scholarly journals La motivación en la música como eje de la formación profesional

2020 ◽  
pp. 1-9
Author(s):  
Mara Lioba Juan-Carvajal ◽  
Dargen Tania Juan-Carvajal ◽  
María Vdovina
Keyword(s):  
Music Education ◽  
Career Choice ◽  
Family Support ◽  
Young Age ◽  
Early Age ◽  
Music Teaching ◽  
Motivational Strategies ◽  
Professional Musicians ◽  
Education Plans ◽  
General Culture

In some countries, music teaching is present in the study plans since an early age for kids. This provides the schoolchildren with general culture and, in certain cases, encourages them to continue their musical studies at higher levels of education. The decision to major as a musician, though, implies a great sacrifice for a teen who, in ideal terms, would start from a young age and would have family support, but towards adolescence, requires various motivational strategies that encourage him to finish his studies at a bachelor's level. The career choice related to music education is diverse in most of the Mexican states; however, in many cases, music is not the main focus of the education plans. These considerations led to this reflection, which aims to recapitulate and examine the aspects that motivate students to train as professional musicians.

scholarly journals Proposal of the Simple Three-Phase Musicians Career Model (Preparation/Education, Active Playing and Fading/Extention) Reflecting Subjective Aspects of Professional Musician´S Life

2019 ◽  
Vol 8 (3) ◽  
pp. 5509-5515
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Career Stages ◽  
Music Teaching ◽  
Professional Musicians ◽  
Time Limits ◽  
Professional Musician ◽  
Three Phase ◽  
Career Model ◽  
Model Preparation

Careers of professional musicians are unique and their development cannot be fully generalized, as shown by interviews with instrument players and singers of classical music and musical in Slovakia. Their careers do not include all standard career stages; only three of them were identified in all respondents: preparation (tied with music education), active playing (associated with growth, peaks, crises, decrease) and career fading/extinction. The time limits of these stages cannot be set, as they considerably differ. Majority of musicians claim to overcome a professional crisis. A common feature of all respondents' careers is music teaching job at a certain point in their own careers

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

scholarly journals Perception and learning of relative pitch by musicians using the vibrotactile mode

2021 ◽  
pp. 102986492110152
Author(s):  
Carl Hopkins ◽  
Saúl Maté-Cid ◽  
Robert Fulford ◽  
Gary Seiffert ◽  
Jane Ginsborg
Keyword(s):  
Hearing Loss ◽  
Music Education ◽  
Success Rate ◽  
Normal Hearing ◽  
Pitch Discrimination ◽  
Professional Musicians ◽  
Profound Hearing Loss ◽  
Relative Pitch ◽  
Significant Difference ◽  
Schools For The Deaf

This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.

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.

Analysis of gender, age and disability representation in music education textbooks: A research update

2018 ◽  
Vol 36 (4) ◽  
pp. 494-508 ◽  
Author(s):  
Mª del Mar Bernabé-Villodre ◽  
Vladimir E. Martínez-Bello
Keyword(s):  
Music Education ◽  
Research Team ◽  
European Law ◽  
Female Characters ◽  
Professional Musicians ◽  
Virtual Absence ◽  
Coding Scheme ◽  
Women And Girls ◽  
Time Periods ◽  
Curricular Materials

According to International and European Law, teachers are encouraged to analyse, challenge and to help to eliminate sexist stereotypes and distortions in curricular materials. We aimed to characterize and compare the efficacy of implementation of the gender equality-based approach in the Spanish educational system, through a content analysis of the illustrations in music education (ME) textbooks following a coding scheme constructed by the research team according to guidelines from previous studies about the depiction of women and girls in ME textbooks during two periods of Spanish democracy: before (1992–2005); and after (2006–2015). Our major findings were: (a) female characters were under-represented in both time periods studied; (b); the stereotype of women as amateur but not professional musicians is not perpetuated in the current primary ME textbooks; (c) both children and adults independently of gender were portrayed interacting with others; (d) despite the fact that women teachers are actively participating in schools, ME textbooks do not faithfully reflect that reality; and (e) the virtual absence of females and males with disabilities suggests that this aspect of inclusion is still pending. Notwithstanding, ME textbooks printed after 2006 tended to challenge some traditional stereotypes pertaining to how females and males think, play and act within the musical world.

Philosophical and Theoretical Foundations

2013 ◽  
Author(s):  
Jay Dorfman
Keyword(s):  
Music Education ◽  
Critical Role ◽  
Music Teaching ◽  
Graduate Degree ◽  
Philosophy Of Music ◽  
Musical Skills ◽  
Art Form ◽  
School Music ◽  
Broad Subject ◽  
Teaching Music

Many authors have explored the ideas of philosophy and educational theory and how those ideas can serve as a foundation for teaching practices. Philosophy is a broad subject, and it is not the purpose of this book to create a new philosophy of music teaching and learning; however, we can beneficially draw on philosophical and theoretical works of others to form some foundations. By necessity, a theory of technology-based music instruction begins with a theory of music education. To deviate from this would be to neglect the important theoretical work that forms the guiding foundation of teaching in our chosen art form. The critical role of theory in this new method of teaching is to help technology-based music instructors develop dispositions that make this type of teaching less forced, more natural than it might otherwise be. The most successful technology-based music teachers are those who recognize the capacities of their students to engage with technology, to be creative, and who are willing to modify some beliefs—possibly long-held ones—to allow their students the freedom to explore and construct their musical skills and knowledge. These are difficult dispositions to develop. Understanding some important theoretical and philosophical work can help in treading that path by helping teachers acknowledge findings that have come before, and by letting us make critical decisions about the ways we teach and our students learn. The teacher in the following Profile of Practice has developed trust in his students and himself, assurance that he can promote students’ creativity, and confidence in his TBMI abilities. He knows that students come to his classes with unique worldviews, and with experiences, both musical and otherwise, accumulated over each of their lifetimes. While he does not place great emphasis on theoretical models of creativity or on articulating his own music teaching philosophy, his teaching reflects some of the most important philosophical dispositions found in effective TBMI teachers. Mr. E teaches middle school music in a relatively affluent suburb. He is fortunate to have experiences teaching music at many levels and has a wealth of formal training in music technology from both his undergraduate and graduate degree work.

scholarly journals Music Teacher Rankings of Selected Core Teaching Practices

2019 ◽  
Vol 29 (1) ◽  
pp. 86-99
Author(s):  
J. Si Millican ◽  
Sommer Helweh Forrester
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Pedagogical Content ◽  
Technical Vocabulary ◽  
History Of ◽  
Service Music

There is a decades-long history of music education researchers examining characteristics and skills associated with effective teaching and assessing how preservice music teachers develop those competencies. Building on studies of pedagogical content knowledge and the professional opinions of experienced music educators, researchers are now attempting to identity a body of core music teaching practices. We asked experienced in-service music teachers ( N = 898) to think about the skills beginning music teachers must possess to investigate how respondents rated and ranked selected core music teaching practices in terms of their relative importance. Developing appropriate relationships with students, modeling music concepts, and sequencing instruction were the top core teaching practices identified by the group. Results provide insights into knowing, naming, and framing a set of core teaching practices and offer a common technical vocabulary that music teacher educators might use as they design curricula and activities to develop these foundational skills.

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