The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.

Whose History?: The Americas and Music Curricula in the United States

One moment from the much-discussed 2017 curriculum reform in the Music Department at Harvard University has stuck with me and transformed the way I approach teaching music in higher education. In one of the meetings leading up to the revision, graduate students in the department led an activity in which attendees—who included undergraduate students, graduate students, and faculty alike—got into small groups and discussed the relative merits of three hypothetical models for the new undergraduate curriculum. Each of the models involved decentering to some extent the existing curriculum's emphasis on the history of Western European music and dominant music theoretical approaches to it. After a short while, we all gathered back together and one person from each group shared a bit about what had transpired. From the circle of desks nearest the door, an undergraduate student rose to speak and expressed enthusiasm for a broadening of curricular coverages. But, they said, their group also had some reservations about jettisoning the overall focus on Western European concert music altogether. “We still need to learn about our history,” they said, while a faculty member nodded behind them.

Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study

In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an instructor in a recently adopted Popular Music Studies program at the City College of New York (CCNY). The CCNY music department's shift in focus from a mostly white, mostly male, classical-based curriculum towards a more diverse and polystylistic repertory of popular music chips away at the exclusionist framework to which Ewell refers.

DISTANCE INSTRUMENT EDUCATION WITH THE PROBLEM-BASED LEARNING MODEL IN COVID – 19 PANDEMIC (VIOLONCELLO EXAMPLE)

The aim of this research is to examine the effect of distance (online) instrument training in problem-based learning model for violoncello education on the performance and academic success of cello students during the coronavirus (Covid 19) epidemic. A single group pre-test-post-test design was used in the study, which was carried out in a trial model and in which quantitative data were collected. The study group consisted of a total of 6 cello students studying at Karabük University Safranbolu Fethi Toker Fine Arts and Design Faculty Music Department in the 2020-2021 academic year. “Cello Knowledge Test” and “Rubric” were used as data collection tools. Single group (uncontrolled) pre test-post test data were analyzed with Wilcoxon and Friedman tests, which are non-parametric methods that are used to compare data that do not show normal distribution. According to the quantitative findings, it was observed that the scores obtained from the knowledge test and the rubric, As a result of the research, it is suggested that the potential of problem-based learning should be investigated further by music educators and researchers should apply the problem-based learning model in distance or face-to-face education with different scenarios and different materials. Keywords: Covid 19, Distance Education, Problem Based Learning, Cello Education, Collective Instrument Education

INTEGRATING CORE COMPETENCIES IN PROFESSIONAL MUSIC TRAINING CURRICULUM — THE TAINAN UNIVERSITY OF TECHNOLOGY EXPERIENCE

Music curriculum integration in professional music training involves the exploration of how educators can integrate individual competency items developed by Teachout's (1997) three categories of skills/knowledge components, namely, teaching, personal, and musical skills and behaviors, into the music education curriculum. The purpose of this paper is to use Denis’s (2017) skills/knowledge competency of university coursework as the enquiry lens. The focus is skills/knowledge competency with the three subsections for personal, teaching, and musical skills and behaviorsthat need to be shaped in different ways to successfully convey music content to students. Insights into the results of the necessary skills/knowledge components are gained through using the example of the Music Department at the Tainan University of Technology, Taiwan. The findings demonstrate that music curriculum integration with a competency-based approach to practice helps with successfully implementing classroom management strategies.

Textual Analysis of College Anthem and Its Implication for Sustainable Development in Nigeria

The paper is based on the content analysis of the College Anthem. The College anthem is a composition written by Elsie E. Nwoko reflecting core value of the College of Education, Agbor. The text of the college anthem is very significant in that the text is an intricate musicality woven into the fabric of the existence of the College of Education and the tenet of institution. Without the existence of the College of Education Agbor, there would be no composition known as the College Anthem. The paper followed the descriptive and empirical approach in realizing set objective by juxtaposing the College Anthem vis-a-vis the College of Education, Agbor in relation to sustainable development. The paper concludes that since music can be used as an advertising agent, and the College exists for capacity/capital development of Nigeria citizens, the Music Department as a unit of the College of Education, Agbor should be assisted and encouraged in all ramification to run the music programme effectively in order to contribute to the sustainable development of Nigeria via each empowered graduates from the music programme. Keywords: Sustainable development, College, Anthem, Textual, analysis

How Do Kastamonu University Education Faculty Fine Arts Education Department Music Education Department Students Use Their Smartphones?

This work; Kastamonu University, Department of Fine Arts Education Faculty of Education was made to students in the Music Department in Turkey. The study is a descriptive field study and it was conducted with a questionnaire model. The study group of this study consists of all students of Kastamonu University Education Faculty Music Education Department. The aim of this study is to get an idea about the use of smart phones by music department students. In the study, a review was made of how music students use their smartphones. The questionnaire method was used to answer questions such as what kind of applications they use on smartphones and how much they benefit from the applications they use professionally. Research questions were asked which applications are the most popular for personal and school use, which applications are satisfied and which applications they are not satisfied with. The data obtained were presented in the form of a table and interpreted. It was concluded that the students used certain programs on their smartphones beneficial for their field education. The study is important because it contributes to researchers, field experts and similar studies.

Development of the professional culture of a music teacher among foreign students in the process of musical and instrumental training at a Russian pedagogical university

We examine some of the problems of the process of developing the professional culture of a music teacher among foreign students from the Chinese People’s Republic in accordance with modern trends in Russian pedagogy of music education; the concept of “culture of piano performance-intonation” is revealed as a necessary component of the professional culture of a music teacher. The goal is to substantiate the need to study the features of the development of professional culture among Chinese students, future music teachers, in the process of musical and instrumental training at a Russian pedagogical university. In the course of the research, the concept of “professional culture of a music teacher” is clarified; the features of the development of the professional culture of a music teacher, and, in particular, the culture of piano performance-intonation among Chinese students, as its separate component, are investigated; the conditions for the upbringing of the culture of piano performance and intonation among foreign students in the process of musical and instrumental training in a Russian pedagogical university are determined. The research methodology is based on the systematization of scientific and pedagogical knowledge in the field of musicology, pedagogy and psychology of music education, as well as the results of experimental work carried out over the past three years on the basis of the “Special Piano” Department of the Tambov State Musical Pedagogical Institute named after S.V. Rachmaninov and the Music and Methods of Teaching Music Department of Penza State University.

Contemporary Voices from Eger. A Cross-section from the Piano Works of László Kátai

"The main purpose of the article is introducing the Hungarian contemporary composer, László Kátai. He is a retired associate professor who worked for almost 30 years at the Music Department of Eszterházy Károly College (Eger, Hungary). His compositions are strongly connected to Hungarian folk music and his musical language is based on Béla Bartók’s style amongst some other influences. The analysis of four piano compositions is the essence of the study. Keywords: László Kátai, Bartók’s style, piano pieces, musical analysis, Hungarian folk music"