En algunas personas, la música parece ejercer la capacidad de aislarlos de su entorno y captar toda su atención. La medición de esta característica de la persona es aconsejable antes de utilizar la ...música en el aula, sobre todo se usa para apoyar tareas académicas complejas. Esta investigación ha medido las propiedades psicométricas de la escala AIMS de absorción a la música, así como sus niveles en una muestra incidental de 388 estudiantes de Educación. Se aplicó un análisis factorial exploratorio. Se realizó un análisis de estadísticos descriptivos y los contrastes en función del sexo, así como de saber o no música. Los resultados muestran dos factores latentes vinculados con un estado alterado de conciencia, y otro con experiencias cinestésicas. La muestra presenta niveles medios y altos en ambas dimensiones. No se encontraron diferencias entre sexos ni conocimiento musical.
An abstract of the study by Rhode determining the prevalence/incidence, risk or rate, and type of musculoskeletal injuries (MSI) and sudden illnesses (SI) reported during activity among high school ...and collegiate marching bands and color guard. Results strongly indicate that MB and CG are likely to sustain LE MSI and the nature of the activity predisposes members to certain types. MB and CG is an athletic activity often performed by unfit individuals, thus athletic trainers should be present to provide injury prevention and manage MSI and SI.
Vrednovanje i ocjenjivanje u nastavi Glazbene kulture važna je sastavnica odgojno-obrazovnog procesa koja sa sobom nosi razne poteškoće i subjektivnost. U nastavi Glazbene kulture realiziraju se ...različite glazbene aktivnosti i sadržaji (slušanje glazbe, muzikološki sadržaji, pjevanje, sviranje, stvaralaštvo/glazbene igre/pokret, osnove glazbene pismenosti), koji su više ili manje specifični te se navedeno odražava i na vrednovanje i ocjenjivanje. Navedene aktivnosti i sadržaji u okviru Kurikuluma nastavnog predmeta Glazbena kultura za osnovne škole i Glazbena umjetnost za gimnazije (2019) organizirane su u okviru tri domene/nastavna područja: Slušanje i upoznavanje glazbe, Izražavanje glazbom i uz glazbu i Glazba u kontekstu. U radu je prikazano istraživanje provedeno tijekom 2019. godine, a koje je obuhvatilo 269 ispitanika, tj. 30 osnovnoškolskih učitelja Glazbene kulture i 239 učenika osmih razreda. Istraživanje je provedeno u Osječko-baranjskoj i Požeško-slavonskoj županiji te je obuhvatilo učitelje Glazbene kulture i učenike osmih razreda šest osnovnih škola od kojih se četiri nalaze u urbanom, a dvije u ruralnom području. Cilj ovog istraživanja bio je doznati stavove učenika i učitelja o vrednovanju i ocjenjivanju u nastavi Glazbene kulture, utvrditi moguću povezanost sociodemografskih varijabla i mišljenja učitelja i učenika te utvrditi na koji se način provodi ocjenjivanje u nastavi Glazbene kulture. Slušanje glazbe i pjevanje su aktivnosti koje se, prema mišljenju i učitelja i učenika, najčešće vrednuju i ocjenjuju u nastavi Glazbene kulture. Ujedno, učitelji u većoj mjeri smatraju da provode individualno i skupno ocjenjivanje nego li to smatraju učenici. Utvrđeno je da učitelji najčešće ocjenjivanje provode tako što tijekom svakog sata prate učenike, skloni su učenike ocijeniti odmah na satu i najčešće usmeno. Utvrđeno je da su učitelji i učenici mišljenja da učenik ne treba imati razvijene glazbene sposobnosti za ocjenu ‘odličan’ u predmetu Glazbena kultura. S obzirom na povezanost sociodemografskih varijabla i mišljenja ispitanika o vrednovanju i ocjenjivanju, pokazalo se kako su područje na kojemu se nalazi škola i spol značajni prediktori učeničkih stavova, dok se kod učitelja nijedna varijabla nije pokazala prediktorskom.
Evaluation and grading in the teaching of Music Culture is an important component of the educational process that carries various difficulties and subjectivity with it. In the course of Music Culture, various music activities and contents (music listening, music content, singing, playing, creativity/musical games/movement, basics of musical literacy) are realized, which are more or less specific and also reflect on the evaluation and evaluation. The activities and contents of the Curriculum for the Elementary School Music Culture and High School Musical Arts (2019) curricula are organized within three domains/teaching areas: Listening and learning about music, Expressing music and with music, and Music in context. The research was conducted in 2019 and included 269 respondents, i.e. 30 elementary music teachers and 239 eighth grade students. The survey was conducted in Osijek-Baranja and Pozega-Slavonia counties and it included Music teachers and eighth grade students from six primary schools, four of whom are in urban and two in rural areas. The aim of this research was to find out students’ and teachers’ views on evaluation and assessment and to determine the possible correlation of sociodemographic variables and teachers’ and students’ opinions on evaluation and assessment in Music Culture teaching and to determine how the assessment is conducted in Music Culture teaching. Listening to music and singing are activities that, in the opinion of both teachers and students, are most commonly evaluated and graded in teaching Music Culture. At the same time, teachers are more likely to carry out individual and group assessments than students. Teachers usually conduct their assessment by monitoring students every class, they tend to evaluate students during class and most often orally. Teachers and students think that student should not have the developed musical skills to score excellently in Music Culture. Considering the correlation between sociodemographic variables and the respondents’ opinions on evaluation and grading, it was shown that the area in which school is located and gender are significant predictors of students’ attitudes, while in the teachers no variables proved to be predictive.
Culturally responsive pedagogy in music education is becoming increasingly crucial for all students, in all types of music programs, and at all levels of education as demographic shifts occur in ...schools. In music ensembles, the selection of repertoire is a critical component of culturally responsive pedagogy. The purpose of this study was to investigate student perceptions of repertoire in college music ensembles. This study was guided by the following research questions: (a) Do students perceive current ensemble repertoire as representative and supportive of their self-identities? (b) What are these perceptions according to students’ race or ethnicity, gender, and ensemble type? (c) What factors do students consider important in directors’ selection of repertoire? (d) How are directors’ current repertoire selection practices, as experienced by the respondents, informed by or responsive to gender and racial diversity in the ensembles? Respondents (N = 278) were graduate and undergraduate college students enrolled in band, choir, or orchestra. Data were collected through an online questionnaire. Overall, respondents felt that current repertoire practices were representative and supportive, although male respondents rated composer gender as lower in importance in repertoire selection than both females and those not identifying as male or female. White students indicated that they felt repertoire selection was more representative of their gender than Black, Indigenous, and other students of color. Respondents also indicated a desire for more underrepresented composers in ensemble repertoire. Numerous implications are provided, including the need for an increased focus on culturally responsive repertoire selection processes in teacher preparation programs.
The elementary music program is often most likely to include all students in the United States. As such, teachers have an opportunity to encourage lifelong musicianship and musical engagement. ...Researchers have reported, however, that children’s interest in school music activities declines over the elementary years, and general music teachers struggle to invigorate older students. This raises questions about the nature of school music and why some students lose interest or cease participating. Recently, teachers have sought to address student preferences through diverse offerings, such as popular music instruction and ensemble-focused music classes. Still, teachers cannot be sure they are addressing students’ interests without seeking students’ input. In this second article in our research-to-practice series, we demonstrate this process, sharing how we surveyed students in Grades 3 to 5 regarding their music class activity preferences. Understanding the activities children enjoy and tailoring experiences accordingly may help increase school music engagement and support children’s lifelong musicianship.
Internationally, mental health service developments are increasingly informed by the principles of recovery, and the availability of arts and creative activities are becoming more common as part of ...provision. Mental health service users’ experiences, reflecting on the complex nature of using music participation in recovery are, however, limited. This essay considers literature that explores how music can support mental health service users in a recovery process. We have selected studies that include a broad spectrum of music activities, as well as literature considering various concepts about recovery. The conceptual recovery framework CHIME, that includes five important components in the recovery process, is used as the backdrop for exploring music activities as a contribution to recovery-oriented practice and services in mental health care. Eleven key components are identified in which music can support the recovery process: Feelings of equality; Social and emotional wellbeing; Tolerance; Hope and social agency; Triggering encounters; Redefining and reframing; A social practice; Moments of flow and peak experiences; Moments of meaning; Continuity; and Potentials instead of limitations. This essay concludes that the experiential knowledge of music activities from service users’ perspectives is essential knowledge when developing and using music activities in mental health recovery services. While this essay acknowledges that music activities can also produce unintended negative outcomes, the focus is on the positive contributions of music to mental health recovery processes.
Traditional methods of learning solfeggio (music theory) generally do not take advantage of computer‐based support, meaning that, when learning individually, students cannot receive instantaneous ...feedback on their activities. The aim of this study is to examine the effectiveness of an interactive mobile application, mySolfeggio, for learning solfeggio. Using a mobile device, students can take advantage of visual, auditory and tactile modalities to recognise musical notes. Students can also practice and learn notation, rhythm and melody, for which the mobile application provides corrective feedback. To evaluate students’ perceptions of the mobile application and its effect on knowledge, we conducted an experiment with 42 students, from 9 to 13 years old. After learning a particular song during a regular lesson, one group of students practiced it individually with only the musical notation, while the other group used both the musical notation and the mobile application. The results of the experiment illustrated only a small effect on students’ performance in singing and tapping when using the mobile application. However, they demonstrated higher scores in terms of musical intervals and rhythmic accuracy when compared to students in the control group. The students did not find the use of the application difficult, thus allowing it to be used as a tool for improvement of their homework practice.
Thinking Time in Music Practice Palese, Richard S.; Duke, Robert A.
Update : applications of research in music education,
10/2022, Volume:
41, Issue:
1
Journal Article
Peer reviewed
We asked school- and college-aged instrumentalists (N = 32) to imagine an ideal performance of a brief passage of music, record a performance of the passage, and describe discrepancies they noticed ...between their imagined and actual performances. The more experienced participants took at least as much time to imagine their idealized performances as it took to perform them; less experienced participants took less time to imagine what they were about to play. There were no differences among experience levels in the numbers or types of discrepancies identified. The differences between more and less experienced participants were also evident in a subsequent practice period. More experienced musicians’ practice included more frequent moments of pause, whereas school-aged participants seldom paused and tended to address performance issues other than those identified in their commentaries.
PurposeThis study aims to determine whether university students are successfully acquiring or improving skills related to teamwork through a variety of extra-curricular activities, such as sports, ...music, volunteering, international group work experiences and professional practices.Design/methodology/approachDescriptive statistics have been calculated to evaluate the normal behaviour of the variables. Accidental sampling was used via a cross-curricular study with a quasi-experimental design. An analysis of means was performed using the Student's t-test.FindingsThe results show the students to have highly developed interpersonal and communication skills, followed by adaptation and decision-making skills. The lowest scores corresponded to coordination and leadership skills. On the other hand, a significant correlation was established between extra-curricular activities and the acquisition of essential teamwork skills.Originality/valueThis study can confirm the important relation between extra-curricular activities and the acquisition of the teamwork skills that play a vital role in the overall development of our students, as well as for their integration into the job market, with particular emphasis on the acquisition of leadership skills which students are most lacking in, but which have shown to improve with any of the proposed activities. The promotion of the extra-curricular activities by the University, could greatly support our students' soft skills acquisition and complement their education.
This systematic literature review seeks to examine the pedagogical practices, professional relationships, and curricular development that impact teachers’ and students’ experiences in the ...postsecondary music education field as well as the theoretical frameworks and methodological design guiding the inquiry of included studies. A literature search following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines was undertaken, resulting in a sample of 14 studies from across eight countries and conducted between 2010 and 2020. Patterns in the findings across studies were found with regard to (a) critical pedagogical practices, (b) responsive pedagogical practices, (c) student experiential and institutional value mis/matches, and (d) the affordances of music education curricular revision. From this comprehensive review of the literature, research in this area indicates a postcolonial shift aiming to decenter traditional Western music and forefront more culturally relevant, community-based, student-responsive musical constructs and/or practices. This synthesis of results reveals synergy in the direction and research objectives of the music performance and teaching and learning fields, often separated, but mutually benefited when bridged together within an intersecting space.
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