Music Education

This paper discusses the interaction of vocal music skill development with phonemic awareness (the ability
to hear and manipulate phonemes, the smallest units of language) and fluency training in kindergarten and
grade one language arts instruction. The phonemic awareness and fluency activities provided in language
arts curricula are often music related: songs, chants and rhymes. Research is discussed regarding auditory
processing related to vocal production; developmentally appropriate singing, prosody (the intentional
grouping of words into phrases), and music perception as it relates to reading achievement. The
pedagogical strategies necessary for developmentally appropriate modeling in both music and language arts
instruction are discussed.

Since the DCMS Creative Industries Mapping Document highlighted the key role played by creative activities in the UK economy and society, the creative industries agenda has expanded across Europe and internationally. It has the support of local authorities, regional development agencies, research councils, arts and cultural agencies and other sector organisations. Within this framework, higher education institutions have also engaged in the creative agenda but have struggled to define their role in this growing sphere of activities. Higher Education and the Creative Economy critically engages with the complex interconnections between higher education, geography, cultural policy and the creative economy. This book is organised into four sections which articulate the range of dynamics that can emerge between higher education and the creative economy: partnership and collaboration across higher education institutions and the creative and cultural industries; the development of creative human capital; connections between arts schools and local art scenes; and links with broader policy directions and work. While it has a strong UK component, it also includes international perspectives, specifically from Australia, Singapore, Europe and the USA. This authoritative collection challenges the boundaries of creative and cultural industry development by bringing together international experts from a range of subject areas, presenting researchers with a unique multidisciplinary approach to the topic. This edited collection will be of interest to researchers and policy-makers working in the area of creative and cultural industries development.

2017
Pre-publication proof of "Prelude" ...
Link: https://isbnsearch.org/isbn/0415792576
On Routledge: https://www.routledge.com/Eco-Literate-Music-Pedagogy/Shevock/p/book/9780415792578
On Amazon.com: https://www.amazon.com/Eco-Literate-Music-Pedagogy-Philosophy-Autoethnography/dp/0415792576/
On Amazon.co.uk: https://www.amazon.co.uk/Eco-Literate-Music-Pedagogy-Routledge-Education/dp/0415792576/

Published by Routledge

He centrado mi investigación en el estudio técnico y analítico de los principales métodos del siglo XX que han destinado una parte de sus tratados en la explicación y práctica de la sujeción del instrumento, así como los cambios de posición, ambas partes relacionadas dentro de una misma categoría de la técnica de mano izquierda. En concreto, he escogido para la realización de este estudio como eje central los dos principales métodos de violín del siglo XX: El arte de tocar el violín (Carl Flesch, 1923) e Interpretación y enseñanza del violín (Ivan Galamian, 1962).

Abstract:
In 2013, the Department of Education released the Music Curriculum Guide for grades 1 to 10 as a part of the Enhanced Basic Education Program, more commonly known as K to 12. The new curriculum advocates for a multicultural and integrative education, including topics and materials on Philippine music for both elementary and secondary levels. With new additions to the scope of music education, teachers have to find an array of sources and materials in order to deliver what the curriculum requires. This research paper illustrates the advantage of first-hand experience through ethnohraphic fieldwork as seen in the integrative teaching of music and dance by elementary and secondary music teachers. A focused group discussion involving the first batch of the UP-CMEP-CEMT Program1 was conducted to examine the impact of the three-day fieldwork on Cordillera on the music teachers’ conceptualization and implementation of music lessons, including dance, in their particular grade level. The FGD revealed that fieldwork had a positive impact on teaching, including the informed use of materials gathered and confidence to teach multicultural music and dance. With teachers learning from engaging in ethnographic fieldwork, theories from written and digital sources become informed with praxis, leading to an implementation of multicultural music education enhanced by lifelong learning, a key theme espoused by the United Nations Educational, Scientifc and Cultural Organization (UNESCO) during the 2015 World Education Forum.

Keywords: fieldwork, lifelong learning, multicultural music education

This is a book of ideas, a catalogue of experience, a mass of personal stories, a collection of inspiring musical exercises, and a fascinating record of community music's roots and heritage. Community music making is exploding across Britain and this book will help you develop new insights into the practice of: running workshops making new music with people, whatever their age, culture, skill or background. Rising out of a 10 year training programme organised by More Music in Morecambe this publication has drawn on the talents of many of the key players in British community music. An essential tool for community musicians, community arts workers, music teachers, musicians from drummers to singers, workshop leaders, people involved in activities from alternative informal) education to street performance. A how-to book that should have a place on the bookcase and the music stand.

The book also contains also a series of poems by Lemn Sissay.

Includes a chapter by McKay:
"The aim of this chapter is twofold. First, it traces the historical development of the idea of community music. It does this with particular emphasis on community music’s relation to aspects of the 1960s countercultural project and its legacy. This involves looking at the role of free jazz in music education, links with the burgeoning community arts movement, the radical politics and social ideas frequently claimed by those central to community music. Community music remains imbued with the spirit of improvisation, and I think it important to acknowledge the special role played by that particular music (as opposed to, say, classical music outreach teams, grassroots folk or more recent world music projects) in its development. Second it narrates the development of the More Music in Morecambe community music project through the 1990s, its successes and (mini-)crises, its beliefs and practices. It considers the origins of MMM in some of the earlier musical/theatrical performance practice of Welfare State International, and locates MMM in the context of the rise of community music as a social-cultural phenomenon in Britain. This involves discussion of ways in which the radicalism or idealism of some of early community music has been knocked and/or maintained."

Im "War Requiem"  übernimmt Benjamin Britten als Künstler gesellschaftliche Verantwortung. Gleichzeitig hat Musikunterricht das Ziel, Schüler*innen für Musik zu interessieren und zu begeistern - auch für Musik, die ihnen zunächst fremd, ungewohnt, sperrig und eher verschlossen ist. Die sachliche Verbindung von zeitgeschichtlichen und musikanalytischen Aspekten soll als Hörschlüssel dienen, um die "Aussage über die Welt", die in der Musik steckt, mit subjektiven Erfahrungsmöglichkeiten der Schüler*innen zu verbinden. Die Materialien sind so konzipiert, dass sich auch Schüler*innen ohne vertiefte Notenkenntnisse oder Vorerfahrungen mit klassischer Musik gut darauf einlassen können.

Of the many genres and types of groups young composers learn to write for, orchestra can be especially challenging, requiring both depth and breadth of training. Studies have shown that the practical experience in working with an orchestra is essential to the development of the composer’s craft, and that the score is the primary source of communication between the composer and interpreters, including performers and conductors. Based on the research literature and my extensive experience as a conductor and coach of student composers, I provide suggestions and strategies for teaching and learning to compose for orchestra.

Il volume descrive i primi approcci allo strumento: dalla postura corretta alla posizione delle mani e all’imboccatura, per proseguire con le tecniche di respirazione, articolazione, e con vere e proprie proposte didattiche. Pedagogia, metodologia e didattica dello strumento sono per la prima volta affrontati in un manuale pensato appositamente per i docenti di clarinetto delle scuole medie a indirizzo musicale, dei licei musicali, dei corsi pre-accademici e accademici dei conservatori, e per gli aspiranti docenti che vorranno prepararsi al concorso a cattedra.

This paper is part of a PhD research that studies the development of music education in Brazil as an area of knowledge. In this specific part we present the Brazilian methodologies of musical education, its history, the educators and the main methods of musicalization, with emphasis on didactic materials published in Brazil.

How To Sing From Your Diaphragm - How To Breathe From Your Diaphragm. In today's article I am going to discuss and demonstrate one of the basics of singing, how to breathe from your diaphragm.

If you have been singing for a while you may have heard someone tell you to breathe from your diaphragm. You will sing with more power, better tone and be able to sing longer phrases. That's all true but do you know what your diaphragm is and how to use it?

You actually can't breathe from your diaphragm. It can't hold air. It's not like your lungs. Your diaphragm is a muscle which is located under your lungs. It is shaped like a dome when it's in a resting position.

When you breathe in the air enters your lungs and forces your diaphragm to flatten out. This will push your lower ribs out and force the contents of your stomach down and out. This is the expansion that you can see when someone demonstrates how to breathe with the diaphragm.

There is one major thing you have to know about breathing. If you tense the muscles just below your ribs when you breathe in your diaphragm won't be able to flatten out. Your air will get trapped in the top half of your lungs and you will constantly feel out of breath when you sing. If you see your shoulders and chest move up when you breathe in it means you are not allowing your diaphragm to flatten out.

Here's an exercise that you can use to develop your breathing.

Bend over from your waist and let everything just relax and hang without any tension. Now take in a slow breath through your nose and focus all of the movement to your stomach and ribs. Feel the expansion as you breathe in.

What can you do to reach for higher notes with effortless strength? Is it possible to sing high notes without straining your voice?

To learn the killer, advanced strategies to become a better singer in just days, simply watch this video:

https://www.youtube.com/watch?v=goDDdMWpnXA

Por meio de uma investigação de revisão da produção científica brasileira em Educação Musical, foram encontradas 300 teses produzidas na área, dos anos de 1989 até 2017. Este livro apresenta índices por data e por linhas de investigação das 300 teses. Apresenta também um lista com as referências e um catálogo com detalhes sobre as características das produções doutorais brasileiras sobre Educação Musical.

Esta investigación analiza la relevancia social, pedagógica y cognitiva de la integración del ordenador, de sus recursos multimedia y de softwares musicales y pedagógico-musicales en la enseñanza musical en escuela de educación básica que posee laboratorio de informática. Verifica la viabilidad de estas tecnologías como mediadores pedagógicos en el proceso de enseñanza-aprendizaje musical y como agente de inclusión digital. Presenta una contextualización y conceptualización de la Informática-Educativa-Musical. Explicita los resultados de una investigación-acción realizada junto a los alumnos de la enseñanza básica de una escuela pública de Brasil. Se señalan las contribuciones del socio-constructivismo a la educación musical en la escuela de enseñanza básica, aclarando el proceso de desarrollo en las dimensiones sociales y cognitivas de los participantes de la investigación. La evaluación del proceso de desarrollo musical de los sujetos posibilitó verificar que la integración interdisciplinaria música / informática en la escuela favorece el desarrollo de competencias cognitivo-musicales y sociales en un aprendizaje por descubrimientos, en la cual los alumnos construyen conceptos musicales y se desarrollan culturalmente.

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.

Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.

In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory (MI). Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of MI theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles of MI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Christy's Foundations in Singing and Jan Schmidt's Basics of Singing, to determine the variety and use of MI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using a semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self-exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education.

Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. While all study participants clearly experienced pleasure in musical performance, the narratives revealed a complex web of expectations and influences that contributed significant amounts of anxiety, with both physiological and psychological repercussions, to the performers’ lives. The ways in which the singers both fell victim to and addressed these sources of stress suggest many topics for further exploration and discussion within the professional voice and music education community, including the role of expert influence, the development of personal agency and perceived self-efficacy, as well as the need for individualized, holistic approaches to vocal pedagogy.

Take voice lessons to improve your singing ability The appeal of singing is incontestable. Popular programs built on vocal skills are American Idol, The Voice, and of course the X Factor. The success of Karaoke in local bars and restaurants draws attentions to the fact that we love to sing. Knowing how to sing is a tremendous ability to have if ever you're in a regional music group, want to karaoke, sing in a school choir, or you want to audition for programs along the lines of The Voice. Receiving voice lessons from a master can be very really expensive, so what are the alternative options if you truly want to learn to sing better? Good voice Lessons include many significant points for example: • Being prepared to reach the right note virtually every time-also known as Pitch Control • Expanding the range of your vocals so you know how to hit higher and lower notes • Many types of music and how to adapt your singing to any single style • Major and Minor Keys and various Scales in addition to training for each and every single one • Holding notes for a longer duration • Singing in Harmony so that you have the ability to sound magnificent with others • Singing with Feeling • Studying entire songs from front to back • Performance pointers and how to avoid stage fright • Making use of Breathing and Posture to enhance your singing • Helping with your natural Vibrato • Improving the Strength of your voice • Applying techniques with the microphone • Articulating your singing by using teeth, lips, and tongue There is much more to being a really good vocalist and taking voice lessons can noticeably help to increase your voice ability. Challenges with taking voice lessons from a master may include high cost, travel to and from the lessons, and scheduling troubles. Practical secrets to transforming into a remarkable vocalist can include: • Learn more at your own speed and build your individual style • Proper technique is essential, practicing and working with this will help with your abilities dramatically. • Calm your mind and body and focus primarily on singing. • Do not release all your breath when attempting to sing, that essentially makes your voice softer. Keep control of your breathing so the sound resonates. • Sing from your diaphragm, you will definitely manage to hold notes for a longer time and sing more

What can you do to reach for higher notes with effortless strength? Is it possible to sing high notes without straining your voice?

To learn the killer, advanced strategies to become a better singer in just days, simply watch this video:

https://www.youtube.com/watch?v=gNYVa0Kwv1A

ABSTRACT
In this study, the impact of teaching with colors on the musical notes learning skills of an autistic child has been investigated. The data of the study were obtained through parent, teacher and expert evaluations. The study was conducted using a single-subject research pattern. The research was carried out with an 11-year-old autistic boy, who was going to a special education and rehabilitation center in Çanakkale. At the beginning of the study, an initial level data was obtained by the evaluation of three experts. After it was determined that the initial level data was stable, teaching musical notes with colors has begun. During the training sessions, data were collected continuously. As a result of the research, it was observed that the student learned the notes in the interval between Do1 and Mi2 through colors; after the removal of the color method, the knowledge of notes has continued to advance; the knowledge gained by playing metallophone, in the beginning, has been
reflected to the training so that he started piano and block flute; he enjoys playing the instrument by learning new notes, time values and measures. Also, as a result of interviews with family and teachers, it was also found that the child showed a positive change in behavior, better attention, more patience and academic success.
Keywords: Pervasive Developmental Disorder, Autism, Music Education, Instrument
Education, Teaching Music with Color, Single-Subject Pattern.

ÖZET
Bu çalışmada otizmli bir çocuğun nota öğrenme becerileri üzerinde renklerle nota öğretiminin etkisi incelenmiştir. Çalışmanın verileri ebeveyn ve öğretmen değerlendirmeleri yoluyla elde edilmiştir. Çalışma, tek denekli araştırma deseni kullanılarak yapılmıştır. Araştırma, Çanakkale’de bir özel eğitim ve rehabilitasyon merkezine devam eden 11 yaşında otizmli bir erkek çocuğu ile yürütülmüştür. Çalışmanın başlangıcında üç uzmanın değerlendirmesiyle bir başlangıç düzeyi verisi
elde edilmiştir. Başlangıç düzeyi verisinin kararlı olduğu görüldükten sonra, renklerle nota öğretimine başlanmıştır. Eğitim uygulamaları sırasında sürekli veri toplanmıştır. Araştırma sonucunda, otizmli öğrencinin renkler yoluyla Do1 ve Mi2 arasındaki on notayı öğrendiği, renk yönteminin on nota sonra kaldırılarak normal nota yazısına döndürülmesinin ardından nota bilgisinin ilerleyerek devam ettiği, yeni notalar, süre değerleri ve ölçülere uyumunun çok rahat olduğu ve çalgı çalmaktan keyif aldığı görülmüştür. Ayrıca aile ve öğretmenleriyle yapılan
görüşme sonucunda çocuğun davranışsal olarak da olumlu değişim gösterdiği, dikkatini daha iyi topladığı, daha sabırlı olduğu ve akademik başarısının arttığı yönünde bildirimler alınmıştır.
Anahtar Sözcükler: Otizm, Müzik Eğitimi, Çalgı Eğitimi, Renklerle Nota Öğretimi, Tek Denekli Desen.

This study extends an eight-country mapping exercise (McPherson & O’Neill, 2010; see Research Studies in Music Education issues 2010–2011) to include students’ motivation to study music within the Australian context. It sought to determine whether music learners (students learning an instrument or voice), might be more motivated to study academic subjects at school, and whether gender and socio-economic status (SES) affected student motivation to learn music at school. A total of 2,727 students from grades 5 to 12 completed a questionnaire based on Eccles and Wigfield’s expectancy-value framework. Data collected included: ratings of competence beliefs, interest, importance, usefulness and difficulty for music, English, maths, and science; indications of whether the students were currently learning a musical instrument or voice (music learners); and whether they would like to if given the opportunity. There was an overall significant decline in competence beliefs, interest, importanc...

Dr. Chris Stout Influencer David Frangioni is quite the polymath-as he is an entrepreneur, award-winning veteran of the music industry, technologist, producer, engineer, author, and perhaps most fundamentally, a drummer. He is the Founder of Audio One and CEO of Frangioni Media and All Access IDA (Inspire and Develop Artists). He has dedicated his life to designing and building world-class studios, production facilities, and innovative music technology solutions in order to produce music and develop artists, and just recently he became the publisher of Modern Drummer Magazine.

Often the music making that occurs in a community can be more proactive outside the school than inside the school. Many student-initiated musical activities found outside the school have a strong sense of learning within a community, where new ideas are produced through autonomous engagement. This idea of making, which in this case is a musical encounter, is taken in this paper as an analogue of Martin Heidegger’s reading of the thing (Heidegger, 2001a). The thing in Heidegger, becomes not just an object, de-contextualised and removed from who has made the thing, but is seen as the embodiment of a shared musical making and meaning. What then is the role of assessment of music for those involved in this making process? For Heidegger the makers of the thing are those who are qualified to validate the thing? Following this thought is it that an external assessor, the teacher, has no validity in Heidegger’s reading? The implication is that those who teach music should work with students to comprehend their knowledge, so as to have any relevance in this context. This it seems is the only way to make the assessment relevant to those working outside the school to develop and sustain their interest. Without addressing this sense of two musical worlds schools will continue to be seen as a de-contextualised experience that does little for those whose experience is located and grounded in music that is predominantly social and autonomous.

El uso de la tecnología se nos presenta como un aliado en pro de la interdisciplinariedad entre las diversas áreas de conocimiento. Este artículo presenta una propuesta de innovación realizada recientemente dirigida al alumnado de la etapa secundaria que une los ámbitos de música, expresión visual y plástica, historia del arte y las nuevas tecnologías. Para ello, y desde el área de educación musical y del área de educación visual y plástica, se propone el uso de software libre (Storyboardthat, Musescore, Audio-tool, Audacity, Gimp, Scribus, Moviemaker, iMovie, Wondershare, VirtualDub y Wax) para, a través de la creación y edición de sonido e imagen, realizar un producto audiovisual que tiene como objetivo asimilar conceptos referidos a la evolución histórica del arte y las características principales de las diversas etapas artísticas en lo que a imagen y sonido se refiere.

... Anxiety disorders in children have been associated in adolescence with increased risk ofsubstance misuse (Popper, 1993 ... Fairbanks et al., 1997; Velosa and Riddle, 2000) and cognitive-behaviour therapy (Labellarte et al ... Music has long been recognised as a source of ...

Is commun knowledge that many teachers teach students to perform, compose, and appraise, but tend to assess music learning through written tests. This fact shows that some teachers believe that they are really assessing the music making processes, and also that other teachers think it is very difficult to assess musical making because of the immaterial nature of music. It is not only a very interesting problem, but also a generalized one, that affects specialist music teachers and non-specialists like kindergarten and primary school teachers. The experiments conducted during the last three years in the Master of Arts in Teaching Music for General Schools kept the written tests to assess theoretical knowledge, but introduced a new assessment device, rubrics with progression descriptors. These rubrics, although sharing common principles, are tailored for each musical activity, piece of music, and class, and applied both on live and on audio/video recordings. Rubrics are written by teachers, not by students, but are used by the later as a formative self-assessment tool to devise and overcome musical problems. In each activity we compared the assessment by the teachers with students’ self-assessment and obtained a very high positive co-relation. We still need to confirm these results by conducting a new research involving a larger group of teachers. The music making assessment rubrics will be part of the next continuous professional development programme at the higher education institution previously mentioned.

As provided by Finnish law, the aim of compulsory schooling is to secure adequate equity in education throughout the country. In recent years, however, there have been signs that music education in primary schools may not be living up to the aim of equity (Suomi 2019; Vesioja 2006). The concern about music education provision in grades 1–6 is shared by many countries around the world. In this study, we examined the variation in how teachers (N = 133) experience their ability to support pupils in realising the objectives for music eduction in the national curriculum and how principals (N = 82) describe the organisation of music education in their schools. Data was generated through an online survey in Swedish-speaking primary schools in Finland and analysed with both quantitative and qualitative methods (descriptive statistics, analysis of variance, regression analysis, qualitative content analysis). The findings suggest that there is a wide and significant variation in how the music...