scholarly journals EDUCATIONAL AND PEDAGOGICAL VALUE OF UKRAINIAN CHILDREN'S MUSIC FOLKLORE

2019 ◽  
Vol 2 (26) ◽  
pp. 175-181
Author(s):  
Svitlana Chaika ◽  
Keyword(s):  
Children's Music

Assessing Music in Early Childhood

2019 ◽  
pp. 444-476
Author(s):  
Maria Runfola
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Teaching And Learning ◽  
Student Assessment ◽  
Deep Understanding ◽  
Children's Music ◽  
National Network ◽  
Music Assessment ◽  
Early Childhood Music ◽  
Utilitarian Value

In this chapter, pros and cons of assessing young children’s music skills and content knowledge are explored. An integrative literature review is included as well as a thematic review lending support to core themes. Several reasons were identified as to the importance of promoting student assessment as children participate in early childhood music. Use of music assessments in the classroom and for research should consider practices consistent with musical age as well as chronological age. Increased recognition of the importance of music in total development of the child supports need for effective early childhood assessment systems especially by the music education research community as they continue to gather evidence regarding the utilitarian value of music in early childhood. Researchers need to be aware of environmental factors that may impact early music learning and cognizant of current best practices in music education for early childhood. Researcher-developed criterion measures often are not investigated for quality characteristics, and thus rigorous guidelines for such criterion measures are needed. It appears there are no definitive policy or ethics statements regarding early childhood music assessment but both should be considered vital priorities for the profession. Most likely only those scholars with profound interest in assessment and teachers with deep understanding of the role of assessment in teaching and learning will volunteer to respond. Everything developed in such a national network will be useful, providing we start with clearly defined, intended outcomes and then develop assessments to document student attainment of those musical outcomes.

Teachers as Agents of the Repatriation of Music and Cultural Heritage

2018 ◽  
pp. 282-302
Author(s):  
Patricia Shehan Campbell ◽  
J. Christopher Roberts
Keyword(s):  
Cultural Heritage ◽  
Music Teachers ◽  
Children's Music ◽  
Home Culture ◽  
Field Recordings ◽  
Child Centered ◽  
Culture Centered ◽  
K 12 ◽  
Culture Of Origin ◽  
Musical Heritage

As the movement to repatriate music from archives gathers steam, the question of how to effectively disseminate the music to people in the culture of origin becomes a pressing issue. This chapter argues that K–12 teachers have a distinctive ability to reintroduce archival music, through three major approaches. In “close-by child-songs by children,” teachers design lessons that incorporate field recordings of children’s music from their home culture, making the music child-centered (and culture-centered). In “child-songs from further afield,” lessons include archived children’s music that is not from the home cultures of the students; such lessons can highlight the similarities across cultures of children’s music. In “adult cultural heritage music,” teachers use the recordings of adults’ musicking experiences in the culture of origin. As such, the music of children is not represented, but the adult musical heritage is disseminated. Examples of these pedagogical approaches to repatriation are provided.

The charmed dyad: Multimodal music lessons for pupils with severe or multiple disabilities

2021 ◽  
pp. 1321103X2097480
Author(s):  
Melissa Bremmer ◽  
Carolien Hermans ◽  
Vincent Lamers
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Teaching Practice ◽  
Meaning Making ◽  
Multiple Disabilities ◽  
Children's Music ◽  
Four Dimensions ◽  
Music Lessons ◽  
Multiple Case ◽  
Teaching Music

This multiple-case-studies research explored a multimodal approach to teaching music to pupils (from 4 to 18 years old) with severe or multiple disabilities. By combining music with, for example, tactile stimulation, movement, or visuals, meaning-making processes in music of these pupils was stimulated, helping them to understand the internal structures and expressive qualities of music. Three music teachers and a social worker participated in this study. Individual and collective video reflections and microanalysis were applied to gather data about their multimodal teaching practice. The data were analyzed through Schmid’s framework (2015) of “multimodal dimensions of children’s music experiences,” developed for general music education. This framework consists of four dimensions: narrativity, sociality, materiality, and embodiment. Based on the findings, Schmid’s framework could be revised for special education, thus providing music teachers with a tool for designing multimodal music lessons for pupils with severe or multiple disabilities.

The children’s music studio: a Reggio-inspired approach

2017 ◽  
Vol 45 (6) ◽  
pp. 759-760
Author(s):  
Samantha Clements
Keyword(s):  
Children's Music

ELEMENTARY MUSIC IN THE SOVIET UNION: PREREQUISITES FOR IMPLEMENTATION IN THE TRAINING AND EDUCATIONAL SPACE

2020 ◽  
Vol 1 (4) ◽  
pp. 13-19
Author(s):  
V. F. Kochekov ◽  
Keyword(s):  
Soviet Union ◽  
Music Education ◽  
Educational Process ◽  
Music Teacher ◽  
Elementary Music ◽  
Children's Music ◽  
Movement Education ◽  
The Soviet Union ◽  
Carl Orff ◽  
Music Theorist

The purpose of the work is to study historical aspects of the development in the USSR of Elementary Music Education, created by a German teacher, musician and composer Carl Orff. The article substantiates the value of this pedagogical system and the prospects for its use in the training and educational process. The initial stage of the introduction of Elementary Music Method in the Soviet Union and the organization of the Carl Orff Pedagogical Society are considered. As a result of applying theoretical scientific research methods, the main factors that influence the process of introducing a new direction in music education are established. The significance of the unified system of music and movement education created by Carl Orff is defined. The system developed by Russian and Soviet enlightener, music theorist, teacher, performer and public figure Boleslav Leopoldovich Yavorsky correlates with German teacher's system. The author analyzes the reasons for which the system developed by B. L. Yavorsky is not widespread in our country. The significance of the activities of the musicologist, historian and publicist Oksana Timofeevna Leontyeva, an active promoter of the Elementary Music System and the first researcher of Orff-composer and Orff-children's music teacher, is determined. The article stresses the first contacts between Soviet musicians and their German colleagues during the visit to the Carl Orff Institute in Salzburg. Emphasis is placed on the importance of publishing literature describing the content, methods and principles of Elementary Music for Soviet teachers interested in new areas of music education and upbringing. Educational institutions are indicated, in which attempts are made to use C. Orff's methods in classrooms. The author reveals the optimization of processes of introducing domestic musicians to the methods of music and movement education, caused by the arrival in the USSR of foreign experts in the field of musical pedagogics. The role of Lev Vyacheslavovich Vinogradov, one of the first followers of new directions in music education, is priceless, as is the importance of his pedagogical activity and his contribution to the popularization and implementation of the method combining music and movement education.

scholarly journals “This one Grandma knew, too, exactly this one!” Processes of Canonization in Children’s Music

2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Ingeborg Lunde Vestad ◽  
Petter Dyndahl
Keyword(s):  
Day Care ◽  
Real Life ◽  
Care Staff ◽  
Best Interest ◽  
Children's Music ◽  
Everyday Lives ◽  
The Everyday ◽  
Care Facilities ◽  
Different Levels ◽  
Musical Activities

Processes of musical canonization occur at different levels of culture and society. People have a strong propensity to categorize, differentiate, and evaluate the music that is important to them, and music is ascribed value in action by people in real-life settings. Based in these premises, the article discusses two questions: First, how does the idea of a canon of children’s music influence the daily musical activities and repertoires used in children’s day care facilities and family homes? Second, in what ways is music legitimized in the everyday lives of children? Our data is collected by observation and interviews conducted in two pedagogical day care facilities and nine family homes. Children, day care staff and parents participated in the study. We find that a discussion of canonization in children’s music along the following four paths of legitimation is meaningful: the “good, old stuff,” the need for renewal, the inclusion of other types of music other than that aimed at a child audience, and the need for a wide array of genres and sentiments. Finally, we argue that although the legitimation and canonization in children’s music obviously involve considerations of musical aspects, separating these canonization processes from the prevailing socio-cultural ideas of childhood and children’s best interest is impossible.  

scholarly journals The Enduring Value of Children’s Music by D. B. Kabalevsky as a Subject of Mastering by Young Pianists

2019 ◽  
Vol 7 (3) ◽  
pp. 94-104
Author(s):  
Marina V. Smirnova ◽  
Anna A. Shtrom
Keyword(s):  
Social Activity ◽  
The State ◽  
Pedagogical Practice ◽  
Creative Activity ◽  
Children's Music ◽  
Educational Role ◽  
Piano Cycle ◽  
Shadow It ◽  
Art Schools

This article analyzes pages from the piano heritage of D. Kabalevsky, which is addressed to the children studying in children musical schools and art schools. The creative image of the musician is revealed through the prism of his multifaceted artistic and social activity, the assessment of which has undergone some revision nowadays. The article also discusses the reasons of why many previously popular works of famous Soviet composers have faded into the shadow. It is emphasized that Kabalevsky was a graduate of the Piano Faculty of the State Moscow Conservatory and has inherited the wonderful traditions of his teacher, A. B. Goldenweiser. The best traditions of the Moscow piano school are used by Kabalevsky as bases in his creative activity, which acquires specific value in the field of music. Today, when the method of young musicians training is going through innovative transformations, this aspect should be especially considered. The high artistic and instructive value of the composer’s piano heritage is noted. The pieces of the piano cycle “From the Pioneer Life,” op. 14, are methodologically analyzed. It is concluded that Kabalevsky’s cycles addressed to children have not lost their artistic and pedagogical value and therefore can be used in the modern pedagogical practice in their entirety. As for the cycles dedicated to the pioneers’ life, they could play an important educational role by raising the younger generation’s interest in one of the most captivating pages of the country’s past.

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