Integration of Popular Music in Educational Projects in Higher Education

With the deepening reform of quality education and art education in the new era, a new system of music education in quality-oriented schools has emerged. In order to effectively explore the dissemination path of the new system of quality-oriented music education in Chinese music education institutions, this paper summarizes the current development status of the new system of quality-oriented school music education. Starting from the sources and characteristics of the music education system of quality-oriented schools, it takes Beijing IGW Love and Country Art Center as a case study, analyzes the development status and user profile of the Chinese music education industry, and summarizes the promotion strategy of the new system of teaching, in order to explore a sustainable development path for the dissemination of the new system of quality-oriented school music education in Chinese music education institutions.

This article is devoted to the study of the history of the period of independence of higher musical education in Uzbekistan. It summarizes the implementation of the first days of independence of fundamental reforms in all spheres of life in Uzbekistan, including education, in particular, in the system of music education, as well as the adoption of decrees and resolutions related to the field, the changes that have occurred in the field of music, and successes other.
 Along with this, the peoples of the world are currently carrying out serious activities to study, promote their culture and spirituality, carefully preserve and develop their rich traditions, establish creative cooperation, organize international festivals, scientific and practical conferences, conduct research, in this regard, a special place For the development of the sphere, the system of higher musical education is of great importance.
 The article highlights information about the establishment in the system of higher musical education of teaching music education, training at the State Conservatory of Uzbekistan, the State Institute of Arts and Culture, at some regional pedagogical institutes, state universities, and about their achievements.
 It was analyzed that the opening of the pop art faculty, the development of jazz art at the State Conservatory of Uzbekistan, the teaching of new academic disciplines based on the requirements of our time is important. In particular, in universities and higher educational institutions of the pedagogical direction, carrying out their activities in the regions of the republic, a number of cases are being carried out to prepare specialists in musical art, which is examined by the example of the music departments of Navoi State Pedagogical Institute, Bukhara State University and Karshi State University.
 Thus, it is analyzed that from the first years of independence, the attitude towards national identity, spiritual heritage, traditional values, the Uzbek national musical heritage, music education and training, the implementation of large-scale reforms in recent years to widely familiarize the world community with our rich spiritual heritage at the international level, special attention paid to the faculty, training talent s staff in higher music education.

Розвиток музичної освіти у вибраних країнах Європи у XXI столітті

The purpose of the work is to study historical aspects of the development in the USSR of Elementary Music Education, created by a German teacher, musician and composer Carl Orff. The article substantiates the value of this pedagogical system and the prospects for its use in the training and educational process. The initial stage of the introduction of Elementary Music Method in the Soviet Union and the organization of the Carl Orff Pedagogical Society are considered. As a result of applying theoretical scientific research methods, the main factors that influence the process of introducing a new direction in music education are established. The significance of the unified system of music and movement education created by Carl Orff is defined. The system developed by Russian and Soviet enlightener, music theorist, teacher, performer and public figure Boleslav Leopoldovich Yavorsky correlates with German teacher's system. The author analyzes the reasons for which the system developed by B. L. Yavorsky is not widespread in our country. The significance of the activities of the musicologist, historian and publicist Oksana Timofeevna Leontyeva, an active promoter of the Elementary Music System and the first researcher of Orff-composer and Orff-children's music teacher, is determined. The article stresses the first contacts between Soviet musicians and their German colleagues during the visit to the Carl Orff Institute in Salzburg. Emphasis is placed on the importance of publishing literature describing the content, methods and principles of Elementary Music for Soviet teachers interested in new areas of music education and upbringing. Educational institutions are indicated, in which attempts are made to use C. Orff's methods in classrooms. The author reveals the optimization of processes of introducing domestic musicians to the methods of music and movement education, caused by the arrival in the USSR of foreign experts in the field of musical pedagogics. The role of Lev Vyacheslavovich Vinogradov, one of the first followers of new directions in music education, is priceless, as is the importance of his pedagogical activity and his contribution to the popularization and implementation of the method combining music and movement education.

With the continuous development of the times, music education in primary and secondary schools is constantly innovating in terms of teaching concepts, teaching methods, and implementation methods. The reform of basic music education has aroused the reflection of music teacher education in colleges and universities, and the talent training model of music teachers has become a hot issue that has been widely concerned in the new era. To explore the educational significance and influencing factors of entrepreneurship education in college music education and examine the mediating role of self-efficacy and gender adjustment in entrepreneurial education, based on the analysis of music education and entrepreneurial talent training in colleges and universities, a questionnaire survey, statistics, and data processing were adopted in this work. In this work, a path model was established based on the mediating effect and the moderating effect, and the equation model was tested. The results show that music education has a positive correlation with entrepreneurial self-efficacy and a negative correlation with entrepreneurial intention, which has not been proved to have a certain effect on entrepreneurial intention. Entrepreneurial self-efficacy has a positive correlation with entrepreneurial intention, and the mediating effect between music professional education and entrepreneurial intention has also been proved. Since there are gender differences and certain stereotypes that cannot be ignored in music education learning, gender adjustment also has a certain influence on entrepreneurial self-efficacy based on music professional education, thereby having a moderating effect on entrepreneurial intentions. Entrepreneurship education can improve the comprehensive competitiveness of students. As a result, entrepreneurship education can improve the innovation and entrepreneurship education model and the music education system in colleges and universities by combining with the relationship between entrepreneurial efficacy and intention, and it contributes to the overall cultivation of talent in colleges and universities.

Technological progress, or in other words, the digital revolution, a name that more clearly describes the speed and manner in which this process takes place, is changing our world in multiple areas and across multiple levels. Due to the complexity and the organization of the formal education system, the implementation and the use of technological resources does not take place sufficiently and at the same speed in all schools. The entry of technology into teaching depends on the users’ capabilities and technical resources, i.e. on each individual teacher and the technological equipment at his disposal (Nart, 2016). And while the offer of digital tools for creating, performing and sharing music has become widely available and financially acceptable to the general population, which according to Savage (2007) has accelerated the process of technological change in music, the usage of technology in schools with traditional music practice is very rare (Mills Murray, 2000). The availability of ICT resources in music schools, such as technological equipment and licensed computer programs designed to assist learning and teaching in the users’ mother tongue (especially those intended for music education), the lack of teachers’ competencies required to use technology in teaching, as well as the absence of methodological frameworks that could support planning and executing of such lessons are the main reasons for this delay of technology implementation in the music education system. According to a 2018 study by the Organization for Economic Co-operation and Development (OECD), more than 60% of teachers said that they did not feel ready to use digital technology in teaching. By contrast, in a public consultation launched by the European Commission in 2021 on the new Digital Education Action Plan (2021-2027), over 60% of teachers stated that they had improved their digital skills and that the crisis caused by COVID-19 forced them to use technology more than usual. In the near future, it is realistic to expect that ICT will be integrated into the usual music teaching curriculum (Crow, 2005). Teachers should advance from being the passive users of digital tools to becoming the digital innovators capable of using technology to improve their teaching skills and consequently achieving greater success with learning outcomes (Koehler Mishra, 2005).But how much is technology changing us as music teachers? How much is our teaching changing? And formal music education in general? What is good about this change and what is not good for our students? We are discussing and emphasizing the benefits that technology provides in music teaching, however, certain special demands, that such education requires, technology cannot fulfil yet. For instance, demonstrating proper body posture, along with correct arm and hand position, avoiding injuries while performing music (Waddell Williamon, 2019) or delivering online teaching at a high artistic level (Adileh, 2012). These are all actions that, in addition to multidimensional activities, presuppose a “live” teacher (Ruismäki Juvonen, 2009), a “live’’ model observed and followed by the students with more of their senses than just sight and hearing. Through the method of interviews with music school teachers, we will try to find answers to the questions posed here and some additional ones. The aim of this paper is to encourage the scientists and teachers in music education to think about and find the best solutions for optimal and purposeful use of new technological achievements.

Introduction. In the modern educational space of each state, music education plays an essential role in the upbringing of the rising generation. The national musical culture of Ancient China, as well as some aspects of musical education organization in the Pre-Qin period, have served as the primary basis in the sphere of modernization and improvement of the modern musical education system in this country. The aim of this article is to summarize some theoretical aspects of the organization of music education in ancient China – in the Pre-Qin period (8500–221 BC). Materials and methods. The generalized materials of researchers' works reveal the practice of “early” musical education in Ancient China, expressing the interests of this or that ruling dynasty (from the primitive society, where the Chinese national musical culture had originated, up to the Qin dynasty). Representing an important historical epoch, the Pre-Qin period reflects the time of the formation of a unique system of organization of traditional music education in China. Each era that is part of the Pre-Qin period has its own distinctive features and cultural and historical characteristics. Results. In the course of summarizing certain theoretical aspects of the organization of music education in the Pre-Qin period, the names of four epochs were specified, as well as the peculiarities of the organization of general and music education in ancient China. Thus, the first era “Chinese music education in primitive society” (or) “Prehistoric China” (8500–2070 BC) is conventionally considered a time of origin of music education; a period of formation of genres of Chinese folk music culture, based on myths, religion, legends, and customs of ancient China. The second era, “Chinese Music Education in the Xia and Shang Dynasties” or “Bronze Age” (2070–1046 BC), is characterized by the appearance of the first musical instruments; the transformation of the functions of music education – from religious service to entertainment; the consolidation of the name “court music and dance education”; the appearance of the first specialized educational institutions and “special” music teachers. Music education in the third era “Chinese music education in the Western Zhou Dynasty” (1046–771 BC) had the name “rites and music education”; distinguished by the appearance of the first musical performance groups; the training of “professional personnel” in music education. The peculiarity of the fourth epoch “Chinese music education in the Spring and Autumn Era and the Age of Fighting Kingdoms” (770–221 BC) is the modernization and improvement of forms, methods, and means of music education; production of musical instruments; wide practice of performing schools and educational activities of Chinese thinkers, politicians, and educators; and availability of music education to various strata of the population. Conclusion. This study allows arguing that the Pre-Qin period is the initial stage in the formation of music education in ancient China. Moreover, it also can be considered one of the most important times in a historical retrospective – the active development of the Chinese music education system.

SECTION ONE: ISSUES AND RESEARCH 1. Policy Frameworks, Research and K-12 Schooling 2. MENC: A Case in Point 3. Recent Trends and Issue in Policy-making 4. Law Research and Music Education INTRODUCTION: TOWARD AN UNDERSTANDING OF THE 'AIMS OF MUSIC EDUCATION' 1. Contemporary Curriculum Practices and Their Theoretical Bases 2. Theory, Research, and the Improvement of Music Education 3. A Comparative Review of Human Ability Theory: Context, Structure, and Development 4. Critical Thinking 5. Improvisation 6. Improvisation and Curriculum Reform 7. Adult Education 8. Music and Early Childhood Education 9. Systematic Research in Studio Instruction in Music 10. Philosophical Issues in Curriculum 11. Educating Musically 12. Distance Learning and Collaboration in Music Education SECTION THREE: MUSICAL DEVELOPMENT AND LEARNING Introduction: Issues in Perception, Cognition, and Development 1. Learning Theories as Roots of Current Musical Practice and Research 2. Systematic Instruction 3. Behavioural Research on Direct Music Instruction 4. Self-Regulation of Musical Learning: A Social Cognitive Perspective 5. Motivation and Achievement 6. Developmental Characteristics of Music Learners 7. Creative Research in Music, Visual Arts, Theater, and Dance 8. Computer-based Technology and Music Teaching and Learning SECTION FOUR: MUSICAL COGNITION 1. The Neurobiology of Music Cognition and Learning 2. Cognitive Constraints on Music Listening 3. The Development of Musical Abilities 4. Making Music and Making Sense of Music: Expressive Performance and Communication 5. Taking an Acquired Skills Perspective on Music Performance SECTION FIVE: SOCIAL AND CULTURAL CONTEXTS 1. The Sociology of Education and Connections to Music Education Research 2. Sociology of Music 3. Social Psychology and Music Education 4. Music, Culture, Curriculum and Instruction 5. Feminism, Feminist Research and Gender Research in Music Education 6. The Social Construction of Music Teacher Identity in Undergraduate Music Education Majors 7. Transforming Research in Music Education History 8. Music Transmission and Learning: A Conspectus of Ethnographic Research in Ethnomusicology and Music Education 9. Community Music: Toward an International Overview SECTION SIX: TEACHER EDUCATION Introduction: Fuzzy Teacher Education 1. Reform-minded Music Teachers: A More Comprehensive Image of Teaching for Music Teacher Education 2. Teaching as a Profession: Two Variations on a Theme 3. Changing Concepts of Teacher Education 4. Strengthening the Teaching of Music Educators in Higher Education 5. Research by Teachers on Teacher Education 6. Research in Music Student Teaching 7. Professional Development SECTION SEVEN: MUSIC EDUCATION CONNECTIONS Introduction: The Growing Impact of Partnerships: A Reason for Research 1. Policy Issues Connecting Music Education and Arts Education 2. The Evaluation of Arts Partnerships and Learning Through the Arts 3. The 'Use and Abuse' of Arts Advocacy and its Consequences for Music Education 4. Research in Visual Arts Education: Implications for Music Education 5. A Review of Research in Theater, Dance, and Other Performing Arts Education: Implications for Music SECTION EIGHT: NEUROSCIENCE, MEDICINE, AND MUSIC 1. Music and Neuroscience 2. Performing arts Medicine 3. Musicians' Health MIRIAM HENOCH, AND JOHN HIPPLE SECTION NINE: INSTRUMENTAL OUTCOMES 1. Nonmusical Outcomes of Music Education: Historical Considerations 2. Teaching Other Subjects Through Music 3. Research: A Foundation for Arts Education Advocacy SECTION TEN: RESEARCH DESIGN, CRITICISM, AND ASSESSMENT IN MUSIC EDUCATION 1. Philosophical Perspectives on Research 2. Maintaining Quality in Research and Reporting 3. Trends in Data Acquisition and Knowledge Development 4. Assessment's Potential in Music Education 5. Contemporary Issues in Qualitative Research and Music Education

This article documents and discusses how music teachers become educated in Japan and how educational policies in Japan are related to the career path of school music teachers from an insider's perspective. The article intends not only to reveal aspects of the real lives of music students and teachers but also to tie music education policies to music teachers’ minds and behaviors. The career path was divided into three periods: from young age until high school, time during college as a music education major, and time as a music teacher in the public schools. The case study analysis reveals that it is likely that educational policy is introduced at the college level for the first time, permeates music teachers’ lives gradually throughout their careers, and almost becomes invisible for in-service music teachers as they internalize it.

Feelings of shame may contribute to music teachers and music teacher educators being unwilling to discuss needs and concerns for fear of being judged or seen as inadequate. Shame or fear of feeling shame can also lead individuals to withdraw or perpetuate negative behaviors. Although shame is often a natural part of the human experience, the diverse nature of the content in music education, the wide variety of learners in various music education spaces, and music teachers’ beliefs and practices can be sources of shame among music teachers. This article aims to start a conversation about shame in music education and help music educators and music teacher educators feel empowered to use shame resilience theory as a means of understanding and coping with feelings of shame.

Music education is essential for children's intellectual, social, and emotional development. The primary school music education curricula in China and France are two of the most significant music education systems in the world. This study attempts to compare the principles and objectives of these two curricula and uncover parallels and contrasts. The primary goals of this research are to conduct an analysis of the music education curriculum concepts taught in primary schools in both China and France, to identify the similarities and differences between these curricula, and to evaluate the potential impact that these differences may have on the musical development of young children. In this study, a comparative analysis methodology is utilized to investigate the music education curriculum of elementary schools located in both China and France. The process of doing the analysis entails conducting interviews with music instructors in both nations, reviewing the pertinent literature, and examining the curriculum materials. According to the findings of the study, the primary school music education curricula in China and France have some goals in common, including the promotion of cultural awareness, the development of students' musical skills, and the encouragement of creativity. Yet, there are also major discrepancies in the conceptual frameworks of the curriculum, the instructional strategies, and the evaluation strategies. The study emphasizes the significance of comprehending the cultural and historical settings of music education systems in various countries.

Despite the difficult political situation, we consider it necessary to continue the studying of sociocultural space of Donbass with the purpose to build a productive communication process between the representatives of Donetsk region and other regions of Ukraine. This article describes the features of orthodox music-making on the territory of Donetsk region in their historical and cultural context. It also provides analysis of the specificity of orthodox music education system and development of a religious festival movement.Orthodox music-making have existed in Donetsk region since the late ХІХ century and was extended through parochial schools, where along with the mastering the basics of literacy, students must have studied also church singing, and if students had ability for music they became a part of singing church choirs or choral student groups. The requirements of the singing program provided preparatory voice exercises, singing of the simplest canons, introduction to the basics of music literacy, part singing skills. In the second half of the nineteenth century in Bakhmut and Mariupol there were boys’ religious schools and choirs which were quite popular among the citizens. They took part not only in religious but also in social events of the towns and, therefore, had both spiritual and secular music pieces in their repertoire.The long break in development of church singing traditions in Donetsk region began in Soviet times, when there was a massive campaign to eradicate religion.With the collapse of the Soviet empire and in connection with the loss of the previous religious tradition began the formation of new forms and methods of religious life. Donetsk region became a territory of intense re-christianization, where return to faith was made under authentic Orthodoxy.There are Sunday schools almost at every Orthodox parish community. They receive great help from graduates of the first Ukrainian subdivision of spiritual culture and ethics, opened at the Donetsk National University at the department of additional and related professions.The school at the Holy Transfiguration Cathedral in Donetsk is one of the best Orthodox Sunday schools, which deals with spirituality formation of the younger generation through music communication. One of the interesting traditions of this school is setting the Christmas and Easter musical performances, where singing alternates with instrumental items performed by pupils.Orthodox communities play important part also in the process of development of professional choral music-making in Donetsk region. A problem of creation of professional choirs and learning of choirmasters arose with extreme relevance with the beginning of restoration of Orthodox churches activities. The choirmaster training school was opened in the town of Makiyivka at a convent in honour of the miraculous image of the Kasperovskaya Icon of Mother of God.Since the beginning of the school year 2007–2008 the special children’s choir school Blagovist at Donetsk Diocese has begun its activity. Yu. Shandro- Lyubchynska, graduate of Donetsk Musical Academy is the head of this school. For this school there were developed special programs of all subjects based on the experience of its teachers and archive pre-revolutionary programs for Synodal School of Church Singing, which was reorganized into the People’s Choir Academy. The main skills that students shall master in the course of the seven-year study are solo singing, singing in ensemble and choir, piano playing. Students also gain knowledge of God’s law, solfeggio, Church Slavonic, church bells, music literature, history of church music, sacred history, rhetoric. Subjects related to the Orthodox liturgy are studied on an advanced level. Even music literature course is considered through the prism of church music development.Historical heritage of the national church music is maintained by All-Ukrainian Holy Mountain Vocal Festival, which was first held in 2002 in the Monastery of the Holy Dormition in Sviatohirsk. The best chamber choirs of Ukraine are regular participants of the Holy Mountain Vocal Festival. The idea belongs to a composer, winner of the IBLA Grand Prize in Italy, winner of awards named after M. Lysenko and S. Prokofiev, honoured Artist of Ukraine Mykhailo Schukh. He has been the artistic director of the festival since its creation. The program of the festival, according to its concept of popularization of spiritual genres and traditions of religious music-making, consists of music of different eras and nations – from the ancient Byzantine, Russian, Georgian chants and music, and Ukrainian Baroque A. Vedel and D. Bortnyansky to the works of M. Lysenko, P. Tchaikovskyi and contemporary composers M. Shukh, V. Stepurko, V. Tymozhynskyi.Since 2004, the Holy Mountain Vocal Festival was held not only in Sviatohirsk and Donetsk, but also in Kyiv.This year the Holy Mountain Vocal Festival is the first of national choral festivals which joined the World Federation of Choral Music IFCM.As a result of cooperation of the author of the Holy Mountain Vocal Festival Mykhailo Schukh with the National Academic Choir Dumka the disc with the composer’s new piece Liturgical doxology was presented. It was released in the same 2007 at another choral festival – Golden-Domed Kyiv.One of the most interesting regular activities that significantly affect the development of choral singing in Donetsk region is the Open Orthodox Festival of Children and Youth Creativity Sparkle of God. For the first time the festival was held in May-November 2005, under the constant Donbas Festival of Slavonic culture and literature. Beginning from the second festival the list of participants included not only amateur groups of secular educational institutions and cultural centres of Donetsk region, but also students of Orthodox Sunday schools. Festival Sparkle of God clearly represents the traditions of Orthodox choral a cappella singing, and is also open to various forms of musical creativity. Its regular organization adds its own original features to the regional cultural image.In general, during the independent Ukraine there was built its own system of musical education and created powerful festival movement on the territory of the region, which exceeded the bounds of the region and popularized thereby both local church and secular choirs. We consider these two features (own system of the church musical education and festival movement) exceptional in cultural image of the region. However, perhaps the idea of Slavic unity and importance of so-called Russian Orthodoxy, which often associated festival events, were among the factors that led to the current tragic situation. We can only hope that the church choirs of Donetsk region will be guided in their future activities by the basic tenets of Christianity as Charity and Love, giving Hope to its audience.

This paper investigates the evolution of software project support for teaching and research projects in higher education. It therefore analyses the results of two surveys conducted with students of the department of computer science of the University of Applied Sciences and Arts Hannover in February 2009 and November 2010. The surveys focused on examining the experiences and requirements of the students. Beneath mere technical requirements the surveys also investigate the acceptance of social software elements in project support. Since containing a core of equal questions the answers to the two surveys allow to deduce trends. These trends towards more sophisticated supportive software tools and environments are further investigated not only to allow a better support for projects, but also to make projects more visible and valuable, preserving their achievements and making them accessible for others.

The rapid development of digital technologies, the disclosure of their new possibilities and ways of application in music education, actualizes the problem of the formation of specific skills and abilities of musical teachers necessary for the effective use of the latest achievements of music and computer technologies in educational practice. The article provides an overview of the positive experience illustrating the use of digital technologies in the system of world music education. The list of skills and abilities necessary for musical teachers for the successful implementation of musical and computer activities in the course of professional pedagogical practice has been determined. A didactic complex was proposed, the content of which includes a multimedia workshop, a multimedia manual, an educational website and an electronic textbook. The pedagogical potential of this complex is considered in the formation of such skills as typing musical text in a photographic editor; creating a computer arrangement and its subsequent artistic processing; making sound recordings; development of digital didactic technologies for subsequent implementation into the music education system. Special attention is paid to the approbation of the author’s complex in the training of future music teachers, the positive results of which are presented in the article. It is noted that its use is advisable not only in professional musical and pedagogical training, but also in the system of professional development in the process of continuing education of practical teachers.

BackgroundThe purpose of this article is to study the core competencies of future coaches, as well as the effectiveness of their development under the conditions of the Tuning Project in higher education in China.MethodsA survey was conducted in three groups using a random sample of participants (96 student-athletes, 29 teachers and 35 employers of the School of Physical Education of Chongqing University) created by the authors to assess 30 competencies included in the Tuning Project and correlations between the groups’ assessments were examined.ResultsAccording to the ranking and rating results of 30 competencies included in the Tuning Project, there were significant differences between the answers of these three clusters. The competence “Ability to apply knowledge in practice” had the highest correlation of the results in all the clusters of the respondents (students, teachers, employers) for both importance (0.2976) and effectiveness (0.2845). “Problem-solving skills” – (0.2453) and “Will to succeed” – (0.2152) were the next two competencies that the respondents had rated highly according to the both evaluation criteria.ConclusionsThis paper can be used for further studies of the Tuning Project in the educational processes of China, in particular, in higher sports education.