scholarly journals The use of metaphorical musical terminology for verbal description of music

2018 ◽  
Vol 44 (2) ◽  
pp. 627-641
Author(s):  
Milena Petrović ◽  
Marija Golubović
Keyword(s):  
Music Education ◽  
Cognitive Processing ◽  
Verbal Description ◽  
Musical Experience ◽  
Melodic Contour ◽  
Associative Thinking ◽  
Music Experience ◽  
And Performance

The aim of this paper is to indicate the importance of the metaphorical terminology and verbal description of music in education and performance due to inevitable role of emotions and embodiment in music experience. Metaphorical music terminology should follow the interpretative maturity, such as for the term scherzo, which would be joke for younger, but forced joke or all but prank for older musicians. For music beginners we can use extramusical verbal symbols: the pulse is represented as the stickman; major with the symbol of sun and minor with the symbol of rain; sequencing is presented with the picture of stairs; the picture of butterfly implies image-schematicity in interpreting the wave melodic contour; children understood duple meter through the picture of a soldier, while triple meter appreciated through the picture of a ballerina; staccato is experienced as a movement, but also as a visual and auditory metaphor. Multimodality plays an important role in music education, because it implies the integration of movement, sound, picture and verbal metaphors. Therefore, the musical experience is described and performance interpreted by following the direction from the emotional sound experience to its cognitive processing. Mul- timodal approach would increase associative thinking and enlarge individual associations on musical terms, which gives a better understanding of music and widens perspective in music education.

The Role of Bodily Movement in Learning and Performing Music: Applications for Education

2012 ◽  
pp. 768-782 ◽  
Author(s):  
Jane W. Davidson
Keyword(s):  
Body Movement ◽  
The Body ◽  
Musical Experience ◽  
Performance Skills ◽  
Music Production ◽  
Bodily Movement ◽  
Musical Knowledge ◽  
And Performance

This article explores the fundamental role of bodily movement in the development of musical knowledge and performance skills; in particular, how the body can be used to understand expressive musical material and to communicate that meaning to coperformers and audience. The relevance to the educator is explored (whether working with a child or adult beginner, or a more advanced learner). The article is divided into six main sections, tracing the role of body movement skill in music production, expressive musical performance, developing learners to play their musical instruments with technical and expressive appropriateness, coperformer coordination, and projection for audience perception. The work builds on a growing interest in the embodied nature of musical experience. The article concludes with case study observations of practical insights and applications for the teacher.

scholarly journals The Free Improvisation Game: Performing John Zorn’s Cobra

2013 ◽  
Author(s):  
Dylan Van der Schyff
Keyword(s):  
Music Education ◽  
Wide Spread ◽  
Relevant Research ◽  
Music Psychology ◽  
Free Improvisation ◽  
Person Perspective ◽  
The World ◽  
And Performance ◽  
Musical Communication

The use of improvisation is wide spread in musical practice around the world. Nevertheless, Western academic circles tend to ignore this ubiquitous activity and have maintained a focus on composition and interpretation. This is beginning to change, however, and the role of improvisation in performance and music education is receiving an increasing amount of attention. This paper contributes to this project by examining the practice of ‘free improvisation’ in a large ensemble context. A rehearsal and performance of John Zorn’s Cobra––a ‘game’ piece for improvisers––is analyzed from a first-person perspective; relevant research in music psychology is considered; and suggestions are made with regard to how we may better understand the nature of musical communication in improvised contexts. Pedagogical applications are also considered.

scholarly journals Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

2021 ◽  
Author(s):  
Olena Spolska
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Decisive Role ◽  
Piano Performance ◽  
Initial Stage ◽  
Western Ukraine ◽  
Late Nineteenth ◽  
And Performance ◽  
Historical Comparative

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

scholarly journals Arte y construcción de paz: la experiencia musical vital

2017 ◽  
Vol 12 (2) ◽  
pp. 67 ◽  
Author(s):  
Gloria Patricia Zapata Restrepo
Keyword(s):  
Developmental Psychology ◽  
Musical Experience ◽  
Artistic Practice ◽  
Cognitive Sciences ◽  
Research Fields ◽  
Theoretical Support ◽  
The Arts ◽  
Music Experience ◽  
The Relationship

ResumenEste artículo propone diversos elementos que contribuyen, desde las prácticas artísticas, a la construcción de paz. Partiendo de múltiples investigaciones, analiza el rol de las artes y, más específicamente, el papel de la experiencia musical vital, señalando niveles de investigación, ámbitos, teorías (como las ciencias cognitivas y la psicología del desarrollo), así como retos desde los cuales estas prácticas pueden cumplir un papel fundamental en dicha tarea. De esta forma, se clarifican los distintos aspectos en los que es preciso poner la mirada; con la fenomenología como soporte teórico del concepto de experiencia musical vital, se señalan algunos ámbitos posibles para la investigación, como también los dispositivos propios de las prácticas artísticas que son útiles en la construcción de paz. Con esto se espera aportar en el desarrollo del conocimiento sobre la relación entre arte y paz.Palabras clavesExperiencia musical vital; prácticas artísticas; construcción de paz; experiencia humana ARTE E CONSTRUÇÃO DE PAZ: A EXPERIÊNCIA MUSICAL VITALGloria Patricia Zapata RestrepoResumoEste artigo propõe diversos elementos que contribuiem desde as praticas, à construção de paz. Partindo de Múltiplas investigações, analisa o papel das artes e, más especificamente, a da experiência musical vital, assinalando níveis de investigação, âmbitos, teorias (como as ciências cognitivas e a psicologia do desenvolvimento), assim como propósitos desde os quais estas praticas podem cumprir um papel fundamental em dita tarefa. Desta forma, se clarificam os diferentes aspectos nos que é preciso pôr a mira, com a fenomenologia como suporte teórico do conceito de experiência musical vital, se assinalam alguns âmbitos possíveis para a investigação, como também os dispositivos próprios das práticas artísticas que são úteis na construção de paz. Com isto se espera aportar no desenvolvimento do conhecimento sobre a relação entre arte e paz.Palavras-chaveExperiência musical vital; práticas artísticas; construção de paz; experiência humana. Art and Peacebuilding: The Vital Musical Experience Gloria Patricia Zapata Restrepo AbstractThis article proposes diverse elements that contribute, from the artistic practice, to the construction of peace. Based on multiple researches, it analyzes the role of the arts and, more specifically, the role of vital musical experience, pointing to levels of research, fields, theories (such as the cognitive sciences and developmental psychology) as well as challenges from which These practices can play a key role in this task. In this way, they clarify the different aspects where it is necessary to look. With phenomenology as a theoretical support of the concept of vital musical experience, some possible fields for research are pointed out, as well as the devices of the artistic practices that are useful in the construction of peace. This is expected to contribute to the development of knowledge about the relationship between art and peace.Keywords Vital music experience; artistic practice, peacebuilding; human experienceArte y uinahii pazmanda: sug experiencia Tunai VitalGloria Patricia Zapata RestrepoMaillallachiska:Kai articulok proponekume diversos elementokuna que contribuyen, sug practica artistikunana, uiñachingapa paz kallarispa Achka investigacionkuna, analiza chi rol artekunape y más específicamente, sug papel experiencia tunaikuna vital, señalaska nivelkuna investigación, ámbitos, teorías (chi cienciakuna cognitiva y psicología del desarrollo), chasa retocena chimanda chi practicakuna cumplenkuna sug papel fundamental chi tareape. Chasapek clarifikarenme sugrigcha aspectokuna y ka preciso churangapa kauai, chi fenomenologiak sug soporte teorikocena de experiencia tunaikuna vital, kauachimi sug ambitokuna allikai investigacionpepa, chasallata chi dispositivo propio chi practika artistikakuna y ka ministido uiñachingapa paz. Kaiua suiarikumi aportangapa sug desarrollo resengapa chi realcion entre arte y paz.Rimangapa Ministidukuna:Experiencia tunaikuna vital; practicas artísticas, uiñachii paz; experiencia humanaArt et construction de la paix : l'expérience musique vitale Gloria Patricia Zapata Restrepo Résumé Cet article propose divers éléments qui contribuent, dès les pratiques artistiques, à la construction de la paix. Sur la base de recherches multiples, il analyse le rôle des arts et, plus particulièrement, le rôle de l'expérience musicale vitale, indiquant des niveaux de recherche, des domaines, des théories (comme les sciences cognitives et la psychologie du développement) ainsi que les défis à partir desquels ces pratiques peuvent jouer un rôle clé dans cette tâche. De cette façon, il clarifie les différents aspects à regarder de près. Avec la phénoménologie en tant que support théorique du concept d'expérience musicale vitale, certains domaines possibles de recherche sont soulignés, ainsi que les dispositifs des pratiques artistiques utiles à la construction de la paix. Cela devrait contribuer au développement des connaissances sur la relation entre l'art et la paix.Mots clés Expérience musicale vitale; pratiques artistiques; consolidation de la paix; expérience humaine

Ethnomusicology, Music Education, and the Power and Limitations of Social Media

2020 ◽  
pp. 466-487
Author(s):  
David G. Hebert ◽  
Sean Williams
Keyword(s):  
Social Media ◽  
Music Education ◽  
Teaching And Learning ◽  
Musical Experience ◽  
Music Production ◽  
Production And Consumption ◽  
Musical Knowledge ◽  
Popular Representations ◽  
And Performance ◽  
Shed Light

This chapter looks at the field of ethnomusicology and its unique contributions to music education, with specific attention to how both fields are impacted by social media. It explores relationships between them and demonstrates both how social media have transformed musical experience and the ways that “glocalization” theory helps shed light on the diverse impacts of social media on music production and consumption. In addition, the chapter explores how the popularization of social media has changed notions of ethnomusicological fieldwork, access to music for teaching and learning, and popular representations of musical knowledge and performance.

On ‘Listening’ in Music Education Brian Loane

1984 ◽  
Vol 1 (1) ◽  
pp. 27-36 ◽  
Author(s):  
Brian Loane
Keyword(s):  
Music Education ◽  
The Other ◽  
Musical Experience ◽  
Crucial Difference ◽  
Musical Activity ◽  
Supportive Role ◽  
Explicit Analysis ◽  
And Performance ◽  
The One ◽  
Musical Activities

The article suggests that ‘Composing / Performing / Listening’ may be an inadequate way to categorise musical activities, particularly because any musical activity is a sort of listening. There is a discussion of the educationally crucial difference between ‘audience-listening’ on the one hand, and ‘composition-listening’ and ‘performance-listening’ on the other. It is suggested that musical experience is itself thinking embodied in sound, and that explicit ‘analysis-of-listening’ plays a supportive role.In this light, the article proposes an alternative way to categorise musical activities, and indicates some possible conclusions for the curriculum and for assessment.

scholarly journals Arithmetic Skill May Refine the Performance of Individuals with High Math Anxiety, Especially in the Calculation Task: An ERP Study

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Bijuan Huang ◽  
Xiaomeng Zhao ◽  
Hongxia Li ◽  
Weixing Yang ◽  
Shuang Cui ◽  
...  
Keyword(s):  
Cognitive Processing ◽  
Math Anxiety ◽  
Negative Stimulus ◽  
Educational Interventions ◽  
Comparison Task ◽  
Arithmetic Skill ◽  
Calculation Task ◽  
Different Populations ◽  
And Performance

Abstract As a global phenomenon, the theme of math anxiety has received increasing attention. The present study aimed to investigate the relationship between math anxiety and performance and determine the role of arithmetic skill in two different tasks. Fifty-seven college freshmen were recruited to perform a comparison task and a calculation task. Only main effect of arithmetic skill was found on the behavioral level. In the comparison task, participants with high math anxiety (HMA) showed faster latencies and greater amplitudes of N1 and longer P3b latency relative to their counterparts with low math anxiety (LMA). Number, as a negative stimulus, occupied attentional resources and delayed the speed of cognitive processing for individuals with HMA. Furthermore, among those with HMA, individuals with high arithmetic skill showed larger amplitudes and shorter latencies of P2 compared with those with low airthmetic skill in the calculation task. Thus, arithmetic skill could refine the performance efficiency of individuals with HMA, especially in the calculation task. These results suggest that educational interventions emphasizing control of negative emotional responses to math stimuli will be more effective when considering different populations of mathematically competent individuals.

How Musical We Are: John Blacking on Music, Education, and Cultural Understanding

2000 ◽  
Vol 48 (4) ◽  
pp. 336-359 ◽  
Author(s):  
Patricia Shehan Campbell
Keyword(s):  
Music Education ◽  
South African ◽  
The United States ◽  
Musical Experience ◽  
Musical Culture ◽  
Musical Thought ◽  
Professional Career ◽  
The United Kingdom ◽  
And Behavior

The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.

Music and Movement: the Effect of Movement on Musical Comprehension

1994 ◽  
Vol 11 (2) ◽  
pp. 113-127 ◽  
Author(s):  
Mari Shiobara
Keyword(s):  
Music Education ◽  
Primary School ◽  
Teaching Experiment ◽  
Vital Role ◽  
Musical Experience ◽  
Music Teaching ◽  
The Mind

In this article, I discuss the importance of movement in music education and suggest an effective way to approach this particular area of music teaching for younger children. The most important characteristics of movement to music activity in musical experience would seem to be in the role of developing in the mind of the participants ‘music schemata’, an active, developing organization of past responses to music which play a vital role when we listen to music and comprehend its expressive character. This hypothesis was tested in the teaching-experiment which was carried out in an English primary school and a Japanese primary school with the children of 7 to 8 years of age.

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