Background and Aims: Although the use of technology integration in music education in China has gradually increased, there is still a lack of empirical evidence on the use of educational technology, particularly digital tools, in auditory training. Traditional auditory training methods, such as manual practice guided by a piano or teachers, had some educational value; however, in large-scale classroom settings, they were frequently hampered by individual differences, time constraints, and insufficient teaching resources, making it difficult to meet students' individualized learning needs, particularly in key areas such as pitch recognition, rhythm perception, and timbre discrimination. As a result, understanding how to use modern educational technology to improve the effectiveness of auditory training and close this gap was critical for practical purposes. Against this backdrop, this study innovatively integrated Earmaster, a digital tool specifically designed for music education, into auditory training courses at Chinese universities, to investigate its effectiveness in improving students' auditory skills. By providing personalized practice plans and instant feedback, Earmaster effectively addressed issues in traditional teaching methods caused by resource constraints or individual differences. This study used constructivist learning theory to discuss how to use Earmaster to help students improve their pitch recognition, rhythm perception, and timbre discrimination skills. This not only improved empirical research on technology in music education but also provided theoretical foundations and practical references for future educational technology applications. Materials and Methods: This study adopts a quasi-experimental approach. The researchers selected a total of 67 first-year music students from a university in Fujian. After classifying the students according to the school's class capacity, they were divided into Music Class 1 (34 students) and Music Class 2 (33 students). Class 1 served as the control group, while Class 2 was the experimental group. The entire experiment lasted 10 weeks, with two classes per week, each lasting 90 minutes. In the first week, students were introduced to the experiment, the teaching methods, and the content. All 67 students took a pre-test to assess their actual musical abilities. Starting from the second week, the two groups underwent 8 weeks of training with the same teaching content. Music Class 1 followed traditional teaching methods, while Music Class 2 received instruction using the Earmaster software. Classroom exercises and homework were also conducted using Earmaster. In the tenth week, a post-test was conducted. The researchers compiled and analyzed the process data and post-test results, comparing the changes between the pre-test and post-test. Results: This study integrated the digital tool Earmaster into auditory training courses at Chinese universities and demonstrated its efficacy in improving students' auditory skills. The findings revealed that after a structured intervention with Earmaster, students' performance in pitch recognition, rhythm perception, and timbre discrimination improved significantly. Earmaster addressed the issues caused by resource limitations and individual differences in large-scale classroom settings more effectively than traditional auditory training methods, using personalized exercises and instant feedback. This study not only addressed an empirical gap in the use of educational technology in auditory training, but it also provided theoretical foundations and practical references for the future use of digital tools in music education. Conclusion: This study found that the digital tool Earmaster significantly improved students' auditory skills compared to traditional methods. It provided both empirical evidence and practical insights into the future use of digital tools in music education.
This study investigates strategies for preserving and revitalizing Traditional Chinese Music (including instrumental, vocal, operatic, and ritual genres) through the metaverse and “new metaverse technologies” in the context of the accelerated digital transformation that followed the COVID-19 pandemic. Motivated by growing concerns over weakened intergenerational transmission, structural gaps in education, and uneven cultural-heritage governance, the study aims to develop a policy-oriented framework that links immersive digital platforms with sustainable mechanisms of cultural inheritance. Methodologically, the study proceeds in five steps: (1) it reviews the post pandemic expansion of the metaverse and clarifies its concept and enabling modalities－Augmented Reality (AR), lifelogging, mirror worlds, and virtual worlds; (2) it examines persistent limitations of the metaverse, including conceptual ambiguity, technological constraints, regulatory vacuums, and the lack of long-term empirical evidence; (3) it analyzes the cultural significance and musical characteristics of Traditional Chinese Music－such as the pentatonic system, the Confucian li-yue (ritual-music) tradition, predominantly monophonic structures, and the diverse “eight materials” (bayin) instrument taxonomy－while identifying structural challenges in contemporary transmission, including Western-music-centered curricula, shortages of specialized educators, policy and funding disparities across regions, insufficient preservation of minority musical traditions, and difficulties in digitizing tacit craft and performance knowledge; (4) it reviews representative Chinese cases of metaverse based heritage utilization; and (5) it derives an inheritance mechanism－expanded access, increased frequency of embodied experience, and enhanced learning engagement－by drawing on metaverse applications in traditional performing arts (e.g., opera) and on evidence from metaverse- and AI-integrated music education studies. The study further maps “new metaverse technologies” to the full inheritance cycle－documentation, learning, cultural participation, and rights management－by assessing practical applicability and expected effects of spatial computing, Extended Reality (XR), volumetric video, haptic interfaces, digital twins, AI feedback systems, and blockchain/NFT infrastructures. The findings suggest that the metaverse can function as an always-accessible infrastructure for archiving, education, and performance by reducing spatial and temporal barriers, while the integrated use of advanced technologies can simultaneously strengthen experiential authenticity and technical accuracy (e.g., posture, technique, and acoustic conditions) and broaden cultural dissemination. From a governance perspective, the study highlights the need for multi-layered coordination: central government leadership in comprehensive planning, sustained R&D investment, and legal standards for copyright and revenue sharing; local government initiatives to develop region-based content and link it with education and cultural tourism; and cultural and arts institutions’ operation of persistent metaverse platforms for performances, exhibitions, and community-driven learning ecosystems. This study is limited by its policy-proposal orientation and the lack of longitudinal empirical verification regarding effectiveness, economic feasibility, and broader sociocultural impacts. Future research should therefore conduct genre- and school-specific pilot interventions combining spatial computing, XR, and AI feedback; test the instructional efficacy of volumetric and haptic transmission for embodied technique; evaluate the cultural and regional-economic impacts of digital-twin-based exhibitions and performances; and design rights-and-ethics guidelines for blockchain/NFT applications alongside studies on social acceptance and cultural appropriateness.
Background and Aim: Improvisational dance, as a vital component of art education, plays a crucial role in fostering students' creativity and artistic expression. However, traditional dance teaching models often focus on skill training and neglect the cultivation of improvisational abilities. This study explores the application and effectiveness of the Dalcroze method in improvisational dance teaching. This study aims to evaluate the effectiveness of the Dalcroze method in enhancing students' creativity and improvisational dance abilities, addressing the limitations of traditional skill-focused teaching models. Materials and Methods: This study examines the effect of the Dalcroze method on the improvisational dance skills of tenth-grade students. A 16-week experiment was conducted with 30 participants, divided into an experimental group (n = 15) and a control group (n = 15). The experimental group received training in the Dalcroze method, including body rhythm, auditory training, and improvisation, while the control group underwent traditional dance instruction. The research tools included an improvisational dance ability scale and a dance creativity scale, assessing technical quality, musical processing ability, and creativity. Data were analyzed using SPSS software, with t-tests employed to evaluate differences between the two groups. Results: Students in the experimental group who underwent training in the Dalcroze method demonstrated significant improvements compared to the control group in several areas: creative thinking skills (mean score 2.96±1.31, p<0.05), creative performance ability (mean score 2.75±1.25, p<0.05), technical quality (mean score 17.12±1.85, p<0.05), and musical processing ability (mean score 16.39±1.36, p<0.05). The experimental group's average scores in all metrics were higher than those of the control group, indicating that the Dalcroze method has a significant positive effect on enhancing students' improvisational dance abilities. Conclusion: The Dalcroze method effectively enhances students' improvisational dance abilities and creativity, offering new teaching strategies for dance education. These findings suggest that the Dalcroze method can serve as a valuable tool for enhancing creativity in dance education. Future research should explore its application in diverse educational contexts and with larger sample sizes.
This study aims to improve the teaching methods of the Dizi in colleges and universities, using Hunan First Normal University as a case study. Specifically, it focuses on analyzing current instructional practices, identifying the needs and challenges faced by both instructors and students, and proposing effective strategies to enhance the quality of Dizi education. The research employed a qualitative case study approach. Data were collected through classroom observations, semi-structured interviews with Dizi instructors, and surveys completed by students enrolled in the Dizi program. Thematic analysis was used to identify key patterns and challenges in existing teaching methods. Findings reveal that students often lack exposure to representative repertoires of the Northern and Southern Dizi schools and struggle with performance techniques due to limited pedagogical structure. Teachers face difficulties in addressing varying skill levels and integrating comprehensive regional styles into the curriculum. The study proposes three core teaching strategies: (1) strengthening the study of Northern and Southern school repertoires, (2) systematically teaching stylistic and technical skills, and (3) developing a structured and scientific teaching framework. The current state of Dizi instruction at Hunan First Normal University highlights the need for more balanced, comprehensive, and structured pedagogical approaches. Implementing the proposed strategies can enhance student proficiency and instructional effectiveness, contributing to the modernization of traditional music education. This research offers practical recommendations for music educators, curriculum developers, and university administrators seeking to improve traditional music instruction in higher education, particularly within the context of Chinese musical heritage. This study is one of the few to examine Dizi pedagogy through a focused institutional lens, providing context-specific solutions grounded in traditional performance schools. It bridges cultural preservation with contemporary educational needs in music instruction.
Objectives This study focused on integrated classes, which are the core tasks of school education in today's knowledge convergence era, and attempted to propose a plan for integrated classes centered on the Korean language department using poetry texts. Methods Poetry texts have many elements in common with various subjects in that they are prominent in musicality and conversationality and reflect various aspects of human life, and have excellent potential as a medium for integrated classes. If you run an integrated class using poetry text in the Korean language department, you can expect the effect of effective language learning, total understanding of knowledge, motivating learning and strengthening memory, and solving future social problems through creativity and character enhancement. Results Accordingly, an integrated instructional plan was proposed in consideration of the significance of integrated classes using poetry texts. First, according to what is integrated with the Korean language and literature fields centering on the poem text, it was classified into intra-subject integration, inter-subject integration, and cross-curricular integration with learning topics. In-subject integration is a plan to integrate and operate literature and other areas within the Korean language department, inter-subject integration is a method to integrate the Korean language and literature fields with other subjects, and cross-curricular learning topics. Poetry texts suitable for use in each type were presented, and a Korean language department-centered integrated class was designed and proposed based on this. Conclusions The significance of this study is that it specifically proposed an integrated teaching plan for the Korean language department using poetry texts. It is necessary to refine the integrated teaching plan through continuous revision and supplementation by applying these measures to actual classes.
Questo articolo si propone di analizzare il contesto storico e musicale in cui il giovane Hindemith, nato in un ambiente di fermento politico e sociale come quello della Germania a cavallo tra XIX e XX secolo, intraprende la strada che lo annovererà tra le più importanti personalità musicali del suo tempo; Hindemith, infatti, è sia un eclettico strumentista che un compositore prolifico e pieno di idee. Ancora lontani dalla sua piena maturità artistica, percorreremo una piccola parte del periodo giovanile del suo percorso, durante il quale, però, il compositore opera il cambiamento forse più radicale della sua carriera. L’impatto della guerra innesca, nella cultura come nella società, dei grandi ripensamenti sull’identità di ogni individuo e di ogni collettività, che, in campo artistico, portano all’avanzata delle avanguardie e a una serie di radicali cambiamenti. Hindemith accoglie le novità apportate dalla generazione precedente aprendo la sua scrittura alle grandi riflessioni sulla forma e sulle possibilità inclusive della tonalità. Di quel periodo, il 1919, vedremo come nella Sonata op. 11 n.4 comincia il graduale allargamento della sua concezione linguistica, in cui si cimenta nel riforgiare le forme della tradizione (specialmente quella tedesca), nel giocare con pochi elementi e al contempo costruire un discorso di grande varietà espressiva e compositiva. Successivamente, in un epoca di grandi cambiamenti e di grande fermento artistico come quella degli anni ’20 e ’30 del secolo scorso, il giovane compositore si trova a operare delle scelte che inizialmente lo inseriranno tra i compositori aderenti all’estetica espressionista, dei quali il maggior esponente è Schönberg che, di lì a pochi anni, sfocerà nella teorizzazione della dodecafonia. Hindemith, però, abbandona presto la direzione presa dal capostipite della seconda scuola di Vienna per intraprendere una strada del tutto personale: la “Nuova Oggettività”.
Literature on music, Musical instruction and study
The story of the killing of the ‘last’ great auk (Pinguinus impennis) in Britain, apparently put to death as a witch at Stac an Armin in the St Kilda archipelago c. 1840, is well known. However, other accounts claim that an auk was killed on the main island, Hirta, having been condemned to death by the celebrated men’s ‘parliament’. The historical veracity of three differing stories, which recount discreditable deeds in a deeply Christian community, is evaluated; it seems that fewest difficulties are raised if two great auks were killed, one on Hirta and the other on Stac an Armin. It is argued that this kind of avicide was a ‘ritual’ killing, to be understood in its historical context. The auk-killing probably took place in the mid to late 1840s, after the St Kilda minister had departed in the wake of the Disruption of 1843 - a particularly unsettling time within this small island community. A possible sighting of a pair of great auks on Soay (St Kilda) in 1890 is also briefly discussed.
Objectives This study intended to perform ‘Busking Outreach’ for the integration and communication of students with/without handicaps and slow learners three times and examine the results in a qualitative case study. Methods The choir practiced two hours a week for the first busking on the way to ?? Elementary School from May 7 to June 5, 2023, the second at the plaza, and the third at an institute from October 13 to December 6, 2023. Fourteen people participated in the study, including ten major and subsidiary participants comprising the audience and parents. The experiences and changes in students and the audience were examined using specific cases in a qualitative case study through the ‘Busking Outreach’. Data were collected mainly through in-depth interviews while practicing the ‘Busking Outreach’ through 25 sessions, and participation observations were used as subsidiary data. For the fidelity and validity of the qualitative study, peer review, triangulation, and expert meetings were used. Results First, at the ‘Becoming the Embers of Hope,’ a resting place on the way to school, was a performance stu-dents anticipated, and its effect lingered even after the busking. Encouraged by the first busking, encore busking was held at the plaza and an institute. Second, the Hunt for Treasure Hidden in the Integrated Education was a total disaster due to the disharmony between ‘You’ and ‘I,’ the conflict between students with/without handicaps and slow learners, and the negative responses from parents and the school. At the Hunt for Hidden Jewels, ‘Us,’ the idea of ‘difference’ was incorporated into the study, and ‘Uniqueness ’ became a motive to display the hidden potentials of students with/without handicaps and slow learners. At the Integrated Education to Harmonize Learning into Heart, students broke preconceptions and created a harmonious atmosphere unlike before. The ‘uniqueness’ found in ‘diversity’ helped rebuild the relationship and form friendliness between students without handicaps and became a chance to increase self-esteem by expanding their view of themselves. Third. Writing a Letter through the ‘Busking Outreach,’ the harmony, ‘created by the Fusion Choir and the ‘audience,’ resulted in a virtuous cycle through musical communion and empathy. By delivering the message of music with the language of hands (sign language), it is con-firmed that music can become a stronger medium for communication and empathy than language. The realization of the virtuous cycle of sharing achieved through music lets everyone, including students, parents, and the audience, become’ and enjoy culture and art, bringing more-than-expected outcomes. The New Leap gave a chance to chal-lenge students, parents, and the audience to give wings to their potential in the world of music. At the Educators, the Reason for Their Existence, the difficulties felt while performing busking had positive turns and became a val-uable experience for all, changing the teacher-student relationship to the master-apprentice relationship. Conclusions The Busking Outreach for the integration and communication of students with/without handicaps and slow learners became a chance to make challenges, which gave wings of potential to students, parents, and the audience in the world of music by realizing the virtuous cycle of sharing that achieved integration through music. This study is significant as there were no previous studies on integrated music education, and there have been an increasing number of studies on slow learners recently. This study is deemed to become a base for and play a role in implementing integrated music education.
Purpose: The focus of this study is the pipa, a classic Chinese plucked string instrument with a rich historical and cultural background. Theoretical Framework: The instructional significance of pipa aesthetics within the context of Chinese music education is explored in this journal article. The main goal is to investigate the aesthetics of pipa performance's influence on music education while also taking into account the critical function of cultural surroundings in influencing the learning process. Method: The research uses a mixed-method approach to accomplish this, combining qualitative data from observations and interviews with quantitative data gained from surveys and performance evaluations. Results: The findings provide important new understandings of pipa aesthetics' specific characteristics and its wider implications for music education, both within and outside of China. Conclusions: The results of this study help us understand how traditional musical forms might enhance modern music teaching techniques and promote a deeper respect for artistic expression and cultural heritage.
We present FiloBass: a novel corpus of music scores and annotations which focuses on the important but often overlooked role of the double bass in jazz accompaniment. Inspired by recent work that sheds light on the role of the soloist, we offer a collection of 48 manually verified transcriptions of professional jazz bassists, comprising over 50,000 note events, which are based on the backing tracks used in the FiloSax dataset. For each recording we provide audio stems, scores, performance-aligned MIDI and associated metadata for beats, downbeats, chord symbols and markers for musical form. We then use FiloBass to enrich our understanding of jazz bass lines, by conducting a corpus-based musical analysis with a contrastive study of existing instructional methods. Together with the original FiloSax dataset, our work represents a significant step toward a fully annotated performance dataset for a jazz quartet setting. By illuminating the critical role of the bass in jazz, this work contributes to a more nuanced and comprehensive understanding of the genre.
The primary objective of this study is to review and characterize research-based music assessments that might be used to guide and assist teachers and students in transforming their attitudes and perceptions, ability to express their ideas and concepts during the assessment process openly. This study employed descriptive and autoethnographic methods to elicit information about current conditions and practices through the library approach and literature review. The identified music assessment techniques were used to determine how well students comprehend important points in a session. It includes the Music Concept Memory Exercise and Instrumental and Vocal Schematic Processing for music lesson instructions and the Five-Letter Name Pitch Memory Test and Three-Chord Familiarization Assessment for basic instrumental music instructions. They are used as a core component deliberately designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices. Effective evaluation ensures that learners’ knowledge, understanding, and skills are transferred effectively in future contexts.
Budi Prasetyanto Hari Sakti, Putimasurai Putimasurai
The purpose of this study is to determine the implementation of P5 activities as a project to strengthen the value of Pancasila in the Student’s profile in a school and the impact of its implementation on students. The method used is a qualitative method with a descriptive approach. The data collection technique used was interviews with 2 informants, namely 1 P5 coordinator teacher who developed the module and coordinated the activities, 1 P5 facilitator teacher who taught class X by implementing Merdeka curriculum, and 2 class X students as P5 activity participants. In implementing Merdeka curriculum, students are required to create or carry out a project. One of the project activities in Merdeka curriculum is carrying out P5 activities. The P5 activity is a project activity to strengthen the profile of moral value in Pancasila as students. The P5 activities carried out are adjusted to the seven themes set by the Ministry of Education and Culture. The project results that displayed in this P5 activity are: (1) posters; (2) Short stories; (3) Poetry musical; (4) songs; (5) vlogs; (6) Dramas and (7) Academic writing.
El presente artículo toma una perspectiva iconográfica y musical para plantear un análisis multimodal usando material discográfico de música andina a partir de la década de 1960. El estudio toma como base la imagen fija y la música grabada, ambas plasmadas en un mismo objeto musical. A partir de una portada de 1961 se plantea la posibilidad de enhebrar un hilo conductor con el pasado visual que despliega un discurso sobre lo andino. De esta forma, se aporta a comprender la relevancia del discurso gráfico y su relación con los discursos musicales, para la comprensión del fenómeno de la grabación sonora y la posibilidad de construir una historia musical nacional integral.
The purpose of the study is to reveal the sacred and mysterious genesis and spiritual foundations of the classics of Ukrainian musical theatre, represented by the work of S. Gulak-Artemovskyi and M. Lysenko. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches were essential for this work. The scientific novelty of the work is determined by its analytical perspective, which takes into account not only the originality of the creative contribution of S. Gulak-Artemovskyi and M. Lysenko, but also the spiritual and mysterious genesis of their opera heritage. Conclusions. The poetics of the Ukrainian musical theatre was formed against the background of the traditions of the baroque school theatre, the genre specifics of which went back to the Byzantine ritual and cult practice and liturgical drama in combination with the mythological and archetypal instructions of the Ukrainian national consciousness. The classics of Ukrainian opera of the 19th century, represented in the work of S. Gulak-Artemovskyi and M. Lysenko, inherit this theatrical-mysterial and ethical-didactic basis in the cultural-historical realities of its era. “Zaporozhets by the Danube” within the comic genre highlights the archetypal features of the Zaporozhian Cossack type, as well as the mythologem of the “search for paradise”. Against the background of the poetics of the historical-heroic opera, this problem is presented in “Taras Bulba” by M. Lysenko, which creates an author's version of Gogol's story with obvious parallels with the biblical theme and an appeal to the dominant bass timbre, which genetically descended from the Orthodox cult singing practice. M. Lysenko's children's operas at the level of mini-mysteries symbolise involvement in national mythology and its archetypal instructions, an appeal to the Ukrainian mysterious Universe through the author's “cosmological fairy tale”. Key words: Ukrainian musical theatre, school theatre, mystery, interlude, S. Gulak-Artemovsky's “Zaporozhets by the Danube”, musical theatre by M. Lysenko.
An investigation of the relationships between empathy, music learning, and shared music values may provide new insights into the ways that musical meaningfulness and the symbiotic eudaimonic ideal – “flourishing of oneself and of others” – might be cultivated. We investigated the relationships between parent perceptions of children’s empathy, parent beliefs and values about music, and formal Suzuki training over a period of 6 months, to understand ways in which shared music learning experiences might relate to emotional and musical connections between parents and children. Participants were parents of 48 Suzuki students at a structured Suzuki school in the Midwestern United States. We designed a survey containing an adapted version of the Griffith Empathy Measure for children with additional questions regarding family demographics and values regarding music education. Participants completed the survey at the start of the lesson year, and again 6 months later. Children who persisted in group lessons throughout the study began with significantly higher empathy scores, compared to those children who did not participate in group lessons. Children’s initial empathy scores were significantly positively correlated with parents’ ratings of the importance of music instruction generally, and of Suzuki instruction particularly, to their family. A significant but moderate correlation was found between initial empathy scores and the belief that music would help the child succeed in other areas. This exploratory study highlights potential relationships between family music values, children’s empathy, and participation in group music-making. Our findings are consistent with research demonstrating that child and parent personalities predict the duration of formal music training for children. They also support the philosophy of musical meaningfulness, by suggesting ways in which meaningful connections may be forged simultaneously between people who care for one another, and between people and the activities they care about. Our results point to the importance of providing a variety of music learning activities and structures that reflect the personality, needs, and interests of children and parents. We offer specific recommendations for future research to draw further insights and implications about these relationships.
Abstract STEM education has received increasing attention in recent years. Researchers have indicated that STEM learning activities should be closely connected to real-world problems to facilitate students' learning and foster positive STEM attitudes. In response to this recommendation, this study aims to investigate the effectiveness of non-engineering students' making electronic musical pencil on their STEM competence. An instructional design based on knowledge, skills, and attitudes (KSA) enhancement framework was proposed. Data were collected from 22 non-engineering students, the experimental results show that the effect of making electronic musical pencil by adopting the KSA enhancement framework on non-engineering students not only produces positive STEM competence learning outcomes according to Bloom's taxonomy but also enhances learners' attitude changes towards STEM.
Prospective teachers who get the 7th semester of Drama and Dance Education courses must have competence, one of which is that the teacher can present interesting learning for children with a drama approach, as a multidisciplinary knowledge that can be taught using role playing methods that are taught more interesting, fun, meaningful, interactive and rich experience. As a student, you can develop multiple intelligence in this subject. Programmed and scheduled musical drama training systems are indeed interesting, because each student is given the freedom to give assessments, provide reinforcement, support, correct weaknesses, mistakes and even object to the work of other groups with the strengths and points of view of the subjectivity expressed by each. students. As a result, sportsmanship is needed in this regard. Through an empirical qualitative approach, with lesson study-based inductive thinking logic. This study aims to describe the various intelligences that appear in learning dance drama, especially the work practice of dance drama projects (musical dramas), both individually and in groups obtained from the performance appraisal contained in the instrument. Important notes in the discussion found several findings about the application of Multiple Intelligences in learning dance and drama, namely: 1) Tools to achieve success that are more concerned with the process of achieving results, 2) Integrative Learning dance drama combines various intelligences, 3) Learning dance and dance drama becomes full of challenges, and more fun, 4) Care for the individual differences of students so that emotional management is needed, 5) Instructional based learning is firm and clearly measurable, 6) The importance of reflection for further improvement, 7) Clarity of goals, achievement of competence and each student's feedback needs to be done.
Songs and chants in EFL education are both artistic and pedagogical acts belonging to the same family of musical expressions, whose practical use in the classroom is not unfamiliar among teachers. Nevertheless, little effort has been made to distinguish between each other. In this sense, the popularity of songs in the context of EFL/ESL education is well-manifested in research, especially in the context of young learners’ teaching, yet little has been said regarding chants on formal studies. The nature of chants entails a less complex musical composition, which lends itself to favoring language development both receptively and productively. While both singing and chanting as pedagogical resources are found positive in learning a new language in aspects such as phonological awareness, pronunciation, word retrieval, and other linguistic functions; it seems that chanting works exceptionally well for stimulating young learners’ vocabulary retention, which is a capacity associated with long-term memory. The ease and novelty of conveying language in an unconventional fashion allowed by chanting, afford for simplified and fun repetitions and production of the target language, which may represent the virtues responsible for its positive impact on the young learners’ vocabulary learning. Practical recommendations for composing chants and guiding teaching activities based on them are explained.
Ayu Tresna Yunita, Ayub Prasetiyo, Aditya Tri Anggara Astanta
Berdasarkan Peraturan Menteri Pendidikan dan Kebudayaan Republik Indonesia No. 81A Tahun 2013 tentang Implementasi Kurikulum 2013, maka sekolah dari tingkat Sekolah Dasar hingga Sekolah Menengah Tingkat Atas mulai memberlakukan kurikulum 2013. Kurikulum tematik 2013 untuk Sekolah Dasar terdiri dari kompetensi inti dan kompetensi dasar. Pembelajaran seni khususnya seni musik termasuk dalam mata pelajaran Seni Budaya dan Prakarya (SBDP). Penelitian tentang implementasi pelajaran seni musik berdasarkan kurikulum tematik 2013 di sekolah dasar yang berada di kecamatan Sewon Bantul Yogyakarta bertujuan untuk mengetahui bagaimana pelaksanaan pengajaran pendidikan SBDP khususnya seni musik dan apakah hasil kompetensinya bisa tercapai. Penelitian ini menggunakan metode penelitian kuantitatif. Tujuh Sekolah Dasar diambil sebagai sampel populasi dari total duapuluh tiga Sekolah Dasar di Kecamatan Sewon, Bantul, Yogyakarta. Informasi informasi dikumpulkan dengan menggunakan kuesioner dan wawancara. Pengajaran SBDP seni musik yang diajarkan oleh guru kelas, hasilnya belum sesuai dengan capaian kompetensi pada kurikulum 2013. Hal ini antara lain disebabkan karena kurang adanya pelatihan atau diklat tentang pengajaran seni musik sekolah dasar bagi guru kelas dan guru pengampu SBDP tidak memiliki latar belakang pendidikan seni khususnya seni musik. Kendala dan kesulitan bisa diatasi antara lain dengan membuat metode atau modul pengajaran music untuk sekolah dasar, mengadakan workshop, seminar dan pelatihan seni musik.
Abstract
Implementation of Music Material Teaching Based on Thematic Curriculum 2013 in Elementary School in Sewon Bantul District, Yogyakarta. Based on the Regulation of the Minister of Education and Culture of the Republic of Indonesia No. 81A of 2013 concerning the Implementation of the 2013 Curriculum, schools from Elementary to Senior High level began to apply the 2013 Curriculum. The 2013 thematic curriculum for Elementary School consists of core competencies and essential competencies. Learning art, especially music, is included in Cultural Arts and Crafts (SBDP). Research on the implementation of music lessons based on the 2013 thematic curriculum in several elementary schools in the Sewon district of Bantul Yogyakarta aimed to find out how SBDP education teaching, especially the art of music, and whether the competency result by achieved. This study used quantitative research methods. Seven out of twenty-three elementary schools were chosen as population samples in Sewon District, Bantul, Yogyakarta. Information was collected using questionnaires and interviews. The results of SBDP teaching of music art taught by classroom teachers are not following the competency achievements in the 2013 curriculum. The partly due to the lack of training or education and training on teaching music art for elementary school teachers, and SBDP teachers themselves do not have an art education background, especially music. This paper suggested solutions to overcome obstacles and difficulties by making methods or modules for teaching music at the elementary school level, holding workshops, seminars, or training in the art of music
Keywords: implementation; 2013 curriculum; music