Introduction

My deepest desire is for children everywhere to experience the wonder of their own artistry. I invite you to join me in unveiling children’s artistry and enabling its brilliance. Giving voice to children’s artistry can transform every music class and children’s chorus into a community of artists making exciting music....

Application of the Theory of Brainstorming in Visual Teaching of Music

Visual teaching is a teaching method or teaching tool that presents a clearer and more intuitive image of music works to students. Drawing on the theory of brainstorming, this paper explores the application of brainstorming, a brain stimulation method, in visual teaching of music. The main results are as follows: visual music teaching mainly improves music skills, cultivates music aesthetics, and enhances communicative competence. Once introduced to music class, the creative thinking method of brainstorming enables the teacher to train the divergent and creative thinking of students. During music teaching, brainstorming stimulates the learning interest, boosts the learning confidence, and cultivates the independent thinking of students. The research findings lay a theoretical basis for music course reform.

Video feedback in tertiary music performance classes

Video feedback can be an important and key mechanism for supporting online student learning in higher education. In the context of online music teaching, video feedback provides a necessary audio and visual element to support music students’ learning of music performance practice. A predecessor to a larger study in video feedback, this pilot study sought to explore instructor perceptions of the use of video feedback in music performance teaching classes. Using self-study methodology, findings suggest that video feedback can effectively complement individualised online music teaching within an undergraduate performance class and a Master of Music Performance Teaching group music class, provide supportive scaffolding for self-regulated learning, and offer students opportunities to create meaningful student-instructor connections and community. Strategies for effective implementation by way of self-regulation and communication are also addressed.

Folk Music, Class, and Nation

The identitarian nature of French folk music (both in itself and within art music) is introduced as presenting a challenge to long-standing official French policies of national unity—whether expressed as traditional unity in uniformity or via a newer Third-Republic formulation of unity in diversity. This challenge explains why official French art-musical culture never joined in with the celebratory ethnic-national folk-music practices of other European nations in the late nineteenth and early twentieth centuries. Instead, French folk music’s relation to the state is characterized by wide-ranging attempts to control and neutralize difference, resulting in invented traditions presented to schoolchildren as their unified patrimoine and composed into an emerging strand of neoclassical dance-form composition that brought together the modal and the folk-like. At the same time, folk music was usefully harnessed as an internal exotic within world’s fairs and as an element of modern tourism, while within opera, the particularism of regionalist composers was censored (sometimes self-censored), and often replaced by vague indicators of childlike Frenchness.

Is gender role self-concept a predictor for music class attendance? Findings from secondary schools in Lower Saxony (Germany)

Although there is an increasing number of studies investigating the effects of attending music programs and classes, research on the impact of gender role self-concept on the decision to attend music classes is limited. Current research highlights the significance of gender role self-concept in decision-making processes. Accordingly, we conducted path analysis on a sample of n = 353 fifth-graders to identify interrelations and mediation effects of students’ gender role self-concept on the attendance of a specific music class through the self-concept in music, intrinsic value of music, and other relevant aspects. The results showed that only gender role self-concept of femininity revealed direct effects on attending a music class. Students describing themselves as feminine had a more positive self-concept in music and value music more. No mediation effects could be detected. However, a negative direct path from gender role self-concept of femininity on music class attendance was observed. No effect was found for gender role self-concept of masculinity and music class attendance. The intrinsic value for music showed the highest impact on music class attendance. After discussing the main results, recommendations for researchers, teachers, and school administrators are made with regard to an accessible music education, which is independent of gender role orientations.

Design and Implementation of An Intelligent Classroom Teaching System for Music Class Based on Internet of Things

The intelligent classroom teaching system can analyze the student features and teaching content, and then push the suitable content to students. With the aid of such a system, teachers can develop more flexible teaching strategies, and evaluate the student performance more accurately. Drawing on the theories of the Internet of things (IoT), this paper designed an intelligent classroom teaching system for music teachers, and applied the system to actual teaching practice. The results showed that the proposed system provided music teachers with an ideal tool of teaching design; the network structure of the system consists of collaborative, master, camera monitoring, and standby servers; the proposed system was found to satisfy all requirements through repeated tests. The research results provided a good theoretical support to the application of IoT in teaching design.