scholarly journals FEATURES OF THE FORMATION OF THE MUSICAL COMPREHENSION OF SENIOR SCHOOLCHILDREN

2021 ◽  
Vol 02 (05) ◽  
pp. 78-83
Author(s):  
Leyla Ruslanovna Konurova ◽  
◽  
Zokir Djurakulovich Khomidov ◽  
Keyword(s):  
Music Education ◽  
Organizational Forms ◽  
Music Lesson ◽  
Musical Activity

The article discusses topical issues of educating the artistic comprehension of senior schoolchildren by means of musical art. The processes of its formation are considered, which includes the goal, objectives, content of music education, psychological and pedagogical conditions, means, organizational forms and methods; the peculiarities of the studied process in the music lesson, the pedagogical potential of the complex application of various types of musical activity of students is revealed.

scholarly journals Dziecięcy świat dźwięków — edukacja muzyczna dziecka w wieku przedszkolnym

2021 ◽  
pp. 51-59
Author(s):  
Monika Semik ◽  
Małgorzata Tęczyńska-Kęska
Keyword(s):  
Music Education ◽  
Preschool Child ◽  
Psychomotor Performance ◽  
The Body ◽  
Children's Music ◽  
Directed Movement ◽  
Auditory Analyzer ◽  
Musical Education ◽  
Musical Activity ◽  
Musical Activities

Children’s world of sounds — musical education of a preschool child Music is around us — every day music is the noise of trees, the rustle of leaves, the sound of a passing tram, the barking of a dog. We learn it while studying in kindergarten and school, but above all at home. This is where the child learns the first melodies. Initially, these are sounds from the immediate environment, starting with the mother’s heartbeat and the melody of her words. Then we expand our knowledge of sounds with children’s counting, acoustic experiments, short song chants, kindergarten songs and music accompanying the game. It’s all a child’s world of sounds, but what’s the key to that? The natural musical development of humans is observed between the ages of 1 and 13, and this is when the most important changes take place in the body, including the maturation of the auditory analyzer and psychomotor performance. Therefore, a variety of musical activities of parents, and then teachers, which are aimed at developing the child’s musical abilities, are very significant at this time. They can be realized by singing together, listening to music of different styles, creating ostinato on instruments and simple instrumentation. Free and directed movement as well as instrumental improvisation are also important. To understand music, you need to be extremely sensitive to its beauty. This is a trait that cannot be taught to children just like that, but it is possible to create any conditions for them to experience music emotionally. This main goal of children’s music education should be realized with the use of five forms of musical activity, which will be discussed in detail in this article.

scholarly journals Factors For The Development Of Aesthetic Education In Modern Pedagogy

2020 ◽  
Vol 02 (12) ◽  
pp. 98-101
Author(s):  
Bakhtiyor Akbarov ◽  
◽  
Mohicheha Abdulboqiyeva ◽  
Keyword(s):  
Music Education ◽  
Moral Development ◽  
Aesthetic Education ◽  
Music Lesson ◽  
Music Lessons ◽  
Positive Effect

The music lesson is a leading scholar in the system of music education, because it covers sounds in a general way. Music lessons are different from other science lessons in that they are less artistically interesting and give children more creative pleasure, arousing emotional feelings and figurative experiences. Music, in particular, has a great positive effect on the mental and moral development of children.

scholarly journals COGNITIVE ACTIVITY MODEL OF MUSICIANS-STUDENTS IN CONTEXTUAL LEARNING

PRIMO ASPECTU ◽  
2021 ◽  
pp. 82-87
Author(s):  
Rimma M. KUMYSHEVA
Keyword(s):  
Decision Making ◽  
Music Education ◽  
Personality Development ◽  
Cognitive Activity ◽  
Personal Characteristics ◽  
Activity Model ◽  
World Picture ◽  
Implicit Information ◽  
Musical Activity ◽  
Proposed Model

One of the urgent problems in professional music education is the lack of a system and mechanisms for the formation of a holistic world picture and systemic personality development of students. The reasons are: inconsistency in the teaching of musical and humanitarian disciplines; training without taking into account the specific personal characteristics of the musicians. This article presents a model of music students’ cognitive activity, built from the standpoint of systemic, personal, activity and contextual approaches. The proposed model of the students-musicians cognitive activity is based on the specific features of the musicians’ cognitive sphere revealed by the method of theoretical analysis. The students-musicians cognitive activity model is presented as a combination of intuitive, logical and transitional modes, in each of which implicit information processing and decision-making are manifested with varying degrees of activity; explicit reproduction of knowledge and decision making, explicit modeling of musical activity. The experience of applying the model in practice has led to the transformation of psychological and pedagogical knowledge in musical activity and the world picture of students.

On the methods and organizational forms of music education of students in the special piano class

2021 ◽  
Vol 62 (01) ◽  
pp. 53-56
Author(s):  
Inna Alimovna Alimovna Khatipova ◽  
Keyword(s):  
Music Education ◽  
Key Words ◽  
Personal Experience ◽  
Educational Process ◽  
Organizational Forms ◽  
Teaching Process ◽  
Teacher Student ◽  
Education Of Students

In the article, the author analyzes a synthesis of the most important methods and organizational forms of music education of students in the special piano class. Verbal, visual, and illustrative methods, which are successfully used in the process of pianists’ training, are described. Among the organizational forms of teaching process, a special emphasis is made on the teacher’s class recital. This creative pedagogical activity is presented basing on the personal experience of the author who studied piano in the class of L. Oxinoit, one of the leading Moldavian piano pedagogues. A conclusion is drawn that the efficacy of educational process depends on the teacher–student creative contact, as well as on the pedagogue’s personality, human and professional qualities. Key words: music education methods, organizational forms of teaching process, creative contact, teacher, pupil

On ‘Listening’ in Music Education Brian Loane

1984 ◽  
Vol 1 (1) ◽  
pp. 27-36 ◽  
Author(s):  
Brian Loane
Keyword(s):  
Music Education ◽  
The Other ◽  
Musical Experience ◽  
Crucial Difference ◽  
Musical Activity ◽  
Supportive Role ◽  
Explicit Analysis ◽  
And Performance ◽  
The One ◽  
Musical Activities

The article suggests that ‘Composing / Performing / Listening’ may be an inadequate way to categorise musical activities, particularly because any musical activity is a sort of listening. There is a discussion of the educationally crucial difference between ‘audience-listening’ on the one hand, and ‘composition-listening’ and ‘performance-listening’ on the other. It is suggested that musical experience is itself thinking embodied in sound, and that explicit ‘analysis-of-listening’ plays a supportive role.In this light, the article proposes an alternative way to categorise musical activities, and indicates some possible conclusions for the curriculum and for assessment.

Moravian Music Education in America, ca. 1750 to ca. 1830

1981 ◽  
Vol 29 (3) ◽  
pp. 225-234 ◽  
Author(s):  
Harry H. Hall
Keyword(s):  
North Carolina ◽  
Eighteenth Century ◽  
Music Education ◽  
American Education ◽  
Musical Activity ◽  
Strong Commitment

The Moravians, descendants of the pre-Reformation Unitas Fratrum, were among many religious and ethnic immigrants to this country during the eighteenth century. Their frontier settlements in Pennsylvania and North Carolina soon became well-springs of educational and musical activity. A strong commitment to education resulted in the establishing of first-rate schools. An almost consuming love of music-sacred and secular, vocal and instrumental–led to achievements without peer in colonial times. It is not at all surprising, then, that they brought music and education together in optimum union. Music was regarded for its aesthetic as well as practical value, and music experiences were provided at all levels of instruction and enjoyed solid curricular status–something quite unique in American education at the time.

Microelectronics in Special Education

1987 ◽  
Vol 4 (1) ◽  
pp. 17-24 ◽  
Author(s):  
Phil Ellis ◽  
Rosemary Dowsett
Keyword(s):  
Music Education ◽  
New Technologies ◽  
School Curriculum ◽  
Considerable Change ◽  
General Music ◽  
Musical Activity ◽  
Wide Range ◽  
Mainstream Education ◽  
Secondary School Curriculum ◽  
General School

The place of music in the general school curriculum has undergone considerable change in the last few years. During the 1970s, the Schools Council Project ‘Music in the Secondary School Curriculum’ identified a number of approaches, all having a common philosophy – to engage all children in practical musical activity of an expressive, aesthetic nature. More recently, the HMI document ‘Curriculum Matters 4 – Music from 5 to 16’ has brought many of the ideals of this project into sharp focus, with its emphasis on composing, performing and listening as practical, integrated activities. The aims of music education, as stated in this document, highlight the changing direction of music in the curriculum; and the new GCSE should reflect this, so becoming a more relevant examination for a broader cross-section of pupils than has hitherto been possible.With this changing emphasis in mainstream education, it is worth considering if any developments are possible in terms of general music activities for children with special needs. Is it possible for them to experience a more practical music curriculum; to engage in the process of composition and have heightened listening experiences as a result? Here microelectronics can make a significant contribution, just as it is beginning to do in mainstream education. By using some of the new technologies, pupils with a variety of handicaps are able to explore, create and perform a wide range of music.

scholarly journals Education of Children Gifted in Music: Experience of Teachers of Vilnius Choir Singing School “Liepaitės”

Pedagogika ◽  
2014 ◽  
Vol 115 (3) ◽  
pp. 247-257
Author(s):  
Henrika Šečkuvienė
Keyword(s):  
Data Analysis ◽  
Music Education ◽  
Extracurricular Activities ◽  
Structured Interview ◽  
Musical Expression ◽  
Music Schools ◽  
Musical Activity ◽  
Motivation For Learning ◽  
Adequate Education ◽  
Professional Self

Objective of this survey is to detect experience of teachers working with children gifted in music. 8 teachers from Vilnius choir singing school “Liepaitės” have participated in this survey.  Teachers representing different education stages and subjects were selected to identify overall picture of experience in education of children gifted in music. Semi-structured interview was employed to reveal in-depth experience from teacher‘s position, understand his position, feelings, how he works with children gifted in music. Thematic analysis method was employed for data analysis. Thee most significant themes were emphasized in interview data analysis: identification of children gifted in music, meeting demands for musical expression of children with different musical abilities and professional self-perception of the music teachers. Analysis of Lithuanian education instruments disclosed that children gifted in music have special needs and adequate education is necessary to meet them. Children gifted in music are educated in music schools. Music education in these schools is increasingly oriented towards meeting demands of the students for musical expression, purposeful extracurricular activities of students. Students with very different level of musical abilities are educated in music schools. One of the most critical challenges in this context is the issue of organizing education, identifying those who are mostly gifted in music and facilitating successful development of their musical abilities and on the other hand ensuring high quality music education for children with lower musical abilities. Results of the survey indicate that in identifying children gifted in music and establishing level of their musical abilities teachers build on their experience and assume the role of an expert, however they consider this a very complicated matter. Analysis of teachers’ experience indicate that collective musical activity (choir) is a very efficient tool to meet demands for musical expression of students with different musical abilities. Most students feel urged for achieving high learning results. Concert activities, continuous school traditions, consistency of education, continuity and succession, individual approach towards every student are elements which contribute most to the students’ motivation for learning. Results of the survey revealed that teachers feel satisfaction with their profession, employment position and it contributes to the possibility of being a member of powerful school community and team of professional teachers. Teachers analyse, perceive arising problems. They are concerned about the fact that some parents of the students regard musical education of the children as entertainment and not a systematic, responsible learning. Outdated programs, repertoire are indicated as a weakness. Teachers reflect on their activity and feel the demand for adaptation and changes in the context of dynamics of modern education.

scholarly journals TEACHER'S MUSIC ACTIVITIES IN THE CLASSROOM AS A PREREQUISITE FOR IMPROVEMENT OF MUSIC EDUCATION

2018 ◽  
Vol 2 ◽  
pp. 395
Author(s):  
Asta Rauduvaite ◽  
Yanran Li
Keyword(s):  
Music Education ◽  
General Education ◽  
Positive Emotions ◽  
Structured Interviews ◽  
Transferable Skills ◽  
Personal Involvement ◽  
Musical Activity ◽  
Meaningful Relationship ◽  
Teaching Music ◽  
Musical Activities

The relevance of the research is realized through the search for the music teacher’s activities that help to improve the process of music education while fostering the learner’s aesthetic and meaningful relationship to music. The object of the research is a music teacher’s activity of teaching music in general education school. The aim of the research is to analyse the improvement opportunities of a music teacher’s activity during music lessons in seventh-eighth grades in general education schools. The methods of the research include the analysis of scientific literature and documents of education; semi-structured interviews with music teachers; a written survey; quantitative and qualitative data analysis. According to the collected data, a variety of musical activities helps to develop learners’ inborn musical abilities, provide a favourable learning environment with an opportunity to develop the learners’ musicianship and presuppose their transferable skills. In this context, teachers’ active and creative musical involvement helps the learner to experience more positive emotions. Such a personal involvement and cooperation serve as a major condition for the improvement of the teachers’ musical activity. An inappropriate choice of the activities can lead to dissatisfaction and be the main reason for failure. The teachers’ participation in musical activities could encompass a number of music modes, which could create a more attractive and productive activity in the lesson:  a teacher – a performer – a listener – a facilitator – a leader.

scholarly journals Theory of Musical Education of the First Third of the XX Century in the Context of Development of Domestic Pedagogy

2019 ◽  
Vol 7 (1) ◽  
pp. 153-164
Author(s):  
Svetlana I. Doroshenko
Keyword(s):  
Twentieth Century ◽  
General Theory ◽  
Music Education ◽  
Social Influences ◽  
Intrinsic Value ◽  
Productive Activity ◽  
Musical Education ◽  
The Arts ◽  
Musical Activity ◽  
General Pedagogy

The article highlights and analyzes the key ideas of the national pedagogy of the first third of the twentieth century – the ideas of integrity and complexity, freedom and creativity, labor (productive activity), interaction with society and taking into account social influences – in relation to their implementation in the musical education of this period. The works by B. V. Asafiev, N. Ya. Bryusova, V. N. Shatskaya and other theorists of musical education are analyzed. The author comes to the conclusion that the theory of musical education in the first third of the twentieth century has enriched the general pedagogy with artistic and aesthetic interpretation and implementation of these ideas. The ideas of integrity and complexity in the theory of music education are based on the unity of all the arts, syncretism, depth and sincerity of children’s artistic feeling. The ideas of freedom and creativity are partly based on the principles of free education; they manifest themselves in the position of a teacher as a researcher, assistant, offering, but not imposing a musical repertoire, types of musical activity. Creativity in the theory of musical education of this period is associated with composing music by the children themselves – the highest form of productive musical activity of pupils. The idea of taking into account social influences, interaction with society is manifested in the study of music of a given social environment, in the research and ethnographic position of the teacher and students. The peculiarity of the interpretation and implementation of key pedagogical ideas of the first third of the twentieth century in the theory of musical education allows us to speak about the intrinsic value and, in part, about the anticipating influence of this theory on the general theory of pedagogics.

Sign in / Sign up

Export Citation Format

Share Document