Hasil untuk "Musical instruction and study"

Nguyen Van Duong

In competency-based primary education, musical performance competence plays a vital role in developing students’ expressive ability, confidence, and engagement. However, music instruction in many primary schools still provides limited opportunities for embodied rhythmic practice and performance. Body percussion, which uses the human body as a musical instrument, offers an experiential and accessible approach to addressing this limitation. This study examines the effectiveness of body percussion-based instruction in enhancing musical performance competence among Grade 5 students. The research was conducted through practice-based implementation in regular music lessons, integrating body percussion activities such as clapping, stamping, and coordinated body movements into singing, listening, and performance tasks. Data were collected through classroom observation and reflective feedback from students and teachers. The findings reveal noticeable improvements in students’ rhythmic accuracy, bodily coordination, expressive movement, performance confidence, engagement, and collaborative skills. Teachers also reported that body percussion is a feasible, inclusive, and low-resource instructional approach suitable for primary classrooms. Interpreted through experiential learning theory, the results highlight body percussion as an effective pedagogical strategy aligned with learner-centered music education in primary schools.

Yuqiao Wang

In light of the current marginalization and superficial treatment of aesthetic perception cultivation in primary school music education, this paper takes the teaching practice of Let's Row Our Oars at A Primary School in Beijing as an example to conduct an in-depth analysis of the common issues in current two-part singing instruction: single teaching methods dominated by mechanical imitation and repetitive training; unreasonable classroom time allocation that neglects auditory coordination and harmonic perception between parts, resulting in fragmented aesthetic experiences among students. In response to these problems, this paper proposes specific optimization strategies: guiding students to listen and cooperate through vocal warm-ups by parts, melody exchange between parts, and rounds, enabling them to perceive the beauty of harmonic fusion; emphasizing the use of conducting gestures to help students understand musical emotions and structures, thus elevating technical training into students' intrinsic aesthetic experience.

Luis José Roncagliolo Bonicelli

Uno de los capítulos más llamativos en la historia de la música orquestal peruana durante el siglo XX, corresponde al concurso de composición de una sinfonía para conmemorar el Sesquicentenario de las Batallas de Junín y Ayacucho, en 1974. Este certamen fue convocado por el Ejército del Perú en el marco del gobierno militar de turno, y formó parte de una serie de acciones llevadas a cabo en recuerdo de aquellas batallas decisivas para la independencia de los países sudamericanos. En el presente artículo se explora el contexto del concurso, las dificultades para reconstruirlo debido al carácter cerrado que tuvo durante casi todo su desarrollo, las diversas relaciones entre los compositores y ciertas variables que podrían haber incidido directamente en las obras resultantes, así como la noción de lo monumental, que favoreció las conmemoraciones de aquel entonces, y que se aprecia también en las composiciones premiadas, especialmente en la obra ganadora.

Y. Oh, Hyukjun Moon

Objectives This study aimed to investigate the impact of 'Picture Books Read Through Music' activities on children's theory of mind, empathy abilities, and musical attitudes.. Methods This purpose, 6-year-old children attending H Kindergarten in M District, Incheon (experimental group: 17, comparison group: 18) were selected as research subjects. The experimental group participated in 'Picture Books Read Through Music' activities, while the comparison group engaged in picture book reading activities based on the Nuri curriculum's life themes for a total of 12 sessions over 12 weeks. Pre- and post-tests were conducted using tools to measure theory of mind, empathy abilities, and musical attitudes, and the collected data were analyzed using independent sample T-tests with SPSS 21.0 software. Results First, the 'Picture Books Read Through Music' activities showed a significant difference in improving the ability to understand changes in perspective, a sub-factor of theory of mind, with the experimental group scoring significantly higher than the comparison group. Second, in terms of empathy abilities, the experimental group showed higher averages than the comparison group, indicating a positive impact on enhancing empathy abilities. Third, in the area of musical attitudes, Conclusions The 'Picture Books Read Through Music' activities not only had a positive impact on the development of children's theory of mind and empathy abilities but also on their musical attitudes, suggesting its significance as an effective teaching-learning method.

Ming Gao, Krisada Daoruang, Arethit Posrithong

This psychocultural study explores the relationship between musical transmission and collective memory within the Tujia ethnic minority in China, focusing on the role of traditional folk songs as mnemonic vessels for cultural identity. Using a mixed-methods design across three generational cohorts, the study applies four novel analytical techniques—Multi-Generational Transmission Analysis (MGTA), Digital Cognitive Mapping, Biometric Coding, and Network Analysis—to examine how emotional engagement, symbolic coherence, and social learning contexts shape memory retention. The findings indicate a marked generational decline in cultural knowledge, especially in contextual understanding and symbolic literacy. Emotional synchrony during ritual-based transmission emerged as a strong predictor of memory retention, while institutional instruction showed limited efficacy. Furthermore, most lyrical and symbolic changes reflected cultural erosion rather than creative innovation. The study concludes that sustainable heritage preservation depends not only on documentation but on revitalizing embodied, affective, and community-rooted learning environments that support psychocultural continuity.

C. Guan

This paper explores the application of a poly-artistic approach to facilitate students’ learning and mastery of He Luting’s piano work, “The Cowherd’s Flute.” The teaching process guides students to discover the interconnections and mutual influences among sibling art forms, helping them understand the distinctive characteristics of this poly-artistic approach. This approach enables students to unleash their independent artistic creativity, fostering a deeper understanding of the piano piece and ultimately leading to a more profound interpretation of the musical work.

Anna Immerz, M. Nusseck, Jesper Hohagen et al.

Instruction In both subjects, music and sport, the engagement with the subject content – learning an instrument or training in a sports club – usually begins in early childhood. This makes these subjects special and similar. It is therefore of interest to examine the motivation for choosing music and sport as subjects for university study. Methods In the present investigation, 151 students at the beginning of their university studies were examined. Among these were 110 music university students in the Bachelor of Music (B.Mus.) and music teacher education program, and 41 sport university students in the Bachelor of Science (B.Sc.) and sport teacher education program. The study contained a custom-made questionnaire on sociodemographic data, questions on study choice alternatives and biographical musical or sporting background, as well as two standardized questionnaires on motivation for enrollment (STUWA) and on aspects that are important for the profession. Results Music and sport students were at a rather high and similar level of intrinsic motivation to study their subjects. However, materialistic goals motivated the teacher education students more than the bachelor’s students with an artistic program. The difference between the study programs was also found in the context of extrinsic-social motivation, where the teacher training students answered with higher scores. With regard to socially-induced motivation, it was shown that music students and sport teacher education students were more socially induced to study the respective subject compared to the general student population. With regard to uncertainty when choosing a course, it was found that Bachelor of Music students were more certain that they wanted to study exactly their particular subject. The ages at which music and sport were started in childhood were similar, but the first-year music students were younger than the sport students were. Compared to sports students, music students decided their area of study earlier, and bachelor’s students in music in particular had fewer alternative study options than sports students. Discussion The results provide a differentiated picture of student motivation to study and thus allow a deeper insight into the subject cultures of music and sport. They also open up opportunities for follow-up studies in comparison with other study subjects and programs.

Robert H. Woody, Mary Beth Hilbers, Jessica Schreiner et al.

ABSTRACT In this study, we investigated how musicians use descriptive imagery to perform expressively. The study’s procedure was carried out by university musicians alone in a naturalistic practice environment. They recorded their performance of two melodies both before and after receiving imagery-based instruction designed to make performance of the melodies very expressive. Participants read and considered a teacher’s expressive instructions for each melody, practiced in light of it, and recorded a final expressive performance, transcribing their thoughts while practicing. Results showed that ratings of expressiveness increased significantly from pretest to posttest, indicating that the imagery-based instruction was effective at improving participants’ expressive performance quality. Also, some musicians used a cognitive translation process, by which they explicitly generated plans for the musical sound properties in their performance, but others exclusively reflected on and personalised the provided imagery in their thoughts. Further analysis revealed that scoring high in the use of the cognitive translation process corresponded with greater improvement in expressive performance. We were also able to identify ‘cases of mistaken expressivity’, i.e. instances when participants believed their performance had effectively improved, but a change in expressive sound properties was not perceived by the listeners who made up our panel of judges.

Hadi Susanto, Andre Indrawan

Dambus merupakan alat musik tradisional khas Bangka Belitung yang menunjukkan perkembangan signifikan baik dari segi kualitas maupun kuantitas. Secara kualitas, banyak perajin Dambus tersebar di seluruh Provinsi Kepulauan Bangka Belitung yang memproduksi instrumen ini hingga dipasarkan ke luar negeri. Sementara itu, secara kuantitas, jumlah pembuat, pemain, komunitas, dan penikmat musik Dambus juga terus meningkat. Namun, perkembangan ini belum diimbangi dengan sistem pelestarian yang memadai. Selama ini, pembelajaran Dambus dilakukan secara lisan, seperti halnya tradisi musik tradisional pada umumnya, sehingga berpotensi punah seiring waktu. Penelitian ini bertujuan merancang sistem pembelajaran Dambus berbasis notasi tertulis sebagai upaya pelestarian dan dokumentasi. Model yang dikembangkan mengadaptasi metode pembelajaran gitar, namun disesuaikan dengan karakteristik khas instrumen Dambus. Rancangan pembelajaran disusun secara bertahap, dimulai dari teknik dasar, notasi, hingga latihan-latihan fundamental. Diharapkan, sistem pembelajaran berbasis notasi ini dapat memperkuat eksistensi musik Dambus dan mendorong lahirnya karya-karya baru yang terdokumentasi dengan baik. Developing a Dambus Learning Model Based on Guitar Notation for the Preservation of Bangka Traditional Music Abstract Dambus is a traditional musical instrument native to the Bangka Belitung Islands that has shown significant development in both quality and quantity. In terms of quality, numerous Dambus craftsmen are spread across the Bangka Belitung Province, producing instruments that are even marketed internationally. Quantitatively, the number of makers, performers, communities, and enthusiasts of Dambus music continues to grow. However, this progress has not been matched by an adequate preservation system. Until now, Dambus learning has been conducted orally, as is common in traditional music practices, making it vulnerable to extinction over time. This study aims to design a written notation–based learning system for Dambus as a means of preservation and documentation. The model developed adapts guitar teaching methods but is modified to suit the distinctive characteristics of the Dambus instrument. The instructional framework is structured gradually, beginning with basic techniques, notation, and fundamental exercises. It is expected that this notation-based learning system will help strengthen the existence of Dambus music and encourage the creation of new, well-documented musical works. Keywords:  Traditional music of Bangka; instrumental music pedagogy; music notation system; Dambus

Samuel A., John F. A., Michael A. K.

This historical research seeks to investigate the development of the atenteben, and its inclusion in the Ghanaian school curriculum. The atenteben, is a flute which is locally produced in Ghana from the stem of a species of the bamboo plant. The bamboo is a hollow, jointed, giant, woody grass that breeds predominantly in the tropical zones. While the bamboo is usually used for furniture, housing, and other household implements, the material has been crafted into a musical instrument, atenteben, to create pitched sounds for ceremonial and entertainment activities. This study sought to trace the historical route of atenteben, and illuminate how it became integrated into the Ghanaian school curriculum. Primary and secondary sources were employed for saturated data collection. Results indicated that the atenteben was first produced and introduced into the Ghanaian school curriculum by Dr. Ephraim Amu, albeit other scholars have contributed toward the development of the instrument as well as its teaching and learning. It was recommended that while seeking standardization and industrialized manufacture of the instrument through stakeholder collaborations, colleges of education should formalize teaching and learning of the atenteben in their curriculum. Further research will explore the atenteben in other keys, and examine writings and compositions of Dr. Ephraim Amu on the instrument.

R. Lee, Hyunkyung Moon, Y. Park

Objectives The purpose of this study were to design Korean traditional music creation classes through LMMS by applying the musical elements of Daechwita for middle school students to improve creativity and encourage digital literacy. Methods For this purposes, previous studies were analyzed to identify the issues and improvements in Korean traditional music creation education. Additionally, middle school music textbooks were reviewed to establish the educational goals and direction of the music creation classes. The class was designed as exploration-creation-internalization, and learning goals and learning activities were presented based on the achievement standards of the 2022 revised music and curriculum. Results First, an alternative creative activity was designed utilizing LMMS that fused elements of Korean and Western music. Second, teaching strategies were developed to support students' digital literacy and creative thinking. Third, a step-by-step teaching strategy was developed to increase students' interest in creating Korean music and encourage their active participation. Conclusions Through this study, we designed a middle school LMMS creative class that utilizes the musical elements of Daechwita. This can be a new alternative to Korean music creative education and contribute to the development of students' convergent thinking, creativity, and digital literacy. It is recommended that future studies should continue to investigate creative activities utilizing various digital media and verify them in actual school classes.

Objectives This study introduces, analyzes, and shares a case of a musical class—a holistic performance that includes multimodes such as language, music, dance, acting, and script—for the sixth-grade class of a primary school. Methods Students who encountered the musical “Wicked” through Literature-based Instruction(LBI) immersed themselves in the literary situation using educational theater techniques such as Drama in Education and Readers' Theater (Lee, 2016), and they produced their own language to write plays. Six-stage (19th session) case classes were conducted to practice singing, choreography, acting, producing props, rehearsals, and performances, incorporating creativity techniques into the English plays they wrote. Results Students became familiar with plays and musicals, contributing creative ideas solely for the performances, and experiencing true collaboration. Linguistically, the repetition of English lines and lyrics in the performance practice provided meaningful repetition, and attempts to use authentic English expressions increased. Learners who experienced success through the final performance, as revealed through surveys and interviews, found that literature-based musicals served as a means of language learning, enhancing confidence and interest, facilitating the application of creative ideas, and providing an experience of cooperation. Conclusions Given the insufficient number of English musical classes for elementary school students, this study aimed to provide examples and guidelines for musical classes and share implementation plans for educational plays and musicals as a whole learning method. Thus, these methods can enhance student’s competency of communication, community and aesthetic sensitivity.

Eyiuche Rita Modeme

Technology is a rapidly growing trend in the field of education today. Technologies have made rapid advances, and their applications to the music classroom have not been fully utilized. Researchers observed that the study of music in many parts of the world has gone far through electronic and computer technology but in Nigerian tertiary institutions, music teachers seem to use technology more for administrative tasks as opposed to music curriculum uses. This study, therefore, examines musical arts education and technologies. It discusses how technology could be used to enhance instruction and learning in the music classroom. The focus is on computer and internet usage for effective teaching and learning of music. The paper further considers technology and music education, types of technology devices, the benefits of technology in music education. The obstacles to the use of technologies in closing the gaps were fully identified. The study concludes that computerizing and networking music education in Nigeria tertiary institutions are imperative. It, therefore, recommends the mainstreaming of technology utilization (particularly the computer and internet) in music education system at all levels for the benefit of curriculum implementation and enhanced student learning.

Seta Kürkçüoğlu, Nesibe Özgül Turgay, M. Akif Kılıç et al.

In this study, a preliminary comparative study was conducted for the first time using the DoctorVox device by instructor–performer participants using two different formant patterns in Turkish and Western music. The participants used the DoctorVox device before recordings to practice the selected tonal exercises ascending and descending; they recorded glissando exercises and [a], [e], [i], [o] vocals in a constant studio setting at Week 0 at the start of the study and Week 8 at the end of the study. The data obtained from the measurements were evaluated in the Customized Praat Program in line with the determined parameters, and thus, the results were revealed. In this study, the measured values of fundamental frequency, jitter, shimmer, harmonic noise ratio, pitch values, maximum phonation time, and voice range improved in all objective measurements. The subjective measurement outcomes indicated that participants’ vocal and breathing health was good, their conditions improved, voices warmed rapidly, felt comfortable in high notes, physical and mental bonding grew gradually, and their confidence increased. In addition, participants’ motivation and professional goals improved, such as delivering performances and adding new pieces to their repertoire. Because of the athletic achievements obtained using the selected tonal vocal exercises as a vocal training method in the study, it is believed that it will help to eliminate existing negative thoughts about the use of (Western) vocal exercises that are methodologically supported by scientific data and will contribute to the present literature for vocal studies.

Zakiya Azizah Cahyaningtyas, Diana Purwitasari, Chastine Fatichah

Drum transcription is the task of transcribing audio or music into drum notation. Drum notation is helpful to help drummers as instruction in playing drums and could also be useful for students to learn about drum music theories. Unfortunately, transcribing music is not an easy task. A good transcription can usually be obtained only by an experienced musician. On the other side, musical notation is beneficial not only for professionals but also for amateurs. This study develops an Automatic Drum Transcription (ADT) application using the segment and classify method with Deep Learning as the classification method. The segment and classify method is divided into two steps. First, the segmentation step achieved a score of 76.14% in macro F1 after doing a grid search to tune the parameters. Second, the spectrogram feature is extracted on the detected onsets as the input for the classification models. The models are evaluated using the multi-objective optimization (MOO) of macro F1 score and time consumption for prediction. The result shows that the LSTM model outperformed the other models with MOO scores of 77.42%, 86.97%, and 82.87% on MDB Drums, IDMT-SMT Drums, and combined datasets, respectively. The model is then used in the ADT application. The application is built using the FastAPI framework, which delivers the transcription result as a drum tab.

Francisca Carrasco Lavado, Jazmín Sarita Pérez Serey

El objetivo de esta investigación fue desarrollar una experiencia virtual en práctica inicial de estudiantes de Pedagogía en Educación Musical (PEM) asociado a Programa de Iniciación Musical Virtual (PIMV) en tiempos de COVID. Se presenta una investigación de metodología cuantitativa, de diseño Cuasi experimental, en nivel descriptivo con aplicación longitudinal. Durante 2 años de pandemia por Covid-19, la asignatura de Práctica Inicial II de Pedagogía en Música (PEM) se debió desarrollar en formato virtual a través de un Programa de Iniciación Musical Virtual (PIMV). Se aplicaron 2 encuestas a los participantes: Una encuesta se aplicó a estudiantes de música de la Práctica Inicial II que participaron como tutores en el PIMV, mientras que la otra encuesta se aplicó a los padres de los niños que participaron en el programa de iniciación. Los resultados muestran que la aplicación del PIMV tuvo buena aceptación por parte de los estudiantes en práctica, el 72% de ellos la considera de forma positiva y el 36% lo ve como una actividad práctica suficiente. En cuanto a los apoderados, hay una buena evaluación de este programa en ambos años, con un 95,5 % de bueno y muy bueno en el año 1 y un 100% de bueno y muy bueno en el año 2. En general, la experiencia de práctica virtual es valorada como positiva y motivó a los estudiantes universitarios a destacar en su curriculum la realización de la Práctica Inicial II mediante el Programa de Iniciación Musical en formato virtual.

Amrinder Singh Romana

The research introduces ‘Sound Drawing’ as an engaging instructional activity to develop a visual dhol notation system. In contrast to the conventional reliance on spoken language for dhol instruction, this research involves developing a visual notation system that effectively bridges the auditory intricacies of the dhol drum with corresponding visual representations. Through a methodical examination of sound drawings collaboratively generated by participants, this study critically assesses the effectiveness of sound drawing as an active and inclusive pedagogical instrument within the domain of dhol learning. The outcomes demonstrate how participants’ visual interpretations of dhol sounds led to creating a notation system. This system reflects a diverse range of auditory perceptions and offers a new avenue for cultural engagement and learning in music education. By introducing sound drawing as an immersive instructional activity, this research aspires to advance dhol pedagogy, rendering it more accessible to diverse cultures and communities, thus transcending linguistic barriers. This study pioneers the incorporation of sound drawing as an innovative pedagogical activity for the collective development of a visual dhol notation system, thereby instigating a transformation in pedagogical paradigms and fostering cross-cultural engagement within the rich musical tradition of the dhol.

Jin-Ah Jeong

Objectives This study aims to conduct a qualitative case study exploring the experiences of students with disabilities in musical performances utilizing rap. Methods At the ○○ Special School in Chungnam, a total of 38 participants engaged in the musical performance, which included four teachers covering roles such as accompanists, drummers, and vocals, alongside students from middle school to specialized courses. Rehearsals took place twice a week for two hours from April 16th to 27th, 2018. The primary participants in the study were six students with developmental disabilities, and secondary participants included seven individuals: administrators, educators, school superintendents, and local community members. Using a qualitative case study approach, the research delves into the students’ experiences with a learner-centered program that featured a rap school song and a fusion choral performance. Data collection mainly consisted of in-depth interviews conducted over eight sessions during the music performance preparation phase, supplemented with participant observations. To ensure the credibility and validity of the qualitative research, techniques such as peer reviews, expert meetings, and the triangulation method were employed. Results The findings are as follows. First, the introduction of rap through a rap school song and fusion choral signaled a turning point in education. Initially, administrators and faculty exhibited skepticism, deeming it unfeasible. However, students displayed a mix of unfamiliarity, curiosity, and preconceived notions about traditional music education, hinting at an impending challenge. Second, the dual concerto of empathy and tailored instruction served as a motivating factor to unleash the potential of students with disabilities. Significant changes were observed in trust and class participation levels when the teacher-student relationship harmonized (師弟同行). This musical reinforcement brought about improvements in autonomy, classroom attitude, expressiveness, prejudice reduction, enhanced interaction, and improved articulation skills, thereby demonstrating the possible within the impossible. Tailored, learner-centered education showcased its potential to transform negative aspects into positive elements for students, educators, and stakeholders alike. Third, through the bond of musical understanding, everyone came together in harmony, leaving a lasting warmth and fragrance. This became an opportunity to shift perceptions on disabilities from bias to equality. The music performance surpassed the expectations of all participants, marking a time of new challenges and achievements, leaving an indelible impact on the educational landscape. Conclusions The utilization of rap in the musical experiences of students with disabilities revealed the potential to bring about positive effects, showcasing the harmony of empathy and tailored instruction. Therefore, this study can provide a foundation and play a pivotal role in implementing learner-centered music education.

Dong Lu

Abstract The purpose of the present research is to study the issues of inheritance and promotion of Chinese traditional music culture in college piano education. The research methodology builds on an empirical approach through a survey using a questionnaire for data collection. The present study involved 174 students from six Chinese colleges. Accordingly, students were divided into two groups based on the training approach. The experimental group included 87 students who received education under the previously elaborated program aimed at promoting Chinese traditional music culture; and the control group consisted of 87 students who received piano training under the conventional program. The results showed that for only 8% of the respondents the use of traditional Chinese music is the basis of learning, for 61% this type of music is practically not used. 88% of teachers concluded that there is a need to use Chinese traditional music in education because it displays elements that convey the symbolism of the Chinese people. The teaching criteria were to inform students about the need to apply Chinese national music while playing the piano; to introduce folk compositions for practicing technical elements into instruction; to update the repertoire and build students’ interest. Training based on the aforementioned criteria demonstrated that traditional music has become more popular. In particular, many students in the experimental group began to use this type of music while creating videos and shows (29%), participating in competitions and concerts (25%), and arranging musical compositions (21%). In the control group, students used folk music only while listening to musical compositions in their free time (57%) and teaching private piano lessons (11%). The present study has scientific and practical value as it demonstrates the effectiveness of promoting national music in educational institutions.

Makomaska Sylwia

Cooperation between the Institute of Musicology of the University of Warsaw and ‘Jestem’ Foundation began in 2013. The Foundation aims to support adults (especially elderly people) with chronic or terminal illnesses. The so-called ‘hour on beauty’, the Foundation's innovation introduced as part of the schedule of activities for patients, takes the form of weekly meetings with interesting persons (journalists, actors, travellers, etc.), and in the last several years – also with students of musicology. Cooperation involves regular facultative classes at which teams of musicology students prepare educational-therapeutic projects subsequently implemented at the Foundation's seat as part of the ‘hour on beauty’. The paper presents the model of cooperation worked out over the years and examples of original projects implemented by musicology students. The diversity of topics has been discussed here along with effective methods of patient activation (such as task-oriented listening, joint singing, and improvisation using everyday objects). The Foundation's work fills a gap in the Polish health care system resulting from the National Health Fund (NFZ) only financing stationary and home-based hospices but not designating any resources for day-care hospices targeting those oncological patients who need not be permanently hospitalised. The Foundation strives to prevent their exclusion and to improve the quality of their lives as well as their well-being. The benefits of the cooperation are invaluable. There is no doubt that this project (innovative on the Polish scale) reveals a new and potentially surprising function of musicology in the contemporary world.