Affective and musical understanding in piano chamber music pedagogy at the fundamental level

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>

Affective and musical understanding in piano chamber music pedagogy at the fundamental level

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>

Theory’s Tone Deafness

This chapter describes the relevance, failures, and possibilities of music theory in a jail music program in which rap and hip-hop are the primary genres the largely African-American participants produce. Participants’ “ethnotheory” mediates the theoretical frameworks underlying the software they use and the theoretical concepts the author brings into the jail. The author asks how music theory might be more useful in carceral contexts, both in terms of its analytical perspectives and as a strategic legitimation of inmate’s expressions in an oppressive social context. The author interrogates the claim that academic arts programs in carceral contexts are often exploitative and that music theory in such contexts may represent a form of epistemic injustice. Finally, the chapter concludes with some suggestions on how academic music theorists might further the aims of social justice in carceral spaces.

Teaching through ensemble performance

Teaching ensemble performance in higher education tends to draw on staff members as conductors or mentors, approaches which can easily remain unexamined. This research investigates a third potential path, participatory ensemble teaching, which steps away from the conductor’s podium and plays less (obviously) important musical parts. Using alternating leadership in this way was designed to help students engage more critically than otherwise, creating a rehearsal environment where their musical decisions were meaningful and impactful. Through rehearsal observations and focus groups, the chapter assesses the effectiveness of this approach to small ensemble teaching across three years of an undergraduate music program. In addition to reflecting on the impact of participatory ensemble teaching, this case study explores issues around equality, power relationships, and the role of the lecturer within ensembles.

Harmonic Classification with Enhancing Music Using Deep Learning Techniques

Automatic extraction of features from harmonic information of music audio is considered in this paper. Automatically obtaining of relevant information is necessary not just for analysis but also for the commercial issue such as music program of tutoring and generating of lead sheet. Two aspects of harmony are considered, chord and global key, facing the issue of the extraction problem by the algorithm of machine learning. Contribution here is to recognize chords in the music by the feature extraction method (voiced models) that performd better than manually one. The modelling carried out chord sequence, getting from frame-by-frame basis, which is known in recognition of the chord system. Technique of machine learning such the convolutional neural network (CNN) will systematically extract the chord sequence to achieve the superiority context model. Then, traditional classification is used to create the key classifier which is better than others or manually one. Datasets used to evaluate the proposed model show good achievement results compared with existing one.

Fostering Meaningful and Creative Connections in Higher Education: Contributions from Music Education

This paper focuses on contributing to the reflection on the importance of providing opportunities to foster meaningful and creative connections in higher education. In a context of growing plurality, heterogeneity and diversity of backgrounds, languages, cultures, identities, roles, and purpose influences the sociocultural relations and professional interactions that occur and are formed within higher education communities of knowledge and learning, which are explored from the perspective of music education. A narrative approach on participant’s views about their participation in an elective music program was developed inside the framework of informal education. Issues that were discussed the most across the datasets by participants individual accounts are expressed through themes that fall into three broad areas: previous musical experiences, significant influences for music participation, and perceptions of the participation in the music program. Results suggest that the informal music program provided participants with a context for a safe emotional, social, cultural, and musical experience, and thus heterogeneity and diversity are seen as enriching factors. Some considerations are made on the ways through which music can help to foster connections and sense of humanity in higher education. This provides some insights into the relevance of fostering musical participation as part of the cultural responsibility of higher education institutions for participants.