Theory Of Music Education Research Articles

Computer-assisted education and application in the music flipped classroom: A review of the literature

The application of computer-assisted learning in music education not only changes the traditional teaching mode, in addition, it provides students with a richer and more personalized learning experience. However, the implementation of computer-assisted learning also faces many challenges, such as insufficient technological infrastructure, teachers' role change, and the development of students' independent learning ability. Therefore, this study explored the pedagogical effects of computer-assisted learning applications in music-flipped classrooms and how to enhance students' learning and musical expression through a computer-assisted flipped classroom teaching model by using the literature review method. Through a five-step approach, this study analyzes the current status, problems, challenges and opportunities of computer-assisted education in music-flipped classrooms, aiming to assess its effectiveness and propose strategies to promote innovation and development in music education. The study findings demonstrated that utilising computer-assisted learning in the music-flipped classroom substantially enhanced students' musical knowledge, skills, and performance by fostering active learning participation and interaction. Conclusions drawn from the study found that computer-assisted learning is effective in improving learning outcomes and musical performance and can contribute to the advancement of music education theory and practice. Future academic exploration needs to confront these obstacles and delve into inventive applications of computer-assisted learning. Furthermore, there is a necessity for prolonged investigations to evaluate the enduring influence of music education outcomes through computer-assisted music-flipped classroom instruction.

Ernst Friedrich Richter and the Birth of Modern Music Theory Pedagogy

This article provides a detailed discussion of the pedagogy and legacy of Ernst Friedrich Richter (1808–79). A theory teacher at the Leipzig Conservatory since its founding in 1843, Richter is most famous for authoring one of the most enduring harmony manuals—the Lehrbuch der Harmonie (1853)—which, among other things, was instrumental in popularizing the use of Roman numeral analysis in harmony pedagogy. Gaining a hegemonic position in the Western music theory discourse of the late nineteenth century, he played a key role in shaping the common practice of modern music theory pedagogy. Richter’s legacy has been tainted by critiques from several later theorists. Applying a Foucauldian discourse-theoretical lens, this article attempts to look beyond this historically negative assessment by asking what enabled Richter’s work to become so influential. The article is structured in six sections. Following the introduction and a brief overview of E. F. Richter’s life and works, two sections discuss what characterizes “Richterian” pedagogy. As source material, these sections draw on Richter’s writings as well as the exercises of one of his most famous students, Edvard Grieg (1843–1907). The last section before the conclusion investigates Richter’s legacy, considering both his initial broad international success and later critiques of his influence on modern music theory pedagogy.

Community musicking and musical cognition among adungu music communities of the Acholi people from Awach, Gulu district, Northern Uganda

This ethnographic inquiry investigated the nature of musical cognition that engagements in the Ugandan Acholi people’s adungu music culture engender, what can be understood about musical cognition in nonwesternized oral community music-making experiences, and how this might inform school music education theory and practice. Schooling in Uganda mostly upholds colonial epistemes that separate cognitive, affective, and psychomotor domains, and position the arts and culture at the periphery of school experiences. Through a thematic analysis of data from interviews, focus group discussions, and observations of Anyim Lac troupe music community engagements, this study found that sociomusical experiences engender musical cognition where the musical spirit, mind, body, and environment interactions birth musical understanding. Musical cognition was understood as a holistic process of reflecting, creating, recreating, and acting emotionally where these musical spirit, mind, body, and environment interactions are shaped by culture. Since humans perceive, perform, and learn music as the embodiment of the interaction between musical spirit, mind, body, and environment, educators might need to create contexts where learners engage in learning experiences in ways that embed awareness of the intertwined nature of musical spirit, mind, body, and environment in those meaning-making processes.

Influence of the Development of Internet Big Data on College Students' Music Education

Under the background of globalisation and diversification, how to construct a music culture with national characteristics and develop music education with both diversity and localisation is a major issue that music education theory and research in China must face up to. This study begins with a theoretical overview and uses big data analysis to construct a framework for teaching localisation. Then the localisation methods of educational concepts and practical operations are sorted out, and the construction of the localised teaching model of Orff music pedagogy is introduced. Finally, this paper describes the big data analysis of the localised teaching model in terms of cluster trend analysis and determining the number of clusters analysis. The results show that the Chinese music pedagogy of Orff is realised on the basis of improving students' music knowledge and achieving their all-round development. The experimental data effectively improved the speed and accuracy of the big data analysis algorithm. This study is significant for the localised music education system in China.

MIAO TIANRUI — A LEGEND OF CHINESE MUSIC PEDAGOGY

The article is devoted to the musical and pedagogical heritage of Miao Tianrui, a universally recognised founder of the basic theory of music education in China. The article represents the achievements of Master Miao in the field of musical lexicography, highlights his musical and pedagogical activities, identifies the main line of scientific research — the problems of musical structure and temperament, demonstrates the achievements in the methodological field, covering the creation of exclusive educational materials and adaptation of the Western European experience through the translation of iconic musicological research.

Public Music Theory’s Neoliberal Learning Outcomes

Recent years have seen a growing interest in integrating “public music theory” (PMT) into the classroom. While proponents argue that PMT-related class projects enhance traditional learning outcomes, some advocate for PMT assignments that focus explicitly on job training, thus aligning the learning outcomes of the music theory class with those of music entrepreneurship programs—students learn to “market themselves, fundraise, and interact with the broader public beyond traditional concert performances” (Belcher and Grant 2019). We argue that such discourse reflects a neoliberal frame that encourages a marketized view of music theory pedagogy—how music theory mastery can be sold to our students as a boost to their careers. PMT, with its emphasis on practical skills and interaction with a (potentially paying) public, is particularly susceptible to this framing. Building on Moore’s (2016) critique of musical entrepreneurship programs and Ritchey’s (2019) examination of neoliberalism’s effects on classical music, we analyze the role neoliberal values play in theorists’ decisions to bring PMT into the classroom and publish PMT themselves. We elucidate the neoliberal frame in several examples drawn from our own teaching experiences and from others. In our critique, we identify covert learning outcomes promoting a neoliberal perspective and engage with the following questions: How are music theory faculty, like all university instructors, under a particular “pressure to embody and transmit the values of power” (Bousquet 2008, 93)? And, in light of this pressure, how can we negotiate differences between our economic realities and societal ideals in our teaching?

Projection, Call‐Response and the Improvisational Moment

Projection, Call‐Response and the Improvisational Moment

Technological Diversification of Music Education: Views of Contemporary Foreign Researchers

The purpose of the article is to trace the main changes in modern scientific research of music education, taking into account its technological and informational diversification. The research methodology involves the complex use of a number of methods and approaches integrated from art history, pedagogy, informatics, and other sciences. General scientific research methods are also used, in particular analysis, synthesis, system, and generalisation. Methods of processing textual information, bibliographic method and content analysis of scientific information resources are significant. The scientific novelty consists in drawing attention to the reorientation of music education research as an important component model of the modern concept of intellectual education in an interdisciplinary direction based on technological developments. Conclusions. Traditional music education is gradually giving way to various new types of learning involving information technologies – digital devices, computer games, virtual reality, various simulations and network learning platforms, artificial intelligence, automatic control systems, and applications. Thus, the latest technologies break the traditional model of music education, contribute to its development and expand human opportunities for acquiring quality knowledge. In addition, the involvement of the latest technologies in the learning process requires changes not only in the content, methods, and process of learning, but also in the very theory of music education. In general, all these processes improve the quality of music education and ensure its sustainable development within the latest progressive concepts. Therefore, it is not surprising that based on the analysis of a number of foreign publications of modern researchers the following conclusion can be drawn: most of the research on music education is aimed to understand how to combine traditional learning with modern technological achievements, in particular, informational ones. This, in particular, refers to the understanding of the need to conceptualise a number of concepts of modern music education along the lines of interdisciplinary research traditions, including those mediated by the significant influence of informational and technical disciplines.
 Key words: music education, learning, teaching, information and digital technologies, virtual reality, artificial intelligence.

Exploring Instruction Methods for the Resting Tone in Elementary School Music Classes

This study aims to explore some instructional methods for the resting tone in music education, especially elementary general music education in Korea. Before exploring the instructional methods, the important role of the resting tone in the view of a western music history was investigated. Establishing the instructional methods, Music Learning Theory, a contemporary music education theory by Gordon was based upon and adapted to apply. Four integral applicable methods for elementary school music teachers to instruct the resting tone were introduced. First, through singing the last pitch of the patterns teacher uses, second, through singing the first pitch of the patterns teacher uses, third, through singing the resting tone of the patterns teacher uses, fourth, through singing the resting tone of a song teacher introduces. The four kinds of methods introduced in this study can be applied to any elementary music classes.

Based on the background of college curriculum construction music education theory implementation approach analysis

Under the background of the new era, it has become an irresistible trend for music education theory to be deeply integrated into the curriculum construction of colleges and universities. Offering music education theory courses in colleges and universities is not only beneficial to improve college students' aesthetic ability, but also beneficial to cultivate college students' creative ability. On the basis of in-depth analysis of the actual situation of the theoretical curriculum construction of college music education, it is found that the low efficiency of the curriculum teaching and the weak strength of the faculty team are the main shackles that hinder the implementation of the national quality education goal and the promotion of the curriculum construction. Based on this, this paper puts forward three ways to expand the teaching resources of music course, cultivate the innovation consciousness of the teachers and enrich the teaching methods of music course, so as to provide a reference for the decision of integrating music education theory into the curriculum construction of colleges and universities. Under the background of the new era, it has become an irresistible trend for music education theory to be deeply integrated into the curriculum construction of colleges and universities. Offering music education theory courses in colleges and universities is not only beneficial to improve college students' aesthetic ability, but also beneficial to cultivate college students' creative ability. On the basis of in-depth analysis of the actual situation of the theoretical curriculum construction of college music education, it is found that the low efficiency of the curriculum teaching and the weak strength of the faculty team are the main shackles that hinder the implementation of the national quality education goal and the promotion of the curriculum construction. Based on this, this paper puts forward three ways to expand the teaching resources of music course, cultivate the innovation consciousness of the teachers and enrich the teaching methods of music course, so as to provide a reference for the decision of integrating music education theory into the curriculum construction of colleges and universities.

Implications of Liberal Education in Aristotle’s Theory of Music Education

이 글은 아리스토텔레스의 ｢정치학｣에서 여가에 적합한 교육내용으로 언급되고 있는 음악 교과의 성격과 그 교육적 가치 문제에 대한 논의를 살펴봄으로써, 그가 말하는 자유교육의 기능을 검토하기 위한 것이다. 고대 희랍의 자유교육의 전통에서 음악은 체육이나 문학과 더불어 핵심적인 위치를 차지하였다. 그러다가 고전기가 끝나갈 무렵, 연주는 전문가에게 맡겨지고 아마추어는 감상자로 밀려나는 경향이 나타나면서 음악과 사장의 분리가 이루어지고, 음악 교과는 점차 학교교육의 영역에서 쇠퇴하게 된다. 이러한 상황에서 아리스토텔레스는 자유인의 교육에서 음악이 차지하는 위상과 그 중요성을 있는 힘을 다하여 정당화하고 있다. 그는 음악이 교과에서 제외될 때 발생하는 결함, 즉 인간성의 부조화를 심히 우려하는 것이다. 이성에 의하여 규제되지 않는 정서와 마찬가지로 올바른 정서에 의하여 견인되지 않는 이성도 오류에 빠질 수 있기 때문이다. 중등교육 단계에서 이루어지는 음악교육은 우리의 영혼이 쾌감을 올바르게 느낄 수 있도록 훈련함으로써 도덕적 품성을 도야하기 위한 것이다. 노래를 부르고 악기를 직접 연주하는 동안 그 당사자는 품성을 재현하고 있는 음악에서 도덕적 아름다움을 느끼게 되고 그의 품성은 차츰 음악의 리듬과 화성 저 너머에 있는 실재를 닮아가게 된다. 그의 체계에서 음악교육은 도덕교육과 지식교육의 교차점에 위치해 있다. 이러한 교육은 그의 이성과 감정이 조화를 이룬 도덕적 실천가를 지향한다.This article is to examine the function of liberal education by considering the nature of the music subject and its educational value, which is mentioned as an educational content suitable for leisure in Aristotle’s Politika. In the ancient Greek tradition of liberal education, music occupied a central position along with physical education and literature. Then, at the end of the classical period, there was a tendency to limit music performance to professionals and to define amateurs as viewers. As a result, music and literature were separated, and the music subject gradually declined from the realm of school education. Under these circumstances, Aristotle did his best to justify the status and importance of music in the education of free men. He was deeply concerned about the defect that occurs when music is excluded from the curriculum, that is, the dissonance of human nature. This is because, just like the emotions not regulated by reason, reason that is not driven by the right emotions can fall into error. Music education at the secondary level of education is to cultivate moral character by training our souls to properly feel pleasure. While singing and playing the instrument himself, the performer can feel the moral beauty in the music that reproduces the character, and his character gradually goes beyond the rhythm and harmony of music to resemble existence. In this system, music education is located at the intersection between moral and knowledge education. This education aims for a moral practitioner whose reason and emotions are in harmony.

Inheritance and Innovation of National Music Culture in Music Education

In the context of globalization, national music culture has become the focus of academic circles. How to protect, inherit and innovate the excellent national music culture is an important problem facing the current music education theory and practice research. This study argues that music education needs to keep a proper balance between “globalization” and “localization”, reasonably use the teaching materials of national music, and maintain the “root” and “uniqueness” of national culture, so as to better inherit and innovate national music culture. Thus, in this study, based on the summary of the concept of national music, the integrated teaching method of “teaching-practice-scientific research” is put forward from the perspective of inheritance, and the idea of integrating international music teaching method and national music culture is proposed from the perspective of innovation.

Music Theory Pedagogy in the Nineteenth Century

Abstract What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.

Streaming Media Music Classroom Teaching Mode and Effect Analysis Based on Audio Band Analysis Technology

Music teaching mode refers to the basic structure or framework of various types of music teaching activities under the guidance of certain music teaching ideas and music teaching theories. The process of music teaching needs to reflect the procedural coping strategies. With the continuous deepening of quality education reform, higher vocational colleges pay more attention to cultivating students’ professional skills and vocational abilities. Therefore, many schools need to change the current situation of music teaching in higher vocational colleges and explore new music teaching models. School teaching expects to further stimulate students’ interest in music learning and give full play to the aesthetic education function of music teaching. This article focuses on the research and evaluation of the music teaching model around the audio recognition technology and organically combines the music education theory with the music teaching practice. Research through the construction of a new mode of music teaching in higher vocational colleges, enrich the music teaching methods of music courses, and improve the effect of music teaching. The research has realized the aesthetic education function that music teaching should have in quality education. At the same time, the research results also provide a reference for music teaching in similar higher vocational colleges.

A Bevy of Biases

This article is in response to and in broad support of Philip Ewell’s keynote talk, “Music Theory’s White Racial Frame,” given at the 2019 Annual Meeting of the Society for Music Theory, and essay, “Music Theory and the White Racial Frame” (".fn_cite_year($ewell_2020)."). In his address and its companion essay, Ewell notes how the repertoire we study and teach, as well as the theories we use to explain it, are manifestations of whiteness. My article will show, first, that the repertory used in the development of theories of harmony and form, as well as (and especially) music theory pedagogy comprises a small, unrepresentative corpus of pieces from the so-called “common practice period” of tonal music, mostly the music of Bach, Haydn, Mozart, and Beethoven, and only a small subset of their output. We (mis)use this repertory due to a combination ofimplicit biasesthat stem from our enculturation as practicing musicians,explicit biasesthat stem from broadly held aesthetic beliefs regarding the status of “great” composers and particular “masterworks,” andconfirmation biasesthat are manifest in our tendency to use only positive testing strategies and/or selective sampling when developing and demonstrating our theories. The theories of harmony and form developed from this small corpus further suffer fromoverfitting, whereby theoretical models are overdetermined relative to the broader norms of a musical practice, and from our tendency to conceive of our theoretic models in terms of tightly regulated “scripts” rather than looser “plans.” For these reasons, simply expanding our analytic and/or pedagogical canon will do little to displace the underlying aesthetic and cultural values that are bound up with it. We must also address the biases that underlie canon formation and valuation and the methodologies that inherently privilege certain pieces, composers, and repertoires to the detriment of others. It is thus argued that working toward greater equity, diversity, and inclusion in music theory goes hand in hand with addressing some of the problematic methodologies that have long plagued our discipline.

"This Class Was Highly Useless": Reformulating an Unpopular Music Theory Course for Non-music Majors

This essay first examines how a course of music theory for non-music majors at the University at Buffalo experienced a serious drop in popularity between 2016-2019, suggesting the following as contributing factors: snowballing complexity, overtaxing homework expectations, reliance on non-relatable repertoire, and lack of in-class music-making. Then, it recounts in detail how the adoption of a new syllabus addressed these particular issues and how the students reacted to these new methodologies, hoping to provide the reader with an example of an emerging inclusivity-focused paradigm in music theory pedagogy.

Teaching the Cultural Commitments of Musical Structures and their Theories

While most undergraduate music theory classes are not overtly political, they often convey highly socialized convictions about musicality—that is, what counts as a "coherent," "well-formed," or "expressive" musical utterance—which can shape assessments of worth ascribed to individual composers, musical traditions, and ethnic and national identities. This essay advocates for an approach to music theory pedagogy that deliberately holds the inscribed socialized frameworks of musical structures up for critical examination. Through a lesson plan on the pentatonic scale in huangmei opera, I model several strategies for rendering the cultural commitments of familiar and unfamiliar musical structures palpable to students.

ЖИТТЄВИЙ ШЛЯХ І НАУКОВІ ЗДОБУТКИ ПРОФЕСОРА О. Я. РОСТОВСЬКОГО

The article informs about Professor O. Rostovskyi’s life and scientific achievements significance of which is extremely great in the context of studying the formation of music pedagogy history in Ukraine since its independence. The purpose of our study is to draw attention to the figure of Oleksandr Rostovskyi in the context of music pedagogy formation together with the creation of a country of independent Ukraine. Also very important is to ensure a proper place for his proceedings among scientists who have worked on the same topic. We analyzed O. Rostovskyi’s biography and scientific heritage. Mainly the last oneconsists of music programs for primary and secondary school (created by a group of authors led by Oleksandr Rostovskyi) and lesson outlines; music schoolbook for 1st grade (co-authored); manuals on the music education theory and methods for future teachers of music who study at high educational establishments. Very special section of his research activities is scientific supervision of dissertations for the pedagogical sciences candidate degree in its total number of 12. A circle of like-minded people and students makes it possible to talk about a scientific school leadershiped by O. Rostovskyi which promoted related pedagogical ideas and had research topics commonality. The conclusion is that the scientific heritage of Professor O. Rostovskyi is one of thefundamentally important milestones in the development of Ukrainian music pedagogy during its independence and statehood formation. It is thanks to the scientist’s approach to teaching children music which was based on the use of national culture combined with the pedagogical concept of D. Kabalevskyi thefoundations of schoolchildren national self-identification were laid. This was critically necessary in rapid state-building processes terms and thanks toscientific supervision it became possible to use the complex of children musical education methods. The scientific originality of this article lies in the field of systematization of Professor O. Rostovskyi’s work. The practical significance means the acquiring of informative basis for further more detailed research.

Enlightenment of Confucian Thoughts of Music Education on Contemporary General Music Education

In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.

An Analysis of Korean Research Trends in B. Reimer’s Music Education Theory

본 연구의 목적은 베넷 리머의 음악교육론에 대한 국내 연구 동향을 분석하고, 음악교육연구에 주는 시사점을 탐색하는 것에 있다. 이를 위해, 1988년부터 2018년까지 리머의 음악교육론에 대해 연구·발표된 논문 86편(학술지 논문 17편, 학위논문 69편)을 선정하여 분석하였다. 논문유형과 발행 시기, 연구 방법, 연구 주제에 따라 분석한 결과는 다음과...