Music Education - Science topic

The first section ("Early observations") in the Wikipedia article "Accelerating change" (https://en.wikipedia.org/wiki/Accelerating_change) lists some early publications. However, I think that Ole Sand refers to the discussions on the exponential growth of knowledge in the early 1960ies, e.g. by D.J. de Solla Price (Science Since Babylon, Yale Univ. Press 1961).

Polina Lemenkova check out Lilypond

I work with systems that process payments, but I can point you to some basic research and data sets in this area. I've worked with these people and they are very good:

Fantastic! Thank you very much

Technology-Assisted Reading for Improving Reading Skills for

young South African Learners

Gerda van Wyk and Arno Louw

University of Johannesburg, South Africa

Thank you very much Karin

Hello, Claus,

I have heard from the Writers' Guild West Foundation Library.  They offer library assistance. Jacqueline Lemmon-- JLemmon@wga.org

Link to WG Library search page:

I could get many manuscripts by hitting SEARCH at their web site.  The best might be to pick screen writers of interest and gain some photo copies of their scripts.  You can simply look at these yourself to see how these writers  integrated songs, perhaps seeing changes or marginalia.  Any academic would only be judging what you can judge firsthand.  Create your own theory...

I hope this helps...?

Gloria

Hoe the attached articles are of help to you.

Moreover the question of "what is music," asks for both an answer from scientism (that only science has answers to questions of knowledge and even meaning about, in our case, the true, the good, and the beautiful); and an appeal to essentialism that takes for granted that there is an "essential" irrevocable and core--insuperable--meaning to the word "music.".  These and important and related questions are best not discussed on this site.  Write an article or an email to discussants, because the question of "what is music" is philosophically problematic and takes a lot of words--actually endlessly so--to discuss..(tom regelski@ helsinki.fi)  but as a starter, this.

Music is not like an apple that. agreed upon what it "is" can be investigated (as opposed to oranges).  And apples can be studied from many points of view: as a biological organism  (plant) , as a food, as a social entity (what apples mean,  how used), as any number of 'things'.  And so, too, with music.  To ask what music is, to investigate it  scientifically, is similarly to ask what an apple is, as regards its role in life, nutrition,  recreation (apple bobbing contests), a cooking delicacy (pie), and intoxicant (alcoholic  cider), an industry, even a symbol (e.g., states that identify with their apple industry) , and .romance ( "you're the apple of my eye") etc. (was it ever true that students brought apples to their teachers?)) 

Asking what music is, as a scientific, ontological problematic is as misguided as asking what love is,  As suggested in entries above,  the question to be answered is not what people call "music" is but what it is that is called "music" does for those whose "appreciation" is best seen in how they  use  in fulfilling a rich live..

Too much "study" of music is lite a an autopsy, no longer of a living praxis, but as a  remnant  of something previously alive.  (If you're a musician, consider the often deadheading effects of your music theory and history classes),  Paradoxically, such is anesthetic., as result of its  "scientific" study in orthodox musicology and music theory, Strangely, this or that "work" as identified in advance by aesthetic theory as "good music" (as a great work worthy of analysis) is subject to positivist criteria as though a cadaver. Nothing is more deadening of musical values  than musicology and theory conducted on such premises..  And as concerns social aspects of music, at the same time that "absolute music" in the 19th century and since is sacralized--i.e., asart religion--, religious music is  heard in the concert hall as "art music " and secularized.  

So the question of what music IS  as a focus of scientific study  is not well considered.  As I offered several entries ago, the important question to be researched is what music DOES, why,  and how,! The answer must be that music is a social praxis, and like language, makes its contributions to life according to what it is "good for."  A pragmatic criterion.  And it is good for so many socially important things--so don't agree so easily about the difference  between  "highbrow" art music and :'lowbrow" musics .  I'd argue that both are important in the fabric of society and that . therefore,, both are needed and important to the meanings of life occasioned by music, in its situatedness--where it serves the needs well that bring a music into being to begin with.  (That is no doubt how music arose in the first place). That is "good music," for just listening, dancing, singing, celebrating, mourning, and all forms of praxis.

Praxis, for Aristotle is "virtuous doing" on behalf of others, guided by an ethic of accountability.  Techne, instead, is "excellent making" that attests to the need for craftsmanship and even artistry.  But, for praxis, artistry (virtuosity in any realm of life) is calculated by the needs  in question.  The praxis of students as amateurs can be guided by the poiesis (excellent making) of professionals,' but amateurs (amat=love) have different ''goods" in mind as fulfilling. 

The the question raised is ill-considered.  To study music is to study what people call music, and what role it contributes to their lives and how and why,: viz,what difference, in a pragmatic sense it contributes to the life worth living.  Don't try to "define" an apple  'look to its role in humans being human  Eat it (as John Cage's Zen wold recommend)., then you'll belong. as a starting point, at least.

I did some research on this.  I found that preferences of undergrads and teenage students for cultural music is significantly lower than for popular music.  So we have drawn up ways to achieve the aims of music education in this country, based on the research data that we obtained.  Have a look at this article.  KBSM is the Malay acronym for new music curriculum in secondary schools.)

Music is an important part of the child care curriculum. Young children love sound. Music activities and experiences help children practice important skills, including thinking, language, motor coordination and understanding emotions.

Check out the publications of Keith Sawyer; for example: Improvisational conversations: Music, collaboration, and development. Psychology of Music, 27, 192-205. Here is the abstract:

Improvised conversations: Music, collaboration, and development

Music educators have traditionally been concerned with teaching skills related to the notated music of the European canon: composition, reading, and instrumental performance. All of these skills are individual skills, skills that a student could rehearse at home, alone. In fact, by focusing on individual skills, music educators are no different from traditional pedagogy in all fields—where “education” is conceived of as a transmission of information or skills from teacher to student, and where the student’s progress and performance can be evaluated in isolation. But this focus on individual skills does not work so well when we are concerned with an improvising group, like a jazz ensemble. The collaborative and conversational aspects of jazz are so salient, that it is difficult to imagine evaluating a musician’s ability or skill in isolation; for one thing, part of that skill is interactional; for another thing, a musician will perform differently with different Groups.

I am afraid that request is too broad to answer.  A more specific request will help and I would be happy to provide some assistance in that case. Katrina's answer will give you the best broad view if you are simply looking for journals.  There is also:

Research & Issues in Music Education - http://www.stthomas.edu/rimeonline/vol11/index.htm

It looks like a fascinating subject. I play the guitar (though not as much as I would like to) and occasionally compose. On reading your research subject I dived into the Internet and discovered a wealth of women composers I had never heard of - with a few exceptions such as Clara Schumann and Hildegard von Bingen. After that, there is a huge jump to pop music and some wonderful compositions by Carole King.

Are there any composers you would like to recommend to me?

Perhaps see what you find through www.isme.org and their journal, any links etc

I tried this at the ITS 2014. Considering I have no clue about music, i think I did quite well. Perhaps it helps you:

hello

here are the publications :

I guess you can use mind maps in any discipline. It is a great tool to collect first thoughts on an issue and to get students activated. It should be used at the introduction of an issue, you can use other means and methods afterwards.

Hi Desmond, I realised  I have collected some more posts (some more relevant than others). It seems as if new opportunities are indeed opening up for using technology in music education. I hope some music educators will add their views about challenges, rewards and benefits to students.

Dear Joerg,

Sorry for complicating things.  My "motivation" is to get the test just right!

The most informative title is difficult to determine without seeing the contents of the test.  Perhaps knowing the purpose will help.  Do you want to find out to what extent a music student practices and plays according to his personal motivation?  For example, "I practice the .... all the time because I love it and I enjoy playing in a group with others."  As opposed to "I don't practice very often; I don't like it very much but my parents make me do it."

So far I like "Personal Motivation Test for Musicians and Music Students"

I've since thought of the word "ambition" which would be close to your original will and volition.

Possible title:  "Test of Personal Ambition to Determine Motivation in Musicians and Music Students"

Or (this gets long but it may clearly express what the purpose of the test is--if this is indeed the purpose, I'm only guessing): 

"Test of Personal Ambition to Determine Degree of Motivation in Music Students"

Thanks to the ease of editing in Word any changes will be easy.  We can continue to hash this out while I continue to polish the Introduction.

Warm regards,

John

I've got ideas for two research papers:

The first idea:

I'm teaching piano in my town, but it's difficult to learn, because my students used to play and hear the Arabian music, so I'm looking for uncommon method to teach them the piano course.

The second idea:

In my department we used to teach Alessandro Longo as a publisher, but I found his compositions accidentally and I'm thinking analyzed these compositions.

so what you think?

Thank you for answer. It is good to know, that this method is succesfull an interesting. Do you have any publication or study about this topicin english language? I would need it for my research.

Dear Daniel, 

in Germany there are huge state-funded programs for the cooperation of elementary schools (formal education) with music schools (non-formal education). This cooperation has shown a major deficit with respect to the competence (and willingness) of music school teachers – who are mostly experienced with one-to-one-teaching – to work with groups of children. Thus, these programs  offer a wide range of further education and professional development for music school teachers. The success is not yet visible to a satisfactory extent (if you ask me). You can learn about the biggest program here:

Greetings,

Franz

What are the specifics with the group? If the children are developing their language, the improvisation could function in a "call and response" type setting whereby the children are learning the functions of appropriate communication: taking turns, asking questions and waiting for responses, etc.

Ghada, when I was in my high school, the AVA session during English is always what me and my friends were waiting for. We were ushered to language lab... we were given fill in the blanks sheet as mentioned by Mokhtar...and we listen to songs individually. First time, one song in 20 mins, then 2 songs in 30 mins, and then 3 song in half an hour. It's exciting because at home, we didnt have those facilities. It makes English an interesting subject. I ended up to be a choir member in high school.

In terms of memory, not so much because we listen to different songs every time we visited the language lab. But, when I was in the choir, and I needed to practice songs for various shows, I had to sing again and again and again till I remember. Just like when we want to recite holy words.

So, one time singing, will not give an effect to memory (unless the students are trying to figure out one of the lyrics to fill in the blanks, then the students need to rewind and rewind - in that case, yes).

But be careful in choosing songs. It might rhyme, but not grammatically correct. For grammar and pronunciation, why not watch English movies like Pride and Prejudice. There are a couple of good movies in the you tube. You may want to edit the censored part using Movie maker.

They will have a broader mind than if they had focused only in science: Sometimes you have to get out of the box in order to understand what is really happening inside it.

some of us continue to believe that "perception" is a term with a lot of loose baggage attached to it, which can be useful in talking to a lay audience, but which gets you in a lot of trouble if you use it in discussions of the processing of sensory information by human observers. Sensory processing in objective terms refers to detection, discrimination and identification (or recognition) of sensory stimuli. Practice, especially with systematic reinforcement of correct responses, generally improves performance, although there are usually limits that can may be interpreted in terms of internal noise, the "grain" of the neural receptor, or the size and neural density (loosely speaking) of the central region to which the receptors eventually connect.. As a reasonable rule of thumb, practice improves performance on the practiced task, and to lesser degrees on other tasks, depending on how closely they resemble the original task. Nowhere in this discussion has there been a mention of variation in "perception", a property of conscious experience known only to the perceiver. Of course, if the goal is to learn how the perceiver's claims about his or her experience change with practice, then rather than measure changes in detection, discrimination or recognition one can ask the subject how things seem to appear (or sound). This view reeks, of course, of old-fashioned behaviorism. But before casting it into outer darkness because of that label, it might be worth considering whether there is anything fundamentally wrong with continuing to maintain a distinction between studies of sensory capabilities and those of response proclivities.

I agree with the above comments that this is indeed a rich and interesting area of study. How does the body form one's ability to perceive, learn and control simple and complex patterns of timing? I think the answer will necessarily be fairly complex, especially with regards to music.

There is some evidence that synchronising movement with a beat improves ones ability to anticipate upcoming beats and detect deviation in the tempo:

However, this needs to be tested for more complex movements/timing sequences.

I also think that there are different levels at which movement and musical timing might be meaningfully related to one and other. There is the induction of rhythm, and maintaining a constant tempo of repeated actions, which is undoubtedly important for percussive playing. There is also the dimension of expressive timing in music, which incorporates the temporal envelope of sequences of musical events. This level might more meaningfully be related to larger, more temporally-extended actions, such as ancillary gesture, dance, etc. Audiences seem sensitive to expressive gestures in perceiving music, and such movements vary with musicians' expressive intention and skill level. What form(s) the relationship between expressive movement and expressive musical timing can take is still a fairly open question, as is the nature of how the relationship is acquired. I am currently involved in doing some work to see if students can pick up and learn movement kinematics in playing from observation of gesture and if so how, but this is just the start of getting to answer these questions.

What a great question! First, I must remind myself that 'traditional classroom and instrumental lessons' have different meanings for each one of us, who come from different countries. The Malaysian Ministry of Education started music education as a pilot project in 20 schools, in the 1990's. The equipment in schools used included gamelan instruments, recorder and harmonica. Most of the time, we play a simple melody line; little harmonization and some percussion.

However, many families who loved music made sacrifices to provide piano and/or violin lessons for their children. It's a sacrifice that we appreciate MOST when we have grown up! I think that training in western art/classical music is a great platform to prepare students to engage in contemporary classical music :)