If you're a man and need to relieve yourself quickly, Bruges, Belgium is your place. Simply walk into the town square and look behind a low wall. There they are. Four urinals! Just try not to notice, ...from the side of the urinal structure, everyone can see you! Beyer's first encounter with a public toilette was in an Amsterdam restaurant. She saw the toilette sign and headed that way. She encountered a turn-style and noticed a coin machine on her right that required the European equivalent of $0.25. Once inside, to her surprise, a man exited one of the stalls and politely held the door open. She shyly said, "Merci, Monsieur." She had just learned had initial toilette lesson--be prepared with coins and expect the unexpected!
AN APPROACH TO TEACHING MODES Soycan, Merve
European Journal of Education Studies,
09/2023, Letnik:
10, Številka:
10
Journal Article
Odprti dostop
Modes have historically been at the centre of music until the end of the Renaissance period, and were ignored for a while with the tonal system in the Baroque period and afterwards. However, in the ...contemporary period, with the search for new music, they started to gain popularity again and continued to be used as major and minor tonalities. Modes, which have their own unique interval structure, have a different sound scale and feeling compared to major and minor tonalities. For this reason, it takes some time for students who have tonal sensation and practice habits to learn and understand the modes. In many written sources, the concept of mode is explained by associating it with the major scale degrees. This way of expression increases the possibility of making mistakes because it is an indirect way. In this study, it is aimed to present a different approach to the teaching of modes, and examples of the way to be followed are given. Article visualizations:
Surprisingly little research has considered whether parent-child activities facilitate social-emotional development and whether these associations differ for boys and girls. To address this gap, this ...study leveraged the National Longitudinal Survey of Children and Youth (2006-2008) to examine the extent to which story reading, storytelling and music activities longitudinally predicted social-emotional development. Parents reported the frequency of parent-child activities when children (N = 2567) were aged 3-6 and their social-emotional functioning two years later. Multi-group analyses indicated significant sex differences after controlling for family income. Story reading was negatively associated with hyperactivity and emotional/anxiety problems whereas storytelling was negatively associated with physical and indirect aggression among boys, but not girls. Storytelling and music activities were associated with lower hyperactivity among girls. More frequent parent-child activities predicted more prosocial behaviours among both boys and girls. This study highlights that each parent-child activity has its own distinctive implications on social-emotional functioning.
•First to examine early shared home music activities and later outcomes.•Greater shared book reading at 2–3 years associated with a range of skills at 4–5 years.•Greater shared home music activities ...at 2–3 associated with a range of skills at 4–5 years.•Music particularly linked with prosocial skills, numeracy, and attentional regulation.
The benefits of early shared book reading between parents and children have long been established, yet the same cannot be said for early shared music activities in the home. This study investigated the parent–child home music activities in a sample of 3031 Australian children participating in Growing Up in Australia: The Longitudinal Study of Australian Children (LSAC) study. Frequency of shared home music activities was reported by parents when children were 2–3 years and a range of social, emotional, and cognitive outcomes were measured by parent and teacher report and direct testing two years later when children were 4–5 years old. A series of regression analyses (controlling for a set of important socio-demographic variables) found frequency of shared home music activities to have a small significant partial association with measures of children's vocabulary, numeracy, attentional and emotional regulation, and prosocial skills. We then included both book reading and shared home music activities in the same models and found that frequency of shared home music activities maintained small partial associations with measures of prosocial skills, attentional regulation, and numeracy. Our findings suggest there may be a role for parent-child home music activities in supporting children's development.
This study considered a relation between rhythm perception skills and individual differences in phonological awareness and grammar abilities, which are two language skills crucial for academic ...achievement. Twenty‐five typically developing 6‐year‐old children were given standardized assessments of rhythm perception, phonological awareness, morpho‐syntactic competence, and non‐verbal cognitive ability. Rhythm perception accounted for 48% of the variance in morpho‐syntactic competence after controlling for non‐verbal IQ, socioeconomic status, and prior musical activities. Children with higher phonological awareness scores were better able to discriminate complex rhythms than children with lower scores, but not after controlling for IQ. This study is the first to show a relation between rhythm perception skills and morpho‐syntactic production in children with typical language development. These findings extend the literature showing substantial overlap of neurocognitive resources for processing music and language.
A video of this article can be viewed at: http://youtu.be/_lO692qHDNg
Rhythm and grammar skills were tested in typically developing 6‐year‐old children. A robust correlation was found between musical rhythm perception and grammar production.
In 2014, the National Association for Music Education released music standards that strongly emphasized creativity, encouraging teachers to find new ways to implement creative activities into their ...classrooms. As such, making cross-modal associations and emphasizing divergent thinking are important priorities for teachers to consider. Synesthesia involves involuntary cognitive connections between senses (e.g., color and sound) that many people experience. The principles of this condition can be applied to all music learners, and building instructional approaches from them could help students make these unique associations and use divergent thinking to ultimately become more creative music makers.
Perspective-taking, which is important for communication and social activities, can be cultivated through joint actions, including musical activities in children. We examined how rhythmic activities ...requiring coordination affect perspective-taking in a referential communication task with 100 Chinese 4- to 6-year-old children. In Study 1, 5- to 6-year-old children played an instrument with a virtual partner in one of three coordination conditions: synchrony, asynchrony, and antiphase synchrony. Eye movements were then monitored with the partner giving instructions to identify a shape referent which included a pre-nominal scalar adjective (e.g., big cubic block). When the target contrast (a small cubic block) was in the shared ground and a competitor contrast was occluded for the partner, participants who used perspective differences could, in principle, identify the intended referent before the shape was named. We hypothesized that asynchronous and antiphase synchronous musical activities, which require self-other distinction, might have stronger effects on perspective-taking than synchronous activity. Children in the asynchrony and antiphase synchrony conditions, but not the synchrony condition, showed anticipatory looks at the target, demonstrating real-time use of the partner's perspective. Study 2 was conducted to determine if asynchrony and antiphase asynchrony resulted in perspective-taking that otherwise would not have been observed, or if synchronous coordination inhibited perspective-taking that would otherwise have occurred. We found no evidence for online perspective-taking in 4- to 6-year-old children without music manipulation. Therefore, playing instruments asynchronously or in alternation, but not synchronously, increases perspective-taking in children of this age, likely by training self-other distinction and control. A video abstract of this article can be viewed at https://youtu.be/TM9h_GpFlsA.
The global pandemic caused by the novel Coronavirus (COVID-19) in spring 2020 resulted in schools moving to remote learning (RL) models for the remainder of the academic year. The purpose of this ...study was to examine the practices, experiences, and perspectives of elementary and secondary school band directors in relation to RL during this period. Directors (N = 462) responded to survey questions related to several aspects of RL, including (a) technologies and materials, (b) activities and assessments, (c) student participation, (d) the challenges of teaching remotely, and (e) the extent to which experiences varied among participants in low-poverty versus high-poverty schools and at the elementary/middle school level versus high school level. I also examined (f) the conditions and practices of programs that experienced both high and consistent levels of student participation. Data indicated that the COVID-19 shutdown created many challenges for directors, particularly in schools with higher poverty levels and/or in rural locations. However, RL also created opportunities for instrumental teachers to incorporate into curricula (a) a wider range of technology; (b) more of a focus on individual musicianship; (c) lessons in music theory, history, and culture; and to a lesser extent, (d) student creativity through composition and arranging.
Musical group interaction (MGI) is a complex social setting requiring certain cognitive skills that may also elicit shared psychological states. We argue that many MGI-specific features may also be ...important for emotional empathy, the ability to experience another person’s emotional state. We thus hypothesized that long-term repeated participation in MGI could help enhance a capacity for emotional empathy even outside of the musical context, through a familiarization with and refinement of MGI empathy-promoting musical components (EPMCs). We tested this hypothesis by designing an MGI programme for primary school children consisting of interactive musical games implementing various EPMCs. We ran the programme for an entire school year and compared the emotional empathy of MGI children to control children using existing and novel measures of empathy before and after the programme. Our results support our hypothesis: MGI children showed higher emotional empathy scores after the study compared to its beginning, and higher scores than control children at the end of the study. These findings shed new light on the emotional processes involved in musical interaction and highlight the remarkable potential of MGI for promoting positive social-emotional capacities such as empathy.
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