The perception and training of musical intervals form a central foundation for pitch cognition and musical understanding within solfege education. This scoping review maps the existing literature on interval training, emphasizing the interplay between perceptual mechanisms, pedagogical modeling, and instructional design. Following the PRISMA-ScR guidelines, systematic searches were conducted across three academic platforms—ERIC, Google Scholar, and JSTOR—using combinations of the keywords “interval training,” “solfege,” “pitch perception,” and “music education.” Thirty-five peer-reviewed studies published between 2010 and 2025 were analyzed, while historical and theoretical sources (1889–2009) were also considered to contextualize the pedagogical and cognitive development of interval training. Thematic synthesis identified three overarching domains: (1) perceptual-cognitive mechanisms underlying interval recognition, tonal awareness, and auditory feedback; (2) pedagogical models integrating auditory, visual, and kinesthetic modalities in solfege instruction; and (3) instructional frameworks promoting pitch stability, long-term learning, and vocal-motor integration. Collectively, the reviewed evidence suggests that structured interval training enhances pitch discrimination, strengthens the mapping between perception and vocal production, and provides a sustainable foundation for music learning. By linking perceptual cognition with pedagogical practice, this study contributes to a broader understanding of how interval-based training supports both the psychological and educational dimensions of musical development.
The aim of this study is to reveal the theoretical performative elements behind Yorgo Bacanos’ performance of the aranağme [short instrumental passage between verses in Turkish music] at the end of the song “Gülşen-i Ezhar Açtı Her Yana” that he recorded with Hafız Kemal and Sadettin Kaynak. The study first examines preliminary information about Yorgo Bacanos the performer and the musical culture centered in Istanbul. The study then comparatively analyzes the performance of the aranağme and its score in the repertoire using the performance analysis method based on five criteria (i.e., pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis). While this textitaranağme has a simple melodic structure in its original score, it is observed to have taken on a very different character in Bacanos’ performance. With Bacanos’ strong sense of rhythm and the self-confidence that comes from having mastered the ağır aksak usul [a tempo in 9/4], which is frequently used in fasıl [musical overture/series of compositions in the same maqam] performances, he was able to easily diversify the aranağme by using various motifs and practically recomposed it during the performance. By combining his agility in right hand technique with his improvisational skill, Bacanos created a piece that is extremely difficult to perform while at the same time demonstrates his strict adherence to the usul [tempo]. Bacanos’ aranağme performance is an attractive example of musical interpretation.
The paper discusses the topic of weaponization of song, understood in the broadest sense as music with text, sung by one performer or several voices, with or without instrumental accompaniment. Whereas battle songs have historically been used during physical attack on the enemy, the use of music in propaganda gained significance in the twentieth century, with the rise of totalitarian regimes. The author refers to Ernst Cassirer’s elucidation of political myth and interprets contemporary uses of song in war propaganda by Putin and Islamic organizations, juxtaposing it with the abuse of song in totalitarian (communist and Nazi) regimes, and arguing that it is the mythicizing potential of song encapsulating a concise propagandist message that makes it the ideal carrier for propaganda. The author draws upon a vast range of literature on the topic, referring to the Third Reich, Maoist China, Putinist Russia, and the jihadi nasheed.
The history and philosophy of music education are traced with varied efforts to hone, enhance, and shift a strong tradition of performance-based instruction. The purpose of this study is to summarize the research of Gumm’s empirical models of eight music teaching and six conducting approaches and their application in the profession across three decades toward varied philosophical aims. Each approach coordinates a distinct set of instructional and motivational behaviors toward a particular learning effect or outcome. Different balances of approaches reveal broader aims, such as performance, comprehensive musicianship, cooperative, discovery, and affective learning, or even basic on-task behavior. Broader yet are two overarching aims found in common to both music teaching and conducting—to control or release. Controlling music teaching asserts correct on-task behavior through clear task directions and corrective feedback, motivates attention to task nonverbally, efficiently fills time with active tasks, and clarifies and affirms positive learning. In contrast, cooperative group leadership releases interdependent learning, questioning fosters music concept learning, imagery and movement release artistry, and discussing unique perspectives releases independent ideas and feelings. In conducting, precise gestures control accurate timing, signals and alerts motivate attention, and mimicry of musician exertions controls physical tone production; whereas shaping of phrases and score markings release musical expression, psychosocially familiarized gestures foster interdependence, and tension-easing gestures release freer independent tone production. Control-oriented teaching is most prevalent across the field, yet links to greater burnout and appeals to accommodating students motivated by effort and ability more than students motivated by social and affective enjoyment of music. In conducting, music-oriented precision and expression are more prevalent than musician-oriented approaches. Releasing approaches are more prevalent in Western than Eastern culture, upper levels, early rehearsals well before concerts, smaller ensembles, competitive ensembles, and teachers and conductors with greater experience or varied movement training. Conclusive implications are that the key to motivation is to draw attention to specific and intentional forms of learning, and that whatever is motivated to attention also motivates a particular philosophy of music education. Future research is suggested in general music and ethnic, folk, popular, community, and professional music ensembles.
: With the continuous development of higher education teaching reform and the promotion of teacher certification in teacher education programs, the OBE (Outcome-Based Education) philosophy has gained widespread attention in the field of education. In this context, university educators are continually exploring new teaching models to meet the personalized and diverse learning needs of students. Blended learning, as a novel teaching approach that integrates online and offline instruction, has brought about new possibilities for higher education. This study takes piano group classes as an example, integrating the OBE outcome-oriented philosophy throughout, and analyzes the reconstruction of teaching objectives from three aspects: knowledge, skills, and qualities. Through the practical application of blended learning on the BlueMooc platform, the study proposes application strategies that combine flipped classroom teaching methods and the judicious use of blended learning. The aim is to explore how to apply the blended learning model to university piano group classes under the OBE philosophy, effectively enhance students' musical literacy and keyboard skills, and meet the needs of society and employers.
From 1915 to 1918, the Bosniaks of the Sanjak of Novi Pazar left in an organized fashion to multiple fronts to defend the Ottoman Empire. They were between the ages of 18 and 50 and were known as volunteer fighters or đurumlije, and that very event today is known as ‘going to join the đurumlije’ or odlazak u đurumlije. Although more than one century has passed since then, in the folk songs of the Bosniaks from the Sanjak of Novi Pazar the memory of this historical event still remains. This paper aims to preserve the folk songs about the đurumlije and point out the need and possibility of their being passed on and nurtured as part of music education in those areas of Serbia inhabited by a Bosniak majority. A theoretical analysis was selected as the method for defining the research topic, while, the Finnish method was used to transcribe the songs. When adapting the recorded songs to the requirements of music education classes, transposing and simplifying the melisma were used. The paper outlines and thematically organizes the ethnomusicological recordings of 12 songs about the đurumlije and indicates their methodological applicability in music education as part of music appreciation and performance. It is our hope that this paper will help keep these songs safe from oblivion and that their implementation in music education will strengthen the cultural identity of the Bosniaks of Sanjak.
For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This qualitative study investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music.
The rapid advancement of artificial intelligence has been intensely employed in art teaching and learning. Including the advancement of smart technologies, there are various difficulties in improving the teaching capability of technical art design courses, including the impact of several variables and the absence of quantitative study, and the imperfection in the index system. The paper proposes the Artificial Intelligence assisted Effective Art Teaching Framework (AIEATF) to expand the ability to adapt to AI-oriented art instruction, develop intelligent teaching styles, and enhance AI-oriented art teaching art knowledge and environment. The potential of improving AI’s effects on major art courses’ teaching effect has been illustrated in detail. On this basis, an assessment model has been developed to consider the enhancing effects. The study’s findings include a valuable guide for educators in art design to strengthen their teaching ability. The experimental results have shown that Modern Painting Perfection Ratio is 87.66%, Computer graphical representation ratio is 88.77%, Photographical Design Percentage ratio is 84.50%, Performance of Carving in Sculpture Ratio is 82.26%, Construction Development Ratio is 93.83%, Expressive Musical Performing Ratio is 92.70%, Energized Dance Performance Ratio is 84.26%, and overall performance ratio is 92.30%.
Glasbenik nemškega rodu, Rudolf Wagner (1851–1915), je ena ključnih osebnosti mariborske glasbene zgodovine druge polovice 19. stoletja in v prvih dveh desetletjih 20. stoletja. Pričujoči prispevek razkriva njegovo vsestransko aktivnost na glasbenem področju, prinaša oris njegove življenjske poti s pomembnejšimi prelomnicami in osrednjo pozornost namenja njegovi vpetosti v mariborski kulturni milje.
This article explores Adorno’s engagement to tackle a concept of culture, avoiding the Scylla of historicizing its products as a cultural heritage and the Charybdis of their reification as a commodity. In this perspective, musical pedagogy is crucial in checking the possibility of art education understood as a production of sense. Drawing on the recent critique of Adorno’s aesthetics (Georgina Born, Tia De Nora, Antoine Hennion), the article claims that Adorno’s perspective – despite the obvious anachronisms – still represents a viable alternative to two opposite leading positions regarding the function of music education: music as a tool for social inclusion and the individual and social construction of the self, and music as sheer conservation of cultural heritage.
Music and books on Music, Musical instruction and study
Musicians are often reported to have enhanced neurophysiological functions, especially in the auditory system. Musical training is thought to improve nervous system function by focusing attention on meaningful acoustic cues, and these improvements in auditory processing cascade to language and cognitive skills. Correlational studies have reported musician enhancements in a variety of populations across the life span. In light of these reports, educators are considering the potential for co-curricular music programs to provide auditory-cognitive enrichment to children during critical developmental years. To date, however, no studies have evaluated biological changes following participation in existing, successful music education programs. We used a randomized control design to investigate whether community music participation induces a tangible change in auditory processing. The community music training was a longstanding and successful program that provides free music instruction to children from underserved backgrounds who stand at high risk for learning and social problems. Children who completed 2 years of music training had a stronger neurophysiological distinction of stop consonants, a neural mechanism linked to reading and language skills. One year of training was insufficient to elicit changes in nervous system function; beyond 1 year, however, greater amounts of instrumental music training were associated with larger gains in neural processing. We therefore provide the first direct evidence that community music programs enhance the neural processing of speech in at-risk children, suggesting that active and repeated engagement with sound changes neural function.
Guida pratica all’insegnamento della musica: dalla primaria alle superiori. L’esperienza della scuola Steiner-Waldorf [A practical guide to music teaching, from primary to high school. The Steiner-Waldorf school experience] is a book that combines a manual and the author’s own didactic proposal. It is the description of a real didactic practice, based on direct experience, but also built along the theoretical and educational guidelines first introduced and expounded by the founder of the Steiner-Waldorf schools, and father of anthroposophy. In his idea of the educational process, music played a central role, and education was seen as individual development.
Music and books on Music, Musical instruction and study
This study is about the String Ensemble Learning in Extracurricular at SMK Methodist
Charles Wesley Medan. The purpose of learning is to know the learning process of string
ensemble extracurricular, knowing in teaching methods and materials string ensemble, knowing
the learning ability of ensembles extracurricular participant, and to identify constraints string
ensemble extracurricular teaching at SMK Methodist Charles Wesley Medan.
The study is based on theoretical foundation to explain the theory of learning, the
learning component, understanding ability, sense of ensemble, string ensemble understanding, and
extracurricular activities.
This study will take a place in Jalan Padang Golf (In), Central Business District Block
CC-DD Polonia, Medan Polonia. This study uses descriptive qualitative research, observation,
interviews, documentation and literature review. The samples are part of the population that is
about to be investigated, which in this study were teachers and all students who take the string
ensemble extracurricular activities are 15 students and 1 teacher.
Once the entire data has been collected, then analyzed to answer all the questions of
the study. The learning process is carried out for 60 minutes, the time used to explain the theory is
a 15-minute and 45-minute practice. The implementation stage string ensemble learning students
who take these activities are all students in both the junior high school students Methodist Charles
Wesley, the high school students of Charles Wesley Methodist School, and SMK Methodist Charles
Wesley were merged into a single string ensemble group.
In the ensemble learning process swipe at SMK Methodist Charles Wesley Medan
material used is a script of classical music such as Baroque and Rokoko, Romantic, Classical and
Contemporary Classical. The obstacles in the form of incomplete facilities, differences in levels of
student proficiency, and student attendance in a regular schedule that already exists. Students can
be said to be capable of if the students can play an instrument properly, in accordance with good
technique, mastering the material well, and can play with a harmonious ensemble.
This article provides an overview on the ways in which musical knowledge has been popularized by the Rai-TV public broadcasting network in the 1960s, namely the period of time from the last last years of the economic boom to the aftermath of 1968. In the decade under scrutiny, the television offer of the National channel and of the Second channel (the only two existing channels at the time) had a rather clear, distinctive profile, as a result of the management of Ettore Bernabei, who was Rai’s general director from 1961 to 1974. Those were the years of the so-called ‘paleo-tv’, which was characterized by a strongly educational mission. Besides elucidating the educational goals of paleo-tv, both in general and in relation to art music, the article describes and discusses a couple of programs that had an educational and popularizing purpose, in particular Roman Vlad’s Specchio sonoro (1964) and the series L’opera ieri e oggi, by Luciano Alberti and Vittoria Ottolenghi, which were part of the daily section Sapere (1969).
Music and books on Music, Musical instruction and study
Milton Eduardo Bermúdez Jaimes, Hugo Alberto Escobar Melo, María Caridad García-Cepero
et al.
Este documento presenta los resultados de un estudio que evaluó el impacto de los procesos de formación musical que se están adelantando en los colegios públicos de Bogotá dentro de la primera fase del proyecto de la alcaldía local ‘Jornada escolar 40 horas’. Un equipo interdisciplinar (música, educación y psicología) evaluó una población aproximada de 373 estudiantes pertenecientes a 29 colegios y obtuvo un diagnóstico del el desarrollo de los saberes musicales de los estudiantes; el impacto de los procesos formativos sobre dimensiones no musicales como autoconcepto, autoestima, empatía y motivación; la calidad y el alcance de las estrategias pedagógicas empleadas en las aulas de clase; la percepción sobre el proceso por parte de estudiantes, profesores, padres de familia y directivos de los colegios; el nivel de adecuación de la infraestructura y de los recursos materiales empleados. El producto final del proyecto es una batería de pruebas que permitirá continuar monitoreando a corto y mediano plazo los procesos de educación musical de este programa y su impacto sobre las dimensiones abordadas.
Neapeljske vilanele Giacoma Gorzanisa so preproste ljubezenske pesmice, polne duhovitih, zbadljivih in posmehljivih prispodob. Karikirano podajanje besedil privzame izrazito komičen značaj in ponuja številne priložnosti za vključevanje mimičnih in gestikularnih elementov. Motrenje s tega vidika razkriva širitev vilanele v dežele onstran italijanskega govornega področja.