Exploring the Directions for Korean Music Education through the Performance Analysis of the Musical Instrument Education Support Project

2021 ◽  
Vol 15 (2) ◽  
pp. 157-185
Author(s):  
Kyung-Eon Lee ◽  
Keyword(s):  
Performance Analysis ◽  
Music Education ◽  
Musical Instrument ◽  
Korean Music ◽  
Education Support

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

scholarly journals Pedagogical Potential of Mental Practice in Teaching Brass Instruments at University

2021 ◽  
Author(s):  
Laura Muceniece ◽  
◽  
Dace Medne ◽  
Ērika Gintere ◽  
◽  
...  
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Musical Instrument ◽  
Mental Practice ◽  
Musical Education ◽  
Brass Instruments ◽  
Second Stage ◽  
Teaching Music ◽  
Two Stages ◽  
Overall Effectiveness

At any level of musical education, it is very important to improve one’s musicianship skills, which can only be achieved through consistent training and playing their musical instrument. Physical training is a very important part of the learning process; however, its combination with mental practice has been proved to be much more effective. Although such an approach is important at all levels of musical education, the paper addresses it in the context of higher education. Thus, the aim of this study is to determine the pedagogical potential of mental practice in the process of teaching music in higher education. The research was implemented in two stages. First, a survey was conducted to gather information about the respondents’ habits when learning musical pieces. At this stage, the study involved 68 brass students from different universities around the world between the ages of 19 and 25. The second stage of the research comprised the development of the program of mental practice (PMP) with structured observation as a method and 7 participants from Latvian and Norwegian higher music education institutions. The obtained results allow to conclude that the inclusion of mental practice in the practicing routine significantly improves the overall level of concentration and stability both in the process of training and during performances. Mental practice also provides an opportunity to increase the duration of training as well as enhances the overall effectiveness of practicing and concentration during performances.

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.

Enhanced Learning for Young Music Students

2016 ◽  
Vol 103 (2) ◽  
pp. 41-46 ◽  
Author(s):  
Diane Briscoe
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Musical Instrument ◽  
Music Students ◽  
Home Practice ◽  
Music Lessons ◽  
Enhanced Learning

Factors that determine the rate of a child’s progress on a musical instrument include the quality, quantity, and regularity of home practice. Because a young pupil sometimes lacks the skills necessary to practice independently at times, music teachers could encourage and motivate parents/guardians to participate more fully in their child’s music education. Sandler and Hoover-Dempsey discovered a number of variables that seem to influence parents’ willingness to become more active in school-related activities. These findings provide music teachers with insights into how to motivate adults to become more involved in their child’s music lessons.

scholarly journals Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Maria Dymnikowa ◽  
Elena A. Ogorodnikova ◽  
Valentin I. Petrushin
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Music Performance ◽  
Musical Instrument ◽  
Emotional Memory ◽  
Musical Performance ◽  
Music Pedagogy ◽  
Target Level ◽  
Structural Components ◽  
Effective Work

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level. 

scholarly journals Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra

2017 ◽  
Vol 29 (3) ◽  
pp. 245
Author(s):  
Andar Indra Sastra ◽  
Nadya Fulzi ◽  
Syahri Anton
Keyword(s):  
Music Education ◽  
Qualitative Data ◽  
Postcolonial Theory ◽  
Musical Instrument ◽  
The Body ◽  
Western Music ◽  
Material Object ◽  
Colonial Era ◽  
Art Object ◽  
West Sumatra

ABSTRACTThe aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. The problem to be addressed in this article focuses on postcolonial aesthetics, with talempong kreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism. Keywords: aesthetics, postcolonial, talempong kreasi, talempong goyang                 and West Sumatra. 

Engagement and Creativity in Music Education

2018 ◽  
pp. 418-432
Author(s):  
Dimitra Kokotsaki
Keyword(s):  
Social Behavior ◽  
Music Education ◽  
Cognitive Skills ◽  
Musical Instrument ◽  
Creative Work ◽  
Active Engagement ◽  
Musical Identity ◽  
Creative Task ◽  
Vital Part ◽  
Positive Effects

The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.

Engagement and Creativity in Music Education

2016 ◽  
pp. 295-309
Author(s):  
Dimitra Kokotsaki
Keyword(s):  
Social Behavior ◽  
Music Education ◽  
Cognitive Skills ◽  
Musical Instrument ◽  
Creative Work ◽  
Active Engagement ◽  
Musical Identity ◽  
Creative Task ◽  
Vital Part ◽  
Positive Effects

The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.

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