREN: EXAMINING THE METHOD OF THIERRY TISSERAND’S “JE DEVIENS GUITARISTE VOL.1”

2021 ◽  
Vol 10 (82) ◽  
Keyword(s):  
Content Analysis ◽  
Qualitative Study ◽  
Music Education ◽  
Descriptive Study ◽  
Educational Process ◽  
Psychomotor Development ◽  
Early Age ◽  
Classical Guitar ◽  
General Survey ◽  
Musical Education

For children, musical education is considered as an essential need since it supports psychomotor development and provides children with an environment, where they can freely express themselves. Classical guitar is a polyphonic instrument that is widely used in musical education and, as with other instruments, it necessitates a certain level of learning discipline. The objective of the present study is to examine the « Je deviens guitariste Vol.1 » guitar method developed by Thierry Tisserand, being a composer and guitarist and affected by jazz, bossa nova, and other music genres, for children, who have no solfeggio knowledge and are having the first guitar education from scratch, and to reveal on which aspects of early-age guitar education this method has effects. The present research is a descriptive study providing a situation assessment and is based on general survey model. This qualitative study uses various document and content analysis methods. The data were obtained by analyzing this method’s contributions to the educational process and by reviewing the literature. Based on the findings obtained as a result of this research, how contributions that this method could offer for resolving the possible problems that might be observed in early-age guitar education are discussed and suggestions are provided for educator and method. Keywords: Music, music education, classical guitar, guitar education

scholarly journals Dziecięcy świat dźwięków — edukacja muzyczna dziecka w wieku przedszkolnym

2021 ◽  
pp. 51-59
Author(s):  
Monika Semik ◽  
Małgorzata Tęczyńska-Kęska
Keyword(s):  
Music Education ◽  
Preschool Child ◽  
Psychomotor Performance ◽  
The Body ◽  
Children's Music ◽  
Directed Movement ◽  
Auditory Analyzer ◽  
Musical Education ◽  
Musical Activity ◽  
Musical Activities

Children’s world of sounds — musical education of a preschool child Music is around us — every day music is the noise of trees, the rustle of leaves, the sound of a passing tram, the barking of a dog. We learn it while studying in kindergarten and school, but above all at home. This is where the child learns the first melodies. Initially, these are sounds from the immediate environment, starting with the mother’s heartbeat and the melody of her words. Then we expand our knowledge of sounds with children’s counting, acoustic experiments, short song chants, kindergarten songs and music accompanying the game. It’s all a child’s world of sounds, but what’s the key to that? The natural musical development of humans is observed between the ages of 1 and 13, and this is when the most important changes take place in the body, including the maturation of the auditory analyzer and psychomotor performance. Therefore, a variety of musical activities of parents, and then teachers, which are aimed at developing the child’s musical abilities, are very significant at this time. They can be realized by singing together, listening to music of different styles, creating ostinato on instruments and simple instrumentation. Free and directed movement as well as instrumental improvisation are also important. To understand music, you need to be extremely sensitive to its beauty. This is a trait that cannot be taught to children just like that, but it is possible to create any conditions for them to experience music emotionally. This main goal of children’s music education should be realized with the use of five forms of musical activity, which will be discussed in detail in this article.

scholarly journals The Relation of Musical Abilities to Positive Thinking: A Study on Female Students Participating in Musical Activities at Maysaloon Girls' Basic School

2021 ◽  
Vol 12 (22) ◽  
pp. 1-17
Author(s):  
وفاء إبراهيم عياش
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Female Students ◽  
Positive Thinking ◽  
Musical Education ◽  
Study Results ◽  
Basic School ◽  
Students Attitudes ◽  
Descriptive Method ◽  
Musical Activities

This study aimed to identify the relation of musical abilities to positive thinking. The study adopted the analytical correlational descriptive method, and the study sample consisted of (65) female students participating in the musical activities at Maysaloon Girls' Basic School in Liwa'a Bani Obaid, Irbid Governorate. Seashore tests (the abridged version) of musical abilities were administered to the study sample; the tests were translated and adapted to Arabic by Sadiq (2001). However, the scale of positive thinking was prepared by the researcher. The study results indicated that students' level in musical abilities was high; their positive thinking level was also high; and there was a positive statistically significant relationship between the level of musical abilities and the positive thinking. The study recommended paying more attention to the musical education course in public schools; and developing music education materials according to students ’attitudes towards music education

scholarly journals Digital Transformations and Musical Education on the Traditions of Folk Instrumental Culture

2019 ◽  
Vol 5 (2) ◽  
pp. 46-54
Author(s):  
Dmitrii Rytov ◽  
Keyword(s):  
Distance Education ◽  
Music Education ◽  
Cultural Heritage ◽  
Cultural Values ◽  
Digital Technologies ◽  
Folk Art ◽  
Educational Process ◽  
Self Awareness ◽  
Social Self ◽  
Musical Education

The paper presents the peculiarities of introduction of digital technologies in musical education on traditions of folk instrumental culture, the potentials of building an educational process on the basis of centuries-old traditions of the Russian people, its richest cultural heritage, in particular, folk art culture. Functions of folk art culture are shown and analyzed. The core viewpoint of the paper is showing the importance of knowledge and respect for own culture as a guarantor of self-preservation of the ethnic group, strengthening of social self-awareness, formation of tolerant relationships and relationships with other ethnic groups. The importance of folk instruments in children's musical education is considered. The possibilities of solving the problem of archiving of cultural heritage products and providing them with full access are explored. Modern opportunities of distance education and use of digital technology resources in music education are demonstrated. Keywords: folk art culture, cultural heritage, traditions of folk instrumental culture, translation of cultural values, digital technologies, information environment, distance education

Music Learning Today

2020 ◽  
Author(s):  
William I. Bauer
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Promising Practices ◽  
Learning Context ◽  
Music Learning ◽  
Software Applications ◽  
Use Of Technology ◽  
Digital Pedagogy ◽  
Teaching Learning ◽  
Pedagogical Approaches

Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.

A Model for Online Music Education

2018 ◽  
pp. 202-225
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

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