Latar belakang penelitian ini adalah pembelajaran di Yamaha Music School (YMS) memiliki Kualitas yang baik dan berstandar internasional, tidak terkecuali biola.
Hal ini kemudian berpengaruh pada ...kualitas para siswa, dimana kulitas dari siswa YMS memiliki keterampilan yang baik. Berkaitan dengan hal tersebut, maka peneliti tertarik untuk meneliti terkait pembelajaran Biola di YMS Pontianak. Bentuk penelitian ini, yaitu kualitatif deskriptif. Data diperoleh dari teknik observasi, wawancara dan dokumentasi, dengan sumber data adalah informan berupa guru, siswa dan pengelola YMS. Pengujian keabsahan menggunakan triangulasi teknik, sumber dan perpanjangan pengamatan, yang kemudian dianalisis menggunakan analisis Miles dan Huberman. Hasil penelitian ini adalah pembelajaran biola dilaksanakan oleh YMS dengan waktu 30 menit, dan fasilitas yang sangat menunjang untuk pelaksanaan pembelajaran. Materi pembelajaran mengacu pada kurikulum internasional dari Yamaha Music Foundation Jepang, yang diajarkan dengan menggunakan metode demontrasi, instruksi, dan Latihan bersama di mana guru dan siswa berlatih bersama. Kemudian evaluasi pembelajaranya terdapat 2 jenis evaluasi yaitu evaluasi mikro dan makro. Evluasi mikro adalah dalam proses pembelajaran dikelas, dilakukan pada akhir pertemuan sedangkan evaluasi makro yaitu ujian kenaikan tingkat yang diadakan 6 bulan sekali, untuk menguji siswa yang mampu memainkan materi ujian yang telah dipelajari selama 6 bulan.
This article presents the main aims and scope of the psychological counseling service for young musicians that was first introduced in the Polish music education system during the 1950s. It discusses ...the contribution of Maria Manturzewska, a pioneer of music psychology in Poland, to the establishment of a network of professionals providing counseling to students at specialist primary and secondary music schools and conservatoires. Manturzewska’s work was also a major influence on current policies and practice in relation to counseling for music students. The article introduces different forms of psychological counseling provided by psychologists and school pedagogists to music students. It outlines the formal and legal aspects of counseling for students who experience various issues, as well as those with developmental deficits or special educational needs, and discusses the scope of responsibilities of psychologists and pedagogists working with young musicians, and the issues reported by teachers, students, and their parents. It also considers the professional activities of psychologists and school pedagogists in the light of the social, political, and economic changes that occurred in Poland between 1950 and 2020, which have had a significant impact on the developments in the field. Finally, the article discusses the provision of psychological counseling services for music, ballet, and (visual) art schools across Poland since 2011. These schools are supervised by the Artistic Education Centre, which was established by the Ministry of Culture and National Heritage. The psychological counseling services also conduct research to examine the physical and psychological well-being of music students in Poland.
Accessibility to art and cultural activities is a topic with increasing attention. Most municipalities in the Scandinavian countries have kulturskoler (extra curricular schools of music and ...performing arts) that offer training and experiences in – and through – art and culture subjects for children and young people. But the users of these institutions are not representative for the society around them. The majority of the children and young people who actually use the kulturskole come from middle-class homes and have well-educated parents. There is therefore an increasing and absolutely necessary attention in the municipalities on how kulturskoler can reach new target groups, ensure more fair representation and develop as institutions being inclusive forces in the local community. The development project ""Kulturskolen as an inclusive force in the local community (KIL)"" had this focus. In this anthology, there are nine independent peer-reviewed research articles with topics that are relevant for those municipalities wanting to develop their potential as inclusive forces further. The book is suitable for both researchers, students or teachers associated with the didactic field of art, but also kulturskole leaders, elementary school teachers and others who are interested in how the kulturskole can function as an inclusive force in the local community
Tilgjengelighet til kunst og kulturaktivitet er et tema med økende oppmerksomhet. De fleste kommuner i de skandinaviske landene har musikk- og kulturskoler som tilbyr opplæring og opplevelser i og gjennom kunst- og kulturfag for barn og unge. Men kulturskoleelevene avspeiler ikke samfunnet rundt, for størstedelen av de barn og unge som faktisk bruker kulturskolene kommer fra middelklassehjem og har godt utdannede foreldre. Det er derfor et økende og helt nødvendig søkelys på hvordan kulturskolene kan nå nye målgrupper og sikre en bedre representasjon. Utviklingsprosjektet Kulturskolen som inkluderende kraft i lokalsamfunnet (KIL) hadde dette søkelyset. I denne antologien finnes ni selvstendige fagfellevurderte forskningsartikler med tematikk som er relevant for å kunne utvikle dette potensialet videre. Boken passer for både forskere, studenter eller lærere tilknyttet det kunstfagdidaktiske utdanningsfeltet, men også kulturskoleledere, lærere og andre som interesserer seg for hvordan kulturskolen kan bli en inkluderende kraft.
In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = ...10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et al., 2008) was translated and adapted to measure music-evoked emotions. Pupils also reported their music liking. In this study, the original three-factor structure of the GEMS-9 was not replicated, and instead a two-factor solution with factors labelled Activation and Calmness emerged. The results showed that in both groups the music evoked moderate to moderately high Activation and low Calmness. Pupils reported high music liking, however, those who participated in the CEA liked the music more than those who participated in the STA. The listening activities that enrich children’s experiences of classical music in the classroom are discussed.
Music school students spend much more time rehearsing than performing in concert halls. Individual and small ensemble exercises are a major part of daily practice. The aim of the article is to verify ...whether the areas of rehearsal rooms given in functional programs attached to architectural contests for music schools, are sufficient to provide required acoustic conditions inside the chamber such as sound power level (SPL) and reverberation time (RT) which is preferred by musicians. The Norwegian Standard NS 8178:2014 was used to calculate the sound level generated by instruments. In this paper, the author will focus on small rehearsal rooms dedicated to individual practice and small practice groups of two or three members.
This case study provides an in-depth investigation in a professional development project about facilitating collaborative reflection. This was led by a research team from the university with 13 ...instrumental music teachers from one music school in Styria (Austria) during 2019–2021 (including the initial COVID-19 pandemic). Research questions considered (1) the participants’ descriptions of the collaborative professional development, (2) participants’ uses of reflection tools and indications of their identification with workshop interventions, as well as factors responsible for the outcomes from the reflection tools; and (3) ways participants’ thinking and attitudes may have developed through the workshops, how they defined themselves as a group (if they did), and how they might have gained trust in one another. Inspired by the design-based research approach, practitioners and researchers worked closely together to enhance teaching and learning implementing interventions with collaborative reflections tools. While the first phase (11 workshops) was primarily led by the project-team, the second phase (7 workshops) was participant-led. Data included focus groups and discussion transcriptions from 18 workshops. The impetus of the study included the role of the director and the participants dealing with the interventions, and finally the participants’ descriptions of their experiences in the professionalization process. Literature included collaborative professional development, community of practice, learning communities, self-determined learning, reflective practice, and ethical considerations. Data were analyzed based on thematic analysis and gave rise to five following themes: forming group cohesion, inspiring and appreciating collaboration, bridging theory and practice, identifying deeper thinking and teachers as learners, addressing challenges and potentials during the COVID-19 pandemic, and finally finding the music school’s own identity and sense of importance. Findings highlight the importance of establishing meaningful collaborative reflection through appreciative communication and an atmosphere of trust and respect. To be able to make change in and with an institution, leadership members must be engaged as collaborative stakeholders on an eye-level; collaborative professional development can be used as a resource toward rethinking and reworking the identity of one’s music school and of teaching and learning. Institutions should provide space and continuity for such development. Finally, the study highlights that a collaborative reflective approach can contribute to professional and social growth.
La creación musical es uno de los elementos fundamentales de la educación musical y se manifiesta a través de los procesos de improvisación, elaboración de arreglos y composición musical. El objetivo ...de este trabajo es determinar el tratamiento que se le otorga a la creación musical en los currículos de educación primaria, enseñanzas elementales de música y escuelas de música de la Comunidad de Madrid. Para la realización de la investigación se siguieron las metodologías de tipo documental (estudio de los diferentes decretos) y comparado (análisis y medición de los datos, clasificados en dimensiones e indicadores de comparación). Los resultados muestran que los currículos de primaria y enseñanzas elementales presentan a la creación musical a través de la improvisación y la composición como objetivo, habilidad, medio de aprendizaje y evaluación, sin embargo carecen de orientaciones metodológicas concretas para trabajarla secuencial y didácticamente, y en las orientaciones metodológicas para las escuelas de música no se evidencia a la creación musical entre sus aspectos educativos fundamentales. Puede concluirse que la creación musical necesita mayor soporte metodológico y curricular, acorde a las demandas educativas actuales y en consonancia al carácter creativo del arte. El arte es creación y la educación musical no debería soslayar los procesos de los cuales emerge la música.
Since during the period of Soviet Union it was forbidden to study the activities of emigrants, purely scientific works dedicated to A. Siloti appeared only in 2000. Naturally, American scientists ...were the first to study the life and creative path of the artist. The purpose of the study is to reveal such key vectors of activity of the prominent representative of the Russian Diaspora A. Siloti during his stay in exile in the United States as a concert pianist and piano teacher. Due to the revolutionary events, he emigrated in 1919 first to Finland, then to France, Belgium and England, and finally stopped his search in the United States in 1921. In 1925 he began teaching at the Juilliard School of Music. Thus, the article reveals the circumstances under which the decision was made to emigrate, A. Siloti’s concert activities in the first years after moving to and his pedagogical style in Juilliard. Since the Juilliard School was one of the first institutions of higher music education in the United States in the early twentieth century, the key task of the study is to determine the role of A. Siloti in the history of music education.
The purpose of this study is to investigate the role of certain mnemonic techniques in memorizing a melodic fragment by music school students. In the study group, in the process of memorizing a given ...melody, students used, in addition to sound, visual, psychomotor, and logical memory. In this study, 108 third-grade students from Nanchang Postal Road Primary School participated: 54 in the study group and 54 in the control group, respectively. After listening to a piece of music three times, the children played it with their voices with appropriate accompaniment. The evaluation was carried out according to the following criteria: integral continuous performance, the number of errors associated with inaccurate hitting of the tone, and the number of errors in the structure of the melody. During the study, it was observed that incorporating mnemonic techniques, which involve engaging different forms of memory alongside auditory memory, enhances the memorization of melodies. This approach can be used in the preparation of training programs for music school students, as it contributes to the formation of musical memory and hearing.
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