Research on Music Teaching and Creation Based on Deep Learning

Under the background of quality education, music learning is also changing, from the original shallow learning to deep learning gradually. In-depth learning is a new teaching concept, which pays full attention to students’ perception and exploration of music so that students can fully experience the charm of music. It can not only help students master more music knowledge and improve their music skills but also cultivate students’ music literacy and enhance their music ability (Świechowski, 2015). Therefore, in junior high school music teaching, teachers should actively apply the deep learning model and then improve the teaching level and comprehensively cultivate students’ music literacy (Whitenack and Swanson, 2003). In this paper, two convolution-based deep learning models, Breath1d and Breath2d, were designed and constructed, and a multilayer perceptron (MLP) was used as a benchmark method for performance evaluation, and a long short-term memory (LSTM) network is applied for the classification task. This paper discusses the value and application strategies of deep learning in junior high school music teaching and hopes to provide some reference for all educational colleagues (Zhang and Nauman 2020).

Inspiring the Next Generation of Music Educators: A Multiple Case Study of High School Music Experiences and Career Choice

The purpose of this instrumental multiple case study was to explore the roles that high school music educators and the experiences they provide play in influencing high school students’ decisions to pursue a career in music education. Four bounded systems, consisting of programs led by ensemble directors with documented records and reputations for helping matriculate music education students into undergraduate music education programs, were studied. Findings were organized into the following themes: (a) formative attraction to the profession, (b) differing approaches to encouragement, (c) forms of encouragement, and (d) life as a music teacher. Specific implications for practice for multiple stakeholders and implications for future research are provided based on these findings.

Songwriting with digital audio workstations in an online community

Digital audio workstations and online file-sharing technology may be combined to create opportunities for collaborations among many groups, including performing ensembles, music technology classes, professional songwriters and preservice music teachers. This article presents a model for a digitally mediated online collaboration that focuses on popular music songwriting activities in school and higher education settings. Using an example from a high school music production class that collaborated with an undergraduate music education course through Google Docs and a file-sharing platform, the author outlines steps towards facilitating partnerships that focus on creating music in an online community. Such collaborations may help remove barriers between our classrooms and our communities as music teachers leverage technology to develop relationships with creators and performers of popular music everywhere.

Luokkahuonevuorovaikutusta ja kehollista taidekasvatusta lukion musiikintunnilla

The article examines classroom interaction during a Finnish high school music lesson, using ethnomethodological multimodal conversation analysis as both a theoretical and methodological approach. It explores how artistic action and aesthetic experience become visible in moment-by-moment interaction in a context of everyday school lesson. Embodiment and continuity function as central features in pedagogical process aiming at artistic expression, and emerging both socially and individually. This shows conformity to e.g. John Dewey´s philosophical understanding of aesthetic experience. The analysis demonstrates the multilayeredness of the interaction in school music lesson. In the data extract, student participation in the artistic activity during the lesson is characterized by stylized performances and restrained embodiment. The music teacher orients to these forms of student participation as normal embodied institutional activities, not as students’ resistance towards her artistic or pedagogical activity.