La práctica orquestal con instrumentos de arco, tanto dentro como fuera del ámbito escolar, ha sido ampliamente reconocida por su doble función, artística y socioeducativa. Sin embargo, en España, su implementación en las escuelas sigue siendo limitada en comparación con otras agrupaciones musicales, como coros escolares y conjuntos instrumentales de flauta dulce, percusión Orff o ukelele. Este estudio de caso analiza el proyecto Planters, desarrollado durante nueve cursos académicos en dos centros públicos de Educación Infantil y Primaria en la provincia de Girona (España). Las observaciones y la toma de muestras se han realizado específicamente durante dos trimestres del curso 2023/2024. La investigación se centra en dos preguntas principales: (1) ¿Cómo se organiza un proyecto de orquesta de cuerda en un entorno escolar con diversidad sociocultural y educativa? y (2) ¿Qué aprendizajes y experiencias aporta esta práctica al alumnado? Para responder a estas cuestiones, se ha llevado a cabo un análisis cualitativo basado en la observación sistemática de los ensayos, el estudio del repertorio y la metodología docente, así como en la evaluación de los beneficios educativos y los desafíos organizativos del proyecto. La recopilación, codificación y triangulación de datos sostiene la fiabilidad del análisis, combinando tres fuentes de información: observación directa, encuestas a los formadores y entrevistas al alumnado participante. Los resultados evidencian un impacto significativo en la identidad de los centros educativos, una alta implicación del alumnado y sus familias, así como la necesidad de un respaldo organizativo e institucional para la sostenibilidad del proyecto. Entre los logros más destacados se encuentran el fortalecimiento del sentido de comunidad, el desarrollo de habilidades colaborativas y la mejora del clima escolar a través de una educación musical inclusiva. Finalmente, se discute la viabilidad de replicar este modelo en otros contextos educativos, resaltando su potencial para integrar la formación musical en la escuela y fomentar la cohesión social mediante la práctica orquestal.
This study investigates the role of mathematics teachers in junior high schools in promoting students' numeracy through the design and delivery of classroom instruction. The qualitative multiple-case study design was used to gather information on ten mathematics teachers, selected through purposive sampling based on teaching experience and willingness to participate, in the form of lesson plans, observations in classrooms, semi-structured interviews, and analysis of students’ work, which were analyzed using a numeracy framework consisting of representation, conceptual understanding, procedural fluency, and reasoning, guiding thematic content analysis and cross-case comparison. The results show that educators have progressively incorporated real-life contexts and diagnostic tests in their instructional planning. Nevertheless, the combination of the various representations and the systematic development of mathematical reasoning is underdeveloped. These trends indicate that the primary problem with numeracy learning is not the accessibility of numeracy-related tasks, but rather the representation, reasoning, and coherence of instructional design. Based on this, the research indicates the need for professional development initiatives that specifically assist teachers in crafting exploratory, discourse-based numeracy assignments that are consonant with Minimum Competency Assessment (AKM) requirements and classroom contexts.
Dorothea Belicia Violista Indrawati, Paulus Dwi Hananto
Beethoven adalah salah satu komposer dan pianis yang terkenal dari Jerman pada periode klasik. Semasa hidupnya, Beethoven membuat 32 sonata dan salah satu yang terkenal adalah Sonata Op. 2 No. 1. Sonata merupakan bentuk struktur yang banyak digubah oleh komponis pada periode klasik. Sonata Op. 2 No. 1 merupakan karya yang digubah oleh Beethoven pada awal karirnya dan dipersembahkan untuk gurunya, Joseph Haydn. Penelitian ini bertujuan untuk menganalisis struktur musik, teknik pengolahan motif di antaranya sekuen, motif yang digunakan dan harmoni seperti progresi akord dan kadens yang terdapat dalam Sonata Op. 2 No. 1, 4th movement. Penelitian ini juga meneliti karakteristik Haydn yang ada di dalamnya dikarenakan karya Sonata Op. 2 No. 1 ini dipersembahkan kepada Joseph Haydn. Penelitian ini didasarkan dari practice-based reserach atau penelitian berdasarkan praktik. Penelitian ini bersandar pada dokumen secara tekstual dan menggunakan pendekatan musikologi. Struktur komposisi pada Sonata Op. 2 No. 1, 4th movement berbentuk sonata form yang terdiri atas eksposisi, pengembangan, dan rekapitulasi. Hasil penelitian menunjukkan komposisi ini menggunakan karakter Haydn yaitu menggunakan pola triplet broken chord, menggunakan sonata form pada movement terakhir, periode tema yang tidak teratur, dan ada kecondongan untuk menekankan pentingnya second subject.
Structure and Harmony of Ludwig van Beethoven's Sonata Op. 2 No. 1, 4th Movement: A Musicological Study
Abstract
Beethoven is one of Germany's most famous composers and pianists in the classical period. During his lifetime, Beethoven composed 32 sonatas, one of which is the Sonata Op. 2 No. 1. Sonata is a form of structure that many composers composed in the classical period. Sonata Op. 2 No. 1 is a work composed by Beethoven at the beginning of his career and dedicated to his teacher, Joseph Haydn. This research aims to analyze the musical structure, motif processing techniques, sequences, motifs used, and harmonies such as chord progressions and cadences contained in Sonata Op. 2 No. 1, 4th movement. This research also examines Haydn's characteristics because the Sonata Op. 2 No. 1 is dedicated to Joseph Haydn. This research is based on practice-based research. It relies on textual documents and uses a musicological approach. The compositional structure of Sonata Op. 2 No. 1, 4th movement is in sonata form, which consists of exposition, development, and recapitulation. The results show that this composition uses Haydn's characters, namely using triplet broken chord patterns, using sonata form in the last movement, irregular theme periods, and there is a tendency to emphasize the importance of the second subject.
Keywords: Musicological Analysis; Beethoven; Sonata Op. 2 No. 1, 4th movement.
Artikkelen beskriver utvalgte faktorer knyttet til bruk av komponering og improvisasjon i instrumentalundervisning på kulturskolene i Norge i lys av utvikling av grunnleggende musikalsk forståelse. Spørsmålene det søkes svar på er: I hvor stor grad brukes skapende aktiviteter av instrumentallærere? Hva synes lærerne om bruk av disse aktivitetene i kulturskoleundervisningen? Hva påvirker valgene de tar? Datamaterialet består av besvarelser fra en nettbasert spørreundersøkelse sendt til instrumentallærere ved samtlige kulturskoler i Vestland fylke. Undersøkelsen ble besvart av 65 respondenter. Det viser seg at mens majoriteten av respondentene mener at bruk av skapende aktiviteter bør være en viktig del av instrumentalundervisningen på alle nivåer, bruker svært få av dem disse aktivitetene i sin egen undervisning. Artikkelen drøfter mulige årsaker til dette forholdet, med utgangspunkt i respondentenes kommentarer og relevante forskningsresultater om skapende musikkundervisning. Det argumenteres for at bruk av skapende aktiviteter i undervisningen kan ha positiv effekt på utvikling av notelesingsferdigheter, teknikk og musikalsk forståelse hos instrumentalelever på kulturskolen.
Abstract in English:
Using composition and improvisation in instrumental teaching: Time-thief or a gateway to musical understanding?
This article describes the use of composition and improvisation in instrumental teaching at extra-curricular Schools of Music and Performing Arts in Norway, in light of the development of basic musical understanding. The research questions are: How often do instrumental teachers use creative activities? What do they think about using them in their teaching? What influences their choices? The data consists of responses from an online survey sent to instrumental teachers at all extra-curricular schools of music and performing arts in Vestland county. The survey was answered by 65 respondents. The findings show that, although the majority of respondents believe that the use of improvisation and composition should be an important part of instrumental teaching at all levels, very few of them use these activities in practice. The article discusses possible reasons for this conclusion, based on the respondents’ comments in the survey, as well as relevant research results. It is argued that the use of creative activities in instrumental teaching can have a positive effect on the development of music reading skills and technique among instrumental pupils.
Kun Setyaning Astuti, Fransisca Xaveria Diah Kristianingsih, Pujiwiyana Pujiwiyana
et al.
Penelitian ini untuk mengembangkan metode pembelajaran bernyanyi berbasis modulasi atau perubahan nada dasar pada anak. Metode ini dilakukan sebagai salah satu cara atau stimulus untuk meningkatkan kepekaan musikalitas anak. Melalui metode ini, anak dapat secara spontan, tepat, dan cepat merespon fenomena musikal. Penelitian dilatarbelakangi praktik pembelajaran musik terutama di Sekolah Dasar yang selama ini lebih bersifat teoritis. Pembelajaran lebih ditekankan pada kemampuan kognitif dibandingkan pengembangan psikomotorik. Dengan metode pembelajaran ini, anak diharapkan dapat berinteraksi dengan musik secara langsung sehingga hakikat substansi pembelajaran musik meliputi aktivitas mengapresiasi, mengkreasi, dan mengekspresikan musik tercapai. Metode penelitian yang digunakan Research and Development. Adapun tahapan penelitian yaitu: identifikasi kebutuhan, pengumpulan data, desain invention berupa pengembangan metode pembelajaran modulasi; uji coba terbatas, revisi, ujicoba metode pembelajaran berbasis modulasi. Hasil penelitian menunjukkan pembelajaran modulasi dapat dilakukan dengan tahapan 1) memperdengarkan iringan lagu saat modulasi menggunakan Do=C, Do=D, dan Do=E; 2) memberikan jembatan berupa akord pada nada dasar lagu yang akan dinyanyikan; 3) pengembangan Ritme lagu yang dapat digunakan sebagai tanda untuk memulai menyanyi; dan 4) pengiring dapat membantu anak-anak untuk menyanyi dengan lagu yang benar pada saat modulasi dari tangga nada mayor ke minor dan sebaliknya, 5) anak-anak usia antara 5-10 tahun dapat menyanyikan lagu anak-anak dengan mengikuti iringan baik dengan alat musik gitar maupun piano., 8) anak-anak usia antara 7-10 tahun dapat menyanyikan lagu dengan modulasi dan perubahan tangga nada dari mayor ke minor dan sebaliknya.
Abstract
Development of Modulation-Based Learning Methods as a Stimulus for Children's Musical Sensitivity. This study aims to develop a singing learning method based on modulation or changes scale for children. This method is a way or stimulus to increase children's musical sensitivity. This method allows Children to spontaneously, precisely, and quickly respond to musical phenomena. This study is motivated by the practice of learning music, especially in elementary schools, which is more theoretical. Cognitive abilities are more emphasized than psychomotor development. This method involves children interacting directly with music. Thus, the essence of music learning includes appreciating, creating, and expressing. This study used the Research and Development method. The steps include identification of needs, data collection, design of developing modulation learning methods, tryouts, revisions, and implementation of modulation-based learning methods. There are five steps you can take to learn modulation: 1) Listening to the accompaniment of the song when modulating using Do=C, Do=D, and Do=E; 2) Providing a bridge in the form of song chords on the song's fundamental tone; 3) Creating a rhythm song that could be utilized as a signal to get people to sing, and 4) Accompaniment can help children to sing the correct song at the time of modulation from major to minor scales and vice versa; 5) children between the ages of 5-10 years can sing several songs by following good musical instrumental accompaniments played by guitar and piano. In addition, children between the ages of 7 and 10 can sing songs with modulations and changes in the pitch of the ladder from major to minor and vice versa.
Keywords: modulation teaching and learning; Development of children's musicality; Singing
Se presenta un juego didáctico con valor proyectivo: Persona Sobre el Escenario (PSE-JD). Un instrumento destinado a poner de manifiesto la modalidad que cada performer emplea para autoevaluarse y los conflictos internos que surjan a partir de ella. Se analizó una muestra formada por 48 estudiantes y docentes del Conservatorio Superior de Música Astor Piazzolla de la Ciudad Autónoma de Buenos Aires. El uso del PSE-JD permitió caracterizar tres aspectos principales: a) la modalidad autoevaluativa empleada por cada estudiante: la mayoría adopta modalidades de tipo confrontativo, reactivo, dependiente o abandonante; b) el tipo de paridad o disparidad en relación con el poder que se le atribuye a la autoevaluación: aproximadamente dos de cada tres estudiantes mostraron relaciones asimétricas en las que su autoevaluación domina al performer; c) de qué manera el performer reacciona ante la autoevaluación: la mayor parte adopta una postura de sumisión ante su autoevaluador. Además de permitir una caracterización empírica de la modalidad que cada performer emplea para autoevaluarse, el PSE-JD tiene una finalidad epistemológica, pues posibilita un análisis profundo de las relaciones de poder que se instalan durante el aprendizaje y permite el estudio del surgimiento de la Ansiedad por Performance Musical. Se muestra, por lo tanto, como una herramienta útil para ser aplicada en el campo pedagógico como moderadora de los procesos de enseñanza, de aprendizaje y de evaluación.
Music and books on Music, Musical instruction and study
In line with the broader learning of integrating technology into science, there is growing demand for educational learning to apply electronic technologies in educational practice. Despite a handful of accounts indicating the advantages of this equipment and these tools, objective empirical research on their role in learning and their application in the learning process is lacking. Over the past ten years, studies have proven the Holistic Music Educational Approach for Young Children (HMEAYC) to be an effective method to assist in the learning and development of children with special needs. HMEAYC and technology integrated into instruction are both learning modes that expect learners to achieve learning orientation through musical expression. This study aimed to measure children with specific needs’ language comprehension and self-conduct abilities when HMEAYC was combined with technology integrated into instruction in curriculum design. The research, conducted at an early-intervention center in central Taiwan, included 389 children aged between 4 and 6 years old with specific needs. These participants’ traits of learning and developing more slowly than typical children of the same age were referred to as “specific needs” for this study. They all participated in one 40 min session per week for a total of 16 weeks. The research results showed that HMEAYC combined with music technology could enhance the development of language comprehension and the self-conduct of children with specific needs.
The emergency situation due to the spread of COVID-19 has brought new requirements to Higher Education to continue the learning process. In musical ensemble class, performance practice is mandatory and plays a crucial role in musical education. The pandemic has forced all classes online, but for performance practice, it was mandatory to implement a new type of student-teacher interaction, such as e-tivity. It is a dynamic and interactive learning process led by a teacher online. The investigation of the efficiency of e-tivity for training musical ensemble skills was carried out in this paper. The research was tested through experimental work that took place at Kazan Federal University (Russian Federation). Due to a complete shift in the education process to distanced learning, all disciplines were studied online, including the specific musical courses that required collective work with face-to-face interaction. The curriculum of future music teachers includes an ensemble basic course to train students‘ musical performance skills in groups. For the study, 114 students from classes with instrumental and vocal ensembles were gathered and were organized by means of e-tivity based on several online tools, including Aiseesoft Video Converter Ultimate. This tool creates a video with a split-screen effect. By using such a tool, students created the video by following the teacher‘s instructions separately, and afterward they united their musical records in one video with a split-screen effect. At the end of the research work, musical artworks belonging to certain art styles, namely classical, Tatar and Russian folk music, and jazz, were collected. The analysis of the obtained data exhibited a high level of results in each criterion scale and effectiveness of the online work with musical ensembles. Students saw improvement in self-education by the means of creativity and critical self-assessment. The increasing frequency of students‘ listening of their own performance during the ensemble music-making by e-tivity brought advantages for the involuntary repetition process.
Jazz musicians usually learn to play with “swing” phrasing by playing by ear. Classical musicians—who play more from musical scores than by ear—are reported to struggle with producing swing. We explored whether classical musicians play with more swing when performing from more detailed swing notation. Thereby we investigated whether a culturally specific improvisational social procedure can be scripted in detailed music notation for musicians from a different performance background. Twenty classical musicians sight-read jazz tunes from three styles of notation, each with a different level of notational complexity. Experienced jazz listeners evaluated the performances. Results showed that more score-independent classical musicians with strong aural abilities played with equally strong swing regardless of notation; more score-dependent musicians swung most with the medium-complexity classical notation. The data suggest that some higher-level swing features, such as appropriate articulation, event durations, and deviations from a beat sequence can be communicated to a limited extent using written instructions. However, their successful implementation in performance depends on matching instructional complexity to a musician’s skill at decoding and interpreting unfamiliar information. This link between decoding skills and cross-cultural performance makes our findings relevant to ethnological and musicological studies of musical communication processes and perception-action coupling.
This study focused on the development of a culture-based learning package in Ethnomathematical Plane and Solid Geometry based on the ethnomathematical practices of the Ifugaos. Descriptive developmental approach was used to assess the ethnomathematical practices, and the level of validity and readability of the developed learning package. Results revealed that the following ethnomathematical practices are still very much observed by the Ifugaos: festivals and dances, rice farming, musical instruments, ethnic food preparations, basket weaving, and wood carving. The validity of the developed learning package obtained a rating of passed in content, format, presentation, and organization and up-to-datedness of information. The readability statistics showed that the developed learning package is easy to comprehend and suitable to intended readers and learners since it can be understood by at least Grade 7 students. The developed learning package is recommended for use as teaching learning instructional material in Plane and Solid Geometry subject.
Farah Pauline Yong Abdullah, Ku Wing Cheong, Farideh Alizadeh
et al.
This study aims to investigate the role of instructional scaffolding in developing problem-solving skills in melodic improvisation among beginner piano students. Three action research cycles were implemented to identify the effectiveness of scaffolding instructions. The process of measuring students’ problem-solving skills in improvisation is audio-recorded and further transcribed onto music scores in the third action research cycle for data analysis. The findings showed a positive development and improvement in the students’ problem-solving skills and filled the knowledge void for music teachers to plan and teach music improvisation progressively. These findings were helpful for music teachers to implement future musical tasks in creative activities.
This article examines the collaboration between ONCEIM—an orchestra made up of about thirty musicians specialised in musical improvisation —and the pianist and improviser John Tilbury, from whom ONCEIM commissioned a piece entitled Sans. This process of musical creation was remarkable in that all participants had to work with a high degree of uncertainty regarding the nature of the project and, therefore, the distribution of roles and creative authority. This uncertainty permeated all aspects of the collaborative work that led up to the first public performance of Sans. The present paper is based on an ethnographic study of all the rehearsals John Tilbury and ONCEIM held together, as well as on semi-directed interviews conducted with various orchestra members. We first illustrate the deep ambivalence of John Tilbury’s attitude and preliminary instructions to the orchestra, which oscillated between two regulating approaches to musical activity. Next, we examine the various “prescriptive impulses” of some members of ONCEIM, which sought to fill the “vacuum of power” left by John Tilbury. Finally, within this largely indeterminate context of interaction, we show how musicians based their musical choices on deontic as well as organizational criteria.
The focus of the article is on how to better prepare aspiring music and art teachers for teaching inclusively to young children, which is the real challenge facing current art education. Its objective is to provide the findings of theoretical research into the therapeutic and developmental benefits of music, as well as to offer technology support for future music art instructors' professional development in support of inclusive education for kids. The study's central idea was defined as "professional training of future music and art teachers for inclusive education," which is seen as an educational process intended to ensure students' readiness to provide a system of educational services to people with special educational needs in their future professional activity. This involves mastering one's inclusively oriented musical and pedagogical knowledge, skills, and personal qualities. The results of the most recent research in the fields of art and music-pedagogical theory regarding the harmonizing and music-therapeutic influence of music on the personality of a child in need of educational inclusion were used to improve the professional training of future music art teachers for children's inclusive learning; criteria of musical works selection for children with psycho-physiological disabilities have been identified; there was developed and substantiated. The innovative content of children's instruction, which consists of a specially chosen vocal repertoire, lesson and extracurricular forms of training, and particular teaching methods for students with special educational needs are all part of the developmentally and correctively oriented singing training techniques.
Jorge Martín-Gutiérrez, Marta Sylvia del Río Guerra, Vicente López-Chao
et al.
Many people wishing to learn a musical instrument opt to learn using alternative or informal methods instead of the traditional Master–Apprentice model that requires a greater cognitive load. This paper presents an augmented reality (AR)-based application designed to teach and train guitar chords, with the novelty that it is also used to teach short melodies consisting of four chord transitions so that users have to change hand and finger positions. The app uses high-quality 3D models of an acoustic guitar and animated hand to indicate correct finger positions and the movements required when changing from one chord to another. To follow the animated instructions, the learner overlaps the 3D model onto the neck of the physical guitar and his or her own hand. A system usability scale (SUS) questionnaire was used to measure the usability of the application. A score of 82.0 was obtained, which is higher than the average of 68 points that indicates the application is good from a user experience perspective, thus satisfying the purpose for which it was created. Having analysed the data for both groups—individuals with no prior experience of playing a musical instrument versus individuals with prior experience—it was concluded that the application provided a useful learning approach for all participants involved in the study, regardless of experience. That said, those possessing prior experience of playing an instrument learnt faster. It should be noted that the research revealed significant difference in learning by gender, with male participants learning faster than female participants. Similar results have been detected in other research performed in the field of music, as well as in other fields. As this study required spatial reasoning when viewing the 3D model, the differences identified this case may well have arisen as a consequence of differences in men and women’s spatial awareness, thereby leaving open an alternative line of research.
Children with autism may have difficulties in communicating with others, developing social relationships and maintaining emotional reciprocity. Children’s active involvement with musical activities may create the conditions for enhanced moments of learning and communication and it may promote children’s sensory-motor abilities and their cognitive and emotional skills. The aim of this study was to investigate the views of early childhood educators on the use of music as a tool for enhancing students’ with autism social skills. Participants were 94 early childhood educators, working at Greek public schools. The results were positive regarding the participants’ views on the use of music as an important, instructional tool in the classroom that holds the potential to promote social and emotional growth of young children with autism. Implication of the study pinpoint to additional research on the topic and to professional development of early childhood educators on the use of music.
BACKGROUND Post-ICU rehabilitation is a challenging clinical issue for patients discharged from an Intensive Care Unit ("ICU survivors"). Our exercise to rhythmic music intervention was designed to allow ICU survivors to self-manage their exercise by following a personalized, recorded exercise playlist. AIM Our study reports the feasibility and acceptability of an innovative music intervention among ICU survivors enrolled in a randomized controlled pilot study. METHODS ICU survivors, admitted in ICU for at least 5 days and cognitively intact, were randomly assigned to an exercise to rhythmic music group (n = 10) or an active control group (n = 10). Participants in the music group were taught to self-manage exercise by listening to a recorded playlist of instructions and music-facilitated movements tailored to their musical preference and exercise ability. Participants in the control group were provided a brochure with exercise instructions. After 5 days or at hospital discharge, participants completed an 8-item acceptability questionnaire and were interviewed. Content analysis was conducted. RESULTS 18 Participants were included for final analysis. Participants were 61.8 ± 14.7 years old, predominantly male (66.7%), and Caucasian (55.6%). Results demonstrated feasibility, as the study team was able to meet the enrollment goal of 5-6 participants per month. Three themes related to general, physical, and psychosocial benefits were identified. Based on positive feedback, the exercise to rhythmic music intervention was deemed acceptable. CONCLUSION The exercise to rhythmic music intervention was feasible and acceptable, suggesting that clinical trials with larger sample sizes should investigate the effects of the intervention on outcomes among ICU survivors.
The purpose of this study was to ascertain whether seeing the lyrics while learning a difficult song aurally induces less cognitive load in learners compared to not seeing the lyrics, leading to better recall accuracy of the learned song. Cognitive load was assessed through a reaction time measure based on a dual-task paradigm. Recall accuracy of the learned song was measured regarding lyrics, pitches, and rhythm. Thirty-six non-music majors individually learned two songs through prerecorded aural instruction; for one song they saw the lyrics and for the other song they did not see the lyrics. The presentation order of instructional condition and song were counterbalanced. Results showed instructional condition affected cognitive load but not recall accuracy. A path analysis revealed a mediating effect of cognitive load regarding lyrics and rhythm, suggesting seeing the lyrics indirectly increases recall accuracy of lyrics and rhythm through its positive effect on cognitive load. Given limited instructional time, several strategies should be considered to prevent learners from experiencing cognitive overload while learning a difficult song aurally. Showing the lyrics of the difficult song could be one strategy for that purpose, at least for young adults with low levels of musical expertise.
The present study addresses the lack of an instructional design methodology that guides the integration of technology in music listening and composition activities, and enriches the framework of Technological Pedagogical Content Knowledge (TPCK)—an essentially cognitive model– with the affective domain. The authors herein provide many examples that illustrate the music design principles and the expanded Technology Mapping instructional design process that have been proposed in previously published work. The practical examples provide concrete ideas on how to transform the musical materials into more understandable forms and how to associate them with emotions using technology. Besides its practical contribution, the research has also a theoretical significance for the theory of TPCK as it examines the interrelations between music content, technology, cognition, and affect, and identifies discipline-specific aspects of TPCK that include the affective domain. The empirical evidence of 191 secondary school students presented within the context of a music composition task using the software MuseScore, supports that both the TPCK framework as well as the proposed music guidelines can effectively guide teachers in designing lessons with technology while incorporating effect. Through the 4E perspective, technology and the proposed approach are viewed as agents of a distributed system that can support the embodied minds to develop musical and emotional understanding.