A Study on the Direction of Applied Music Education in the Trend of 21 st Century Digital Music Contents

2019 ◽  
Vol 41 (5) ◽  
pp. 251-278
Author(s):  
Moonsik Chung
Keyword(s):  
Music Education ◽  
Digital Music ◽  
Applied Music

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

Expertise in applied studio teaching: Teachers working with multiple levels of learners

2020 ◽  
Vol 38 (2) ◽  
pp. 283-298
Author(s):  
Jennifer Blackwell
Keyword(s):  
College Students ◽  
Music Education ◽  
Positive Feedback ◽  
Music Teachers ◽  
Applied Music ◽  
Teacher Modeling ◽  
Video Recordings ◽  
Multiple Levels ◽  
Different Levels ◽  
Formal Recognition

One-to-one lessons are ubiquitous in music education, and thus understanding the components of effective teaching in this environment is essential for student learning. This study explored whether the teaching elements identified in previous studies were evident with applied music teachers working with both college and pre-college students, and if those elements differed as a function of the level of the students. In addition, these teachers were asked to provide commentary on what they deemed important to effective studio teaching. I examined video recordings of 18 lessons given by two applied teachers who had received formal recognition for outstanding teaching. Many of the observations in this study were consistent with previous findings; however, higher rates of low magnitude positive feedback and student errors that did not elicit stops were present. One element regarding physical proximity was added. The findings indicate important differences in the way these teachers approach students at different levels, particularly regarding side coaching during performance, teacher modeling, feedback, and correction of errors. Participants also emphasized the importance of rapport and positive relationships.

An Exploration of Potential Factors Affecting Student Withdrawal From an Undergraduate Music Education Program

2012 ◽  
Vol 60 (3) ◽  
pp. 310-323 ◽  
Author(s):  
Russell B. Gavin
Keyword(s):  
Music Education ◽  
Education Program ◽  
Qualitative Methodology ◽  
Applied Music ◽  
Factors Affecting ◽  
Life Issues ◽  
Potential Factors ◽  
The Individual ◽  
Music Education Majors ◽  
Personal Career

The purpose of this study was to examine the degree withdrawal patterns of undergraduate music education majors, with a specific focus on the individual experiences of students withdrawing from the major. Data from recently withdrawn students ( N = 14) were assembled using a qualitative methodology that included semistructured interviews, questionnaires, researcher journals, and meetings with experienced researchers. The data were analyzed and coded, generating a number of categories for discussion and analysis. Students’ experiences during college were diverse, with concerns focused on the applied music component of the degree surfacing as important to many students. The reasons given for withdrawal from the music education program also were diverse, including dismissal from the applied music studio, erosion of personal confidence as a musician, realizations about their feelings toward music versus their feelings about teaching in general as it related to their personal career goals, and personal life issues. Following withdrawal from the music education curriculum, all interviewed students reported that they remained actively involved in music in some way. Implications of these results are discussed in relation to individual experiences and the function of those experiences within the context of current models of student persistence.

An Overview of Optical Music Recognition in China

2011 ◽  
Vol 225-226 ◽  
pp. 223-227
Author(s):  
Gen Fang Chen ◽  
Wen Jun Zhang
Keyword(s):  
Image Processing ◽  
Pattern Recognition ◽  
Music Education ◽  
Music Theory ◽  
Contemporary Music ◽  
Digital Music ◽  
Musical Score ◽  
Optical Music Recognition ◽  
Research Status ◽  
Music Recognition

OMR (Optical Music Recognition) is a technology for digital musical score image processing and recognition by computer, which has broad applications in the digital music library, contemporary music education, music theory, music automatic classification, music and audio sync dissemination and etc. This paper first has a brief description of OMR research and focuses on describing the research of Chinese OMR literature, it represents the research status and results in China, then the paper pointes out that the target of OMR research in China must tend to Chinese traditional musical score image processing and pattern recognition.

Skype music lessons in the academy: Intersections of music education, applied music and technology

2013 ◽  
Vol 6 (1) ◽  
pp. 43-60 ◽  
Author(s):  
Nathan B. Kruse ◽  
Steven C. Harlos ◽  
Russell M. Callahan ◽  
Michelle L. Herring
Keyword(s):  
Music Education ◽  
Applied Music ◽  
Music Lessons ◽  
Music And Technology

Administrators' Ratings of Competencies for an Undergraduate Music Education Curriculum

1978 ◽  
Vol 26 (1) ◽  
pp. 3-15 ◽  
Author(s):  
Joel R. Stegall ◽  
Jack E. Blackburn ◽  
Richard H. Coop
Keyword(s):  
Music Education ◽  
General Education ◽  
Student Teaching ◽  
Professional Education ◽  
Undergraduate Curriculum ◽  
Education Curriculum ◽  
Applied Music ◽  
Education Professional ◽  
Music Ensembles ◽  
Teaching Music

The purpose of this study was to develop ratings by National Association of Schools of Music member institutions of competencies for an undergraduate curriculum in music education. Competencies were limited to the cognitive aspects of basic musicianship, applied music, and music education methods. Competencies in general education, professional education (including student teaching), music ensembles, and competencies in the affective and psychomotor domains were excluded. Testing conditions and criteria also were excluded. A questionnaire composed of 99 competencies was mailed to each of the NASM schools believed to offer undergraduate degrees in music education. The respondents were asked to indicate their opinion of the value of each competency by rating it on a scale from one (low) to five (high). The result of the study is a list of 84 competencies with a mean rating of 3.5 or higher.

scholarly journals Applicability of an applied music notation system: A case study of Figurenotes

2019 ◽  
Vol 37 (4) ◽  
pp. 654-666 ◽  
Author(s):  
Sanna Kivijärvi
Keyword(s):  
Music Education ◽  
General Education ◽  
Educational Practice ◽  
Music Notation ◽  
Structured Interviews ◽  
Voluntary Work ◽  
Applied Music ◽  
Educational Method ◽  
Notation System ◽  
Learning And Teaching

The purpose of this study is to examine the applicability of an applied music notation system, Figurenotes, by using the concept of educational method as theoretical lens. Figurenotes is examined through this lens at two levels: the micro level of music educational practice and the macro level of advancement of educational policies. The study is based on semi-structured interviews with experts in music education, special and general education, educational policy, music therapy, voluntary work, and music business as well as with students, clients, parents, and the developers of Figurenotes. The findings emphasise that the application of Figurenotes lowers the threshold for learning and teaching music, and is especially applicable in educational situations where the student’s cognitive load needs to be lessened. It is concluded that Figurenotes can be seen both as a pedagogical approach and as a method for advancing educational equity.

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