scholarly journals The Application of the Models of Music Appreciation to Middle School Music Classroom

2016 ◽  
Vol 1 (2) ◽  
pp. 85-101
Author(s):  
Jaeeun Jeong ◽  
최미영
Keyword(s):  
Middle School ◽  
Music Appreciation ◽  
Music Classroom ◽  
School Music

Democracy in the Middle School Music Classroom

2019 ◽  
Vol 105 (3) ◽  
pp. 17-22
Author(s):  
Amanda R. Draper
Keyword(s):  
Middle School ◽  
Music Teacher ◽  
General Music ◽  
Music Classroom ◽  
Music Program ◽  
Motivation For Learning ◽  
Traditional Public School ◽  
School Music ◽  
Democratic Principles ◽  
Student Independence

Including democratic principles in a traditional public school general music program can be challenging, but the benefits are significant, including greater student independence and motivation for learning. Democratic practice is both an approach to teaching and an outcome of the experience. It prepares students to be participants in society by providing space for student voices and encouraging students to think deeply and ask challenging questions. It also involves negotiating a rebalance of control in which the music teacher is more of a teacher-facilitator, learning alongside the students and allowing their choices and decisions to be a driving force in the learning process. This article presents one model for incorporating democratic ideals in middle school general music.

Habits of Mind as a Framework for Assessment in Music Education

2019 ◽  
pp. 201-224
Author(s):  
Jillian Hogan ◽  
Ellen Winner
Keyword(s):  
Music Education ◽  
Arts Education ◽  
Habits Of Mind ◽  
Public High School ◽  
Student Agency ◽  
Thinking Dispositions ◽  
Music Classroom ◽  
Music Ensembles ◽  
School Music ◽  
High School Music

Music making requires many kinds of habits of mind—broad thinking dispositions potentially useful outside of the music room. Teaching for habits of mind is prevalent in both general and other areas of arts education. This chapter reports a preliminary analysis of the habits of mind that were systematically observed and thematically coded in twenty-four rehearsals of six public high school music ensembles: band, choir, and orchestra. Preliminary results reveal evidence of eight habits of mind being taught: engage and persist, evaluate, express, imagine, listen, notice, participate in community, and set goals and be prepared. However, two habits of mind that the researchers expected to find taught were not observed: appreciate ambiguity and use creativity. These two nonobserved habits are ones that arts advocates and theorists assume are central to arts education. The chapter discusses how authentic assessment of habits of mind in the music classroom may require novel methods, including the development of classroom environments that foster additional levels of student agency.

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.

Percy Scholes on Music Appreciation: Another View

1987 ◽  
Vol 4 (2) ◽  
pp. 139-156
Author(s):  
Estelle R. Jorgensen
Keyword(s):  
Twentieth Century ◽  
Instructional Methods ◽  
Music Appreciation ◽  
Careful Examination ◽  
Future Research ◽  
Philosophical Argument ◽  
Research And Practice ◽  
Practical Strategy ◽  
School Music

Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.

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