Hasil untuk "Musical instruction and study"

Benjamin Lassauzet

Debussy’s ballet for children La Boîte à joujoux (1913) contains a fake “Old Hindu chant”. But the comic fakery seems to provide the key to understanding the deep meaning of the ballet, in which Debussy strives to rejuvenate and revitalize Western music by referring to the so-called spontaneity of both childhood and foreign traditions, for the sake of recovered authenticity.

Hyunsu Lee, Kyeong-won Roh

Objectives The purposes of this study is a music class for middle school students using magenta, and artificial in-telligence(AI) creation program. Methods To this end, the structure, operating principles, and usage method of the Magenta were introduced. Next, a model for teaching Magenta online and offline was presented by applying blended learning teaching- learning. Results Using artificial intelligence in creative music classes can raise the level of musical output. Teachers and students can discover musicality by interacting online and offline. Conclusions This study can overcome limitations that my arise in the implementation of music creation classes. Also, using artificial intelligence can be effective difficult to use real instruments in the situation.

Meeyeon Lee, Gowoon Lee

Objectives The purpose of this study is to analyze the frequency of brass audition pieces for the admission of the music colleges over the past five years, from 2020 to 2024, and to explore the educational implications for students. Methods To this end, we analyze the frequency of brass audition pieces at universities such as Kyung Hee University, Seoul National University, Yonsei University, Ewha Womans University, Korea National University of Arts, and Hanyang University, which are universities that designate audition pieces. Results First, the repertoire for brass instrument audition is very limited. Second, the audition pieces do not include enough etudes that can identify the student's basic performance qualities. Third, there are almost no examples of sight-reading exercises for evaluating transposition ability. Fourth, the prevalence of free-choice piece selection in university admissions restricts the enhancement of students' musical abilities for preparation. Conclusions The presentation of audition pieces for selection of college brass instrument majors must include various elements. This is because a limited repertoire of audition pieces may limit students' opportunities for diverse musical experiences, and may lead to a tendency to practice only the pieces absolutely necessary to be accepted to a target university with good grades. Therefore, a wide range of works from various genres, eras, and composers should be included in the test, and certain criteria for admission should be established, such as an etude test and a limited selection of free-choice pieces to maintain certain audition standards.

L. D. de Bruin

Feedback is a powerful influence on learning and achievement in the instrumental music lesson, though this impact may render positive as well as negative implications to learning. The impact of feedback is thus foundational to the ways music teachers impart knowledge, skill, planning, reflection, and student motivation. This article provides an analysis of feedback- feed up-feed forward concepts through a musical instruction lens, and reviews evidence related to the impact of feedback given on student learning and achievement. A qualitative investigation of Australian instrumental music teachers working in secondary schools, this study analyses cohorts of novice, developing and expert level teachers, progressing through initial theory-practice constructs, towards development and expertise of personalised and experientially dynamic feedback episodes. Expert level teachers reflect on a wider palette of approaches, with wisdom, passion, and the capacity for accommodating diverse learners and differentiated strategies. Discursive analysis of constructivist and student-centred approaches that infuse with explicit instruction are used to offer implications to how feedback can be used to enhance enduring learning and teaching in instrumental music studios and classrooms. It provides insights into teacher growth, knowledge, and development of instrumental music teachers in the profession across the lifespan.

Wieczorek Ryszard J.

The paper focuses on a comprehensive dance collection compiled by two Wrocław/Breslau town musicians (Stadtpfeifer), the brothers Bartholomäus and Paul Hess. The anthology, partly preserved at Wrocław University Library, was published in 1555 at the Wrocław printing house of Crispin Scharffenberg and documents the transition of dance repertoire from the courtly realm to the private and public spheres, which was typical of the mid-sixteenth century. The Wrocław collection, scored for wind ensemble, contains 477 four- and five-part dances of German, Polish, French, and Italian provenance. The paper offers some new views on the repertoire from the collection. Particular attention has been given to the so-called Polish dances.

Flamm Christoph

Igor Stravinsky’s late style is usually considered in terms of the works’ structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky’s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer’s own statements.

Tolgahan Bay

Zengin bir kültürel mirasa sahip olan Türk müziği, tarihsel süreçlerin etkisiyle şekillenmiş bir müzik geleneğidir. Bu geleneğin önemli bir unsuru olan makamlar da tarihsel süreç içerisinde değişim ve dönüşüme uğramışlardır. Kürdî makamı da Arel-Ezgi-Uzdilek sistemine göre Türk Müziği’ndeki basit(temel) makamlardan biridir. Basit bir makam olmasının yanı sıra farklı perdelere göçürülmesiyle meydana gelen şedlerinin olduğu bilinmektedir. Bunun yanında makamın tüm unsurları gösterildikten sonra sonuna kürdî dizisi veya kürdî beşlisi eklenmesiyle meydana gelen, adında kürdî kelimesi geçen makamlar bulunmaktadır. Tüm bunlar göz önünde bulundurulduğunda Kürdî makamının Türk Müziği içerisinde büyük bir öneme sahip olduğu açık bir şekilde anlaşılmaktadır. Bu araştırmanın amacı, Türk müziğinde Kürdî makamı ile ilgili daha önce yapılmış çalışmaları inceleyip, makam ile ilgili tespit edilebilen bilgilerin tek bir çatı altında bulunmasını sağlamaktır. Bununla birlikte çalışmada yapılan detaylı açıklamalarla Kürdî makamın, Türk müziği makam yapısı içerisindeki yerinin daha iyi anlaşılması hedeflenmektedir. Ayrıca kürdî makamının da Türk Müziği’ndeki birçok makam gibi zaman içerisinde değişime uğradığı eserlerin karşılaştırılmalı analizi ile gösterilmeye çalışılmıştır. Araştırmada nitel bir veri analizi yöntemi olan doküman analizi yöntemi kullanılmıştır. Literatür taraması yapılarak konu ile ilgili bilgi içeren birincil ve ikincil kaynaklar incelenmiştir ve betimlenmiştir.

Corrado Roselli

Andrea Yolanda Tarmeño Juscamaita

Los elementos interpretativos presentados en el tratado L’art de Préluder proveen de recursos para la ejecución de la música barroca francesa, resultando de gran utilidad en la interpretación de la Suite op. 5 n.° 3. Sin embargo, cada elemento necesita un estudio profundo de cómo llevar a cabo su ejecución, ya que la música francesa, por más que esté escrita, tiene reglas que es necesario entender y saber utilizar.

Jon Helge Sætre, Katie Zhukov

ABSTRACT This article reports on a pilot project exploring the viability of a teaching-through-playing approach in chamber music instruction in higher music education. Literature suggests that teaching traditions such as the one-to-one setting need renewal, and socio-cultural theories of learning propose that collaboration and participation are a way forward. To explore this new approach, a multiple case study of four chamber music groups with teachers as playing participants was set up in two institutions in Australia and Norway. Participants were interviewed to examine their attitudes, use of teaching and learning strategies, and perceived challenges and benefits of the approach. The findings suggest that working with professionals in a community of practice in a real-life setting intensifies and broadens learning of musical, social and general skills relevant for chamber music performance. However, the study revealed challenges regarding power relations that need to be resolved. In conclusion, the approach seems to be a promising supplement to existing teaching traditions. The master-apprentice model is through this approach re-imagined as a master-apprentice relationship of guided participation. The guidance comes from social partners’ feedback and from the hands-on involvement in and observation of the action culture of chamber music performance demonstrated as a professional practice.

Hartmut Stoeckl, Monika Messner

Abstract Using multimodal (inter)action/conversation analysis, the present contribution inventories the repertoire of higher-level actions that constitute musical instruction in orchestra rehearsals. The study describes the modal complexity of the instructional actions as built from a varied combination of speech, gesture, gaze, vocalizing and body posture/movement. A high modal intensity of speech and vocalizing is explained with recourse to their contextually useful modal reaches. While some modes, like vocalizing and body posture appear to be action-specific, others turn out to be pervasive default modes. Besides modal intensity, the study also attends to the transitioning between higher-level actions through gaze and the role of the score as frozen action. The analyses help demystify orchestra rehearsals as a special type of professional communicative interaction, which builds on a rich multimodal texture motivated by recurring instructional functions. The methodological rationale demonstrated will be suited to exploring the social variation of instructional interaction in orchestra rehearsals.

D. Skubic, Blažka Gaberc, J. Jerman

It is important that before entering primary school, the child’s phonological awareness is supported by a variety of different activities whereby phonological awareness is based on a well-developed hearing ability. Hearing is part of the musical activities that support/encourage phonological awareness with the development of rhythmic and melodic music listening. In this article, we aimed to investigate the effects of musical activities derived from the methodological system of Edward Willems on phonological awareness through a quasi-experimental study with 70 children aged 4 to 7 years. Thirty-five of them received 1 hr of music instruction per week for 6 months (experimental group) and the other 35 children received no such musical support (control group). We tested each child’s phonological awareness at the beginning of the music program and after 6 months. The results of the analysis of covariance showed that there was a statistically significant difference in phonological awareness between the experimental and control groups in favor of the experimental group. The results of the research confirmed that musical activities based on the methodological system Edgar Willems are a good and effective means of promoting phonological awareness, especially in early childhood.

Vivek Gupta

This article focuses on the Miftāḥ al-Fużalāʾ (Key of the Learned) of Muhammad ibn Muhammad Daʾud Shadiyabadi (ca. 1490). The Miftāḥ is an illustrated dictionary made in the central Indian sultanate of Malwa, based in Mandu. Although the Miftāḥ’s only illustrated copy (British Library Or 3299) contains quadruple the number of illustrations as Mandu’s famed Niʿmatnāmah (Book of Delights) and is a unicum within the arts of the Islamicate and South Asian book, it has received minimal scholarly attention. The definitions in this manuscript encompass nearly every facet of Indo-Islamicate art history. The Miftāḥ provides a vocabulary for subjects including textiles, metalwork, jewelry, arms and armor, architecture, and musical instruments. The information transmitted by the Miftāḥ is not limited to the Persian, Hindavi, Turki, and Arabic language of the text, but also includes the visual knowledge depicted in paintings. Through an analysis of this manuscript as a whole, this study proposes that the Miftāḥ’s manuscript was an object of instruction for younger members of society and utilizes wonder as a didactic tool.

Mariia Mykhalonok

Este artículo trata del framing lingüístico de Medellín como ciudad del reggaetón en el discurso mediático en línea, partiendo de la teoría de semántica de esquemas (frame semantics theory) de Fillmore (1977). Los esquemas más destacados que se aplican a Medellín son los de centralidad, casa y música, mientras su importancia global como centro musical se enfatiza con términos pertenecientes al esquema mundo. El uso de los esquemas de crimen y drogas sugiere que el pasado de Medellín relacionado con las drogas se integra en su nuevo perfil cultural. Otro componente de la imagen nueva de Medellín son los habitantes de la ciudad: los medios los presentan como seguidores importantes de los/las reggaetonero/as locales y los describen con un vocabulario claramente positivo que pertenece a los esquemas de amor, apoyo y casa. Aunque algunos de los textos analizados evocan estereotipos negativos sobre el reggaetón, la mayoría de los medios presentan la escuela reggaetonera de Medellín a través de los esquemas de éxito, poder y negocio.

Gry Sagmo Aglen

The practicum conversation in School of Music and Performing Arts teacher educating programs An arena for development of students’ professional understandings This article addresses the practicum training in Norwegian teacher educating programs, and focuses on the practicum conversation, where three participants of the teacher educating program meet: the student, the teacher educator and the practicum supervisor. By observing students’ practicum-related teaching in School of Music and Performing Arts (SMPA) as well as practicum conversations related to this teaching, the aim of this study is to investigate how the practicum conversation functions as an arena where students acquire professional understanding, as well as exploring the understandings of the SMPA teacher profession that appear in these conversations between the three participants. The results are discussed in light of theory of professions and socio-cultural learning theory. The article argues for the importance of students’ active participation in the community of practice, and highlights some challenges associated with the practicum conversation and the relationship between educational institutions and the practice field.

Brian N. Weidner

Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result of specific instructional practices that utilized cognitive modeling, scaffolded instruction, and authentic, regular, student-led music-making in curricular ensembles to promote student agency and decision making. These instructional practices relied upon preconditions for independence, including musical, social, and 21st-century skills foundations frequently found in large-ensemble classrooms. This study provides a model that can be situated within current large-ensemble practices to support the development of musical independence.

M. S. Del Rio-Guerra, Jorge Martín-Gutiérrez, Vicente López-Chao et al.

Despite being one of the most commonly self-taught instruments, and despite the ready availability of significant amounts of didactic material, the guitar is a challenging instrument to learn. This paper proposes an application based on augmented reality (AR) that is designed to teach beginner students basic musical chords on the guitar, and provides details of the experimental study performed to determine whether the AR methodology produced faster results than traditional one-on-one training with a music teacher. Participants were divided into two groups of the same size. Group 1 consisted of 32 participants who used the AR app to teach themselves guitar, while Group 2, with a further 32 participants, received formal instruction from a music teacher. Results found no differences in learning times between the two groups based on the variables of method and gender. However, participant feedback suggested that there are advantages to the self-taught approach using AR that are worth considering. A system usability scale (SUS) questionnaire was used to measure the usability of the application, obtaining a score of 82.5, which was higher than the average of 68 that indicates an application to be good from a user experience point of view, and satisfied the purpose for which the application was created.

Kelli E Hill, Kristin R Griffith, C. Miguel

The purpose of the current study was to evaluate the effects of equivalence-based instruction (EBI) on learning to play individual notes and simple songs on the piano. Participants were 4 typically developing children and 4 children with a diagnosis of autism spectrum disorder (ASD). They were exposed to a series of auditory-visual matching-to-sample procedures using musical stimuli. Following training, participants were tested on the emergence of novel untrained relations and generalization in the form of playing two songs on a keyboard. Results suggest that the EBI was effective in teaching piano playing skills with both typically developing children and children with ASD. The success of this procedure is indicative of the wide-ranging applications of EBI to novel and creative domains.

Kristin R Griffith, A. L. Ramos, Kelli E Hill et al.

Zefanya Lintang Nugrahaningsih, Zefanya Lintang Nugrahaningsih

Penelitian ini bertujuan untuk meningkatkan komunikasi verbal pada anak autistik dengan menggunakan lirik pada lagu anak-anak, karena diharapkan dapat meningkatnya kemampuan bekomunikasi secara verbal bagi anak autistik. Penelitian ini merupakan penelitian kualitatif dengan pendekatan studi kasus dan didukung dengan studi pustaka guna memberikan informasi-informasi secara lengkap tentang penelitian ini. Ada 4 tahapan yaitu: Tahapan pra-lapangan, Tahap Pekerjaan lapangan, dan Tahapan Hasil Pengumpulan Data. Subjek penelitian adalah siswa autistik di sekolah Bina Anggita Yogyakarta berjumlah 5 siswa. Pengumpulan data yang digunakan dalam penelitian ini adalah menggunakan pedoman observasi dan sebelumnya peneliti melakukan studi pustaka terlebih dahulu. Analisis data dalam penelitian ini menggunakan deskriptif kualitatif. Hasil penelitian ini menunjukkan bahwa peran lirik dalam lagu Balonku dan Pelangi-Pelangi dapat meningkatkan bahasa verbal anak autistik. Anak autistik terstimulus untuk menyanyi bersama saat dilibatkan untuk benyanyi bersama-sama.   This study aims to improve verbal communication in autistic children by using lyrics on children's songs. Due to the expected increase in verbal skills for autistic children. This research is a qualitative research with case study approach and supported by literature study to provide complete information about this research. There are 4 stages: Preliminary Stage, Field Work Stage, and Data Collection Stages. Research subjects were autistic students in Bina Anggita Yogyakarta school amounted to 5 students. Data collection used in this research is using observation guideline and previous researcher do literature study first. Data analysis in this study using descriptive qualitative. The results of this study indicate that the role of lyrics in the song Balonku and Pelangi-Pelangi can improve the verbal language of autistic children. Autistic children are stimulated to sing together when involved to sing together. Keyword: Lyrics, Verbal, Autistic