The Man Who Does Not Sell

This paper focuses on one of the skilled individuals who invented a number of musical instruments which are not intended to be used or experienced by others. The instrument maker lives in an outskirt of Kandy. He has crafted many new musical instruments in addition to the replicas of musical instruments used for pop music. He articulates that he crafted these instruments not for earning money or to become popular as a good craftsman or musician but for his own personal satisfaction. The extended discussion with him implied that It is not that “he just makes instruments for his own satisfaction” but there are other reasons tied together with his background, crafting skills and musical interests, opinions about the society and his world view. In this research, his views on music, musical instrument playing, crafting and commoditization of musical instruments are explored. previous literature on organology, musical instrument making, and some socio-musicological studies are investigated in this regard as well as personal interviews with the craftsman were conducted in order to gather information that will be finally discussed. This research may provide some insights towards the future of creative arts and an un-industrialization of instrumental music, which can be seen as a contribution to sustaining human societies.

Traditional Philosophical Foundations of Curriculum

Chapter Two outlines the three major traditional philosophies: Idealism (Plato), Realism (Aristotle), and Neo-Scholasticism (ancient and medieval precedents and origins of schooling). Each is briefly sketched, then critiqued for its ill-effects when serving as a contemporary basis of music curriculum as aesthetic education (MEAE). While perhaps suited to the schools of the past, those of nobles and aristocrats before the rise of “public” (or “common”) schools for all children, the strong legacy of each is often ill-suited to contemporary life, students, and music. These three traditional philosophies share a usually abstract, “merely academic,” and detached approach to schooling. For all three, questions about reality, truth, and beauty are not questions at all! They are eternal and unchanging claims that exist independently of and, therefore, logically prior to the experiences, needs, and musical interests of particular students.

Links Between Musicality and Vocal Emotion Perception

Links between musicality and vocal emotion perception skills have only recently emerged as a focus of study. Here we review current evidence for or against such links. Based on a systematic literature search, we identified 33 studies that addressed either (a) vocal emotion perception in musicians and nonmusicians, (b) vocal emotion perception in individuals with congenital amusia, (c) the role of individual differences (e.g., musical interests, psychoacoustic abilities), or (d) effects of musical training interventions on both the normal hearing population and cochlear implant users. Overall, the evidence supports a link between musicality and vocal emotion perception abilities. We discuss potential factors moderating the link between emotions and music, and possible directions for future research.

Conceptual Foundations of Project Activities for the Formation of the Musical Culture of the Younger Generation

the article is devoted to the topical problem of increasing the role of concert activity in the formation of the musical culture of the younger generation. The article examines potential for improving concert activity within the framework of the project ideology corresponding to various conceptual foundations. The main conceptual approaches are the activity-based, axiological and interactive, which make it possible to take into account the entire range of possible musical interests and demands in modern society and to outline further strategies for improving project practice in the field of organizing concert activity. The authors analyze practical experience of conducting musical cultural and educational projects aimed at enhancing the musical culture of the younger generation in modern Russian society.

Links between Musicality and Vocal Emotion Perception

Links between musicality and vocal emotion perception skills have only recently emerged as a focus of study. Here we review current evidence for or against such links. Based on a systematic literature search, we identified 33 studies that addressed either (1) vocal emotion perception in musicians and non-musicians, (2) effects of musical training intervention on vocal emotion perception, (3) potentials of musical training for cochlear implant users, (4) vocal emotion perception in individuals with congenital amusia, or (5) the role of individual differences (e.g., musical interests, psychoacoustic abilities). Overall, the evidence supports a link between musicality and vocal emotionperception abilities. We discuss potential underlying factors, including origins of musicality in nature and nurture.

TINGKAT KECEMASAN SISWA SEKOLAH MENENGAH DALAM PERTUNJUKAN MUSIK

The study aimed to measure Student Anxiety Levels in the Music Performance Anxiety Scale (MPAS) for high school (SMA) students with musical interests in Padang City, and to conduct studies on validity and reliability. In this case, the scale will be developed for use for middle school students (adolescents), and differences between the sexes will be examined. The research was conducted on 546 high school students. Of these students, 185 (33.9%) is male, 361 (66.1%) is female, and the average age is 16.81 with an age range of 15 to 20. The correlation value of scaled items between them and with the total items is checked as a preliminary analysis. As a result of the engineering of the EFA's main components, promax rotation techniques and their analysis, three-factor construction accounted for a total of 42.74% of the total variants achieved. The achieved structure is validated by the CFA, and a match index is found in the acceptance interval. In reliability studies, Alpha Cronbach's internal consistency coefficient was calculated as 0.86 for the entire scale, 27% for bottom-up group comparisons and re-test analysis conducted. T-tests were conducted to determine the difference between the sexes. As a result of the study, a valid and reliable visible scale has been developed and the differences between the sexes are clearly visible.Keywords: gender; high school students; anxiety of musical performances

MINAT BELAJAR MUSIK INSTANT AKIBAT RESPON BERULANG DAN MENYENANGKAN PADA AJANG PENTAS KOMPETISI MUSIK POPULER “Studi Kasus Pendidikan Musik Nonformal dalam Sudut Pandang Teori Belajar Operant Conditioning BF. Skinner”

Thedevelopment of music in modern and urban society today is not always driven by the awareness of the importance of formal education in the field of music itself. The behavior of the community that develops in the surrounding environment, psychologically has triggered the interest of some individuals to engage in the phenomenon of populist music culture, one of which is budaya K-pop who participated in fertilizing music talent search competitions such astelevision, initiated bylocalgovernments, and certain nongovernmental organizations. Many parents consider that their children need to take part either as serious participants or just perform in the event. Many young people and their parents are willingto spendmoney, time, energy, and cost in order to be exposed to the event that is considered prestigious. The continuation is predictable, while the prizes are obtained,of coursepopularity follows, because they will be widely published by the services of the media and television. A number of thesefinancial r ewards and popularity will be enjoyable. The behavior to repeat and keep repeating the participation ofchildren in this event , aslong asitcauses them to havebeen trapped in the behavior of operant conditioning. So BF. Skinner has explained that if a stimulus produces a pleasant reward support capacity,there will be consequences for repeated behavioral responses. Because it will repeat itself, some young people are trying to develop their musical interests by learning music from an early age or studying it in formal education. But the irony for some of them is that it synergizes with the impatience of their parents, to learn music in more results-oriented and instantaneous music courses. The managers of this kind of non-formal music education institutions seem to also care about the quality of music education, unless they also feel equally profiting momentarily from this phenomenon. Eventually many participants of the courseand tutors were disappointed at the incompatibility of the results obtained with all the power that had been sacrificed. In fact, it is still the really talented children who continue to advance to win this talent search competition, even though there are actually some of these champions who learn or do not need to study in courses and less private music.Keywords:Music Competition, Blessing, Operant Conditioning

The Deaf and Hard-Hearing and their Perception of Music

The qualitative case study investigates how Deaf students participate in music in a number of ways and from a variety of backgrounds, including their own experience of education. The event involved a school that provided a music programme for Deaf children and a questionnaire, interviewings, reports and documents were used to examine them. The students have been particularly interested with music by participating in the fields of sign language, song, instrument playing and vocalisation as part of the school music programme. Perhaps because of shared encounters in their music classes students’ participation with music in the neighbourhood and in the community through spontaneous music events became able to criticise the stereopropes of their family members and the community. The musical interests of the students demonstrated a primarily visual and kinaesthetic awareness of music and an emphasis on repertoire learned through the curriculum of school music. The pleasure in music of the students was decided not always by their hearing ability, but more frequently by their hearing concept. The study’s findings show that music has a presence in the Deaf community.

Early Música Típica and Its Antecedents

Chapter 2 examines música típica’s antecedents in Panama’s Azuero peninsula during a period of great social change. Focusing on developments in areas of musical sound and all the practices that surround large rural dances called bailes, this chapter reveals how the evolution of this music was shaped by the peninsula’s geography, its evolving economic structure and labor relations, and, most of all, the musical preferences of performing musicians and their fans, the dancing baile-goers. In sharp contrast to the Panamanian folklorists’ romantic portrayals of their rural compatriots as untouched by modernization, this chapter outlines a history that makes clear that in terms of their musical interests and dance preferences, Azuerenses were not too dissimilar from their urban counterparts. Moreover, whether in terms of the social imperatives that led to the baile’s emergence as the foremost occasion for broad-based community participation or the seamless elision of themes of romantic love, nostalgia, and the pain of physical separation, this chapter shows that many of música típica’s most compelling, widely-embraced, and distinctive features were firmly established well before the sea changes brought about by the genre’s eventual commercialization.

Beyond Post-Tonal: A Broader Approach to the Fourth Semester Course

In this article, I argue for organizing the undergraduate curriculum around topics that are applicable to a wide variety of repertoires. Doing so allows students to continue to learn the central concepts and skills that theorists seek to impart via the core curriculum but through a wider variety of musical styles and traditions. Pairing this approach to the curriculum with a wide range of musical activities and projects that extend beyond analysis to include improvisation, arranging, performance, composition, and research helps students connect the content to their own instruments, degree programs, and musical interests. I describe my application of this philosophy towards curricular reform within the context of a fourth semester course on twentieth-century music, where twentieth-century music was treated as a broad category encompassing post-tonal and avant garde music alongside jazz, popular, and world music. This article presents a broad overview of the course, discusses the successes and failures of this approach, and offers some suggestions for how it may be implemented and adapted for various teaching contexts.