Traditional Music Education Research Articles

The Application of Flipped Classroom in Colleges and Universities Piano Collective Classes

The teaching concept of “flipped classroom” has gained wide attention in the field of education in recent years. At present, the researches in music class focus on music theory, and there is few in piano collective teaching. Nowadays, most of the music courses teaching (except piano, vocal music) is the same as other subjects. The traditional teaching mode of “teachers teach knowledge in class and students complete homework after class” has been used. The biggest problem of this traditional music education model is that students have poor learning initiative, the teaching process is rigid and teaching effect is poor. The flipped classroom encourages students to study by themselves before class and complete the task list according to the teacher’s guidance. In addition, there are many students in the major courses of professional theory, and it is too difficult for teachers to make corresponding teaching arrangements for each student’s situation. For which, teachers can only take care of the students of moderate degree in the class that constitute the majority of the class. For those students who learn fast and slow, it is often difficult to take care of them. As a result, the teaching effect is not satisfactory. With the wide application of electronic technology in colleges or universities classrooms, the teaching mode of “flipped classroom” is gradually cultivated. It has received extensive attention from education field both at home and abroad. This article analyzes the present situation of piano collective teaching in colleges and universities, the science and superiority of flipped classroom, and problems and obstacles that could possibly occur, then puts forward some measures to use the “flipped classroom” method.

The Effect of Early Childhood Korean Traditional Music Education Program Applied with Through Creative Traditional Music

The Effect of Early Childhood Korean Traditional Music Education Program Applied with Through Creative Traditional Music

“I Love Knowing That What I’m Doing Has Purpose”: Male Instrumentalists Who Choose to Teach Elementary General Music

Few entering music education students plan to teach in an elementary general music (EGM) setting, and the majority of those who teach EGM are female and have vocalist backgrounds. The purpose of this collective case study was to examine six male instrumentalists’ decisions to pursue a career in EGM teaching rather than secondary instrumental music. Analysis of interview data revealed three emergent themes: (a) development of a new schema for EGM, (b) teacher beliefs and identity, and (c) tension between autonomy and the perceived “status quo” in traditional instrumental music education. Findings suggest music teacher educators should be aware of the power of “detracked” coursework in music teacher preparation programs as well as the factors that might influence individuals to choose a career in EGM teaching and/or deter them from choosing a career in secondary instrumental music teaching.

Application of Virtual Reality in Music Teaching System

In order to improve vitality and efficiency of teaching in music, with the multi-sensing, immersion and interactivity feature in the virtual reality (VR) technology, the VR system can solve the low cross mutual inductance and low efficiency in traditional music teaching. An online error identification algorithm was proposed in the paper. The teaching performance was evaluated with dimensions and confirmatory factor analysis. The results indicate the enthusiasm of students' autonomous learning and learning efficiency has been greatly improved with teaching system.

Investigation and Development of Teaching Model for Early Childhood Korean Traditional Music Education

Investigation and Development of Teaching Model for Early Childhood Korean Traditional Music Education

Enhancing Social Connectedness or Stabilising Oppression: Is Participation in Music Free From Gendered Subjectivity?

Connectedness and inclusivity are components of a healthy community. However, intersectional feminist thought poses that exclusion and marginalisation are enacted through gendered power structures and affect the lives of individuals and communities around the world on multiple intersecting axes, including gender, sexuality, race, class, and disability (Crenshaw, 1989). Critical analysis of music in its high art form, from traditional music education and musical narratives, to jazz, to what instrument one chooses, highlights a raced, classed gender order, and an ongoing cultural bias that privileges a heteronormative narrative, and highlights the work and importance of men’s contributions (Bradley, 2007; Gould, 2007; Maus, 2011). While community approaches to musical participation may seek to emancipate and transcend moral hierarchies which dictate who can and cannot participate, I contend that these may occur within the context of a deeply entrenched gender order. By focusing only on the essential and universal, or liberating and connecting qualities of music and music therapy for all of humanity, we may sidestep and erase histories of oppression and marginalisation. This article uses a critical lens to explore the literature for contexts in music that preserve a male dominated gender order, and seeks to question and problematise the notion that music provides equal opportunity for social connectedness.

Instruction of Regional Culture Through Traditional Music Education:

Instruction of Regional Culture Through Traditional Music Education:

A Study on Methodology Aiming at Conquer of the Traditional Music Education

A Study on Methodology Aiming at Conquer of the Traditional Music Education

The Future Management of Thai Musical Study

The two aims of this investigation wereto study the management of Thai musical education and study the trends of Thai musical education management and improvement for the academic year 2013 to the academic year 2022. Data was gathered using aholistic approach between qualitative analysis and the Delphi method. For the Delphi method, 17 specialists were consulted. The results show that Thai music courses have been prescribed in 3 categories. Courses are assigned containing both theoretical and practical elements by letting the students choose at least one musical instrument as their skill. According to the results, Thai traditional music teaching and learning in the future should be changed to focus onself study. Moreover, information technology must be included in the teaching program in order to improve teaching results.

Musical nuance task shows reliable differences between musicians and nonmusicians.

Musical nuance can be defined as the fine-grained deviations in pitch, loudness, time, and tone quality in a musical pirrase that a performer manipulates to enhance a performance. Nuance is commonly viewed as subtle qualities that add expressivity to a musical utterance. Although some researchers suggest musical nuance consists of expressive elements that include dynamics, articulations, and other stylistic qualities (Madsen, 1999), many studies in music psychology have predominantly focused on musical nuance as characterized by expressive qualities intended to produce emotion (Laukka, 2004; Lindstrom, Juslin, Bresin, & Williamon, 2003). For the purpose of this research, we will be discussing musical nuance as part of musical expressiveness revealed in subtle stylistic differences based on cultural conventions.Musical nuance is critical to listener perception and musical performance. For instance, musical nuance may be the reason that listeners would rather hear a human performance rallier than a computerized rendition (Juslin, 2003). As a result, listeners develop preferences for specific performers based on characteristics of musical nuance (Geringer & Sasanfar, 2013). On the other hand, fluid manipulation of musical nuance is one of the tools which expert performers use to demonstrate musical expression, distin- guish personal performances, and impart novelty of high value beyond that notated in the score. Differences in musical nuance allow for new and varied interpretations of familiar music.Research indicates that musicians and educators perceive expressive characteristics such as nuance as the most important element of a musical performance (Lindstrom et al., 2003). Musical training can develop aural skills and performance skills that can help the student musician perform more expressively, and many pedagogical approaches can assist with the development of expressivity such as aural modeling, verbal modeling, and mental imagery (Woody, 2006). In addition, traditional music education approaches include internalization of performance styles, performance models, and music listening via concert attendance and recordings (Timmers & Sadakata, 2014). Despite the focus on the development of aural skills and pedagogical approaches to teach for expressiveness, there seems to be no reliable and valid measures available to examine musical nuance listening ability. The purpose of this research is to examine the psychometric properties of a Musical Nuance Task (MNT) and to evaluate the role of experience in musicians and nonmusicians on musical nuance perception. We evaluated the hypothesis that musical training and previous music listening experiences can modulate the perception of subtle stylistic differences.Musical nuance is similar to expression in speech where the speaker adds subtle changes for stylistic purposes (Brandt, Gebrian, & Slevc, 2012). Fundamentally, speech perception is dependent on melody (intonation) and rhythm (stress and timing) elements. Rhythmic stress and intonation in speech is referred to as prosody. Spoken words and musical tones can be stressed on the basis of the fundamental frequency. Similarly, melodies can be segmented due to the pauses. The performer (speaker) uses an implicit understanding of the language (music or speech) to communicate with prosodic cues to the listener. Recent research in Finnish adults supports the relationship between music and speech prosody in rhythmic perception even after controlling for many other variables such as music education and working memory performance (Hausen, Torppa, Salmela, Vainio, & Sarkamo, 2013). The perception of musical prosodic cues such as those referenced by the term musical nuance occurs in a global fashion.Global ProcessingMusic consists of a combination of local and global elements, grouped by articulatory gestures performed on a variety of instruments or on the same instrument with application of various sound techniques that create subtle stylistic differences (Mottron, Peretz, & Menard, 2000). …

Improvement of music education employing innovative methods

The article discusses possibilities for improvement of music education employing innovative methods of personal meaning and emotional imitation: the topicality of this process while developing value-based attitudes of junior school age children and integrating popular music in the context of theories of pedagogical thought development is substantiated, following the results of the research, the links of school students’ music activities and formation of value-based principles are discussed as well as possibilities for music education improvement in a contemporary school.On the basis of scientific literature analysis, education at present is perceived as an integral process of constant change and continuity, which is purposefully directed towards improvement of relations of an individual with the surrounding world. History of human culture and accumulatedpedagogical experience serve as foundation for general music education today, for linking of past and present values of music culture as well as for their nurturance.A considerable number of researchers in general pedagogy tend to ascribe a very important educative function to music but the role of popular music, as a modern cultural phenomenon, remains unrevealed. The conducted research allows to conclude that striving for improvement of content of traditional music education, the methods of personal meaning and emotional imitation are acceptable to develop value-based principles of junior school children through integration of popular music. The idea of personal meaning method enables learners to communicate with music in a way, which creates preconditions for better cognition of oneself and others.Method of emotional imitation enables a learner to pursue a higher goal, i.e., an ability to live using personally created feelings and thoughts. All this is as if a music-based pretext to communicate with oneself and with others creating a possibility for turning back and looking forward. Thus, not only individuality of cognition but also a value-based attitude of a perceiver are revealed.

What a Difference in 3 Years! Risking Social Justice Content in Required Undergraduate Music Education Curricula

Preparing future music educators to teach diverse students in U.S. schools is essential; diversity is increasing, especially in urban schools. Music teacher education infused with social justice content promotes successful student learning and an understanding of diversity. This 3-year narrative includes social justice materials, successful pedagogical strategies, pitfalls, and students’ comments. The 111 Caucasian students and 3 students of color were enrolled in three required music education undergraduate courses at an urban university. Students reflected about their cultural identities, created presentations with sensitive content, and revealed positive attitudinal changes about diversity. The risk for future music teachers was the requirement to learn a vast amount of traditional music education material plus social justice ideas. The risk for the professor involved breaking the canon of traditional music teacher preparation by teaching social justice content in required courses. What the author learned might persuade others to reevaluate their curricula and include social justice topics.

Early childhood teachers' Korean traditional music teaching efficacy and the performance characteristics of Korean traditional music education according to the efficacy

Early childhood teachers' Korean traditional music teaching efficacy and the performance characteristics of Korean traditional music education according to the efficacy

Nigerian Traditional Music Education in the Context of Global Educational Challenges

So many changes taking place in our world today are dictated by forces which can originate in one corner of the globe while affecting the lives of millions of people elsewhere. One such area that has witnessed various forms of change is education. Yet, it does appear that the essence of education is still the same. The changes have happened more on the approaches to education than on the essence. This paper looks at the traditional music education in the face of the global challenges facing education. It makes a phenomenological appraisal of the trends and shows how there are shared and regional concerns of music education.

사물놀이 지도법 개발과 이를 통한 국악의 인식 변화 연구

Traditional music should be succeeded and developed through the systematic education since music represents culture and history of one country. In Korea, even through the importance of Korean traditional music has been emphasized through the seven times of revision of national curriculum, music education has been still Western-oriented. This study aims to make students have experience Uttari Samul-nori and investigate the perception changes about the Korean traditional music. It is ultimately expected that students inherit the Korean traditional music and further recreate our own traditional culture. Samul-nori class was organized in the regular music curriculum twice a week, for 10 hours and various activities were tried during that time. 1st-year high school students participated in this research and they were allowed to play Samul instruments directly and play the basic rhythm suggested in the newly designed curriculum. Before and after the research, the questionnaires were sent to examine the attitude changes toward the Korean traditional music. The result of the questionnaire are as follows: First, Samul-nori activities affect positively the students` interest in the Korean traditional music and Samul-nori itself. Second, Danso(short bamboo flute) education which has been implemented most frequently during the Korean music education, is not satisfactory to the students. Third, students were satisfied with the new teaching method of Samul-nori and most students wanted to continue to take Samul-nori class. Last, students recognized the importance of Korean traditional music education after the research activities.

Not your parents' marching bands: The history of HONK!, pedagogy and music education

The HONK! Festival of Activist Street Bands (honkfest.org) is an independent, grassroots, non-commercial weekend festival held each autumn in Somerville, Massachusetts. It is a moving spectacle of colourful marching bands, gigantic puppets, creative bikers, jugglers, hoopers, flag twirlers and stilt walkers, interspersed with unions, activist organizations and community groups. The deep history of HONK! derives from the role of military brass and drums in colonial conquest and religious conversion. As empires crumbled, these military and religious ensembles gave rise to community-based civilian bands that incorporated local popular musics to create new transcultural hybrids. HONK! represents one visible tip of a substantial underground of alternative street bands that encompasses large parts of the globe. The processes by which these bands operate provide an alternative model (or complement) to traditional music education. This research represents an embryonic attempt to articulate the values and techniques that comprise what I call HONK! pedagogy.

Queering informal pedagogy: sexuality and popular music in school

This qualitative case study explores how students’ perceptions of sexual identity affect how they participate in popular music processes used in school. Seventeen high school students were invited to form five single-gendered and mixed-gendered rock bands. The data collected included fieldnotes and audio recordings of observed rehearsals and individual interviews. The data were coded and analyzed from a queer theory standpoint to provide interpretations of how participants constructed their sexual identity through musical production and reception. The findings suggest that the boys used popular music making to project a sexual identity, and that they refused to participate in musical acts – like singing in a high tessitura and writing lyrics – that they willingly performed in traditional music ensembles and genres. This questions whether the recent use of popular music pedagogies in formal settings effectively furthers traditional music education aims of educating about the elements of music.

Application Methods of the Jeju Chilmeoridang Yeongdeung-gut in Korean Traditional Music Education by Integrated Approach

Application Methods of the Jeju Chilmeoridang Yeongdeung-gut in Korean Traditional Music Education by Integrated Approach

Orff schulwerk elementary music applications in interdisciplinary education in chair of primary school education

Orff Schulwerk's approach and elementary music method, one of the modern approaches in music education, is used in Marmara University Chair of Primary School Education. During works, where teacher has a leading role, students are always active through improvisation, rhythm and dance. Teacher is the founder and observer of creative games. This method can be used primary schools instead of traditional music education so that primary school students express themselves confidently and improve their creativity. So, students can be encouraged to be inquiring and interpreting through this education approach which unites music and rhythm and improves sense of rhythm.

Focus on practice-relationships between lessons on the primary instrument and individual practice in conservatoire education

This article presents the results of research into the relationships between lessons on the primary instrument and individual practice in conservatoire education. Six cases were extensively investigated through observation, questionnaires, logbooks, and interviews. Regarding the lessons on the primary instrument, we examined aims, topics, structure, homework feedback, and homework instruction; regarding the individual practice, we studied content, strategies, and direct relationships with the homework instruction. Our discussion of the results includes such issues as implicit versus explicit communication about aims, result-directed versus process-directed feedback, as well as ad hoc versus systematic approaches to teaching and individual practice. The results of our research are interpreted as marking a shift from traditional music education according to master-apprentice model, to a more reflective and methodical approach informed by educational theory.