Using Education Universities as the Foundation for Traditional Music Education in Elementary Schools: Problems and Challenges

2018 ◽  
Vol 37 ◽  
pp. 11-29
Author(s):  
Hey Jung Kim ◽  
Keyword(s):  
Elementary Schools ◽  
Music Education ◽  
Traditional Music

scholarly journals Technology in Music Education in England and across Europe

2017 ◽  
pp. 30-48
Author(s):  
Marina Gall
Keyword(s):  
Music Education ◽  
Secondary Students ◽  
English Education ◽  
Traditional Music ◽  
Music Educators ◽  
Music Technology ◽  
Primary School Children ◽  
Information Communications Technology ◽  
Wide Range ◽  
Technological Developments

In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technology within their own educational contexts.

Traditional Music in Japanese Music Education

2019 ◽  
pp. 94-107
Author(s):  
Kensho Takeshi
Keyword(s):  
Music Education ◽  
Traditional Music ◽  
Cultural Background ◽  
Folk Songs ◽  
Research Topic ◽  
New Music ◽  
Training Method ◽  
Music Curriculum ◽  
Children's Songs ◽  
Japanese Music

The research topic deals with the development of a music education on fundamental approach of teaching shakuhachi traditional music. The shakuhachi is a Japanese bamboo flute with four finger holes in the front and one thumb hole in the back. It is a very simple instrument and is played without a reed. The purpose of the study is to investigate the extent of the interaction of traditional musical issues on Japanese music education by tracing the new music curriculum in 2019. The topic of this study is the development of a fundamental approach of teaching Japanese traditional music. The author demonstrates a basic shakuhachi training method using two to five tones in Japanese traditional children's songs, and Japanese warabeuta (traditional children's songs) and minyo (folk songs). Students study how to make sound, then they play a simple piece. Also, they will be able to study Japanese cultural background through to shakuhachi.

Female Representation in the Traditional Music Classroom

2018 ◽  
Vol 32 (1) ◽  
pp. 18-22
Author(s):  
Megan Lam
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Traditional Music ◽  
Music History ◽  
Female Representation ◽  
Political Issues ◽  
Music Classroom ◽  
Student Aspirations ◽  
Professional Careers ◽  
Female Figures

This article discusses how the scarcity of female representation in music history curriculums, music textbooks, and traditional classical music repertoire affects student aspirations for professional careers in music and the way in which students relate to the music. The role of political issues and social movements in the classroom, such as those concerning gender issues, remains a controversial issue. However, it is also evidently a critical aspect in better understanding and re-creating the context for women in music. This article seeks to provoke discussion surrounding traditional music curricula in the vast disparity between male and female figures in music education and to encourage continual refinement of modern classical music curricula to present a more comprehensive view of music and music history.

Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications

2019 ◽  
Vol 3 (2) ◽  
pp. 329-358 ◽  
Author(s):  
Yunshu Tan ◽  
Lauren Conti
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Undergraduate Students ◽  
Teaching And Learning ◽  
Traditional Music ◽  
World Music ◽  
Chinese Music ◽  
Short Term Exposure ◽  
Post Test ◽  
Music Research

Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.

Gaming Musical Instruments

2019 ◽  
Vol 5 (2) ◽  
pp. 121-130
Author(s):  
Jan Torge Claussen
Keyword(s):  
Music Education ◽  
Video Game ◽  
Traditional Music ◽  
Musical Instrument ◽  
Game Studies ◽  
Sight Reading ◽  
Specific Context ◽  
Video Recordings ◽  
And Performance ◽  
The Relationship

Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.

The Impact of Technologies on Society, Schools, and Music Learning

2017 ◽  
pp. 276-290
Author(s):  
Valerie Peters
Keyword(s):  
Music Education ◽  
New Technology ◽  
Traditional Music ◽  
First Century ◽  
Music Culture ◽  
Professional Musicians ◽  
Rock Band ◽  
Music Making ◽  
And Performance ◽  
The Impact

This chapter examines how music education can benefit from the use of new electronic tools and materials for music making that allow learners to combine their interests and prior understandings toward deepening their engagement in music. By exploring how rhythmic video games like Rock Band bridge the large chasm that exists between youths’ music culture and traditional music education; how inexpensive recording hardware and software such as Audacity and GarageBand have provided youth with opportunities to compose and perform as only professional musicians could in the past; and how software like Impromptu successfully engages youth in music composition and analysis by enabling users to create and remix tunes using virtual blocks that contain portions of melodies and rhythmic patterns, this chapter argues that twenty-first-century music education, with the help of new technology, has the potential for engaging greater numbers of young learners in authentic music making and performance.

From Rhythm and Blues to Reggae; a Practical Experience

1984 ◽  
Vol 1 (3) ◽  
pp. 233-245
Author(s):  
Felix Cross
Keyword(s):  
Music Education ◽  
Traditional Music ◽  
Practical Experience ◽  
Musical Ability ◽  
Community Studies ◽  
Theoretical Understanding ◽  
Rhythm And Blues ◽  
Practical Performance ◽  
Historical Developments ◽  
Number Of Classes

In traditional music education, music history, its appreciation and theoretical understanding, and the playing of music have usually been taught as separate entities. Students are rarely given the chance to combine these elements in one integratedactivity. Thus theoretical points may seem irrelevant, arbitrary and isolated from practical performance, whilst historical developments of style are often not fully appreciated when discussed apart from ‘real’ playing and technicalunderstanding.This article describes a class for adults of mixed musical ability at Goldsmiths' College, London. Within the School of Adult and Community Studies a number of classes and workshops take place, under the overall heading of ‘Jazzand Pop Musicianship’. This particular class was concerned with two of the most important areas of Caribbean music: reggae and calypso.

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