Introducing first year music students to the community choir experience

2020 ◽  
pp. 132-144
Author(s):  
Naomi Cooper
Keyword(s):  
Music Students ◽  
First Year ◽  
Community Choir

scholarly journals Environmental Factors in Susceptibility to Noise-induced Hearing Loss in Student Musicians

2008 ◽  
Vol 23 (1) ◽  
pp. 20-28
Author(s):  
Susan L Phillips ◽  
Julie Shoemaker ◽  
Sandra T Mace ◽  
Donald A Hodges
Keyword(s):  
Risk Factor ◽  
High Frequency ◽  
Hearing Threshold ◽  
Music Students ◽  
First Year ◽  
The Third ◽  
School Of Music ◽  
The Right ◽  
Susceptibility To Noise ◽  
Determining Factor

Hearing threshold and survey data collected over 3 years in a university school of music indicate that 52% of undergraduate music students show declines in high-frequency hearing at 6000 Hz consistent with acoustic overexposure. Declines at 4000 Hz have grown in number over the 3 years, from 2% the first year to 30% in the third year. These “noise notches” are seen in all instrument groups, including voice, and are seen more in the right ear than the left ear in all groups. Exposure to outside noise does not appear to be a determining factor in who develops these declines. It is concluded that genetic predisposition is a likely risk factor.

scholarly journals Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation

2017 ◽  
Vol 34 (3) ◽  
pp. 291-304 ◽  
Author(s):  
Maria Varvarigou
Keyword(s):  
Higher Education ◽  
Peer Interaction ◽  
Classical Music ◽  
Music Students ◽  
First Year ◽  
Group Creativity ◽  
Classical Musicians ◽  
Western Classical Music ◽  
Playing By Ear

This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students’ aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes two routes taken by the students, whilst progressing from GEP to group improvisation and it is compared to Priest's (1989) model on playing by ear through imitation and invention. The article concludes with suggestion on how these two routes could be used to scaffold the development of western classical musicians’ improvisation skills.

scholarly journals A Music Theory Curriculum for the 99%

2020 ◽  
Vol 7 ◽  
Author(s):  
Trevor De Clercq
Keyword(s):  
Popular Music ◽  
Music Theory ◽  
Neutral Theory ◽  
Music Students ◽  
First Year ◽  
Motivating Factors ◽  
Integrated Or ◽  
Academic Interests

Due to the lack of diversity as represented by the repertoire typically studied in the undergraduate music theory core, a number of scholars have called for an "integrated" or stylistically neutral theory curriculum, in which more pedagogical attention is devoted to jazz, world, and popular music. I contend that this approach is fundamentally insufficient and inadequate to genuinely address the diversity problems facing the field. Instead, I propose for all music students that the entire first year of theory coursework be devoted exclusively to popular music, with the study of other styles reserved for upper-division courses according to academic interests or tracks. In this essay, I present some of the motivating factors behind my recommendation, provide a brief sketch of what such a curriculum would look like, and discuss some of the challenges in its implementation.

Mental Problems Among First-Year Conservatory Students Compared with Medical Students

2014 ◽  
Vol 29 (2) ◽  
pp. 113-114 ◽  
Author(s):  
EM van Fenema ◽  
CCJ van Geel
Keyword(s):  
Medical Students ◽  
General Population ◽  
Personality Trait ◽  
Music Students ◽  
First Year ◽  
Student Groups ◽  
Musical Education ◽  
Mental Problems ◽  
First Year Medical Students ◽  
Conservatory Students

Musical education and the musical profession can be stressful, which may make musicians vulnerable for stress-related disorders. To determine if music students are particularly at risk for mental problems, we used the Standardised Assessment of Personality–Abbreviated Scale [SAPAS] and the Symptom Questionnaire [SQ48] to compare symptoms in first-year conservatory students (n=33) and first-year medical students (n=43). On the SAPAS, we found that medical students have significantly more difficulty making and keeping friends (p=0.015). Also, we observed a trend that conservatory students lose their temper more easily (p=0.040). Both student groups showed high scores for the personality trait “perfectionism.” On the SQ48, we observed a trend that both conservatory and medical students experience more psychological problems than the general population, but there were no significant differences between conservatory students and medical students in the total scores of both questionnaires.

Musculoskeletal Health Complaints and Corresponding Risk Factors Among Music Students: Study Process, Analysis Strategies, and Interim Results from a Prospective Cohort Study

2018 ◽  
Vol 33 (3) ◽  
pp. 166-174 ◽  
Author(s):  
Nikolaus Ballenberger ◽  
Dirk Möller ◽  
Christoff Zalpour
Keyword(s):  
Risk Factors ◽  
Music Students ◽  
First Year ◽  
Health Complaints ◽  
Musculoskeletal Health ◽  
Prospective Longitudinal Study ◽  
Music Student ◽  
Stress Symptoms ◽  
Analysis Strategies ◽  
Prospective Longitudinal

AIM: In this prospective longitudinal study, the physical and psychological health status of music students is assessed at the beginning of their university music study and tracked over time. Analysis strategies and interim results from the first-year cohort, including 1-year incidences, monthly prevalences, and predictors of developing musculoskeletal health complaints (MHC), are presented. METHODS: This prospective longitudinal study is calculated to enlist a total sample of 370 participants, including musicians and non-musicians, over 5 years. Baseline measurements include a self-designed questionnaire, core strength endurance, hypermobility, finger-floor-distance, motor control, mechanosensitivity, health-related quality of life (SF36), and stress and coping inventory (SCI). The occurrence of MHC is based on monthly online questionnaires. RESULTS: The first-year subcohort enrolled 33 music students and 30 non-music control students. The mean monthly completion rate for the questionnaire was 55.7±8.7%. At baseline, music students showed significantly more stress symptoms, reduced physical function¬ing, and increased bodily pain compared to control students. The 1-year incidence of MHC was 59% for music students and 44% for controls. Risk factors for MHC included being a music student, previous pain, reduced physical functioning, stress symptoms, reduced emotional functioning, and mechanosensitivity. Being a music student, physical functioning, sleep duration, positive thinking, and general mechanosensitivity had a predictive ability of 0.77 (ROC curve) for MHC. CONCLUSION: A total of 63 students enrolled in the first cohort is in line with the precalculated sample size. This prospective study design enables the measurement of MHC incidence and provides insight into mechanisms in the development of MHC among music students, including the interaction of physical, psychological, and psychosocial factors.

scholarly journals Applying self-regulated learning microanalysis to study musicians’ practice

2017 ◽  
Vol 47 (1) ◽  
pp. 18-32 ◽  
Author(s):  
Gary E. McPherson ◽  
Margaret S. Osborne ◽  
Paul Evans ◽  
Peter Miksza
Keyword(s):  
Educational Interventions ◽  
Music Students ◽  
First Year ◽  
Music School ◽  
Self Reflection ◽  
Music Practice ◽  
Self Regulated Learning ◽  
Three Phase ◽  
Regulated Learning ◽  
Behavioural Aspects

This article describes the development of a music practice microanalysis protocol that is based on the three-phase model of self-regulated learning (i.e., Forethought, Performance, and Self-Reflection). Up until now, most studies on music practice have tended to focus on behavioural aspects. The expanded view presented here outlines a technique for mapping the types of behaviours (actions), cognition (thoughts), and affect (feelings) that can help focus musicians’ practice. To explain the technique, we describe the practice of two first year Bachelor of Music students studying at a prominent university music school who are compared at three time points across one semester as they prepare an étude for a performance exam. These case studies demonstrate two broadly contrasting self-regulated learning profiles of how microanalysis can be used to cue students to think about what they are doing and then reflect critically on the strategies they can use to improve their playing. As a technique, microanalysis can inform educational interventions aimed at breaking the cycle of habits that typify musical practice by encouraging musicians to become more behaviourally, metacognitively, and motivationally involved in their own learning.

Reflections on the first year of dental teaching

1971 ◽  
Vol 35 (1) ◽  
pp. 23-24
Author(s):  
JW Lowe
Keyword(s):  
First Year

Changes in role perceptions by first-year dental students

1977 ◽  
Vol 41 (8) ◽  
pp. 507-510 ◽  
Author(s):  
AC Rosen ◽  
M Marcus ◽  
N Johnson
Keyword(s):  
Dental Students ◽  
First Year ◽  
Role Perceptions

Relationship of stress and performance among first-year dental students

1986 ◽  
Vol 50 (5) ◽  
pp. 264-267 ◽  
Author(s):  
GH Westerman ◽  
TG Grandy ◽  
JV Lupo ◽  
RE Mitchell
Keyword(s):  
Dental Students ◽  
First Year ◽  
And Performance ◽  
Relationship Of
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