Musical achievement during a lockdown: The parental support miracle

The quality of parental support is recognized as a crucial factor in the early stages of a student’s development, and particularly in instrumental music education. At the start of 2020, the outbreak of a global pandemic crisis posed new and unprecedented challenges to education, forcing families to stay at home to prevent contagion. This investigation was conducted during the period of a COVID pandemic lockdown in Portugal. We explored whether parental support, provided during the lockdown period, was associated with their child’s achievement as reported by their instrumental music teacher. For this study, 39 parent–teacher dyads of first-grade students of an instrument music course were recruited from two public music conservatories. Parents supplied information on the frequency in which they provided student-support-related attitudes and actions in the home context. Simultaneously, teachers provided information about the student’s achievement during the lockdown compared with the previous in-person performance period. Results indicate a strong relationship between parental support and musical achievement, with students who received higher levels of supportive parental involvement performing better than before the pandemic crisis. The findings are discussed in relation to the importance of parental involvement in a child’s instrumental music education.

Karlovac chant between tradition and innovation

Church singing, which was created due to the circumstances that arose after the Great Migration, is better known as the Karlovac chant. It was named after the place where it was transcribed and represents our national way of interpreting liturgical music, characterized by accepted influences of Western European musical practice, manifested first in music transcription, notation, metrics, and Western European tonality. Those were necessary conditions for its further artistic transposition into a complex polyphonic choral facture, intended primarily for church music elite. Permeated with the standard authoritative Western European musical tradition, it succumbed to the influence of superior musical achievements. However, when exposed to Western European creative practices, it did not prove to be a harmonized expression of artistic subordination, but an example of an unpredictable musical achievement based on the synthesis of our rich musical heritage imbued with a unique confessional and national self-determination. Its basic characteristics go back to the traditional musical heritage of the Balkans and Byzantium, enriched by Western European influences.

Assessment for Music Learning

Assessment is an essential aspect of teaching and learning. Not only is assessment necessary to determine whether students have learned what teachers think they have taught, but it also informs the design of instruction and is used to adjust the specific teaching and learning strategies that are used over time. Numerous technological tools are available that enable teachers to be more efficient and effective with this process. This chapter is primarily concerned with the assessment of musical achievement in creative, psychomotor, and cognitive domains. It outlines essential assessment principles, discusses the technology-assisted development of assessments, explores technologies helpful to the process of assessing specific music learning outcomes, and describes new assessment approaches enabled by technology. The management of assessment data and processes via technology is also examined.

Using Psycholinguistic Inquiry and Content Analysis to Investigate Emotions in Memories of Musical Experiences

Psycholinguistic inquiry can provide insight into the way the words people use reflect psychological states, including emotional states. There is limited research on the use of Linguistic Inquiry and Word Count (LIWC) software to investigate the psycholinguistic properties of emotional memories related to music. The purpose of this study was to test the extent to which LIWC can be used in the analysis of autobiographical memories related to music. Participants were undergraduates ( N = 99) at two large universities in the southeastern United States. Each participant was asked to write about times in their lives when music or experiences with music made them feel positive or negative emotions. The researchers conducted a content analysis of participants’ responses and used LIWC software to quantify emotion words (positive and negative), pronouns, causal thinking words, and insight words. Participants used significantly more positive than negative emotion words to describe positive memories of music, but there was no significant difference between the rates of negative and positive emotion words to describe negative memories of music. The content analysis revealed a similar trend: 51% of participants described mixed, conflicting, or changing emotions when describing negative experiences, whereas descriptions of positive experiences tended to be highly positive. Many participants wrote about social experiences and musical achievement. Results of this study offer insights on how humans describe music-related autobiographical memories. LIWC appears to be a useful tool for method triangulation when performing qualitative analysis of emotions in autobiographical memories of musical experiences.

Arias, Recitatives, Duets and Vocal Ensembles in The Opera Don Pasquale by Gaetano Donizetti

A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.

KERONCONGKU, NGRONCONGI

ABSTRACT Keroncong music has a basic concept of musical achievement that is often expressed by keroncong artists with the word "ngroncongi". Ngroncongi is a term that refers to the Java language. Keroncong becomes the basic word, which at the beginning of the word is affixed "Ng- " and at the end the word gets "-i", so initially keroncong is a noun, turning into an adjective after it turns into "ngroncongi". Ngroncongi is a musical aspect that becomes an indication of keroncong music characteristic. Ngroncongi will be achieved when it reaches the aesthetic and keroncong culture. Musicality which is "ngroncongi" is constructed by several musical elements such as, samen spelen; ngglali; nyendaren; mbesut; luk; gojek; isen-isen; mbanyumili; and sintiran. Those elements are synergized to accommodate the concept of "ngroncongi". The elements of rhythmic pattern are sintiran, mbanyumili, and gojek. The elements for ornamentation are ngglali; mbesut; luk; nyendaren; and isen-isen. While the element of "samen spelen" is for a musical interaction between players by giving each other musical communication. These elements found from the emissive knowledge of keroncong players who are represented in musical way to build musicality which is called "ngroncongi". Kata kunci : Keroncong, Ngroncongi, Musikalitas

“Everybody has something”: One teacher’s beliefs about musical ability and their connection to teaching practice and classroom culture

The purpose of this case study was to explore one elementary music teacher’s beliefs about the nature of musical ability and the ways in which these beliefs relate to actions and lived experiences in the classroom. Data included extensive classroom observations documented through fieldnotes and video footage, semi-structured interviews, teacher journal entries, teaching artifacts, and researcher memos. Three themes emerged from the data: (a) enabling success for all; (b) power of the learning environment; and (c) encouraging lifelong engagement with music. The findings of this study suggest that music educators’ beliefs about students’ musical abilities relate to their actions in the music classroom, their interactions with students, and their beliefs about the purpose of music education. Music educators should reflect on their beliefs, the ways in which they relate to teaching practice, and the impact they may have on students’ musical achievement and musical identity development. Additionally, music teacher educators should consider the role they might play in helping pre-service as well as in-service music teachers examine and possibly reshape their beliefs about music teaching and learning.

Título Superior De Música. Relación Entre La Motivación De Logro Musical Y Las Conductas Desadaptativas De Abandono En Estudiantes

The motivation of musical achievement is one of the main requirements to achieve academic success during the formative period of the students (Zarza, 2014). In this sense, behaviors such as the consumption of substances or cognitions such as thoughts of dropping out of musical studies are usually very present in music students and generate long-term maladaptive behavior sustained over time that can prevent a correct musical training or even the actual abandonment of them. We present a first approach to the relationship between motivation and substance use, as well as the presence of thoughts of abandonment. In this sense, an improvement is proposed in the training plans that tend to a greater individualization and surveillance of the presence of this type of behavior linked with low motivational levels.