scholarly journals Hedonistic Approach in the Musical-Rhythmic Competence of Future Music and Choreography Teachers

2019 ◽  
Vol 66 (3) ◽  
pp. 274-277
Author(s):  
Wang Yuansin
Keyword(s):  
Music Education ◽  
Applied Research ◽  
Music Teachers ◽  
Musical Training ◽  
Recent Decade ◽  
Important Goal ◽  
Music Training ◽  
Individual Approach ◽  
Active Attention

The article is dedicated to the analysis of hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers. As hedonism became a focus of scholars’ active attention during the recent decade, hedonistic approach is being put forward in the article as the key one in music and rhythm competence of prospective Music and Choreography teachers. Under the current circumstances of the society’s development, the psychological follow-up of prospective Music and Choreography teachers is an important goal to attain for our country. Each personality requires individual approach; help in revealing his/her specific features; in shaping a wholesome, harmonious personality. The goal under consideration presupposes setting complicated issues for teachers and psychologists; these issues require structural, systemic and subsequent solution. The personality’s subjective welfare is not only an indicator of his/her psychic (emotional) stability, the transient (dis)adaptation states and pressure compliance resources, but also has crucial significance for perfecting the processes of a person’s overall and academic socialisation. This phenomenon requires conducting applied research as well as solving other issues. Thus, hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers presupposes studying and explication. Applying a hedonistic approach to music-rhythmic competence, under appropriate pedagogical conditions, is transformed into a kind of educational and musical training, which is based on a person's need for pleasure, enjoyment and relying on a love of music education. In this way, the hedonistic approach in music education gives the process of teaching future music teachers and choreography a special appeal.Hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers under the corresponding academic circumstances is being rearranged into a distinctive teaching and music training based on the prospective Music and Choreography teacher’s demand for enjoyment and delight relying on the love of music education.

Cognitive inhibitory control in children following early childhood music education

2016 ◽  
Vol 21 (3) ◽  
pp. 303-315 ◽  
Author(s):  
Marie-Eve Joret ◽  
Filip Germeys ◽  
Yori Gidron
Keyword(s):  
Music Education ◽  
Executive Functions ◽  
Inhibitory Control ◽  
Simon Task ◽  
Musical Training ◽  
Economic Status ◽  
Reaction Times ◽  
Error Rates ◽  
Significant Group ◽  
Music Training

The relationship between music training and executive functions has remained inconsistent in previous studies, possibly due to methodological limitations. This study aims to investigate cognitive inhibitory control in children (9–12 years old) with and without musical training, while carefully considering confounding variables. To assess executive functions, the Simon task was used, measuring reaction times (RTs) and error rates on congruent and incongruent trials. Information on important variables such as bilingualism, socio-economic status (SES), music pedagogy and amount of musical training was collected through a parental questionnaire. Furthermore, verbal and non-verbal intelligence were assessed with validated tests to consider their effects as well. The results showed that the samples did not significantly differ in background variables. The analysis of the RT data on the Simon task revealed a significant group × congruency interaction, such that musically trained children showed a reduced magnitude of the congruency effect (RTs on incongruent trials – RTs on congruent trials) compared to non-musicians. To conclude, music training seems to be associated with enhanced cognitive inhibitory control in well-matched samples.

scholarly journals Teacher perceptions of A-level music: tension, dilemmas and decline

2021 ◽  
pp. 1-15
Author(s):  
Adam Whittaker
Keyword(s):  
Music Education ◽  
Teacher Perceptions ◽  
Music Teachers ◽  
Musical Training ◽  
Opportunity To Learn ◽  
Nationwide Survey ◽  
Musical Instrument ◽  
Art Music ◽  
School Curriculum ◽  
Level 3

Abstract A-level music, a qualification taken most often in English and Welsh school contexts around the age of 18, has been a long-standing feature of the musical training of many musicians. Historically bound up with Western European Art Music, the qualification has somewhat broadened its horizons in recent times, though with mixed success in opening up new ways of thinking about music. Recent research has highlighted the seemingly precarious nature of A-level music in many English schools. The reasons for this picture of decline are highly complex and difficult to disentangle, and are part of a much broader diminishing of creative subjects in the school curriculum. Decreasing numbers of A-level music entries run somewhat counter to popular policy discourse, which celebrates flagship announcements of £79 million given to Music Education Hubs in 2019–2020, and 2018 survey results that reported more than 700,000 children learning to play a musical instrument through music hub provision. However, behind these headlines, although there are many children having the opportunity to learn a musical instrument, few continue through to A-level and beyond. Despite its declining numbers, A-level music is recognised as a valuable qualification amongst music teachers, offering something distinct from graded music examinations and other Level 3 musical qualifications. This article presents the results of a recent nationwide survey of A-level music teachers to offer an insight into teacher perceptions of current A-level music specifications, the extent to which it prepares students for entry into higher musical education, and its appropriateness for aspiring young musicians.

Courses for Secondary Instruments

2019 ◽  
pp. 344-363
Author(s):  
Molly A. Weaver
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Promising Practices ◽  
Education Curriculum ◽  
Music Teacher Education ◽  
Teaching Activities ◽  
School Based ◽  
Secondary Instrument ◽  
Institutional Model

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.

Developing Effective Dispositions for Teaching Music

2019 ◽  
pp. 321-344
Author(s):  
Michael Raiber
Keyword(s):  
Music Education ◽  
Teacher Educators ◽  
Systematic Approach ◽  
Music Teachers ◽  
Developmental Stages ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Teacher Concerns ◽  
Teaching Music ◽  
The Impact

The impact of teacher dispositions on the professional development of preservice music teachers (PMTs) has been substantiated. This chapter describes an approach to dispositional development within the structure of an introduction to music education course. A teacher concerns model is used to organize this systematic approach through three developmental stages that include self-concerns, teaching task concerns, and student learning concerns. A series of 11 critical questions are presented for use in guiding PMTs’ dispositional development through these developmental stages. Activities to engage PMTs in the exploration of each of these questions are detailed for use by music teacher educators desiring to engage PMTs in dispositional development.

The impact of a music education program on meta-musical awareness, logical-mathematical, and notational skills in preschoolers

2021 ◽  
pp. 025576142110272
Author(s):  
Oriana Incognito ◽  
Laura Scaccioni ◽  
Giuliana Pinto
Keyword(s):  
Music Education ◽  
Education Program ◽  
Cognitive Abilities ◽  
Musical Training ◽  
Control Group ◽  
Transfer Of Knowledge ◽  
General Domain ◽  
Music Program ◽  
Before And After ◽  
The Impact

A number of studies suggest a link between musical training and both specific and general cognitive abilities, but despite some positive results, there is disagreement about which abilities are improved. This study aims to investigate the effects of a music education program both on a domain-specific competence (meta-musical awareness), and on general domain competences, that is, cognitive abilities (logical-mathematical) and symbolic-linguistic abilities (notational). Twenty 4- to 6-year-old children participated in the research, divided into two groups (experimental and control) and the measures were administered at two different times, before and after a 6-month music program (for the experimental group) and after a sports training program (for the control group). Children performed meta-musical awareness tasks, logical-mathematical tasks, and emergent-alphabetization tasks. Non-parametric statistics show that a music program significantly improves the development of notational skills and meta-musical awareness while not the development of logical-mathematical skills. These results show that a musical program increases children’s meta-musical awareness, and their ability to acquire the notational ability involved in the invented writing of words and numbers. On the contrary, it does not affect the development of logical skills. The results are discussed in terms of transfer of knowledge processes and of specific versus general domain effects of a musical program.

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 method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

Music Therapy Knowledge and Interest: A Survey of Music Education Majors

2020 ◽  
Vol 57 (4) ◽  
pp. 455-474
Author(s):  
Lori F Gooding ◽  
D Gregory Springer
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Music Teachers ◽  
Degree Programs ◽  
Education Majors ◽  
Education Students ◽  
Career Option ◽  
Key Factor ◽  
Career Options ◽  
Music Education Majors

Abstract Music teachers play an important role in exposing students to career options in the field of music. As a result, there is a need to explore music education students’ interest in and knowledge of music therapy. The purpose of this study was to investigate music education students’ exposure to, knowledge of, and willingness to promote music therapy as a career option for prospective collegiate students. A survey was given to 254 music education majors from four research institutions, two with and two without music therapy degree programs. Participants answered demographic, yes/no, Likert-type scale, and open-ended questions about their exposure to, knowledge of, and willingness to promote careers in music therapy. Results indicate that exposure to music therapy occurred in both pre-collegiate and college settings, and that music teachers appear to be influential in exposing students to music therapy. Students often sought out information on music therapy independently, which played an important role in how individuals learned about music therapy, though it has the potential of providing misinformation. Significant differences were found in participants’ knowledge and willingness to promote music therapy as a career option based on the presence of music therapy degree programs. Exposure seemed to be a key factor in music therapy knowledge and promotion; thus, music therapists need to ensure accurate dissemination of music therapy-related information in both pre-collegiate and college settings. Increasing the visibility of the field has the potential to expand interest and potentially attract young musicians well suited for a career in music therapy.

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