Music Lessons Research Articles

Design and Development of e-MARZ: A Practical Guide to Implementing Cost-effective VR Experiences for Music Education

The study introduces e-MARZ, a Virtual Reality (VR) software designed to tackle challenges faced by music educators in enhancing music appreciation lessons within the Malaysian lower secondary school music curriculum. The research aims to improve student engagement, provide immersive and interactive learning experiences, and develop a user-friendly VR application. A video production process was employed to create 360-degree music performance videos, which were integrated into the e-MARZ software via interactive modules. This article mainly discusses the development and evaluation aspects, utilising the modified ADDIE Instructional model, m-ADDIE, during the development phase. The e-MARZ prototype underwent evaluation using the System Usability Scale (SUS) and the Post-Study System Usability Questionnaire (PSSUQ) for quantitative data collection and analysis to assess usability, with a sample of five music education experts and 82 secondary school music students. Limitations of the study include the use of 360 media of live performances tailored for secondary school students' music appreciation and employing 3DOF (degrees of freedom) instead of the more advanced 6DOF, potentially impacting the generalisability of findings and the scope of achievable VR experiences. Despite these limitations, the high usability scores obtained during the evaluation, as measured by SUS and PSSUQ, indicate the software's effectiveness in addressing its intended challenges. The e-MARZ software offers an immersive, user-friendly VR experience that is cost-effective and compatible with various devices. This research provides insights into producing cost-effective, user-friendly VR applications using 360 media, promoting accessible VR application development in education. As a result, the study transforms students' engagement with music appreciation, fostering a more immersive, interactive, and enjoyable learning experience.

THEORETICAL AND PRACTICAL PRINCIPLES OF FORMING THE SKILLS OF STUDENTS TO WORK ON THEMSELVES IN MUSIC LESSONS

This article provides a theoretical and practical basis for developing students' self-study skills in music lessons. Music culture classes focus on the importance of activities for students to work on a regular basis, and on how students can improve their musical knowledge through music literacy, listening to music, and singing as a group.

METHODS OF FORMING MUSICAL CULTURE IN GENERAL SECONDARY SCHOOLS

The article reflects on the attention given to music lessons in secondary schools today, the modern methods used in it. Also, the role of innovative technologies in the deeper study of thelesson of music culture in pupils is analyzed.

A comparison of the parental values of children's extracurricular music learning in Guilin, China and in Tampa, United States.

Many parents enroll their children in extracurricular music activities. However, cultural differences may contribute to parents' different values that ultimately influence their behaviors and attitudes. This cross-cultural study aimed to compare the value parents have on their children's private music education by examining four cases in Guilin, Guangxi (China) and Tampa, Florida (United States). Two main research questions guided this study: (1) How do parents in Guilin and Tampa perceive and value their children's music learning? (2) Does the value parents hold for their children's extracurricular music activities differ across different cultural contexts? If so, how do parents' values and perceptions of their children's involvement in extracurricular music activities differ between the contexts of Guilin and Tampa? We purposefully selected participants from two regions based on these criteria: (a) the participants included a single-child family and a two-child family in each of the two regions; (b) children's age ranged from 5 to 12 years and lived with their biological parents (c) children were currently taking music lessons after school. We interviewed both children and parents during the data collection. The key findings reveal that parental values transcend two cultural contexts, specifically in (1) motivations for music learning, (2) expectations of music learning, (3) utilizing personal background, and (4) strategies for success. The findings suggest that several factors, such as children's autonomy, musical joy, pursuit of musical career, "beauty development" and achievements, may have contributed to parents' values. The implication for parents, psychologists, and policymakers is to understand the diverse needs and values within different cultural backgrounds, to promote the children's development, to design curricula, and to use effective teaching methods in music education. In conclusion, both Guilin's and Tampa's parents' values varied due to cultural differences, which further influenced their behaviors, attitudes and perceptions toward their children's musical experiences.

Moving from informal talk to performance: The use of musical prompting as an interaction device for resuming practice in musical theatre rehearsals

In research on communication in music lessons, masterclasses, and rehearsals, there is a growing focus on multimodal interaction using conversation analysis (CA), where the combination of talk and embodied actions (e.g., using musical instruments, gestures, voice, and score) provides the opportunity to study this complex area in microscopic detail and the potential for findings to inform practice. A methodological approach informed by CA was used to explore processes in peer-led musical theatre rehearsals in a university, where students adopted the roles of both musical director and performer. The data consisted of 12 hr of video-recordings of rehearsals that took place over the course of 5 weeks and involved 24 participants; the data were analyzed to identify patterns in relation to informal interruptions (talking that did not relate to the task at hand) that occurred during the rehearsals, and how they were managed by the student director so that rehearsing could be resumed. Management often involved musical prompting as part of a three-stage sequence: (1) orienting to the piano, (2) giving directives, and (3) initiating performance. The directors’ prompts included vocalizing, playing the piano accompaniment, and making bodily movements. These actions served to capture the performers’ attention, interrupt the informal talk, bring the focus back to performing, and indicate performers’ starting notes. The director completed the sequence by initiating a run-through of the previously rehearsed segment of the performance. The findings not only have implications for students’ management of rehearsals but also highlight the value of studying multimodal rehearsal interactions and techniques generally to ensure effective and efficient delivery in typically time-constrained rehearsal periods.

Emotional Behavior Analysis of Music Course Evaluation Based on Online Comment Mining

This study investigates the method of analyzing emotional tendencies in music courses and its application in lesson plan evaluation. Using a weighted method to analyze emotional tendencies in music curriculum, the study compares the results with existing literature, demonstrating the superior accuracy of the proposed method. To evaluate lesson plan quality, a combination of self-assessment, mutual evaluation, group evaluation, and the middle school music lesson plan evaluation form is recommended for comprehensive assessment. The study's method for comment polarity achieves an accuracy rate of 69.19%, significantly outperforming other methods. Additionally, improvements in lexical feature extraction reduce computation complexity and interference factors in sentiment polarity analysis. In conclusion, this study offers valuable insights for enhancing teaching effectiveness, lesson plan quality, and understanding course feedback.

To hope all things: A relational response to racism in music education

Throughout the United States, critical race theory (CRT) has been integrated and implemented in various school districts and higher education institutions to address and combat racism. As a variant theory of Marxism and critical theory, CRT, however, has many problems. One such problem is that it claims that racism is systemic in society and that society must be fundamentally changed or overthrown through activism. However, a systemic change alone will not combat racism because it is fundamentally a relational/spiritual problem and, therefore, should be addressed by a relational response. This paper explores the research question: What is a relational response to racism? To do so, I describe critical theory’s historical and theoretical roots and why it is inadequate to address racism. Then, I define the relational mindset as “the beliefs that orient us to understand the world through profound connectedness for growth beyond knowledge and action beyond technique” and expound on the words “connectedness,” “growth,” and “action.” To demonstrate a practical application of the relational mindset in music education, I present three indicators to align the objectives of a lesson plan – communication, empathy, and regard. I then discuss the application of the relational mindset to a music lesson on a spiritual sung by the Gullahs, “The Welcome Table.” I conclude the paper with questions to evaluate the veracity of other theories with the relational mindset and a final encouragement for educators when thinking about racism.

Methodology of organizing music lessons in 5-7 grades of general secondary schools based on new technologies

In this article, the methodology of the music teacher's organization of music lessons in the 5th-7th grades of general secondary schools on the basis of new technologies is explained.

Enjoyment of music and GCSE uptake: survey findings from three North East schools in England

AbstractIn recent years, music education has seen a decline in the number of students choosing to continue their studies at Key Stage 4 (14- to 16-year-old students) and choose music as a GCSE option in England. Whilst the English Baccalaureate (EBacc), a school performance measure which excludes the arts, has come under much scrutiny as to its impact on school music, enjoyment and the perceived importance of music lessons could also be contributing factors to low uptake. This paper presents student survey findings from the first part of a two-phase project that was based on a qualitatively driven mixed-method research design. Findings demonstrated that a decline in enjoyment and in the importance attributed to school music occurred in the first three years of lower secondary school (Key Stage 3). The enjoyment of school music was linked with the students’ engagement with practical components of music making, and its importance was mostly equated with future employment opportunities. The findings are discussed in terms of their practical implications in the teaching of music in secondary schools.

Development of a Methodology for Organizing Classes of General Secondary Schools Based on New Technologies

In this article, the role of the music teacher in the development of music lessons in general secondary schools and the positive solution of the demands and obligations imposed on him are analyzed. This study aims to explore effective music teaching within music pedagogy, focusing on personalized approaches, the development of creative potential, and the role of parents in the educational process. The method used in this study involves a descriptive approach to outline various aspects of effective music teaching within music pedagogy. The results show insights into strategies for effective music teaching, emphasizing support, motivation, and collaboration with both students and parents.

Methodology of Organizing Music Lessons in 5-7 Grades of General Secondary Schools Based on New Technologies

In this article, the methodology of the music teacher's organization of music lessons in the 5th-7th grades of general secondary schools on the basis of new technologies is explained. This comprehensive exploration emphasizes the significance of an individualized teaching approach in music pedagogy, focusing on tailoring education to each student's unique needs, interests, and abilities. The method involves conducting individual diagnoses, employing diverse teaching methods, incorporating musical preferences, adapting to learning paces, and providing additional resources. The main part delves into the importance of lesson planning, goal setting, assessing student progress, interactive teaching, and fostering support and motivation. It emphasizes diverse activities within lessons to stimulate interest and underscores the importance of an individualized approach.

Music-based therapeutic interventions for medical school students with emotional regulation and mental health: a pre-post cohort study.

Depression and anxiety are prevalent mental health challenges among college students. Music therapy has shown effectiveness in addressing depressive symptoms and enhancing psychosomatic functioning. This study aimed to evaluate the effectiveness of a 4-step structured music therapy program in improving mood and reducing symptoms of depression and anxiety among medical school students. The self-controlled study involved 45 medical school students (21 men and 24 women) aged 18-24 years to examine the prevalence of depression and anxiety, common mental health issues among medical school students. Participants underwent psychological assessment using the Symptom Checklist-90 (SCL-90), Self-Rating Anxiety Scale (SAS), and Self-Rating Depression Scale (SDS). An 8-week music therapy intervention, comprising four steps-sociality, interaction, music lessons, and creative expression-was administered. Before-intervention, 55.6% and 15.6% students were identified as suffering from depression and anxiety respectively. Post-intervention, significant reductions in psychological distress, particularly in the Global Severity Index (GSI) and Positive Symptom Total (PST) on the SCL-90 scale, were observed (P < 0.05). Male students exhibited notable improvements in various psychological symptoms compared to females. Junior grade students demonstrated greater improvements, and clinical medicine students exhibited significant enhancements in specific areas post-intervention. The structured music therapy program showed promising results in improving mood and regulating emotions among medical school students. Music therapy holds potential as a holistic approach to address mental health challenges in this demographic.

Musical and Aesthetic Education of Children and Youth in the a Cross-Cultural Space of the Republic of Malta

The article attempts to investigate and generalize the experience of musical and aesthetic education, the organization of general musical education of children and youth in the cross- cultural environment of the Republic of Malta. On the basis of the analysis of the program material, the priority types of activities in the lessons and during the organization of extra curricular work on artistic and aesthetic education were considered. Particular attention is paid to vocal and choral work, study and performance of folk songs, as well as involving students in familiarizing themselves with the works of domestic and foreign composers, forming worldviews in children and young people by means of musical art. It has been proven that students are active and resourceful, independently find and present folk songs in lessons that they have heard performed by members of their families or acquaintances of the older generation. A dominant role in music lessons is played by listening to and analyzing the musical works of classical composers and studying the work of Maltese composers. Composers and their works are presented, which are included in music education programs.

“Nothing must be spared for a good song”: Song and music lessons by A.P. Gaidar

“Nothing must be spared for a good song”: Song and music lessons by A.P. Gaidar

THEORETICAL FOUNDATIONS OF TEACHING MUSIC LITERACY IN ELEMENTARY SCHOOL STUDENTS OF GENERAL SECONDARY SCHOOL

This article presents the analysis of music education in the 20th and 21st centuries in the “Music culture” classes of primary secondary schools and the teachers’ and students’ involvement in the organization of music clubs. taking into account psychological and physiological aspects, purposeful use of interactive, interactive methods, composition of musical impressions and formation of necessary musical knowledge, skills, skills, competence, 34 hours of musical literacy or lessons in an orderly step-by-step manner , the order in which it should be passed, from simple to complex, ways and means of achieving musical literacy as a result of efficient use of time are shown.

Music and Dance Training are not Uniquely Associated with Memory Skills

Music training is robustly associated with cognitive skills, and with tonal and verbal memory more specifically. However, it is unclear whether these associations reflect near or far transfer and/or whether they indicate pre-existing differences between those who do or do not take music lessons for long durations. Dance training may similarly rely on or train visuospatial memory abilities and produce exercise-induced benefits for working memory, but there is far less research on its associations with cognition. In Study 1, women with varying durations of formal music and dance experience completed measures of visual and auditory memory, general intelligence, demographics, and personality. Music training was associated with auditory immediate and delayed memory, as well as visual working memory, but all associations disappeared when other variables were held constant. Furthermore, dance training was not associated with any memory measure. Study 2 was similar but focused on visual memory and included both men and women. We replicated the simple association between duration of music training and visual working memory, which once again ceased to remain significant when controlling for other variables. Similarly, dance training failed to correlate with any visual memory measure despite the use of more valid visual memory tasks. Our findings suggest that memory advantages among musicians most likely result from pre-existing differences rather than near transfer and provide no evidence of transfer from dance training to visual memory.

Music Scenes at the Association of Parents and Friends of Exceptional Children From São João Del-Rei (MG): a Phenomenological Approach of the Music Lessons for Children with Intelectual Functional Diversity

RESUMO: Este ensaio é fruto da experiência da primeira autora como educadora musical e coordenadora do Programa de Extensão “Música na Apae” da Universidade Federal de São João del-Rei, Minas Gerais. Apresentamos, aqui, algumas reflexões que deram origem à sua pesquisa de Doutorado, pautadas na abordagem fenomenológica, principalmente do filósofo Maurice Merleau-Ponty. A concepção fenomenológica de educação e a atitude mais aberta para enxergar a criança com Diversidade Funcional Intelectual [DFI] na sua expressividade musical genuína guiaram nosso olhar e orientaram as descrições das cenas aqui apresentadas, representando um momento de reflexão e, também, de autocrítica do educador, que está sempre em busca de meios, os quais possam ampliar a aprendizagem das crianças com DFI e torná-la mais significativa. Utilizamos o material de registro das aulas, como os diários de campo e gravações, que foram feitos para a documentação do desenvolvimento do Programa. Os resultados desse primeiro momento exploratório, como a potencialização da musicalidade e o desenvolvimento rítmico e da expressividade musical, indicam que um olhar mais atento ao fenômeno e ao sujeito em situação pode proporcionar uma aprendizagem musical mais significativa e mais adequada à maneira diversa de ser dessas crianças.

Blending Synchronous and Asynchronous Based on Visualization Strategy in Music Lesson to Promote Music Students’ Performance Skill

During the COVID-19 pandemic, music lessons greatly impact teachers and students, especially the constraints of applying proper tools in online music lessons including delivering lessons, classroom interactions, and conducting assessments to ensure students’ learning goals attain a desired end. This research study aimed to examine the effect of blending synchronous and asynchronous music lessons based on visualization strategy towards students’ music performance skill. This research applies a quasi-experimental design where obtaining validation from teachers and experts on the learning activities through blended learning based on visualization strategy, Wilcoxon Signed Rank Test and Spearman Correlation for measuring the effectiveness of learning activities for music lesson based on blended learning approach towards student’s musical performance skill and achievement, and a quantitative design supported with quantitative data where descriptive statistics are used to examine the perception of student’s on learning activities based on blended learning using synchronous and asynchronous towards their performance skill. This study was conducted based on an experiment whereby students participated during their music lesson via synchronous and asynchronous with the support of visual media. Digital platform with learning activities was used to conduct the synchronous and asynchronous lessons, and student’s performance skill were measured in relation to learning effectiveness. Six weeks of planning evaluation variables were tested involved rubric scores according to students’ pre-activity and post-activity in addition to test the interrelationship of students’ achievement grading system during pre-test and post-test conducted. A questionnaire with items of 30 student’s perception on the learning activities based on blended learning using synchronous and asynchronous with visualization strategy towards music performance skill were brought forward after the completion of 5 weeks program. Using visualization strategy positively impacts students’ understanding and enhances their skill in music performance and music theory achievement. Nevertheless, there was no correlation between students’ music performance skill and music theory achievement in promoting students’ music performance skill. Based on the students’ perception, they were able to improve in music performance skill substantially developed from viewing visualized materials, understanding the concept of music performance skill, and implementing on their musical instruments. Teachers’ perceptions should be considered to provide expectations towards students’ motivation and accomplishment.

THEORETICAL FOUNDATIONS OF TEACHING MUSIC LITERACY IN ELEMENTARY SCHOOL STUDENTS OF GENERAL SECONDARY SCHOOL

This article presents the analysis of music education in the 20th and 21st centuries in the “Music culture” classes of primary secondary schools and the teachers’ and students’ involvement in the organization of music clubs. taking into account psychological and physiological aspects, purposeful use of interactive, interactive methods, composition of musical impressions and formation of necessary musical knowledge, skills, skills, competence, 34 hours of musical literacy or lessons in an orderly step-by-step manner , the order in which it should be passed, from simple to complex, ways and means of achieving musical literacy as a result of efficient use of time are shown.

Comparison Of Primary School Teacher Training Program Music Lesson Contents And Primary School Music Lesson Contents

Bu çalışmanın amacı, Türkiye’de sınıf öğretmeni yetiştirme sürecinde geliştirilen/değiştirilen programlar kapsamında müzik derslerinin yeri, kredi, saat ve ders sayısı bakımından incelemektir. Araştırma betimsel nitelikte olup, veriler doküman analizi yöntemi ile elde edilmiştir. Doküman analizi sürecinde farklı yıllarda yürürlüğe giren Sınıf Öğretmenliği programlarında yer alan “müzik öğretimi” dersi ile ilkokul müzik dersi içerik ve kazanımları karşılaştırılarak ele alınmıştır. Sınıf öğretmenliği programına yönelik incelemede, 1998, 2007, 2018 programlarındaki ders tanımlarında meydana gelen değişiklikler tespit edilmiş ve 2018 programında sadece “müzik öğretimi” dersinin 2007 programındaki aynı tanım ile yer aldığı belirlenmiştir. Araştırmada, İlkokul müzik dersi, kazanımları ve içerikleri bakımından “müzik öğretimi” dersi içeriğiyle karşılaştırılmış ve büyük oranda örtüştüğü görülmüştür. Ayrıca MEB ÖYGM tarafından hazırlanan öğretmen yeterlikleri içerisinde sınıf öğretmenliği alanına ilişkin müzik alanı incelenmiş ve bu yeterlikler kapsamında değerlendirildiğinde “müzik öğretimi” dersi ile örtüştüğü ortaya konmuştur. Tüm programlar ve yeterlikler büyük oranda örtüşmekle birlikte sınıf öğretmenliği programında yer alan müzik öğretimi dersini alacak öğrencilerin hazırbulunuşluk düzeylerine bakılmadan bir dersin öğretimi dersini almalarının kredi ve saat bakımından uygulamada aksaklıklara neden olabileceği söylenebilir. Ayrıca ilkokul 1,2,3,4. sınıflardaki kazanımların gerçekleştirilmesi bakımından da aksaklıklar yaşanabileceği sonucuna ulaşılmıştır. Bütün bu değerlendirmeler sonucunda sınıf öğretmenliği programlarında müzik ders sayılarının, kredi ve saatlerinin artırılması, sınıf öğretmenliği programlarındaki öğrencilerinin yetenek ve hazırbulunuşluk düzeylerine göre seçmeli derslerle desteklenmeleri gerektiği, bu düzenlemeler yapılıncaya kadar ilkokul 1,2,3,4. sınıf müzik derslerine müzik branş öğretmenlerinin girmesi önerilmiştir.