scholarly journals THE CURRENT TRENDS IN CONTEMPORARY MUSIC EDUCATION, HOW THE ISSUE OF FINAL QUALIFYING WORKS OF MUSICIANS-TEACHERS IN THE IMPLEMENTATION OF THE GEF IN

2019 ◽  
Vol 8 (27) ◽  
Author(s):  
V.A Karnaukhova ◽  
◽  
O.A Sizova ◽  
Keyword(s):  
Music Education ◽  
Contemporary Music ◽  
Current Trends

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

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.

Maschine-itivity: How I found my creativity using a digital sampling device to compose music

2016 ◽  
Vol 9 (3) ◽  
pp. 289-313
Author(s):  
Jonathan Kladder
Keyword(s):  
Music Education ◽  
Learning Strategies ◽  
Creative Process ◽  
Contemporary Music ◽  
Music Learning ◽  
Sampling Device ◽  
Digital Sampling ◽  
Informal Music Learning ◽  
Contextual Understanding ◽  
Auto Ethnography

The ubiquity of digital music technology has prompted researchers and scholars to examine how music educators might support music learning that encourages creativity through the use of these mediums. Infusing technology into current curricular offerings offers one avenue in fostering a diversity of music learning experiences for students when teachers are interested in developing creativity in their students. Research examining current practising teachers and their experiences with digital sampling and beat making technology is limited. The purpose of this research was to offer my experiences learning, writing and sharing music using a sampling and beat-making device called the Maschine. This auto-ethnography uses Sawyer’s eight stages of the creative process as the theoretical framework to guide analysis of my creativity. The aims of this research were to: (1) reflect on the creative process involved in making music on a digital sampling and beat-making device; (2) provide a contextual understanding of my challenges and successes along the way; and (3) suggest implications for both current and future music teachers interested in learning to use this type of technology in their music teaching to provide contemporary music making experiences for their students. Results suggest that vernacular and informal music learning strategies were common over the 14-week semester, as YouTube tutorials supported my learning. My creativity occurred in small incremental steps and yielded three completed compositions at the culmination of the project. A conceptual model of the creative process is proposed, outlining the non-linearity of my creative process. Implications for music education are offered in conclusion.

scholarly journals Humanistic, artistic and pedagogic aspects of Orff-Schulwerk music and dance pedagogyOrff-Schulwerk müzik ve hareket eğitiminin insani, sanatsal ve pedagojik yönleri

2018 ◽  
Vol 15 (1) ◽  
pp. 8
Author(s):  
Banu Özevin
Keyword(s):  
Music Education ◽  
Contemporary Music ◽  
Preschool Education ◽  
Discussion Section ◽  
Orff Schulwerk ◽  
Dance Pedagogy ◽  
Group Activities ◽  
Holistic Understanding ◽  
Carl Orff ◽  
The Individual

Orff-Schulwerk Music and Movement Pedagogy is a contemporary music education philosophy, born out of the work of composer Carl Orff. Orff-Schulwerk has a holistic understanding in music education which is a combination of music, movement and language. Orff-Schulwerk enables the individual to develop his creative potential in group activities based on improvisation. Orff-Schulwerk's philosophy is that everyone can make music. With this understanding, everyone can take part in the Schulwerk lesson and have the opportunity for artistic expression of self without the distinction of gifted-talented, child-adult, and normal-developmental-disabled. As in many countries of the world, Orff-Schulwerk Pedagogy is used effectively in music education and preschool education in Turkey.In this study, in spite of the fact that it is a built-in structure, the human, artistic and pedagogical aspects of Orff-Schulwerk have been elaborated separately in order to better understand the approach. In the conclusion and discussion section, questions and problems about Orff-Schulwerk Music and Movement Education's place in Turkish Education System and adaptation to Turkish culture were shared.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetOrff-Schulwerk Müzik ve Hareket Eğitimi, besteci Carl Orff’un çalışmalarından doğan, çağdaş bir müzik eğitimi felsefesidir. Orff-Schulwerk, müzik, hareket ve dil ögelerinin birlikte kullanıldığı, doğaçlamalara dayanan, grup aktiviteleri içinde bireyin yaratıcı potansiyelini geliştirmesine olanak sağlayan bütüncül bir müzik eğitimi anlayışıdır. Orff-Schulwerk’in felsefesi herkesin müzik yapabileceği yönündedir. Bu anlayış sayesinde yetenekli-yeteneksiz, çocuk-yetişkin, normal gelişim gösteren-engelli ayrımı olmadan herkes Schulwerk dersi içinde yer alabilir ve kendini sanatsal olarak ifade etme olanağını yakalayabilir. Dünyanın birçok ülkesinde olduğu gibi Türkiye’de de Orff-Schulwerk Pedagojisi müzik eğitimi ve okulöncesi eğitiminde etkin bir biçimde kullanılmaktadır.İçiçe geçmiş bir yapı olmasına rağmen, bu çalışmada yaklaşımın daha iyi anlaşılabilmesi için Orff-Schulwerk’in insani, sanatsal ve pedagojik yönleri ayrı ayrı ayrıntılı olarak irdelenmiştir. Sonuç ve tartışma bölümünde Orff-Schulwerk Müzik ve Hareket Eğitimi’nin Türk Eğitim sistemindeki yeri ve Türk kültürüne uyarlanması ile ilgili sorular ve sorunlar paylaşılmıştır.

Distance technologies in music education: history, trends and prospects

2021 ◽  
Vol 2021 (04-1) ◽  
pp. 193-198
Author(s):  
Yang Zongye ◽  
Long Yan Xiao ◽  
Yi Qu
Keyword(s):  
Distance Learning ◽  
Music Education ◽  
Online Training ◽  
Education History ◽  
Internet Technologies ◽  
Current Trends ◽  
Music Education History ◽  
Teaching Music

The article devoted to the disclosure of historical facts in distance learning of musical art. Analyzes the methodological and technological problems that teachers faced at different stages of Internet technologies and their implementation in process of teaching music. Revealed the effectiveness of distance learning future musicians. Described the main limitations of online training and ways to avoid them. A conclusion was about the current trends and prospects for development of distance music education.

Radio in Music Education: The Indiana School of the Sky Music Episodes, 1947–1948

2020 ◽  
pp. 153660062097345
Author(s):  
Morganne Aaberg
Keyword(s):  
United States ◽  
Public Schools ◽  
Music Education ◽  
Teaching Strategies ◽  
Contemporary Music ◽  
The United States ◽  
Indiana University ◽  
The Public ◽  
School Year ◽  
Music Program

In this study I examined archival material relating to music lessons that aired on the Indiana School of the Sky during its inaugural season in the 1947–1948 school year. The Indiana School of the Sky was an educational radio program intended for use in the public schools and produced by Indiana University students and professors, in partnership with the State Department of Education. The purpose of this study was to illuminate details of the Indiana School of the Sky music program during its inaugural season in 1947–1948, such as the staff, repertoire, teaching strategies, and program structure. Of particular interest was Dorothy G. Kelley, who served as supervisor of the Indiana School of the Sky music episodes during its inaugural season, and was the first female to join the faculty of the Music Education Department at Indiana University. A secondary purpose was to examine the intersection of education and technology in the late 1940s through the lens of the Indiana School of the Sky and to afford contemporary music educators the opportunity to reflect on how they use current technologies in their classrooms. This study found that the program employed three main teaching strategies: singalong, call and response, and listening. Indiana University music and music education students performed in many music episodes alongside Kelley, and 34% of compositions that aired during the 1948–1949 school year comprised of music by composers from the United States, or folk music originating in the United States. Other countries represented by either composer or folk tradition included Australia, Austria, Czechoslovakia, England, Finland, France, Germany, Italy, Norway, Mexico, Russia, and Spain.

The Contemporary Composer in the Classroom

1986 ◽  
Vol 3 (3) ◽  
pp. 341-352 ◽  
Author(s):  
Peter Owens
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Contemporary Music ◽  
Creative Work ◽  
Music Teaching ◽  
Modern Music ◽  
Avant Garde ◽  
Current State ◽  
School Music

This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.

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