The global health crisis of 2020 accelerated the incorporation of digital technologies into teaching and learning processes across all educational levels. Educational Technology has consequently become a consolidated component within contemporary educational institutions. However, in the field of music education, particularly in professional music training, the systematic exploration of technological tools remains relatively recent. This study aims to compare two Learning Management Systems, Google Classroom and Moodle, in their application to the teaching of Solfeggio within the Academic Unit of Arts of the Autonomous University of Zacatecas, specifically in the Bachelor of Music program with an instrumental emphasis. A mixed methodological approach was employed, incorporating documentary analysis, pedagogical observation, interviews, and surveys. The findings indicate that the effectiveness of each Learning Management System is closely related to students’ profiles and the academic level at which Solfeggio is taught. The results highlight the importance of aligning digital platforms with pedagogical objectives and learner characteristics in music education contexts.
Joseph Benesch (1795–1873) was among the earliest violin virtuosos to become imitators of the famous Niccolò Paganini, whom he met in Trieste as early as 1824. He was active in Ljubljana for six years and later settled in Vienna, where he was a member of the Hofkapelle and orchestral director of the court theatre. He mainly wrote works for violin, which he performed as part of his personal repertoire
The aim of the study is to develop a scale to determine the level and causes of anxiety regarding stage performance or in evolutional settings among undergraduate drama students at the conservatories of universities in Turkey. The study sample comprised 207 undergraduate drama students (104 female and 103 male participants). Initially a pilot study was conducted with 100 participants. Following the analysis of the pilot study, the remaining 25 items were applied to the 207 participants. Six items with item correlation scores less than 0.25, those with high-factor loading in more than one dimension, and and a difference of less than 0.1 between the loading correlations were removed. The Kaiser–Meyer–Olkin (KMO) value of the remaining 19 items was calculated as .847. The total variance explained was 58.835%. First factor hadfour items (α=.795), second comprised five items (α=.707), third had four items (α=.702), fourth contained three items (α=.725), and fifth carried three items (α=.882). The scale comprised 19 items in total (α=.864). A confirmatory factor analysis of the scale yielded varied results, from perfect fit to acceptable fit. The test–retest reliability coefficient was calculated as 995. Moreover, the Liebowitz Social Anxiety Scale was applied. A significant relationship between these results and those obtained from the performance anxiety scale was revealed. Consequently, the Çarkçı Undergraduate Drama Students Performance Anxiety Scale, a five-factor and 5-point Likert-type scale comprising 19 items, was developed.
In studies of perceptual and neural processing differences between musicians and nonmusicians, participants are typically dichotomized on the basis of personal report of musical experience. The present study relates self-reported musical experience and objectively measured musical aptitude to a skill that is important in music perception: temporal resolution (or acuity). The Advanced Measures of Music Audiation (AMMA) test was used to objectively assess participant musical aptitude, and adaptive psychophysical measurements were obtained to assess temporal resolution on two tasks: within-channel gap detection and across-channel gap detection. Results suggest that musical aptitude measured with the AMMA and self-reporting of music experiences (duration of music instruction) are both related to temporal resolution ability in musicians. The relationship between musical aptitude and/or duration of music training is important to music educators advocating for the benefits of music programs as well as in behavioral and neurophysiological research.
The article addresses current aspects of teaching and learning music history in Italian secondary schools. It focuses on the contents and methods for the transposition of historical-musical knowledge in connection with a model for music education inspired by the idea of music as culture. Secondly, it proposes an example of didactic transposition of a piece from the melodrama I Puritani (1835) composed by Vincenzo Bellini, libretto by Carlo Pepoli: «Suoni la tromba e intrepido» from the Giorgio-Riccardo duet «Il rival salvar tu dei» (Act II, scene 4). The inter-disciplinary approach to the study of this piece is in two steps: the first is teaching how to listen, the second is the shift from listening didactics to music history.
Music and books on Music, Musical instruction and study
This chapter focuses on assessment of three aural skills: sight-singing, dictation, and error detection. Relevant research is synthesized to offer numerous examples of how aural skills assessments can be created and conducted at all educational levels prior to university study, and recommendations for filling several gaps in aural skills instruction and assessment are provided. Issues and challenges in aural skills instruction are addressed, including teacher preparation and confidence, use of technological tools, and “teaching to the test.” The chapter closes with these recommendations: School music teachers should incorporate aural skills practice and assessment into multiple musical course offerings; infuse instruction and assessment with relevant musical material; begin aural skills instruction early in the music curriculum; and incorporate technological tools into instruction for assessment purposes when appropriate.
This paper discusses the main characteristics of the identity of Jesús, a piano teacher at a professional music conservatory in Spain, as well as various aspects of his training, career and pedagogical approach. Using case studies as research methodology, it has been possible to examine how this professor articulates a shared identity between teaching and inter pretation. From the classification of states of identity proposed by Skorikov & Vondraek (2011) and Bouij (2004) it has also been possible to infer how, with respect to his profession, Jesús has gone through several states of identity throughout his career and how he currently integrates his musical skills into his pedagogy at the same time as he is interested in the teaching and development of students. From the data obtained, it can be concluded that, at least in his case, musical interpretation and teaching can be combined in a positive way and that although a traditional model of teaching instruments is used in conservatories, various resources can be integrated with which to improve the teaching and learning process.
Apresento neste artigo uma interpretação da prática do cover do pop sul coreano (K-pop) para delinear possíveis consequências para a teoria da mimesis, quando discutida junto às práticas musicais mediadas por dispositivos eletrônicos como celulares, tablets e computadores, que cumprem a função de máquinas miméticas. A partir de um estudo etnográfico realizado entre 2013 e 2015 junto aos praticantes do cover de K-pop em São Paulo, busco mostrar como os fãs desse gênero musical compreendem a reprodução feita por eles mesmos das performances dos artistas sul coreanos em palcos paulistanos. A prática do cover de K-pop, nesse sentido, mais do que uma imitação, surge como uma ação que assumindo o lugar do artista sul coreano, (re)produz nos palcos paulistanos os efeitos de performance presentes nos videoclipes. Se as máquinas miméticas colocam o fã em contato com o ídolo sul coreano, o cover tenta “passar um pouco do que o idol passa” quando assume o lugar de performer nos palcos paulistanos, tornando-se um corpo mimético em performance. O argumento aqui é de que ao se tornar um corpo mimético, os covers de K-pop entreveem o ponto de vista do próprio artefato artístico na relação com seu público.
The article summarizes the state of research on early Italian scores up to 1615, developing the hypothesis of a specific connection between two eminent lutenists, Carlo Gesualdo and Simone Molinaro. The latter published in 1613 in score the six books of Gesualdo’s Madrigals and two years later his own (only recently discovered) Madrigali a cinque voci con partitura. Lute tablature could be considered a kind of score in which the vertical alignment of the polyphonic lines is fundamental not only when transcribing vocal music but also in composing for the instrument.
Evaluative performances, such as conservatory examinations and competitions, frequently play a significant role in piano instruction in many parts of the world. Many students participate in these performances as a result of the perception that a program of instruction that is focused on standardized curriculum and evaluation practices will be of higher quality and will result in higher levels of student motivation. This study employs grounded theory methodology and narrative inquiry to better understand the experiences of beginning and intermediate piano students. The findings consist of characteristics of positive experiences with evaluative performances as well as factors that contribute to the quality of students’ experiences. Students who had positive experiences with evaluative performances reported positive emotional responses, perceptions of meaningful music learning, and strengthened musical identity. In order for students to have positive experiences with evaluative performances, their understandings, values, goals, and characteristics as a performer needed to align with the demands of the evaluation. In addition, positive experiences with evaluative performances required the presence of supportive relationships with parents and teachers. This article concludes with pedagogical implications.
Paper ini membahas peran lagu-lagu perjuangan dan lagu-lagu pendidikan dalam menumbuhkan kesadaran nasionalisme pada masyarakat Indonesia. Kajian fungsi lagu pada masyarakat Indonesia dilakukan melalui pendekatan sosiologi musik dengan menerapkan analisis kontekstual dan konstruktif musikologis. Kajian ini menyimoulkjan bahwa lagu-lagu kebangsaan Indonesia adalah ekspresi para pejuang bangsa yang seara musikologis melodinya dibuat sederhana, menggunakan teks berbahasa Indonesia. Secara sosiologis lagu-lagu tersebut tercipta akibat adanya tekanan dari bangsa penjajah
In is fairly usual for music history handbooks to introduce certain remote musical forms, documented since the historical period in which they became established, with an adequate formal analytical support. What they entirely lack, often due to problems retrieving documentation, is any explanation concerning their origin and the genetic process of their evolution.Such an approach leads to a ‘sterilized’ comprehension of the musical phenomenon, by depriving it of the essential contribution of its social and cultural context.Through a couple of examples, the article shows how restoring the historical identity of musical forms that are no longer current can also reconstruct the traits that are able to convey authentic meanings to us and our descendants.
Music and books on Music, Musical instruction and study
El siglo XX se considera como el de la gran transformación educativa, en todas las áreas del saber, en relación con los procesos del conocimiento: con un valioso legado en las propuestas pedagógicas fundamentadas en la formación integral del ser humano desde su esencia, permitiéndole desarrollar sus capacidades como ser intelectual, emotivo y social. De allí que la autora de este escrito se ha permitido considerarlo como el “siglo de oro” de la educación y, por ende, el siglo de oro de la educación musical, ya que surgieron en él propuestas pedagógicas y didácticas, construidas sobre importantes fundamentos filosóficos. Fue Edgar Willems uno de los principales representantes de ese movimiento transformador, cuyo legado es importante conocer y trabajar como una valiosa herencia al mundo actual de la educación musical. Se caracteriza por ser una propuesta universal, aplicable a cualquier contexto o entorno educativo musical por aportes significativos y siempre actuales.
The “Melk Reform” refers to the revival of the Benedictine order in southern Germany and Austria which had Melk as its centre, and came about as a result of the Council of Constance (1414–1418). The reform statutes emphasize strict adherence to the rules of the order, monastic discipline and liturgical renovation. The “Melk Reform chant” represents a variant of the Roman Franciscan chant tradition.
A wide range of compositional styles used by Gabriello Puliti (c. 1580–1644) in his earliest printed collections from the turn of the century undoubtedly reflect his basic musical training. His application of a variety of styles to a single musical genre – motet or vesper psalms – can also possibly be seen as practice in the art of composition. Among the principles employed by Puliti, parody is especially interesting. In his motet En dilectus meus, included in the collection Sacrae modulationes (1600), Puliti interpolated a theme from Palestrina’s madrigal Vestiva i colli (1566). Puliti’s own completely homophonic opening is followed by a literal quotation of the first part of Palestrina’s madrigal transposed a fifth downward with some slight deviations from the original in rhythm required to fit the music to different words.