Lorenzo Bianconi, Michele Calella, Donatella Restani
et al.
On 30 October 2024, SagGEM – the music education group of the association «Il Saggiatore Musicale» – will devote its annual meeting to the topic of “Teaching Music History: Universities, Conservatories, Schools”. Held at the auditorium of the Opificio Golinelli in Bologna, the meeting featured speakers Luca Aversano, Lorenzo Bianconi, Michele Calella, Donatella Restani and Alessandro Roccatagliati, as well as discussants Antonio Caroccia and Luisa La Guardia. Juan José Carreras’s introduction, On the Necessity of Music Historiography, drew attention to a crucial issue: while music historiography has been in a state of perpetual crisis since the 1970s as part of a broader reflection on history and the humanities, this very crisis reinforces the need to reaffirm the value of history, historical consciousness, and the pursuit of new historiographical approaches and communication strategies. Luca Aversano, President of the Association of Italian University Music Teachers, echoed this sentiment in his contribution, Legitimising the Teaching of Music History in the Contemporary World: the Role of Universities, reiterating the urgent need to foster a genuine and deep interest in music history among younger generations. The issues at hand were addressed from different institutional perspectives, with contributions from schools, conservatoires, and universities. We are grateful to the authors who have made their texts available and we present here the work of Lorenzo Bianconi, Michele Calella, Donatella Restani and Alessandro Roccatagliati, together with short contributions from Antonio Caroccia and Luisa La Guardia.
Music and books on Music, Musical instruction and study
Beyond the intricacies of audio recording equipment and the electric typewriter, technology hasn’t always been a big part of Scottish Studies. The past few decades, however, have witnessed the growing impact that digital technologies are having on our field. To get a sense of what lies ahead, this essay examines the efforts of three scholars involved in transforming access to source materials and reshaping the terms of scholarly enquiry
Chischay (término pukina que significa “habla conmigo”) es la primera revista académica de investigación musical realizada en Arequipa. Su comité editorial está conformado por docentes del Programa de Música de la Escuela Profesional de Artes de la Universidad Nacional de San Agustín de Arequipa (UNSA) y fue presentada al público el 22 de junio del 2023. El objetivo de Chischay es expandir la difusión y la reflexión acerca de la investigación musical a través de la presentación de artículos de investigación, metodología y estado de cuestión.
This study analyzes the first movement of Igor Stravinsky’s neoclassical work, "Concerto for Piano and Winds," from musical and structural perspectives. By thoroughly examining the musical structure of the piece, it highlights Stravinsky’s contributions to the concerto genre and positions this work within his neoclassical approach. The analysis was conducted using qualitative research methods, specifically document analysis techniques. The aim of the study is to examine the score and audio recordings of the work to identify its structural features and prominent musical elements. The findings reveal Stravinsky’s subjective approaches to harmonic structures and musical materials, as well as the innovative perspectives he brought to the concerto genre with this work. Additionally, it has been determined that the piece departs from the classical concerto form through certain musical transitions characteristic of the Baroque period and the solo-ensemble dynamics found in the Baroque concerto grosso. The results also detail Stravinsky’s innovations in the use of tonality, rhythmic diversity, and orchestration techniques. These structural features are significant elements that reinforce the dynamic and dramatic atmosphere of the work. Furthermore, the use of the piano in the piece goes beyond the typical soloist role, establishing a rich dialogue with the orchestra. This study sheds light on how this work reflects the evolution of Stravinsky’s musical language and the characteristic features of the neoclassical period, illuminating the innovations it introduced into the music literature.
Vicenta Gisbert Gisbert Caudeli, Sara Navarro Lalanda, Marta Vela González
La incorporación del alumnado con NEAE en el aula de música supone un importante reto para los docentes especialistas. Esta investigación se concentra en la visión del docente en música en todas sus vertientes: enseñanza generalista, Conservatorio, Escuelas Municipales y Universidad. Los objetivos de este trabajo se han centrado en conocer la experiencia y formación de los docentes en educación inclusiva, cuantificar las destrezas adquiridas por su alumnado y averiguar su percepción sobre sus necesidades formativas al respecto. La muestra está conformada por un total de 94 docentes especialistas en música de la isla de Tenerife (Canarias, España). Se trata de un estudio mixto con diseño selectivo y transversal, la toma de datos se ha realizado mediante un cuestionario ad hoc sometido a criterio de expertos. El cuestionario tiene tres apartados, uno dedicado a aspectos sociodemográficos, otro sobre destrezas adquiridas en el aula de música que se ha diseñado a modo Likert y la última con carácter cualitativo donde se indaga sobre prácticas, actitudes y mejoras en la formación docente. Se concluye con una evidente necesidad formativa para proporcionar mejor atención al alumnado con NEAE, cada vez más frecuente en las aulas de música, coinciden los participantes en la importancia de la formación permanente para incorporar recursos actualizados y efectivos.
To investigate how music educators engage their students with Hip-Hop, we adopted a “research remix” approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop “realness” and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers’ dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants’ approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators.
This study investigates the transformative impact of AI-based Decision Support Systems (DSS) and Big Data Analytics (BDA) on student innovation and employability skills in an era of rapid technological advancement, with a focus on the mediating role of technological acceptance and the moderating role of resource availability. This study, which draws on a wide range of educational contexts and data sources, gives complete knowledge of the complex links between technology adoption, student results, and contextual factors. The results of this study show how AI-based DSS and BDA have a significant impact on musical education. These technological advancements enable tailored instruction and foster students' creative thinking. In order to prepare students for a work market that is rapidly changing, they act as a catalyst for improving employability skills. The study, however, emphasizes the complicated dynamics at work. Technological Acceptance emerges as a major mediating component, underlining the significance of students and instructors freely and effectively accepting technological tools. Furthermore, as a moderating factor, Resource Availability takes center stage, emphasizing the need for equitable access to educational resources to ensure that technology-driven advantages are accessible to all. The results of this study have broad repercussions. The adoption of AI and BDA by educational institutions is encouraged as transformative technologies for enhancing the learning process. Policymakers must create regulations that support equal access to technology and promote an innovative culture in the classroom. This study highlights for students how important it is to adopt new technologies, realizing how important they are in determining both their academic and career paths.
Method books in a beginner band class often serve as the curriculum and the primary source of instructional material for learning to play an instrument during the foundational years. While method books provide an opportunity to motivate beginners, scaffold instruction, and introduce students to concert band repertoire, teachers should also consider how method books support an inclusive and culturally responsive instrumental music classroom. The purpose of this study was to analyze the content of nine widely distributed beginner band method books to determine the patterns of repertoire included. Method book melodies were analyzed for composer demographics, countries of origin, and categories of repertoire. Data revealed a continued emphasis on melodic material derived from the Western canon, White male composers, and Anglo-American cultures, including a high prevalence of songs from blackface minstrelsy. We offer recommendations regarding the need for more diverse musical materials at the beginner band level.
Drum transcription is the task of transcribing audio or music into drum notation. Drum notation is helpful to help drummers as instruction in playing drums and could also be useful for students to learn about drum music theories. Unfortunately, transcribing music is not an easy task. A good transcription can usually be obtained only by an experienced musician. On the other side, musical notation is beneficial not only for professionals but also for amateurs. This study develops an Automatic Drum Transcription (ADT) application using the segment and classify method with Deep Learning as the classification method. The segment and classify method is divided into two steps. First, the segmentation step achieved a score of 76.14% in macro F1 after doing a grid search to tune the parameters. Second, the spectrogram feature is extracted on the detected onsets as the input for the classification models. The models are evaluated using the multi-objective optimization (MOO) of macro F1 score and time consumption for prediction. The result shows that the LSTM model outperformed the other models with MOO scores of 77.42%, 86.97%, and 82.87% on MDB Drums, IDMT-SMT Drums, and combined datasets, respectively. The model is then used in the ADT application. The application is built using the FastAPI framework, which delivers the transcription result as a drum tab.
COVID-19 containment measures brought many changes in our lives and forced teachers all around the world to adopt various new practices. Given its specific education requirements and numerous school boards, the province of Quebec, Canada, was chosen to study the effects of the pandemic on music teaching in schools in the spring and fall of 2020. An electronic survey was distributed, to which 517 elementary and high school music teachers responded. Teachers reported on the transformation of teaching modes from an exclusively in-person practice to an online or bimodal approach. Continuation and interruption of music programs varied greatly from school to school and, for those who were allowed musical activities, different protective health measures were implemented. Teachers working with large ensembles (e.g. band and orchestra) experienced more interruptions in their music programs. Teachers also reported how their planning was affected by the new modes of instruction, but no matter which modes were used, most of them experienced less motivation for teaching during the spring of 2020. In addition, they perceived that it was more motivating for students to receive an education in person. Finally, positive outcomes of the pandemic on education included the development of new skills in the use of digital resources and online teaching, as well as a renewed sense of solidarity between teachers.
Neng Nadiana, Riza Fatimah Zahrah, Agus Ahmad Wakih
Penelitian dilatarbelakangi dengan observasi awal pada saat melaksanakan PLP II di SDN 2 Tuguraja Tasikmalaya, terlihat fenomena bahwa peserta didik tidak tertarik terhadap pembelajaran angklung karena dianggap membosankan terhadap pembelajaran angklung. Maka tujuan penelitian mendeskripsikan penggunaan metode hand sign, mendeskripsikan hambatan penggunaan metode hand sign, mendeskripsikan solusi untuk mengatasi hambatan penggunaan metode hand sign dalam pembelajaran angklung. Metode penelitian yang digunakan deskriptif kualitatif dengan menggunakan teknik pengumpulan data observasi secara langsung ke SDN 2 Tuguraja untuk mengetahui penggunaan metode hand sign dalam pembelajaran angklung, wawancara kepada wali kelas, pelatih, serta peserta didik dan dokumentasi sebagai bukti telah melakukan penelitian serta populasi sampel atau responden kepada 6 peserta didik kelas V yang selalu mengikuti latihan pembelajaran angklung di SDN 2 Tuguraja. Hasil dari penelitian yang dilakukan bahwa dengan menggunakan metode hand sign dalam proses latihan rutin pembelajaran angklung yaitu dapat memudahkan peserta didik dalam proses latihan pembelajaran angklung, menarik perhatian para peserta didik untuk mengikuti pembelajaran alat musik angklung karena metode hand sign dianggap unik, hal positif yang didapatkan peserta didik dalam mengikuti setiap proses latihan rutin pembelajaran angklung yaitu menanamkan perilaku disiplin, tanggung jawab, kreativitas serta kerjasama. Kesimpulan dari penggunaan metode hand sign dalam pembelajaran angklung dapat memudahkan serta dapat menarik perhatian para peserta didik dalam pembelajaran angklung, hambatan dalam penerapan metode hand sign yaitu peserta didik selalu bercanda, sehingga suasana menjadi ricuh dan tidak efektif, solusi hambatan penerapan metode hand sign pelatih harus senantiasa mengawasi proses latihan pembelajaran angklung, memberi motivasi dan memberi apresiasi.
Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.
Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music classes, hence to improve students’ music performance skills. Methodology – The study was carried out within the framework of a ten-week action-research design involving 35 primary school students at Putrajaya, Malaysia. Data collection was through group observation on students’ musical behaviours. Researchers also conducted an in-depth interview with rhythmic movement experts. Findings – Result shows that there is a significant changing of musical behaviours among primary students from week 8 to week 10. Experts agreed that rhythmic movement can create a meaningful music class with an active participation by students. There are three rhythmic procedures recommended by the experts to strengthen a music class pedagogy. Significance – Learning music through movements has turned music class into active and fun. Rhythmic movement activity makes this intention to become more meaningful. The study helps students to explore music through movements while they have the chance to play, communicate to each other, learn through observation and express their creativity in their own way. This intervention helps students to grasp almost all the music concepts while doing activities. This study also provides ideas for teachers to integrate rhythmic movements in music instructional process. Keywords: Dalcroze Eurhythmics, rhythmic movement, music education, qualitative, primary students, singing, playing percussion.
While the expansion of technologies into the music education classroom has been studied in great depth, there is a lack of published literature regarding the use of digital technologies by students learning via one-to-one instrumental music instruction frameworks. Do musicians take their technology use into the practice room and teacher’s studio, or does the traditional nature of the master-apprentice teaching model promote differing attitudes of musicians toward their use of technology in learning their instrument? The present study examined (1) musicians’ skills with and attitudes toward technologies in their day-to-day lives, (2) how they engage with technology in the learning of musical instruments, (3) how their attitudes as music learners differ from their role as music teachers, and (4) musicians’ attitudes toward potential new technologies and what factors predict adoption of new tools. To investigate these issues, we developed the Technology Use and Attitudes in Music Learning Survey, which included adaptations of Davis’ 1989 scales for Perceived Usefulness and Perceived Ease of Use of Technology. Data were collected from an international cohort of 338 amateur, student, and professional musicians ranging widely in age, instrument, and musical experience. Results showed a generally positive attitude towards current and future technology use among musicians and supported the Technology Acceptance Model (TAM), wherein technology use in music learning was predicted by perceived ease of use via perceived usefulness, although technology use itself, age, and musical experience did not predict hypothetical future use. Musicians’ self-perceived skills with smartphones, laptops, and desktop computers was found to surpass traditional audio and video recording devices regardless of demographics, and the majority of musicians reported using the classic musical technologies of metronomes and tuners on smartphones and tablets rather than bespoke devices. Despite this comfort with and access to new technology, its reported availability within lesson spaces was half of that within practice spaces, and while a large percentage of musicians actively record their playing, these recordings are reviewed with significantly less frequency. These results highlight opportunities for technology to take a greater role in improving music learning through enhanced student-teacher interaction and self-regulated learning.
Oklicna knjiga ljubljanske stolne župnije (1737–1759) je posebnost zaradi jezika, saj je bila vodena v slovenščini in kot takšna prikazuje slovensko glasbeno terminologijo svojega časa. Med vpisi oklicev se jih 19 nanaša na glasbenike oziroma z glasbo povezane osebe. Od znanih osebnosti je najti Filipa Jakoba Repeža, organista, pesnika in skladatelja iz Starega trga pri Ložu.
Alicia Clara Nudler, María de la Paz Jacquier, Silvia Español
En el artículo se describe un estudio empírico realizado con espectadores de una obra de teatro-danza, cuyo objetivo fue explorar la captación de formas de la vitalidad (Stern, 1985 y 2010). El estudio se caracteriza por un diseño complejo que implicó (a) la puesta en escena de una obra teatral, (b) la conformación de un estímulo novedoso a partir de la obra, y (c) la creación de tareas a ser realizadas por los espectadores al finalizar la función. La obra a la que asistieron los espectadores/participantes fue Dibaxu del director Hugo Aristimuño. El estímulo creado fue la proyección de dos fragmentos de la obra filmados en vivo en una de las funciones. Las tareas fueron cuatro: dos tareas no-verbales, originales y novedosas, y dos verbales. Se describen los rasgos particulares de la obra, el proceso de creación del estímulo y las tareas creadas. Se presentan los resultados de la tarea verbal que consistió en la selección de palabras descriptoras de formas de la vitalidad para caracterizar los fragmentos seleccionados de la obra presenciada. Se comentan luego los desafíos metodológicos del estudio de la recepción de espectáculos en vivo, se realizan comparaciones con otros trabajos del campo, y se resalta la virtud del diseño que permitió crear un estímulo breve que conserva, sin embargo, las cualidades de la obra completa. Finalmente, se discute la contribución de la investigación realizada tanto al estudio de las formas de la vitalidad como a los estudios de públicos de teatro y danza de orientación cognitiva.
Music and books on Music, Musical instruction and study
Este artigo apresenta apontamentos, sobre uma possível interpretação da forma sonata clássica adaptada para um contexto atonal, no primeiro movimento do Quarteto de cordas n. 3 de Heitor Villa-Lobos. No âmbito da música brasileira, Villa-Lobos foi o compositor que mais escreveu quartetos de cordas. No cenário internacional da música do século XX, sua produção está em segundo lugar em termos quantitativos. Todavia, algumas análises mais antigas com base apenas nos parâmetros da música tonal, defendem a ideia de que Villa-Lobos não utilizou a forma sonata em seus quartetos de cordas. No entanto, análises mais recentes demonstram a habilidade de Villa-Lobos em adaptar a forma sonata para um contexto não-tonal, assim como fizeram outros compositores vanguardistas. No caso do primeiro movimento do Quarteto de cordas n. 3 é possível notar a manipulação das classes de alturas que demarcam as entradas das seções, em substituição as relações tonais da forma sonata clássica. Sendo assim, torna-se patente a proficiência composicional de Villa-Lobos, ao manusear um dos gêneros mais consagrados da música de câmara europeia (Quarteto de Cordas) e uma das estruturas formais mais significativas da música ocidental (Forma Sonata).