Hasil untuk "Musical instruction and study"

Francisco Escalante Vargas, Maria-Cecilia Jorquera-Jaramillo

El concepto de excelencia tiene relevancia en la formación de profesionales de la interpretación y ha ido evolucionando en el ámbito de la educación. Pese a que la concepción de excelencia puede ser bastante amplia en función de las creencias y contextos en que vivimos, en educación se entiende como una serie de habilidades necesarias para promover la consecución de una serie de objetivos determinados por las necesidades del estudiantado y su contexto personal, sociolaboral y político. En los estudios superiores hay, al menos, tres agentes protagonistas en el proceso de enseñanza-aprendizaje: el estudiantado, el profesorado y las instituciones (centros de estudios y administraciones). El presente estudio de casos aborda las concepciones docentes sobre las estrategias implementadas en Conservatorios y Escuelas Superiores de Música en España en la búsqueda de la excelencia musical. Para ello, se realizaron entrevistas semiestructuradas a cinco profesores innovadores e investigadores en educación musical, por ser la figura del docente uno de los agentes fundamentales que condiciona directamente el proceso de enseñanzaaprendizaje. El análisis de las categorías emergentes surgido de las entrevistas indica cambios innovadores en las prácticas educativas de los docentes, aunque estos profesores son conscientes de que esta situación no es habitual. En consecuencia, los cambios reales y persistentes no parecen estar implementados de manera recurrente en estas enseñanzas, y los cambios sustanciales siguen siendo necesarios. Los resultados obtenidos en esta investigación pretenden contribuir con propuestas para la mejora de la docencia en los centros superiores de enseñanza musical.

Ezekiel Olagunju, Deborah Adeyeye, Dorcas O. EZEKIEL

This article examines the role of conceptual metaphor in structuring emotional experience and identity formation in German popular music produced between 2000 and 2010. Drawing on Conceptual Metaphor Theory and recent cognitive–cultural approaches to meaning-making, the study conceptualises song lyrics not merely as stylistic artefacts but as cognitively salient sites in which abstract experiences such as love, uncertainty, intimacy, and self-orientation are rendered intelligible through recurring metaphorical mappings. Using a qualitatively curated corpus of widely circulated German-language songs from the early twenty-first century, the analysis identifies and categorises metaphorical expressions according to their underlying source–target domain relationships and cognitive functions. The findings reveal a marked predominance of structural metaphors grounded in domains of movement, force, containment, and spatial orientation, suggesting that these mappings function as shared cognitive frameworks through which young listeners narrativise emotional vulnerability and relational instability characteristic of the period. Rather than operating in isolation, the identified metaphors form interconnected clusters that stabilise meaning across texts and artists, pointing to the emergence of what this article terms musical metaphor ecologies. By situating metaphor use within its historical and cultural context, the study contributes to cognitive linguistics by demonstrating how popular music participates in the collective organisation of emotional experience. The article concludes by outlining pedagogical implications for German as a foreign or second language (Deutsch als Fremdsprache/Deutsch als Zweitsprache - DaF/DaZ) instruction, arguing that song-based metaphor analysis can enhance figurative competence, cultural interpretation, and learner engagement, particularly in non-immersive learning environments.

ChunBo Zhang, Yitong Li

ABSTRACT The integration of artificial intelligence (AI) into music education enhances student motivation and engagement. This study aims to determine the impact of Flowkey, an AI-based piano teaching app, on the academic motivation of piano students. The study involved two groups of music students recruited from several conservatories in China. One group used the Flowkey app to learn the piano, while the other received traditional instructions. The MUSIC Model of Academic Motivation Inventory was used as a data collection tool. The Flowkey group exhibited significant improvements in empowerment, usefulness, success, and interest compared to the control group. No significant difference in caring between the pre-test and post-test measurements was observed. Even though the use of Flowkey had a positive effect on specific constructs of motivation, the findings highlight the need for human interaction, which requires creating an emotionally supportive environment for students. The results unveil the potential of AI to enrich traditional teaching with a more engaging, personalized, and flexible learning experience. The study has practical implications for curriculum developers and educators as it sheds light on the benefits of integrating AI technologies into education.

Yuqiao Wang

In music education, rhythm is a fundamental and essential element. Developing a strong sense of musical rhythm is particularly important for upper primary school students. In this paper, I analyzed current challenges in primary school rhythm instruction using various methods, including interviews, participation-observation, and case studies. Additionally, I explored effective rhythm teaching strategies through two specific lesson examples, aiming to provide recommendations for optimizing rhythm instruction in fifth-grade music classes in China. The research indicates that teachers should select methods that align with their students' needs, ensure continuity in course content, balance knowledge explanation with rhythmic perception, and nurture students' musical sense of rhythm.

Jinxing Mu

Against the backdrop of global cultural integration and digital development, the teaching of traditional Chinese musical instruments faces tension between traditional transmission models and the demands of modern education. This article systematically examines its evolution from the traditional paradigm of "oral transmission and mental comprehension," to the hybrid model formed under the influence of Western music systems, and further to the new challenges posed by the contemporary cultural ecology. The study proposes three innovative pathways: the reconstruction of concepts centered on cultural transmission, the expansion of methods through interdisciplinary integration, and the transformation of means enabled by technology, explaining their value for the inheritance of artistic essence, the shaping of learners, and the construction of disciplinary systems. Teaching innovation must be implemented through curriculum restructuring, contextual creation, and evaluation reform, and sustained advancement should rely on teacher development, academic community building, and resource platform construction, ultimately promoting the modern transformation of traditional Chinese musical instrument education from skill instruction to cultural transmission.

Xiao Qin, Angkana Karanyathikul, Sombat Kotchasit

Background and Aims: The objective of this research was to create a fundamental vocal music course using Dave's taxonomy and an experiential learning approach. The purpose was to improve the music skills of students at Xi'an University and assess the course's effectiveness. Materials and Methods: The study included a sample of 30 second-year music education students from Xi'an University, who were recruited via cluster random sampling. The instruments comprised six lesson plans, a learning achievement test with a reliability coefficient of .78, and a satisfaction questionnaire with a reliability coefficient of .77. The data analysis involved the use of measures such as the mean, standard deviation, and t-tests for both one sample and dependent samples. Results: The results of the study revealed that the basic vocal music course consisted of six key elements: principles, objectives, contents, instructional technique, media/resources, and evaluation methods. The course focused on cooperative, hands-on learning, customized content, interactive teaching methods, multimedia materials, and thorough assessment. Students demonstrated a noteworthy enhancement in their musical skills and reported satisfaction levels beyond 70%, with statistical significance at the .05 level. Conclusion: The course successfully improved students' musical skills, validating the importance of Dave's taxonomy and experiential learning in music education. This practical approach is highly beneficial for daily instruction and the enhancement of skills.

Utari Theosofi Febrilia, Asia Ramli Prapanca, Nurlina Syahrir

This study aims to develop an electronic music learning module based on local wisdom, using the traditional bamboo instrument Pa'pompang as a topic for students at Sudiang Catholic Junior High School. The background to this research is the limited availability of open materials containing traditional music, particularly Pa'pompang, and students' low interest and understanding of local culture. The research model used is Research and Development (R&D), adapting the ADDIE (Analyze, Design, Development, Implementation, and Evaluation) development model. Subjects included subject matter experts, media experts, music teachers, and eighth-grade students. Data collection instruments included observation, interviews, questionnaires, and learning outcome tests (pre-test and post-test). Expert validation was used to determine the module's feasibility in terms of content and media, while implementation testing was used to assess the module's practicality and effectiveness in learning. The results showed that the developed electronic module received excellent ratings from subject matter experts, media experts, and teacher responses, and received positive feedback from students. The effectiveness test results, based on improvements in learning outcome scores, indicate an increase in students' understanding of and performance of Pa'pompang music, as well as improved collaborative skills in ensemble learning. Thus, this electronic music learning module based on local wisdom on the Pa'pompang instrument is deemed feasible, practical, and effective for use in arts and culture instruction in junior high schools, and contributes to supporting local cultural preservation through education.

W. Wadiyo, S. Haryono, J. Wiyoso et al.

This study investigates how elementary school teachers without musical backgrounds create educational songs to support thematic learning under Indonesia's Kurikulum Merdeka. Thematic learning aims to integrate various subjects into cohesive themes, fostering student-centered learning (SCL) and emphasizing active engagement and critical thinking. Although the government provided the guiding textbooks, teachers face challenges in implementing SCL. Eventually, they often revert to conventional, teacher-centered methods. Previous research indicates that songs can serve as effective educational tools, but there is still a lack of thematic songs that align with the curriculum's specific themes. Using a case study approach, this research involved classroom observations, document analysis, and interviews with two first-grade teachers who developed songs for an environmental theme. The study found that teachers could create educational songs by deriving lyrics from teaching materials and improvising melodies, although they needed formal musical notation skills. Teachers and students then used these songs in classroom instruction, engaging in singing and physical activities. Despite inconsistencies in musical performance, the findings indicated that students were enthusiastic and better understood the material through these songs. The study highlights teachers' adaptive nature in leveraging available resources to meet educational objectives and emphasizes the importance of integrating arts, particularly music, into educational practices. The research contributes to the broader discourse on educational innovation, suggesting that even teachers without musical training can effectively create and use educational songs to enhance learning. Empowering teachers with resources and training in songwriting could further enrich thematic learning, fostering creativity, critical thinking, and collaboration among students. This approach aligns with the goals of the Kurikulum Merdeka, supporting holistic educational reforms and improving learning outcomes in Indonesian elementary education.

Jesper Hohagen, Anna Immerz

The topic of attentional focus (focus of attention, FOA) in musical learning and performance has recently received increasing interest, as the growing number of empirical studies inspired by the established FOA paradigm in sports by Wulf and colleagues in 1998. The current systematical review aims at collecting, abstracting, and categorizing relevant data to show which kinds of FOA instructions were applied in experimental designs and what kinds of dependent variables were used to measure the effects of FOA instruction on musical performance. The three main inclusion criteria in the selection process were experimental design, detailed descriptions of FOA instructions, and outcome measures (OMs). A systematic search was conducted with a complex search term in four scientific databases in March 2023. For presenting and synthesizing results, we used data collection and an inductive-deductive data categorization. Fifteen studies with a total sample size of 401 participants were included out of 387 records initially identified. We collected 53 different FOA instruction citations from the 15 studies and classified them into 9 FOA subcategories, of which the most applied were bodily focus (21%), sound focus (15%), and visual focus (14%). Selected studies used 63 OMs that were abstracted to 10 different OM categories with expert ratings (27%) and acoustical analysis (22%) as the most applied dependent variables. Data categorization and abstraction of additional study information show multiple combinations of FOA instructions, OMs, participants’ instruments and expertise, and musical tasks. Finally, studies show no consistent results of superiority of either external or internal or otherwise different FOA considering positive effects on musical performance. Limitations of the review lie in the small study sample, possible criticism of applied eligibility criteria, and subjectivity of data categorization. We propose a research agenda with a more exploratory approach that comprehensively and qualitatively examines the dimensions of musical goals to create a database that could provide a foundation for developing a music-specific FOA model.

X. Liu, Ta Wang, K. Wong

This systematic review examines the efficacy of the Suzuki music teaching method in cultivating instrumental skills through experimental research. The research indicates that the Suzuki music teaching method accommodates various instruments for students of different ages but its effectiveness in enhancing rhythm skills varies with the instrument and age group. Following PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) guidance, the study searched four e-databases. Seven researches were identified as eligible for final inclusion from the 481 identified literature. The included studies compared the Suzuki method to conventional music teaching methods, with the majority showing a positive effect on instrumental skills, particularly posture, musicality, and technique control. The Suzuki method is expanding its target population from children to adults, providing evidence of its effectiveness for various groups of individuals learning an instrument and proposing future research directions related to the Suzuki music teaching method. Plain language summary When learning to play an instrument, different teaching methods can make a big difference. One popular method is the Suzuki approach, which is like learning a language—it starts with listening and playing, rather than reading music. This study looks into how well the Suzuki method works compared to traditional ways of teaching music. We wanted to find out if the Suzuki method helps students of all ages get better at playing instruments, focusing on things like keeping rhythm, having good posture, and playing with emotion and precision. To do this, we looked at lots of studies and picked out the best ones to see what they say about the Suzuki method. What we found is pretty encouraging. Most of the time, students learning with the Suzuki method showed improvement in how they hold and play their instrument, and how they express themselves musically. The results were a bit mixed when it came to rhythm—it seems to depend on the student’s age and the instrument they’re learning.

KettyJackline Maina

Historically, music pedagogy has witnessed the implementation of diverse teaching models in different educational settings. Within the academic realm, for example, music theory and instrumental training approaches have been developed to align with standardized curricula, considering the diverse musical histories and cultures across the globe. Even so, there is a growing trend among individuals to explore alternative modes of instruction beyond traditional school environments. These alternative methods encompass online platforms and one-on-one in-person tutoring, among other options. Such modalities have prompted recognition of exponents who provide music tutorage having not acquired formal music training but possess knowledge through lived experience. Their practically inclined teaching approaches and demonstration of musical artistry have sparked interest in people, who subsequently aspire to learn music and play instruments. Their efforts have played a crucial role in fostering the need for music education in the music domain and the entire art industry. In doing so, they establish a prominent presence in music pedagogy, and consequently, in formal educational settings. Considering this, I examine the contributions by such educators within the music industry, particularly in the field of education. Using qualitative case study methods such as interviews, I explored different non-formal pedagogical approaches and interrogated their impact on learners. Insights from these interviews revealed that observation, replication, and innovation are utilized as instructional approaches in non-formal settings, with students studying under peers, master musicians, and family members. Through this, students acquire musical exposure as they develop skills that align with the music industry. Such training ought to be integrated into academic curricula to enhance music scholarship and ensure its relevance locally and within global contexts.

A. Y. Mariach, Tatiana Anatolievna Shipilkina

The aim of the research is to justify the necessity and demonstrate the potential of implementing a set of pedagogical technologies in classes on musical-instrumental training for students in a pedagogical university. The article reveals the content of technological support and demonstrates the algorithm of the process of forming artist performance competence among students in a pedagogical university through the implementation of a selected set of pedagogical technologies. The research novelty lies in the justification and demonstration of the technological nature of the process of musical-instrumental training for students in a pedagogical university. The technological organization of musical-instrumental training for learners is seen as a necessary condition for the development of artist performance competence in future teacher-musicians. The study uncovers the content of pedagogical support and the technological organization of the process of forming artist performance competence among students in a pedagogical university during classes on musical-instrumental training. It is proven that the development of artist performance competence among students in a pedagogical university will be more effective if a complex of pedagogical technologies is implemented: goal-setting and planning of educational activities, game modeling of learning situations, development of auditory-motor coordination and formation of artist performance skills, reflexive metacognitive skills, intonation-stylistic piano playing instruction. An algorithm for implementing the process of developing artist performance competence in classes on musical-instrumental training for students of a pedagogical university has been developed.

[Editor]

Aleix Herreras Carrera

Why does music move us? What harmonic resources manage to cause a greater pleasant experience in listeners? The aestheticity of music lies in the repetition of forms, in the recognition of patterns. Composers take advantage of that predictability to play with listeners' expectations. Mastering the technique to cause sweating and piloerection in response to a musical stimulus is of great interest to creatives. Based on the publications of the musical theorist Frank Lehman, specialized in the harmony of the soundtracks of epic millennial cinema, this article analyzes some harmonic cadences present in different audiovisual formats to agree that it is in the violation of expectations through chromatisms and after their subsequent diatonic realignment where the astonishment of the spectators occurs. This research connects classical aesthetics with the psychology of music.

Sun Le

Statement of the problem. The article is devoted to the interaction of the traditions of national musical and dramatic art with elements of Western European writing techniques in the piano cycles of Guo Zhiyuan (1921–2013). The composer’s contribution to the development of the national piano pedagogical repertoire is determined, which we can consider as a kind of link between national art and modernity. Objectives, methods, and novelty of the research. The purpose of the article is to establish the connections between Guo Zhiyuan’s piano works and national traditions of musical and drama art, and to determine their role in the development of national pianism. The study of Guo Zhiyuan’s piano cycles requires the use of conceptual apparatus of theoretical and historical musicology, as well as the theory of pianism. The article uses methods of source studies, aesthetic, musical-theoretical, musical-performance analysis in combination with historical-cultural, stylistic generalizations. At the end of the 20th century, Guo Zhiyuan’s work was first highlighted in the musicological literature of Taiwan. However, researchers paid the least attention to piano cycles on themes of Taiwanese folklore, considering them secondary instructional works, the sphere of children’s music (Yang Shuan-Chen, 2008; Chang Hsun-Yin, 2016). Meanwhile, it is in these works that the connection between Guo Zhiyuan’s creativity and national musical and dramatic art is most clearly revealed. Therefore, the illumination of this little-known sphere of the composer’s work is relevant and determines the novelty of the results of the study. Research results. The influence of Taiwanese (gedzaishi, kau-ka) and Southern Chinese (gedzai, gaoqiang) musical and dramatic traditions is considered in the cycles “Six Taiwanese melodies kau-ka"”(1973), “Seven Taiwanese melodies gau” and “Four Chinese sichu” (1974), combined in the collection “Children’s piano pieces” (1996). The composer uses intonation turns of traditional tunes of Taiwanese and Southern Chinese opera art, in particular, the genre of hau-diao, characteristic of Taiwanese dramatic aria, accompanied by sliding chromatic turns in the melody with support on a parallel fifth in the bass, unexpected changes in mode. An important role is played by the image of traditional musical instruments – strings (huqin, piba, two-stringed violin chuan arha), wind instruments (bamboo flute dizi), percussion instruments (bangu drum, gongs, rattles). Some pieces, although they use elements of Taiwanese opera, are noticeably modified. In fact, many of the artist’s melodies are written under the influence of Western composition methods, which significantly distinguishes them from traditional Taiwanese and Chinese music. He introduces young performers to irregular meter and variable size, as well as elements of polytonality. Conclusion. Preservation and embodiment in piano music of the brightest national musical and theatrical traditions gave the composer the opportunity to enrich the Western instrument by expanding the possibilities of sound-imagining, reflecting the techniques of opera art, as well as updating the modal and metrorhythmic spheres. Guo Zhiyuan’s contribution to the development of the national piano pedagogical repertoire is comparable to the contribution of the outstanding Hungarian musician B. Bartok and his collection “Microcosmos”.

L.F. Bayanova, A.G. Dolgikh, Anastasia A. Yakushina

Introduction. Inhibitory control is one of the components of executive functions in children. Through the ability of inhibition, a child can control attention and stop his or her automatic reactions. The results of numerous studies demonstrate the relationship between inhibition and music lessons. However, the role of inhibition in the development of musical ability in children taking music lessons remains incompletely understood. Therefore, the purpose of this study was to identify the relationship between inhibitory control and musical ability and the role of inhibition in teachers' assessment of musical ability in children taking music classes. Methods. The study involved 198 children aged from 64 to 108 months (M=79.28; SD=6.46), studying music in children's music and art schools in Moscow and Krasnodar. To test the level of development of cognitive inhibitory control we used the "Inhibition" subtest of the NEPSY-II complex. To test the level of physical inhibitory control, the "Statue" subtest of the same diagnostic complex was used. To assess children's musical abilities, teachers completed the questionnaire "Assessment of Children's Musical Abilities". Correlation analysis and linear regression were applied to process the obtained data. Results. The Spearman's correlation analysis revealed significant interrelations between inhibition and teachers' estimates of children's musical abilities such as sense of rhythm (r=0,200, p<0,01), pitch hearing (r=0,394; p<0,01), harmony sense (r=0,167; p<0,05) and emotional sensitivity (r=0,282; p<0,01). In addition, the results of regression analysis demonstrate a significant effect of the ability to inhibit spontaneous intentions and follow instructions on the assessments of musical ability. Conclusion. The conducted study confirmed that the children have better skills of response to meaningful tasks and rejection of insignificant ones, the higher teachers evaluate in such children the ability to identify melody's intonational and rhythmic characteristics, as well as the sensitivity to changes in its mood.

Sam de Boise

Jeremia Pangaribuan, Herna Hirza

Penelitian ini bertujuan untuk mengetahui efektivitas pengemasan materi musik tradisional pada mata pelajaran Seni Budaya dalam bentuk media poster yang kemudian di unggah ke edmodo sebagai media pembelajaran online di kelas VIII A SMP Negeri 23 Medan. Penelitian ini menggunakan metode R&D (Research and Development). Teknik pengumpulan data yang digunakan adalah validasi ahli media dan validasi ahli materi. Hasil penelitian menghasilkan produk berupa poster berisi materi musik tradisional yang di desain menggunakan software Corel Draw X7 dan telah divalidasi oleh ahli media dengan nilai rata-rata 80% kategori valid dan validasi ahli materi dengan nilai rata-rata 90,825 kategori sangat valid. Melalui tahap pretest, uji coba tahap satu, dan postest, efektivitas siswa-siswi memperoleh nilai rata-rata 90,15% dengan kategori sangat efektif.

Vitor Botelho Sampaio, Fernando Donizete Genari, Gustavo Silveira Costa

A Paulistana Nº 2 para piano, de Claudio Santoro, foi escrita em 1953, usando elementos da catira, uma dança (com bater de palmas e pés) acompanhada pelo canto e pela viola caipira. O artigo tem como objetivo apresentar o processo de transcrição para duo de violão e violão de oito cordas Brahms da Paulistana Nº 2, por meio da descrição dos procedimentos empregados nas adaptações necessárias, incluindo exemplos do texto original e das partituras transcritas. Além de ampliar o repertório para essa formação de duo de violões, esta transcrição busca transportar a obra para um novo âmbito sonoro, capaz de desvelar a sonoridade pretendida pelo compositor, ressaltando a inspiração caipira da obra pianística, cujas texturas rítmicas remetem-se claramente aos rasgueados típicos do acompanhamento da catira, recursos exclusivos dos instrumentos de cordas dedilhadas, como a viola caipira e o violão.

Try Wahyu Purnomo, Sri Mustika Aulia

Penelitian ini bertujuan untuk memaparkan hasil penelitian mengenai analisis teks dan konteks dari lagu Mudiak Arau Dalam Pertujukan Talempong Pacik Ikua Parik Kanagarian Limbanang. Penelitian ini menggunakan pendekatan kualitatif dengan metode content analysis (analisis konten) yang bersifat desskriptif. Analisis secara tekstual dilakukan dengan membahas penggunaan ritme, melodi, serta sistem penulisan notasi lagu Mudiak Arau yang disajikan dalam pertunjukan Talempong Pacik Ikua Parik. Selanjutnya analisis kontekstual dilakukan dengan cara mendeskripsikan struktur pertunjukan, filosofi alam sebagai landasan musikal, dan juga teknik memainkan teknik yang digunakan dalam memainkan lagu tersebut pada pertunjukan Talempong Pacik Ikua Parik. Berdasarkan hasil analisis tersebut maka dapat dilihat secara khusus mengenai ciri khas dan karakteristik pada lagu Mudiak Arau yang dimainkan pada pertunjukan Talempong Pacik Ikua Parik di Kanagarian Limbanang.