The present study aimed at investigating ESL students’ ability to comprehend and identify emphatic structures in advertisements, to find out the emphatic features that are easy to identify, and those that are difficult to identify. Sixty ESL college students in the fifth semester of the translation program who were enrolled in a Stylistics course took a test which consisted of a Mazda advertisement. The students were asked to identify the emphatic features of the Mazda advertisement and give two examples to illustrate the feature they give. Analysis of the subjects’ correct responses showed that the emphatic structures that the students identified correctly are: Balanced sentence structure (53%), repeating key words (53%), arranging ideas in the order of climax, i.e. order of importance with the strongest idea last (45%), using active voice (33%), changing sentence length abruptly (33%), placing important words at the end of the sentence (32%), using periodic sentences (30%), placing emphatic words after a colon or a dash (27.5%), putting a word or phrase out of its usual order (23%) and identifying intensifiers, extraposition, exclamatory sentences, using anticipatory ‘it’, and changing sentence types together (20%). The emphatic structures in the advertisement proved to be difficult for the students to recognize because the advertisement draws an analogy between Mozart's musical genius and the Mazda car-making philosophy, emphasizing how both creations are driven by emotion, vision, and craftsmanship. The advertisement employs multiple emphatic techniques simultaneously, which may have overwhelmed the students and constituted a cognitive load. The Mazda advertisement does not just inform, rather it immerses the reader in an emotional experience through syntactic and lexical emphasis. Instead of focusing on emphatic structures, the students were probably more engaged in decoding the poetic message and understanding the content rather than analyzing how structural elements shape emphasis. In other words, the analogy between Mozart’s music and the Mazda car, made the students less attentive to structural manipulations. Further causes of advertisement comprehension problems and recommendations for instructional techniques that would help enhance the students’ ability to comprehend and identify emphatic structures in genre-specific texts are given.
North Indian Classical Music (NICM) provides a structured context to examine how improvisational and memory-based skills are developed through oral transmission. While improvisation is central to NICM performance, there is limited research on the pedagogical strategies that support its acquisition, particularly in relation to cognitive processes such as memory, pattern recognition, and schema development. This study analysed audio-visual recordings and fieldnotes from music lessons in both music schools and guru-śiṣya paramparā settings in India. Lessons were coded thematically with attention to instructional techniques, learner responses, and cognitive strategies including repetition, segmentation, and variation. Students were rarely asked to improvise spontaneously. Instead, learning focused on imitation and memorisation of modelled material, with inexact replication often leading to creative recomposition. Teachers used structured sequences of palṭās and tāns to support phrase construction, pitch accuracy, and intensification strategies. These techniques scaffolded both domain-specific (musical) and domain-general (cognitive) skills. Findings suggest that improvisational competence in NICM is developed through memorisation, structured variation, and implicit learning. The study contributes to understanding how oral traditions support cognitive development in music and highlights the need for further interdisciplinary research on learning and memory in non-notated musical systems.
This study explores strategies to expand early-music dissemination beyond traditional audiences, focusing on festivals. It analyses attendance barriers, engagement practices and policies through literature, interviews and case studies. Findings highlight cross-disciplinary collaboration, digital tools and education, offering recommendations to enhance participation while preserving artistic integrity across multiple areas of action.
This systematic literature review explores the integration of Heavy Metal music as a motivational tool in teaching English as a Foreign Language (EFL), addressing an innovative yet underexplored area within pedagogical research. Drawing on three peer-reviewed studies published between 2020 and 2025 and selected through the PRISMA framework, the review examines pedagogical strategies, educational benefits, and implementation challenges associated with using Heavy Metal music in EFL classrooms. The analysis reveals that Heavy Metal’s rich lexical content, rhythmic complexity, and cultural resonance significantly enhance learner engagement, vocabulary acquisition, and phonological awareness—particularly among advanced learners at B2 to C2 levels of the CEFR. Additionally, its emotionally expressive lyrics and dynamic musical structure contribute to a low-anxiety, inclusive classroom environment, supporting principles of culturally responsive teaching. Despite these advantages, barriers such as limited empirical research, the lyrical complexity of the genre, and the lack of structured pedagogical models impede broader adoption. The review highlights the need for longitudinal studies, genre-specific frameworks, and investigations into learner diversity to better understand the long-term effects and practical applications of this approach. Overall, the findings offer evidence-based insights for educators aiming to implement innovative, student-centered strategies that leverage the motivational potential of Heavy Metal music to enrich EFL instruction.
This autoethnographic study examines how music learning is influenced by teachers and socio-cultural environments and how this influences not only our musical journeys but the way we view our lives, of the progress we have made, the goals in which we hope to achieve, and the way we perceive we will achieve them. This study explores how my musical background, understanding, learning, music-making abilities, and skills have shaped my present beliefs, attitudes and identity as a musician, educator, and researcher. Focusing on teacher pedagogy and practice, the study reveals how prevailing teacher-centred and didactic approaches to teaching impact the perspectives and experiences of learning, and how music teachers have the ability to motivate, and encourage, but also demoralise and dissuade the musical learner. This study highlights understanding of reflective and reflexive teacher practice and how this can unlock impactful pedagogical and relational attributes, articulating teacher development in becoming the better musician and teacher. This study revealed important insights into the way in which I now experience and understand music through a more insightful and deeper awareness of the influences and contexts that impact the way learners engage in music instruction.
This study investigated the effects of a practice checklist on performance achievement, practice time, focal practice areas—the key musical elements students focused on during practice—and practice strategies among non-music major South Korean college students learning the Danso, a traditional Korean wind instrument. Ninety-six students participated, with 46 in the experimental group using a practice checklist and 50 in the control group without the checklist. All participants attended a 50-min weekly class for 7 weeks. At the end of the 7-week period, both groups were surveyed to measure their average weekly practice time and focal practice areas. Performance achievement was assessed through a test focusing on key musical elements, and practice strategies were evaluated using a modified version of the Motivated Strategies for Learning Questionnaire (MSLQ). The results revealed that using a practice checklist significantly improved performance in specific areas such as rhythm, tempo, and breathing but did not increase overall practice time. The checklist also helped students maintain a balanced focus on key musical elements, preventing an overemphasis on sound production. However, the checklist did not significantly promote the use of metacognitive strategies, indicating a need for additional instructional support.
PurposeThe paper aims to explore animation as a medium to revive the oral narrative of the Bodo community. The Bodo oral narratives are crucial for preserving the tribe's traditional values, but modernization is endangering their oral tradition. Transmitting folk culture to youth is crucial for its continuity and knowledge retention. The objective of the study was to examine the use of animation design approach for the transmission of oral narratives to the young generation.Design/methodology/approachThis design exploration involves a case study, field visit, user study, expert interaction for authentication and questionnaire-based survey. The approach integrates the animation design process with a popular myth of the Bodo tribe's musical instrument, Serja. This exploration seeks to visually present a reliable version of the story based on expert advice and published articles using instructional animation technique.FindingsThe positive response in the user survey suggests that the animation design exploration effectively represented the traditional and cultural aspects of the Bodo community. Feedback and comments from the participants have confirmed that animation can enhance the storytelling experience by effectively communicating oral stories.Research limitations/implicationsThe exploration in this research tries to establish a visual representation of the oral narratives of the Bodo community for the younger generation.Practical implicationsThe exploration in this research tries to establish a visual representation of the oral narratives of the Bodo community for the younger generation.Social implicationsBy using the digital medium, indigenous communities can sustain a long-lasting legacy of their oral stories.Originality/valueThe paper acknowledges the authentic essence of Bodo culture, rooted in their oral stories. Furthermore, it effectively captured and conveyed this essence using an animation design approach.
With the flourishing of China's social economy, there has been a significant surge in the public's desire for a more enriched cultural experience. The piano, renowned for its exquisite artistry as a Western musical instrument, has emerged as an especially popular choice. Consequently, the importance of piano education for children is gaining prominence. This study delves into the current state of children's piano education in China through field interviews, questionnaire surveys, and discussions with training institutions, revealing numerous challenges. The investigation encompasses the perspectives of piano education institutions, children, parents, and teachers, scrutinizing teaching methods, content, and the selection of instructional materials. Notably, a critical concern lies in the waning interest and enthusiasm among children in piano learning. This decline is predominantly influenced by external factors, particularly societal attitudes and prevailing utilitarian views. To address this issue, educators and parents must gain a clearer understanding of the purpose and values of children's piano education, bearing the responsibility of nurturing a sustained interest in the piano. This can be achieved by fostering a conducive environment that nurtures their innate curiosity and passion for music, thereby paving the way for a more vibrant and productive future for children's piano education in China.
This study focuses on the innovative strategies that tertiary music teachers (specialist music teachers and experts) employ to help musically-challenged students. Those who have trouble with rhythm, tonal acuity, music theory, and musical aptitude are operationally referred to as musically-challenged. Ten participants were selected through purposive sampling and responded to the interview questions using an interview guide. Thematic analysis was conducted on their responses to generate codes and themes in this investigation. This is a single case study that draws from constructivist and behaviourist learning theories. To help students who have difficulty with music, music and its related components should be valued as an essential part of the curriculum. Devoted teachers should authentically demonstrate all of the subject's contents using innovative teaching strategies, allowing students to immediately grasp the values to be inspired and confident in the subject. As a result, strategies such as identifying the weaknesses of the learners, informal instruction, collaborative learning, repetition, positive reinforcement in learning, technology integration, and patience have proven to be effective solutions to the case being studied.
This study explores the impact and interplay of learning strategies in collective piano classes within the context of preschool education, focusing on first-year undergraduate students at Jiangxi University of Technology. Employing a mixed-methods approach, the research investigates how cooperative learning and individualized teaching strategies influence students' piano proficiency and practice habits. Qualitative data, gathered through semi-structured interviews and content analysis of course materials, are analyzed using thematic analysis in NVivo, providing insights into students' and teachers' experiences and perceptions. Quantitative data, collected via surveys and academic records, are examined using statistical analysis in SPSS to assess the effectiveness of these learning strategies and their long-term impact on students' musical development. The study is grounded in Vygotsky's Sociocultural Theory and Gardner's Theory of Multiple Intelligences, offering a nuanced understanding of the social and cognitive aspects of learning in group piano instruction. Findings aim to contribute to the pedagogical practices in music education, particularly in the realm of collective piano teaching for early childhood education. This research not only addresses a gap in the current literature but also provides practical implications for enhancing the quality of music education in preschool settings.
Kamisah Ariffin, M. S. Husin, Geraldine De Mello
et al.
The multiple intelligence (MI) theory suggests that students learn in different ways based on their intelligence strengths, thus, proposes teachers employ a variety of intelligences to engage students in the teaching and learning process. This study explores the application of MI in the Malaysian English as second language (ESL) classrooms and the extent to which teachers provide instructions that meet the needs of the students in the classroom. Data were procured from a survey questionnaire that gauged teachers’ teaching activities in ESL classrooms under Gardner’s eight constructs of MI: linguistic, logical-mathematical, spatial, interpersonal, intrapersonal, bodily-kinesthetic, naturalist, and musical. Descriptive statistics using mean score and independent sample t-test was employed in the data analysis procedures. The findings reveal that only 58% of the teachers had knowledge of the MI theory, with only 12% having received formal pedagogical training on MI. In addition, the eight intelligences were not practiced equally. Interpersonal, linguistic, intrapersonal, and spatial intelligences seemed to be the most common strategies employed by teachers in their teaching as these MI are usually measured in the standardized tests while naturalistic and musical intelligences were the least frequently integrated as they are not included in the assessment scale in ESL. Such findings have significant pedagogical implications as classroom teachers should acknowledge the different levels of strengths and motivations in learning among the students. The study highlights the need to provide teachers with training and integrating personalized learning, utilizing students’ strong aspects, and employing a variety of teaching methods in the classroom.
: Tuning Modern Pedagogy to the Rhythm of Indonesian Music Tradition. This research explores the critical intersection of traditional Indonesian music and the modern education system, delving into the complex challenges and innovative strategies for musical heritage preservation. Employing a comprehensive qualitative case study approach, the study investigates music education practices across various Indonesian educational institutions through meticulous archival research, in-depth expert interviews, and direct observational methodologies. The investigation reveals significant challenges confronting traditional music education, most notably the pervasive influence of Western pop music that has substantially diminished youth interest in indigenous musical forms. Despite these substantial obstacles, the research uncovers promising integration models, such as adaptive approaches to the traditional guru-cantrik teaching system and implementation of collaborative, communal learning strategies. Pedagogical innovations emerge as a crucial mechanism for preserving and transmitting traditional musical knowledge. These innovations include developing hybrid curricula that bridge traditional and contemporary musical education, creating innovative digital notation systems, and establishing online learning platforms that extend the reach of traditional musical instruction. The research critically highlights the delicate balance required between technological advancement and the preservation of traditional musical values. The findings suggest that the integration models developed within the Indonesian context could serve as a valuable international reference for countries seeking to modernize music education while simultaneously maintaining and revitalizing their unique musical heritage. By demonstrating the potential for strategic educational approaches to breathe new life into traditional music, this study provides important insights into cultural preservation
ABSTRACT Background Understanding how music group facilitators work across the health-care continuum has received sparse research attention. Methods An explanatory multiple case study design was used to identify approaches employed by experienced facilitators. Five music facilitators working in contrasting areas of practice were interviewed and video recorded engaging with the same groups at three timepoints. Results All facilitators demonstrated four common behaviours: applying a consistent structure for each session; creating a positive and relaxing atmosphere for the work; engaging with varying musical repertoire and activities; and offering clear instructions for the participants. Their styles of practice were found to be shaped by their personality, educational background, as well as the size of the group, health conditions, and cultural identities of their music participants. Conclusion These skilled facilitators showed flexibility, always aiming to accommodate participants’ needs, and revealing new evidence of a common approach to music facilitation across different types of participant groups.
This study examined the evolving landscape of online learning in vocal music education. It focused on the interventions introduced in recent years. Recognising the educational significance of music, this study reviewed how online learning pedagogy addressed specific challenges inherent to vocal instruction. Its objectives were to identify dominant trends, key interventions, and derive insights from past studies. The methodology employed a review of past studies published from 2020. This study prioritised past studies that involved online learning on vocal music education. The findings indicated that online learning has enhanced accessibility, flexibility, and engagement in music education through interventions such as virtual reality, artificial intelligence, and multimedia resources. They have facilitated immersive experiences and provided tailored feedback. Thereby, they strengthened students' creative and technical capabilities. Nonetheless, traditional music educators encountered difficulties in adapting to digital platforms. It underscored the necessity for digital literacy and supportive infrastructures. The study suggested that while online learning offers significant advantages, a balanced integration of digital tools with traditional methodologies is essential. Future research should investigate the long-term effects of online learning on skill development and creative growth, as well as explore optimised online platforms for real-time musical collaboration. This study contributed to a deeper understanding of the potential and limitations of online learning in music education, advocating for an approach that harmonises technology with foundational instructional practices.
This paper builds upon the uptake of digital learning platforms as a method of tutoring visiting music students taking music practical courses. Evaluating the development and spread of netnography, this paper explores the experiences of a new scientific method in disseminating/learning practical musical instrument playing skills from a distance. This qualitative study examines lecturer-student interactions to investigate digital technology mediated interaction as a platform for enhancing visiting music students’ marimba performance competencies away from campus. The study employs an Afro-centric framework of Digital Unhu (digital humanism) and netnographic accounts of student-lecturer interaction within a resource-constrained African context to enable a more nuanced description of practice. The study demonstrates the central role of netnography in facilitating student-lecturer exchanges in the unique cultural setting of Midlands State University where visiting learners spend a considerable part of the semester away from campus, situated at their home and work environments. Visiting music students were interviewed to solicit their experiences of learning practical subjects online, coupled with observations and document analysis. Findings show that WhatsApp interaction, Google classroom sessions, and video assisted instruction provided a dynamic and highly personal environment in which the lecturer can coach students to play marimba. The experiences reveal the challenges and prospects of adopting netnography for musical instrument instruction.
Gökçen Nil Kocamangil, Aycan Altungül, Mehmet Girgin
With the development of technology, the applications of communication tools are growing. The opportunities offered by the internet affect our lives and make it easier to access information. Information resources were limited when technology was not widespread, and our only options were written sources available in libraries. Nowadays, thanks to the internet, it is possible to access information in visual, auditory, and written forms without the limitations of time and place. Thus, distance is no object to attending events,such as seminars, courses, lectures, or concerts, virtually or to access any information. These online opportunities also provide an economic advantage in the field of education by eliminating the expenses of accommodation, transportation, and food that the participants must otherwise bear. Therefore, the idea is growing that information transfer made through online systems is not limited to written or oral education; it is now possible in the field of art and music education, as well. This study aims to determine the advantages and disadvantages of online systems for students.
The basic thesis of this paper is that 'pause' represents the ontological
center of Claude Debussy’s (1862-1918) Syrinx for solo flute (1913). The
phenomenon of the musical work is interpreted through an ontological
perspective, following Roman Ingarden’s reflections presented in his
Ontology of the Work of Art, having also in mind the different modes in
which music can exist, that can be read from Ferruccio Busoni’s Sketch of a
New Esthetic of Music. Since the programmatic content of Syrinx represents
the myth of Pan’s flute, we necessarily introduce Mircea Eliade's
explication of the phenomenon of myth, more precisely, of the mythical time,
into the theoretical discussion as well.
A figura do gênio romântico, atormentado e incompreendido, que morre na miséria, tem acompanhado o fluxo de mistificação histórica desde o século XVIII, na figura de Mozart. Transladado para os trópicos, esse personagem foi personificado em José Maurício Nunes Garcia, compositor negro da Corte de D. João VI no Brasil, que teria Marcos Portugal como rival e antípoda – o Salieri de Portugal/Brasil. Por meio de uma pesquisa que analisou todos os Jornais de Modinha publicados em Lisboa de 1792 a 1796, e as Modinhas Imperiais que vieram a prelo pelas mãos de Mário de Andrade em 1930, pudemos perceber, entretanto, que o gênero modinha, cultivado por José Maurício em pelo menos quatro peças sobreviventes, possui elos motívicos que podem caracterizá- lo como pertencente a uma nacionalização incipiente da música brasileira. A partir dessa premissa foi possível traçar um perfil do Padre que desmistifica a aura do gênio, já que suas modinhas, em específico “Marília, si me não amas…”, trazem elementos que remontam à tradição popular oral brasileira. A Modinha, gênero que ressoaria em suas próprias missas para constituir uma brasilidade em música, não seria antes um gênero aglutinador de influências folclóricas e populares urbanas, e o fato de José Maurício compor nesse estilo não o aproximaria das correntes tradicionais de retórica neo-trovadoresca?