Questions related to Music Education
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I'm looking for any research on simultaneous vocal and instrumental performance (one person engaging in two roles). Any genre of music welcome but particularly interested in jazz and classical. Interdisciplinary approaches very welcome
Specifically computer-assisted instruction and state-of-the-art software packages.
L am looking for academic articles that address how teaching influence learning in music education where the group of students comprise gifted students who have music background and novices who are studying music for the first time at tertiary level.
My research of Music Education in Quito-Ecuador shows that private schools' music teachers are on average 4 years younger than their public schools' peers. I'm trying to relate my findings to any existing literature.
For empirical studies we need to define the subject of the research. The question of 'what is music?' has never be asked before? If there is no 'correct' definition, 'musicology' or research on 'music' is no science!
There isn't even a philosophic answer for it!?
Where are the limits of musicology to other cultural studies?
I am writing about contemporary problems in music curricula for the education of music teachers for regular schools.
The effect of music interdisciplinary activities to improve social relations among pupils in primary education.
Previous research done.
To further investigate the issue we would like to gather all relevant information from this research results that have been made already.
I am familiar with some guitar games but, writing my phd about gamification in musical education, I am also interested in other instruments and musical education through video games in general.
In my submission "A Brief History of Modulation in Musical Rhetoric and Brahms' Harmonic Ambiguity ", I identify the need for a study to correlate musical devices and mental states. The first step is to develop[ a catalog of such devices. These include among many effects, modulation (shifts in tonicity), silence, unison, changes in rhythmic texture etc.
By using the term "mental states", I choose a broader field than mere "emotion".
With an understanding of composition/improvisation (generative), there are a great many possibilities. Just within modulation, Max Reger has developed an extensive catalog of the devices, alas no mention is made of effect on an audience. Rameau in his treatise on Harmony discusses very briefly an emotional response to chromatic modulation (please see my article for the citation specifics; Reger is not cited in this paper yet. It remains in an unfinished form: more than a few citations TBD.
Gee, how do I put a citation here? - simple footnote:
Max Reger: Modulation (Dover Books on Music) Paperback 2007
Jean-Philippe Rameau: Treatise on Harmony Dover 1971
What benefit the students received from participation in the type of learning experiences?
What challenges do music educators face, and what rewards do they experience from incorporation of creative learning experiences in their classroom?
The "will test in music" is available as volitional test for German speaking music students. This test should be provided in different language versions. In a first step, I would like to make an introductory paper available that has been published as German-language article in the Journal "Üben & Musizieren" in 2013. The next steps are to develop different language versions of the test. I'm seeking for international colleagues who want to help me with these steps.
Ulwila method is a special music educational and therapeutic method for music education and music therapy for people with disabilities. This method is used mostly in special schools, organizations, but as I see it should be an easy applicable music educatiional method in preschool and primary education too.
I want to know if there is any experience in US, Canada, Europe that explains the needed musical education coordination between "official" studies (primary schools) and conservatories of music studies.
Singing and other led activities are essential in music groups for pre-school children and parents. It provides a clear structure and helps both parents and children feel safe. What can improvisation offer to the group, particularly in promoting interactions between parents and their children?
Can anyone share any reference related to above topic?
Would you recommend arts subjects for science students? Did you, as a scientist, benefit from learning these subjects?
It has often been shown that, after training or practicing, our sensitivity to certain perceptual variables (e.g. pitches in music) improves. That is, observers are better at discriminating two similar perceptual variables (e.g. two pitches with similar physical frequencies) after training.
My question is whether the improvement in these perceptual discrimination tasks is due to a change in perception or due to something else?
Listening to, and repeating a temporal structure (a pattern) is part of the musical training of many musicians, particularly for drummers and percussionists.
The ability to learn patterns depends on a plethora of factors.
While the drummer is trying to learn a pattern, several movements may be observed, but it is not yet clear why these movements are generated, and what exactly their function is.
Music education teaches us to involve the movement of the body as an effective strategy to embody more complex patterns.
Is this it true for all? Are there other strategies to effectively learn complex patterns?
Do traditional classroom and instrumental lessons equip students to engage with, understand, analyse and perform contemporary music (contemporary classical rather than popular) as efficiently as western classical music from the Baroque to Romantic period? Considering music post 1950's, with new instruments and sound worlds created through technology, classical applications of time and key signature often not in use (aleatoric or serial music for example), common use of dissonant or unexpected intervals/cadences/harmony, new conceptual focus within pieces and extended techniques often being applied, do these works demand an equally contemporary pedagogical approach (and who or what may they be?) or do traditional methods suffice?