Historical Overview of the Teaching of Music Theory Subjects as Part of the School Curriculum in Hungary

2020 ◽  
Author(s):  
Márta S.Szabó
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Music Theory ◽  
Musical Training ◽  
Age Groups ◽  
Secondary Level ◽  
Historical Overview ◽  
Music Schools ◽  
Musical Education ◽  
Teaching Music

The primary sources for a historical overview of secondary-level musical education in Hungary are publications on school histories, yearbooks, and the work of outstanding teachers. An overview of theoretical subjects is made far more difficult, however, by the fact that both the name and content of these subjects have undergone considerable change over time. It was only in the mid-20th century when secondary-level musical education became independent from an earlier institutional form, the music school (Zenede in Hungarian), which taught a far wider range of age groups, lasted for 10-11 years, and characterised earlier music education for decades. Music schools, which offered, among others, secondary-level musical training, had existed since the second half of the 19th century. This paper is part of a more comprehensive methodological work designed to bring to light the historical teaching of music theory in Hungarian musical training with regard to its roots, curricula, handbooks, and teaching practices up to the mid-20th century, when the system of secondary schools specialising in music education was established. Keywords: history of music teaching, professional musical training, teaching music theory

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

scholarly journals Pedagogical Potential of Mental Practice in Teaching Brass Instruments at University

2021 ◽  
Author(s):  
Laura Muceniece ◽  
◽  
Dace Medne ◽  
Ērika Gintere ◽  
◽  
...  
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Musical Instrument ◽  
Mental Practice ◽  
Musical Education ◽  
Brass Instruments ◽  
Second Stage ◽  
Teaching Music ◽  
Two Stages ◽  
Overall Effectiveness

At any level of musical education, it is very important to improve one’s musicianship skills, which can only be achieved through consistent training and playing their musical instrument. Physical training is a very important part of the learning process; however, its combination with mental practice has been proved to be much more effective. Although such an approach is important at all levels of musical education, the paper addresses it in the context of higher education. Thus, the aim of this study is to determine the pedagogical potential of mental practice in the process of teaching music in higher education. The research was implemented in two stages. First, a survey was conducted to gather information about the respondents’ habits when learning musical pieces. At this stage, the study involved 68 brass students from different universities around the world between the ages of 19 and 25. The second stage of the research comprised the development of the program of mental practice (PMP) with structured observation as a method and 7 participants from Latvian and Norwegian higher music education institutions. The obtained results allow to conclude that the inclusion of mental practice in the practicing routine significantly improves the overall level of concentration and stability both in the process of training and during performances. Mental practice also provides an opportunity to increase the duration of training as well as enhances the overall effectiveness of practicing and concentration during performances.

scholarly journals Distance Learning in the Musical Field in Romania through European-Funded Projects

2018 ◽  
Vol 11 (1) ◽  
pp. 36
Author(s):  
Nelida Nedelcuț ◽  
Ciprian Gabriel Pop ◽  
Amalia Nedelcuț
Keyword(s):  
Distance Learning ◽  
Music Education ◽  
Research Collaboration ◽  
Vocal Learning ◽  
Training Programme ◽  
Educational Process ◽  
Teaching Staff ◽  
Music Notation ◽  
Music Schools ◽  
Teaching Music

<p class="Abstract">The organization of Romanian distance learning in music has been supported in terms of research, collaboration and financing by European projects, with the following achievements: training of teaching staff involved in distance learning, assistance in activities meant to introduce ICT in general schools, construction of a platform dedicated to distance learning activities, creating a database with instrumental accompaniments for singers, designing multimedia courses, assessing distance learning programs offered by the Academy of Music Gheorghe Dima in Cluj-Napoca.</p><p class="Abstract">The Prelude Training Programme on ICT in Music Education – a project aimed at developing a training programme for in-service music educators, as there are many ways in which technology helps educators meet instructional goals: Programs designed to help students develop their musicianship or improve their knowledge of notation and skill in reading notation, support with improvisation skills, notation and sequencing programs which assist students in composition activities.</p><p class="Abstract">Vemus - Virtual European Music Schools - a programme which focuses on teaching music notation or performing instruments, involving execution of rhythm patterns, melody, music scores; E-vocal learning, with simultaneous appearance of sound and notation, conducted by famous musicians. DIMA - Direct Impact of Multimedia Application - a platform that comprises courses, audio and video examples focusing on music history, performing and listening activities.</p><p class="Abstract">The partners proceed from various areas (higher education, innovation/development centers), and the projects were conceived to stimulate the implementation of ICT in the educational process in music, approaching teaching staff as a target group, and students as an interested party.</p>The need for such products was revealed by interviews and questionnaires and the results’ evaluation proved that the online environment can be accessed in order to develop educational resources, enrich lesson content, motivate and engage children in music education, deliver information and learning opportunities, stimulate children in their musical endeavors.

scholarly journals From the history of music education in Uzbekistan

2019 ◽  
Vol 2 (4) ◽  
pp. 32-38
Author(s):  
S. B. Мurtozova
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Educational Institutions ◽  
Soviet Power ◽  
Music Schools ◽  
Large Cities ◽  
Communist Ideology ◽  
Children's Songs ◽  
History Of ◽  
Teaching Music

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education. Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century. The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources. At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions. The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.

scholarly journals Facets of interaction between the Ministry of National Education and the Ministry of Culture of France in the musical and educational space

2021 ◽  
Vol 54 (6) ◽  
pp. 37-54
Author(s):  
Lyubov A. Buryakova ◽  
◽  
Alexey G. Buryakov ◽  
Keyword(s):  
Music Education ◽  
General Education ◽  
Musical Training ◽  
Original System ◽  
Personal Communication ◽  
Successful Implementation ◽  
National Education ◽  
Musical Education ◽  
Musical Development ◽  
Out Of School

The problem of research. The relevance of the research is due to the urgent need to find new approaches to the musical development of students in general education, which makes it significant to refer to the experience of France in connection with the existence in the country of an original model of musical education with an established system of multifaceted partnerships controlled by the bodies of the Ministry of National Education and the Ministry of Culture of France. The purpose of the article: scientific and practical justification of the need to develop a Russian strategy of musical development based on the interaction of educational and cultural organizations. Materials and methods. As a methodological basis, a system-structural approach was used, which made it possible to conceptualize the data obtained as a result of the analysis of sources, as well as in the process of personal communication with French colleagues. The results of the study. The mechanism of the studied interaction in various forms of educational, extracurricular and out-of-school musical activities is based on a clearly structured scheme of cooperation between schools and partner structures in the field of culture and art at the state (conceptual), academic (coordination) and local (performing) levels. The impetus for the construction of this system of partnerships was the recognition by the pedagogical community and the authorities of France of the priority of musical education as a powerful stimulant for the development of personal, intellectual and creative abilities of students necessary for successful implementation in any field of activity. Discussion and conclusion. The initial impulse to the emergence of the concept of attracting artistic and cultural structures in the musical and educational field was the introduction in the early 80s of the twentieth century of the original system of professional and amateur musical training of students in the framework of general education in college and lyceum. In the future, the experience of partnership interaction in the field under study gradually spread not only to academic, but also to extracurricular and out-of-school activities. As an important "breakthrough" of the French musical and educational project, a significant contribution to the educational activities of musical and cultural centers of global importance should be recognized. The far-sighted policy of the French authorities aimed at substantial support of artistic, especially musical culture as the basis for the development of the whole society can serve as a strategic guideline for the modernization of the music education system in Russia in terms of developing management schemes and educational technologies based on the interaction of educational institutions with cultural and art institutions.

Informal music-making among piano bar musicians: Implications for bridging the gap in music education

2020 ◽  
Vol 4 (3) ◽  
pp. 371-388 ◽  
Author(s):  
Amy Spears ◽  
Danelle Larson ◽  
Sarah Minette
Keyword(s):  
United States ◽  
Qualitative Study ◽  
Music Education ◽  
Music Theory ◽  
Musical Training ◽  
The United States ◽  
Participatory Culture ◽  
Primary Method ◽  
Multiple Forms ◽  
Music Making

Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.

scholarly journals Thüringer Musikszene – Jugendmusikredaktionen als außerschulische musikbezogene Bildungskontexte

2020 ◽  
Author(s):  
Tobias Marx ◽  
Martin Lissner
Keyword(s):  
Music Education ◽  
Leisure Time ◽  
Serious Leisure ◽  
Music Schools ◽  
Musical Education ◽  
Music Journalism ◽  
Serious Leisure Perspective

This contribution addresses a music editorial youth project in the context of extracurricular music education: Where and in which manner does musical education take place, particularly regarding music journalism? Opportunities for music journalism do not so much arise in schools or music schools but rather in actively used leisure time. The present study examines the motivation of participants in relation to their peers, host organisations, and project tutors. The concept of serious leisure perspective (Robert A. Stebbins) delivers the frame to discuss the results of the study.

scholarly journals Utjecaj važnijih europskih pedagoga na razvoj nastave glazbe u Hrvatskoj i Sloveniji u drugoj polovici 20. stoljeća

2013 ◽  
Vol 8 (1.) ◽  
Author(s):  
Tomislav Košta ◽  
Rea Desnica
Keyword(s):  
World War Ii ◽  
Primary School ◽  
20Th Century ◽  
School System ◽  
Music Educators ◽  
World War ◽  
New School ◽  
Musical Education ◽  
New Ideas ◽  
Teaching Music

The period after World War II in Croatia and Slovenia is a very significant in terms of development of education, especially the teaching of music in general and music-pedagogical profession. The new school system and compulsory eight-year primary school created a favorable climate for the influx of new ideas relevant to the development of methods of teaching music. In this paper we present the main methodological characteristics of the most important music educators of the time, we analyze to what extent and in what way their concepts of musical education influenced the work of Croatian and Slovenian music educators and the development of musical and pedagogical profession in Croatia and Slovenia in the second half of the 20th century. The ideas of some of these music educators are successfully implemented in the teaching of music, and some ideas simply has not encountered fertile soil. None of these methodical system has not yet been implemented as a separate concept, but only some of the elements have been used in the teaching of music, such as Orff' instrumentation.

scholarly journals Music education and musicians: Expectations, course and outcomes

2012 ◽  
Vol 44 (2) ◽  
pp. 402-423 ◽  
Author(s):  
Blanka Bogunovic ◽  
Jelena Dubljevic ◽  
Nina Buden
Keyword(s):  
Music Education ◽  
Age Groups ◽  
Music Schools ◽  
Knowledge And Skills ◽  
Traditional System ◽  
Professional Career ◽  
Long Run ◽  
Motivation For Learning ◽  
The Moment ◽  
Education And Development

Considering the long-term talent development, from the moment of its recognition to the moment when an adult is confronted with the necessity of integration in the professional music and life streams, we wonder whether education satisfies the needs of talents and provides, in the long run, the necessary knowledge and skills. The aim of this research was to investigate: (1) the initial motivation for learning music and expectations from music education; (2) the course of development of young musicians (the degree of self-actualisation, developmental perspectives, evaluation of music education) and (3) outcomes of music education and development of the professional career. The sample (N=487) consisted of five subsamples: music kindergarten pupils, students of primary music schools, students of secondary music schools, university students of music and teachers at music schools and universities. The paper analyses psychological, educational and professional aspects of education of musically gifted pupils and students, as well as music teachers in five successive age groups. The results indicate that with an increase in age there is a considerable increase in the variety and scope of expectations and a higher aspiration towards personal, educational and professional lifelong improvement, while, at the same time, there is a considerable decrease in the level of fulfilment of expectations and the level of assessment of self-actualisation. This is indicative of a continuously present feeling of ?hidden underachievement? in the group of (relatively) successful young musicians and professionals. Analysis of respondents? answers points out to the existence of still traditional system of music education, which lacks flexibility and innovation and fails to provide a sufficient level of transferable knowledge and skills. The findings point out to a whole cluster of controversies demanding further reconsideration and (re)designing of the curriculum of (high) music education.

Music education in Russia: from 20th century to the present day

2020 ◽  
Vol XI (4(33)) ◽  
Author(s):  
Anna Worożko
Keyword(s):  
Soviet Union ◽  
Music Education ◽  
20Th Century ◽  
Russian Federation ◽  
Contemporary Music ◽  
Musical Culture ◽  
Musical Education ◽  
Professional Educators ◽  
Second Stage ◽  
The Soviet Union

In the article on music education in RussiaIn, the main stages of the development of the Russian native musical culture after the 1917 revolution, during the Soviet Union (1924-1990) to modernity were explained and described. Stage I – Music education from 1918 to 1941 The second stage of music education – the period from the second half of the 20th century until the collapse of the Soviet Union in 1991. Stage III of music education in Russia – from the end of the XX century to the first years of XXI century, contemporary music education. The music education system in the USSR developed in two directions. The first direction – preparation of professional educators, contractors and theoreticians. The second direction consisted in the formation and development of musical creativity during the course of study according to programs of general musical education in secondary schools. This system of music education has not lost its relevance today in the modern Russian Federation.

Sign in / Sign up

Export Citation Format

Share Document