Siu-hang Kong, Ming Ming Chiu, William Choi
et al.
This Stage 1 Registered Report describes the design and analysis plan for a randomised controlled trial (RCT) evaluating the Music-Speech Integration Pedagogy (MSIP), a small‑group programme for boosting kindergartners’ tonal-rhythmic sensitivity and transfer to phonological awareness. As music and speech share acoustic attributes and overlapping neural systems, training that strengthens tonal-rhythmic processing may enhance phonological awareness. We will enroll 40 Cantonese‑speaking children aged 4–5 years in Hong Kong. Half will learn with MSIP and half proceed as usual. We will primarily assess pre–post changes in music and speech ability with the Abbreviated Primary Measures of Music Audiation (aPMMA‑T/R) and in English Phonological Awareness (EPA) test. Also, these children will complete an absolute pitch test (APT). We will analyse the RCT data with multilevel, multivariate outcome differences‑in‑differences models, supplemented with sensitivity analyses and statistical matching methods. Our findings will show whether MSIP is feasible and its efficacy for strengthening foundational auditory skills and prosody perception. Furthermore, it will clarify music-speech links in a tone‑language context.
Abstract This study investigates the impact of augmented reality (AR) technologies on the development of motor skills, specifically left-hand piano playing skills, among piano students. The paper employed the AR Piano application, which generates three-dimensional, intuitively understandable visualizations aimed at facilitating the piano learning process, thereby minimizing the cognitive load on students. The Piano Proficiency Test-2 was used to analyze piano playing skills. The sample consisted of 297 right-handed third-year students from three educational institutions in China. According to the post-test results, the experimental group, which underwent training utilizing augmented reality (AR) technology, exhibited significantly greater skill level improvement following the experimental period compared to the control group. These findings suggest a positive effect of AR technology application on the development of motor skills and may provide valuable insights to researchers exploring the application of AR technologies in diverse educational settings, particularly for musical instrument instruction.
In the Western art music tradition, expressive piano performance consists of two kinds of information: the score, with pitch and timing expressed in simple musical units along with occasional expression instructions, and the performer’s interpretation of the score, involving variations in tempo, dynamics and articulation. In this paper, we present a novel framework for learning representations that disentangle musical content and performance style from expressive piano performances in an unsupervised manner. Our method is based on an extension of the vector-quantized variational autoencoder (VQ-VAE) with individual content and style branches, along with mutual information (MI) minimization techniques and self-supervising strategies. We performed experiments and ablation studies on the ATEPP dataset, a large set of automatically transcribed virtuosic piano performances with rich stylistic variations, and evaluated the content reconstruction and style discrimination in a style-transfer manner. Our experiments demonstrate that the model learnt separate latent variables that encode musical content (such as pitch and relative timing) and stylistic attributes, as generated samples align well with the content input with low note error rates (NER), and the 40-way style discrimination proxy task outperformed the baseline with top1 accuracy of 0.168.
INTRODUCTION: In the new era of information society, the knowledge reform of school music education is getting more and more attention. Traditional teaching methods need to make full use of information technology. They cannot meet the current learning needs because the learning of information technology teaching is an essential means to realize modern learning. , therefore, the application of information technology in music education meets the requirements of the times. OBJECTIVES: To improve traditional teaching methods by utilizing modern teaching techniques so that students can gain more knowledge. With the help of modern technology and information technology, secondary music education can change the students' audiovisual experience, enrich their musical experience, and deepen their understanding and memorization of knowledge. METHODS: In this paper, use a neural network algorithm to explore the integration mechanism of music teaching design and education information technology, optimize the traditional information technology teaching platform, improve the stability of the music teaching platform, and further improve the level of network teaching from the feedback of students and teachers. RESULTS: This study's results found that this experiment's educational platform could motivate students to manage teaching and actively participate in music teaching and lessons. However, due to the real-time nature of information technology, it removes doubts between the parties and facilitates communication between teachers and students. The primary goal of music education is to perceive the attraction of music in terms of sight and sound, to relax the mind and body, and to develop a musical personality. From this perspective, it is also necessary to utilize modern information technology to change teachers' traditional teaching methods in classical performance and singing. CONCLUSION: With the help of modern technology and information technology, secondary music education can change the audiovisual experience of students, enrich their musical experience, and deepen their understanding and memorization of knowledge. The information system can motivate students to manage teaching and actively participate in music teaching.
Oscar Jeanluck Burgos Segura, Víctor Hugo Ñopo Olazábal
La cumbia ha pasado por distintas transformaciones en la costa norte peruana y mucho se ha escrito sobre sus aspectos históricos y su impacto social. Para su mejor comprensión, es necesario abordar el fenómeno musical en sí mismo. Por ello, el objetivo de esta investigación fue identificar las influencias y características de la cumbia de esta región, a través del análisis comparativo y el paradigma de investigación sobre las artes de tres piezas musicales representativas de este género musical, interpretadas por las agrupaciones Agua Marina, Grupo 5 y Armonía 10. El diseño de investigación estuvo conformado por la aplicación de entrevistas, la transcripción de las grabaciones y el análisis musical comparativo. Los resultados mostraron que la armonía de las piezas, eminentemente tonales, era acórdica con pocas tensiones y bordaduras. Los temas se orientan hacia la melancolía, la decepción, el amor o una historia. Algunas agrupaciones utilizan exclusivamente instrumentos virtuales y electrónicos y, otras, vientos metal con un tratamiento heredado de la salsa. Estos resultados muestran que la cumbia de la costa norte de Perú tiene fuerte influencia colombiana y de géneros caribeños. También se encontraron patrones referentes a la lambada y de compás compuesto, como en el caso del género emergente llamado merequetengue.
Syahrul Syah Sinaga, Maria Johana Ari Widayanti, Eka Titi Andaryani
et al.
The existing quality of learning media, particularly in teaching multilingual characters of Early Childhood Education, poses a challenge in education. Teachers should possess the skills to continuously innovate in creating instructional materials, including prospective teachers, namely PGSD and PGMI students. This program aims to enhance the skills of PGSD and PGMI students in developing multilingual character education media for children. The primary focus is on using children's songs as an engaging and effective educational tool. Another issue is the need for more skills among students in creating multilingual and character-based instructional media that can captivate children's interest. The ultimate goal is to improve students' skills in creating engaging and effective instructional media, providing benefits to children, and contributing positive knowledge to the general public. As a solution, this program creates a simple arrangement of children's songs with characters in three languages as instructional media for PGSD and PGMI students. In its implementation, students are equipped with the skills to create simple arrangements of children's songs with the hope that this will serve as valuable preparation for creating engaging instructional materials.
ABSTRACT The purpose of this research is to study the effectiveness of using a specialized online vocal training program, identify its impact, and determine the way it affects creative thinking skills among students by conducting the Measure of Creative Thinking in Music test before and after the intervention. Research involved a total number of 392 fourth-year students. The first group included students who studied under the conventional program (Group A), and the second group consisted of students who additionally used Singorama for their practice (Group B). The results of the MCTM post-test also showed that Group A did not demonstrate an increase in indicators regarding the development of creative thinking skills. On the contrary, in Group B after the intervention, there is an increase regarding all four MCTM factors: Musical Extensiveness increased by 66.5%, Musical Flexibility by 45.3%, Musical Originality by 62.8%, and Musical Syntax by 45.2%. It confirms that the conventional education system does not provide creativity improvement among students. The results obtained in this study can help develop creativity in vocal instruction in educational institutions by introducing additional programs into the curriculum.
Musical compositions require genre-specific sophisticated performance techniques. This paper focuses primarily on the features of Chinese pop and traditional music, based on the music genre’s influence on the vocal music. To achieve this goal, the analysis methods and the Shapiro-Wilk test were used. The study involved 218 music major students from the Beijing International Art School, Shanghai Normal University, and Guangzhou College of Music. The audience and respondents gave less preference to pop music (47% and 39%) compared to the traditional music (53% and 61%). The Shapiro-Wilk test revealed that, when it comes to pop music, the strongest preference was attributed to music geographical spread (0.867), and in the case of traditional music the strongest preference was for higher education (0.927). The paper established the specific features of different genres of music. The most common elements pertaining to pop music include: the option to apply a variety of music elements and singing techniques; rhythm stability; a simple form of vocal performance; extreme sound techniques; preserving the emotionality of the singing; a combination of Western and Chinese elements. Traditional music is characterized by a harmony of music elements and voice timbres, maintenance of the high-pitched voice, natural sound, throat singing, performance quality, preservation of Chinese traditional music elements. Traditional music instruction was the best thing for improving intonation (0.815), maintenance of sound quality (0.806), and development of vocal range (0.718). Pop music is known for a combination of various music elements (0.901), conveyance of the performance style (0.312). The paper’s practical implications boil down to determining the characteristic features of pop and traditional music, as well as elements describing vocal music. Further studies might involve a comparative analysis between Chinese pop music, traditional music, and Western pop and traditional music.
Artikel ini merupakan hasil penelitian yang bertujuan mendeskripsikan salah satu bentuk dan struktur musik daerah, yaitu musik rodat di Kabupaten Empat Lawang, sebagai bentuk inventarisasi musik daerah yang ada di Nusantara. Penelitian didasari fenomena musik rodat yang disajikan dengan nyanyian dan tarian, diiringi dengan tabuhan terbangan dan jidur, dan terdapat leluconnya. Selanjutnya sajian tersebut disuguhkan dalam sebuah arak-arakan, untuk ditonton masyarakat sekitar desa. Untuk mendeskripsikan bentuk dan struktur Musik Rodat, pengumpulan data dilakukan dengan observasi, wawancara, dan dokumentasi. Selanjutnya data akan disajikan secara deskriptif, melalui hasil dari analisis bentuk dan struktur musik. Hasil penelitian didapatkan bahwa musik rodat di Kabupaten Empat Lawang merupakan ansambel musik yang terdiri dari unsur pokok yaitu vokal, lagu dan syair, sajian instrumen, dan gerak tari. Lagu pada musik rodat ini memiliki 3 bentuk dan stuktur yang umum disajikan yaitu pola A-B-B, A-B-B-A, dan A-B. Setiap rangkaian penyajian musik rodat ditampilkan tarian dan diselingi dengan lulucon.
Apareció en uno de los álbumes de la profesora Hilda Vargas Midolo, quien fue una maestra de música en Arequipa, activa en la segunda mitad del siglo XX y que falleció a finales de la década de 1990. El álbum se lo obsequió en vida a Amílcar Victoria Pacheco, cantante, quien es el dueño actual. En 1999, él le prestó el álbum a la musicóloga Zoila Elena Vega Salvatierra quien encontró en el mencionado cuaderno esta canción (pp. 138-139), junto con una de Pablo Chávez Aguilar y algunas de otros compositores arequipeños. Fue copiada a mano por una persona que sólo indica sus iniciales “M. D.” y la realizó entre el 27 y el 30 de octubre de 1936. A su vez, la doctora Vega Salvatierra ha facilitado una copia de la pieza para publicarla en el presente número de ANTEC, revista peruana de investigación musical de la Universidad Nacional de Música, conmemorando el centenario de la muerte del ilustre compositor arequipeño
Within the aesthetic framework of the work concept and author-centred approach to music history, the practice of aria substitution in the eighteenth-century Italian dramma per musica has frequently been viewed as hostile interference with the composer’s authorial intention and attributed to singers’ vanity, laziness and ignorance. However, the substitution of both the texts and musical settings of arias constituted the default production practice in a period in which scores were not conceptualised as fixed texts but functioned as performance materials for specific productions. Moreover, the practice of aria substitution was deeply rooted in the socio-cultural context of opera production and the arts consumption practices of the social elite. A manifestation of period preoccupation with displaying and gauging rank and status, it was crucial to singers’ professional success.
Music is an important way for humans to express themselves, unite, relate, and gain enjoyment. While many people desire for themselves, or their loved ones, to achieve some form of musical prowess, the discipline remains encumbered by low motivation and high dropout rates. This is despite long established trends between exposure to learning playing an instrument and enhanced cognitive development. Previous research suggests that one factor associated with motivation loss might be the lack of perceived progress during the early stages of music instruction. In this paper we develop a novel Augmented Reality piano tutor with the primary goal of increasing the effectiveness of self-practice for beginners. Our solution is based on the principle of constant feedback and reducing the level of indirection between instrument, instructions, and feedback, and enables users to learn to read and understand piano sheet music quickly without requiring a private instructor, while maintaining compatibility with the traditional learning process. An evaluation of our solution with a user study containing 22 participants showed that our tool significantly improved motivation and the ability to read piano sheet music.
Prispevek pretresa morebitne povezave med družino Khisl ter kulturnim in glasbenim okoljem Padove z ozirom na elemente, ki jih zasledimo v treh zbirkah, ki so bile natisnjene v kratkem časovnem obdobju treh let (1586–1589), in sicer Filippa de Duca, Angela Barbata in Ludovica Balbija, ter so vse povezane s Padovo.
Becanang Traditional Music In The Evening
Beguru in Gayo Society Bebesen Districts, District Central Aceh (Study of the form of
presentation and form of music). Faculty Of Language and Art. Medan State University,
2015.This research is a study about the existence of the forms of presentation becanang
music and music form becanang the Gayo people in the District of Central Aceh District
Bebesen. The purpose of this study was to determine the presence of music in the district
becanang Bebesen, form of presentation and form of music in the evening becanang
beguru indigenous community in the district of Gayo Bebesen, District Central Aceh.This
research is based on theoretical foundation to explain the meaning of existence,
understanding forms of presentation, understanding forms of music, understanding night
becanang indigenous communities beguru Gayo. The method in this study used a
qualitative descriptive method. The sample in this study is penatuah customary
understanding of the cultural traditions of indigenous communities which are also Gayo
Gayo people of Central Aceh district. This data collection is done by the method of
observation, interviews, laboratory work and literature study. This study was taken at the
site of the District Bebesen, Central Aceh district and the research was conducted from
June 2015 through to August 2015. The results showed that the presence in the district
Bebesen becanang music still plays an important role in any wedding procession
indigenous Gayo people which can be seen from its function, especially in the traditional
evening event Beguru to be a communication tool and as a sign that Beguru event to
begin. Form of presentation of music becanang played with several musical instruments
tradition and consists of Gegedem, cymbals, Memong and gong, music becanang has a
very important role in every stage of the traditional events marriage Gayo society,
especially on the eve of indigenous Beguru as a communication tool caller local
communities and as a sign that the traditional evening Beguru begin. Becanang musical
form only play three different forms of rhythm alone, three rhythm is played in alternating
turns, the most prominent bring rhythm motif is gegedem, on Memong instruments,
cymbals and gongs just follow it, cymbals used as a regulator of tempo.
En este artículo presento, primero, una breve revisión de los estudios llevados a cabo desde el año 2013 al interior del Grupo de Investigaciones en Técnica Vocal del Laboratorio para el Estudio de la Experiencia Musical (LEEM-UNLP). Luego de argumentar acerca de la insuficiencia de los paradigmas tradicional y cientificista en pedagogía vocal, propongo un modelo pedagógico novedoso y original: la Pedagogía Vocal Holística (PVH). Presento sus fundamentos epistemológicos y teóricos, y listo sus 13 principios rectores. Estos principios se refieren al objeto de estudio de la PVH, a su definición de “sujeto”/“persona”, a su área de intervención, a su concepción sobre el rol de “profesor” y el involucramiento que su trabajo presupone, y a los ejercicios vocales, obras musicales y performances públicas. Por último, sugiero direcciones innovadoras de investigación en pedagogía vocal. Estas direcciones emergen de considerar espacios epistemológicos que resultan de combinar los aportes sobre los que se basa la Pedagogía Vocal Holística.
Music and books on Music, Musical instruction and study
Agustina Ratri Probosini, Albertus Wisnu Aji Nugroh
Lagu model merupakan lagu yang digunakan sebagai media dalam mencapai pembelajaran berdasarkan tema. Yang menjadi kendala dalam proses penciptaan lagu adalah perbedaan kemampuan musikal mahasiswa antara latar belakang pendidikan musik dan mahasiswa di Prodi PG-PAUD. Penelitian ini bertujuan untuk mendeskripsikan optimalisasi proses pembelajaran cipta lagu untuk pembelajaran anak usia dini. Penelitian ini menggunakan pendekatan kualitatif. Subjek dalam penelitian ini adalah mahasiswa tingkat II di kelas A, B, C, dan D yang berjumlah 59 orang mahasiswa. Penelitian ini dilaksanakan pada semester genap tahun akademik 2015/2016, dengan teknik pengumpulan data berupa wawancara, observasi, dan studi dokumentasi. Hasil penelitian menyimpulkan bahwa cara untuk mengoptimalkan penciptaan “Lagu Model” anak usia dini adalah melalui pembuatan sinopsis, pelaksanaan metode diskusi kolaboratif, apresiasi, serta pendokumentasian lagu dalam bentuk CD dan Buku. Dengan adanya metode yang tepat dalam mengoptimalkan proses pembelajaran, maka dapat meningkatkan kualitas lagu yang diciptakan oleh mahasiswa.
One of the weekly Eucharist Celebrations (Mass) in Gereja Hati Kudus Tuhan Yesus (GHKTY) Pugeran is held using the instrument of gamelan as form enculturation church music. The existence of Gita Rarya as group of karawitan, established by FX. Wiyono, who is responsible for the mass instrument is one of the froms of the process lessons. Therefore, the aim of the research is to describe the liturgical karawitan in GHKTY Pugeran applied by karawitan teens group Gita Rarya and describe the learning process of liturgical karawitan on karawitan teens group Gita Rarya. This research is a qualitative research with didactic approach. To get written data, research library method is used. Meanwhile, the methods of observation, interview, and recording used for obtain oral data. The technique of sample taking from the available population is the technique of purposive sampling. This particular technique is used to aim the advanced depth of the study. The conclusion that can be delivered is that for over 10 years, the karawitan teenagers group Gita Rarya consistently take part in the implementation of Catholic liturgy and the progress in mastering the church instrument is used, especially the tabuhanimbal technique . Gita Rarya have high taste in musicality and their existences as pengrawit in GHKTY Pugeran is strengthen because they perform their duties with pleasure.
As peças musicais intituladas “Estudos” demonstram ainda formar um campo vasto de investigação nas áreas da música. Uma delas situa-se no fato de que no século XX, o gênero Estudo potencializa-se por sua diversidade de propostas e, principalmente, por seu suporte como ambiente de experimentação nos áreas da comosição e performance musicais. Neste artigo, nos concentraremos nos Percussion Studies do compositor brasileiro Arthur Kampela nos quais destacamos uma diversidade de abordagens pedagógicas voltadas à escuta, à performance e à composição musicais. Nesse sentido, nos concentramos no Percussion Study II (1993) – dedicado ao compositor Elliott Carter –, abordando três principais aspectos da obra: (i) a relação som-ruído na obra de Kampela; (ii) temática morfológica e desfamiliarização instrumental e, por fim, (iii) implicações ergônomicas do gesto na complexidade rítmica.