Music and Language Learning

The relationship between music and politics has not yet been widely researched in the social sciences, with the corpus of work on music and politics focusing on protest songs. For this reason, it is perhaps understandable that students of political science are generally not familiar with this research area. This article explores the interface between music and politics from the point of view of a teacher of English for Specific Purposes in the classes of undergraduate students of political science at Comenius University. Experience shows that the majority of undergraduates do not seem to be aware of a connection between music and politics and initially dismiss even a possibility of it, undervaluing the potential of music as a political tool. The final part of the article describes the procedure used to raise the studentsáwareness of political messages in the lyrics of the 20 th and 21 st century pop and rock music and the role of music as a communication tool in the world of politics, integrating thus selected subject-specific content with language teaching aims. Keywords: music, messages in lyrics, English for Specific Purposes Kľúčové slová: hudba, politické posolstvá v textoch piesní, angličtina pre špecifické účely " A pamphlet, no matter how good, is never read but once, but a song is learned by heart and repeated over and over. And I maintain that if a person can put a few cold common sense facts in a song, and dress them up in a cloak of humor to take the dryness off of them he will succeed in reaching a great number of workers who are too unintelligent to too indifferent to read a pamphlet or an editorial on economic science. " Joe Hill, American song writer and labour activist

El presente artículo pretende estimular en ejecutantes y docentes la reflexión en torno al potencial impacto de atender a los estilos de aprendizaje en la ejecución y educación musical instrumental. El artículo también sugiere estrategias generales para la mediación docente, en relación con tres estilos de aprendizaje específicos.

The Bloomsbury Handbook of Popular Music Educationdraws together current thinking and practice on popular music education from empirical, ethnographic, sociological and philosophical perspectives. Through a series of unique chapters from authors working at the forefront of music education, this book explores the ways in which an international group of music educators each approach popular music education. Chapters discuss pedagogies from across the spectrum of formal to informal learning, including “outside” and “other” perspectives that provide insight into the myriad ways in which popular music education is developed and implemented. The book is organized into the following sections:
- Conceptualizing Popular Music Education
- Musical, Creative and Professional Development
- Originating Popular Music
- Popular Music Education in Schools
- Identity, Meaning and Value in Popular Music Education
- Formal Education, Creativities and Assessment
Contributions from academics, teachers, and practitioners make this an innovative and exciting volume for students, teachers, researchers and professors in popular music studies and music education.

Resumen
Numerosas investigaciones aseguran que la inclusión de canciones y/o de elementos sonoro-musicales en la enseñanza de lenguas extranjeras (LE) aporta beneficios en el proceso de aprendizaje..  La incorporación de música instrumental y vocal ayuda en el desarrollo de niveles lingüísticos (fonético, fonológico, morfosintáctico, semántico y léxico), de factores afectivos (reducción de ansiedad, aumento de motivación), como sociolingüísticos (exposición a variedades y registros de la lengua) en el proceso de aprendizaje. El objetivo central de este estudio fue el de mostrar los resultados de un programa sonoro musical puesto en práctica en  la enseñanza de inglés como LE a través de tareas con escolares españoles de sexto de primaria. En primer lugar, se estudió cuantitativamente si el alumnado con habilidades auditivas avanzadas aprendía una LE de forma más efectiva y si éstos con una buena capacidad auditiva mostraban también un alto nivel de desarrollo de la inteligencia musical. Seguidamente, se puso en marcha la intervención sonoro- musical con el fin de comprobar si aquellos estudiantes con un bajo nivel de inteligencia musical podrían mejorar su capacidad auditiva y consecuentemente su competencia comunicativa a través de este programa. Los resultados apuntan que este programa sonoro-musical de enseñanza del inglés como lengua extranjera no solo incrementa la comprensión oral sino también la producción oral, la  lectora, así como la motivación del alumnado.

Abstract
A great number of researches ensure that the inclusion of songs and/ or sound-music elements in the teaching of foreign languages provides benefits in the learning process. The addition of instrumental music and vocal sessions help both the development of linguistic levels (phonetic, phonological, morphosyntactic, semantic and lexical), of affective factors (reduced anxiety, increased motivation), and of sociolinguistic competence (exposure to varieties and registers of language). The main objective of this study was to show the results of a sound- music program of English teaching based on tasks with Spanish sixth grade students. First of all, a quantitative analysis was carried out to check if students with good auditory ability learned a foreign language more effectively, and, they also showed a well-developed musical intelligence. After that, a sound-music program of English was led to verify if those students with low level in musical intelligence could improve their listening ability and consequently, their communicative competence throughout the implementation of this program. The results of this study suggest that this sound-music of English foreign language training program improves not only the listening comprehension skill but speaking, reading and learners’ motivation as well.

Résumé

Nombreuses recherches s'assure les effets bénéfiques que l'incorporation de chansons ou d'éléments sonores musicaux en classe de langue étrangère peut avoir sur le processus d'apprentissage des élèves. L'utilisation de musique instrumentale ou vocale favorise un meilleur développement des différents niveaux linguistiques (phonétique, phonologique, morphosyntaxique, sémantique et lexical), une meilleure gestion des facteurs affectifs (réduction de l'anxiété, accroissement de la motivation) ainsi qu'une meilleure compétence sociolinguistique (exposition à des styles et des registres de langage variés). Le premier objectif central de cette étude était d'observer si des élèves pourvus d'une intelligence musicale bien développée montraient une meilleure capacité auditive pour l'apprentissage d'une langue étrangère. La confirmation de cette hypothèse nous a conduit à concevoir et à mettre en œuvre un programme d'enseignement de l'anglais basé sur l'apprentissage par les tâches incluant une intervention musicale, dans le but d'améliorer, chez des élèves de 6ème ,  la capacité d'écoute et, par conséquent, la compétence communicative en langue étrangère. Les résultats de cette étude suggèrent que ce programme sono-musical d'enseignement de l’anglais comme langue étrangère  améliore non seulement la compétence de compréhension orale des apprenants, mais aussi leurs compétences de compréhension écrite et de production orale, ainsi que leur motivation.

Este trabalho apresenta uma proposta integrada de ensino coletivo de violoncelo para adultos, combinando metodologias que desenvolvem a leitura musical, o aprendizado pela escuta e imitação, a prática musical em conjunto e o exercício de improvisação como técnica pedagógica. O presente método foi desenvolvido e aprimorado ao longo de quatro semestres com grupos de dez a quatorze adultos e jovens. O objetivo foi reunir os diferentes pontos de ensino da música instrumental e condensá-los em uma introdução ao aprendizado do violoncelo, num período de um a dois semestres. Espera-se que este trabalho contribua para o ensino coletivo, sobretudo o de violoncelo, em uma perspectiva democratizante, no que diz respeito ao acesso de adultos ao ensino de música, e motivadora, pela eficácia e resultado geral.

Mémoire de musicologie (Master II recherche), présenté par Gabriel ROUET au sein de l'Université de Bourgogne.

L'étude du lien entre le stockage du savoir et son apprentissage constitue l'origine des réflexions présentées au sein de ce travail. La compilation infinie de savoir et de savoir-faire incarnée par l'environnement du musicien actuel, entre ses objets, ses entourages et internet, est devenue la faune, où l'apprenant capture directement des connaissances et des compétences en fonction de ses besoins. Je me suis alors demandé comment le professeur négociait, au sein d'une institution officielle, l'arrivé d'un troisième élément, se situant entre l'instrument et le porteur du savoir, l'ordinateur. Afin d'envisager des éléments de réponses, j'ai mené une étude de terrain, basée à partir d'observations et d'entretiens individuels, au sein du pôle son d'un conservatoire à rayonnement régional, constitué des classes de Musiques Actuelles Amplifiées, de Musiques Électroacoustiques et de Préparation aux grandes écoles de son. Ces trois cursus manipulent le même outil à des fins fréquemment différentes, le logiciel de MAO, que l'on peut qualifier de frontière. Cet instrument rassemble des objets musicaux numérisés relatifs à chacun des trois cursus tout en intégrant, en un unique espace, l'enregistrement, la création et la programmation musicale. Mon but était de comprendre la manière dont les utilisateurs étaient amenés à apprendre un logiciel, ici musical, au sein d'une structure pédagogique. En instituant une cité pédagogique par projet, entraînant ses nouveaux modes de jugements n'envisageant la maîtrise instrumentale qu'intégrée à un projet personnel, le pédagogue semble délaisser son rôle de transmetteur du savoir pour celui de médiateur et de révélateur. Le musicien-étudiant semble devoir se créer ses propres réseaux d'apprentissage, basés sur ses entourages, les réseaux informatiques et les supports du savoir, dont ses propres instruments de musique, que l'on qualifiera d'objets instructeurs, à partir d'un besoin spécifique imposé par ses professeurs, le projet musical.

Contact : gabriel.rouet@gmail.com
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MUSIC LEARNING IN THE DIGITAL ERA
A consideration on music software

The study of the link between the storage of knowledge and its learning is the origin of the considerations presented in this work. The infinite compilation of knowledge and know-how in the environment of the musician at the digital age, between his objects, his surroundings and the Internet, has become the fauna, where the learner captures knowledge and skills directly according to his needs. I asked myself how the professor negotiated, inside an official institution, the arrival of a third element, situated between the instrument and the bearer of knowledge, the computer. My methodology was to do a field study based on observations and interviews, based on the sound pole of a regional musical conservatory, consisting of the classes of amplified populars musics, Electroacoustic Music and preparation for the sound schools. These three curriculums manipulate the same tool for different purposes, the music software, which can be described as a boundary object. This instrument brings together digitized musical objects relating to each of the three curricula, while integrating recording, creation and musical programming into a single space. My goal was to understand how users were led to learn software, here musical, within a pedagogical structure. By instituting a pedagogical 'city by project', bringing his new modes of judgments into consideration only the instrumental skill for a personal project, the pedagogue seems to abandon his role as transmitter of knowledge, and position as a mediator. The student-musician have to create his own learning networks, based on his surroundings, computer networks and knowledge supports, including his own musical instruments, which might be called instructive objects, from a specific need imposed by his teachers, the musical project.

Contact : gabriel.rouet@gmail.com

The origin of human musicality is often discussed within a dichotomous nature-or-culture framework. However, recent developments in neuroscience and evolutionary theory are opening up possibilities for ‘dual inheritance’ models. Emerging evidence of music’s deep roots in the most primordial areas of the brain––and of its effects on the plasticity of the neocortex––supports connections between the emotional communications of animals, musicality in human ontogenesis, and the wide variety of musical activities we participate in as the cultural creatures we are. Furthermore, a growing number of theories support a shared evolutionary origin for music and language, suggesting that music played a crucial role in the evolution of the human mind and the development of social and cultural cognition. Key literature associated with music and evolution is critically reviewed; and possibilities for integrated bio-cultural conceptions of music’s origins are considered.

A partir del recorrido y la experiencia del músico y artista burkinabé Oumarou Bambara residente en Paris (Francia), la presente investigación pretende describir la utilización de cantos onomatopéyicos en dos dimensiones de la practica musical: por un lado, los procesos de enseñanza y aprendizaje; por otro lado,  los procesos de creación y composición musical. Aunque se trata de un primer acercamiento metodológico, este trabajo presenta algunas pistas interesantes sobre el rol de las onomatopeyas como herramientas mnemotécnicas y pedagógicas en los procesos de transmisión e intercambio de saberes. Todo ello en el marco de un contexto alejado y extranjero al  del "contexto  de origen" de las prácticas musicales en cuestión. Asimismo, se proponen algunas reflexiones acerca de la "tradición" musical como concepto dinámico, adaptativo, cambiante y esencialmente creativo.

Des déficits attentionnels peuvent perturber la lecture et participent aux difficultés rencontrées par certains enfants dyslexiques. Les procédures de lecture par adressage et par assemblage sont vulnérables à ces déficits, notamment parce qu'ils entravent des opérations cognitives en amont de ces deux voies, empêchant le groupement lettres/mot, l'identification des lettres et le codage de leur position. Des déficits de groupement visuel, une hyper-sensibilité au masquage latéral et un déséquilibre du traitement global/local seront évoqués. Pour un diagnostic des perturbations du traitement global /local, les résultats d'une expérience conduite avec le test SIGL©, évaluant les capacités à traiter spontanément la configuration d'un objet visuel complexe et à inhiber ses détails, sont rapportés pour décrire le développement de ces compétences entre 6 et 11 ans. Une expérience évaluant ensuite un programme d'entraînement informatisé (SWITCHIPIDO ©) destiné à réduire les déficits de ces deux mécanismes est aussi présentée. Il permet de rétablir un meilleur équilibre entre les traitements global et local et permet des progrès en lecture. Les résultats d'une expérience chez des étudiants dyslexiques montrent par ailleurs que certains déficits évalués par SIGL persistent à l'âge adulte. Les corrélations avec un bilan orthophonique et neuropsychologique suggèrent comment ils affectent la lecture. Les hypothèses concernant des anomalies de l'attention temporelle sont aussi présentées, dans un cadre théorique combinant les oscillations cérébrales et le rythme de distribution de l'attention. Cela conduit à évoquer des travaux réalisés à partir d'un matériel musical et permettant, à travers le traitement du rythme, d'améliorer l'analyse de l'information linguistique en perception de la parole mais aussi, comme contribuent à le montrer nos résultats récents, en lecture. Les déficits d'attention spatiale et temporelle seront enfin dissociés des difficultés attentionnelles du TDAH, parfois associé à la dyslexie, mais impliquant des mécanismes attentionnels d'un autre ordre, pour lesquels des prises en charges novatrices sont enfin évoquées.

A culturally diverse historical record shows considerable evidence of a significant role for musical sound in healing processes.  Very little of this information is used in contemporary medical practice.  In part that is a function of paradoxical, inconclusive, and sometimes contradictory research results.  Reviewed research literature is categorized as follows:  physical healing, psychological healing, spiritual healing, and healing practices of indigenous peoples.  The combination of ethnographic, descriptive and clinical data in the literature review demonstrates the complexity inherent to investigating this topic.  Most of the clinical research uses quantitative methodologies.  Because of the diversity of musical sound, infinitely variable individual responsivity, and the variable significance of a variety of influences, quantitative studies about musical sound healing phenomena are only minimally revealing.  It is suggested that whether or not a sound facilitates a healing response depends on how it is experienced.  Further, how this happens as well as the distinction between sound and music is in large part a function of the meaning sound is given.  This is the first study to examine in detail the meaning of such an experience.  This study uses the phenomenological methodology developed by Giorgi to analyze four descriptive protocols detailing first-person responses to a question about musical sound-facilitated physical healing processes.  The analysis results in a single general structure of the essential meaning of this experience revealing the relationships for each subject connecting an altered state of consciousness (ASC), spiritual awareness, cognitive understanding, history of related experiences and active, intentional choice.  Despite their apparent individual differences all subjects used musical sound in ritualistic ways to facilitate an ASC which incorporated visual imagery and spiritual support.  Half the subjects used music and sound for themselves, the other half participated in a sound-based ritual for the benefit of someone else.  A phenomenological approach further provides a way to demonstrate the subtle interrelationships expressed by the ethnographic, descriptive and clinical data.  Broad implications of the results of this study are discussed concluding with some directions for further research and a brief discussion on the value of a phenomenological approach to medical diagnosis and treatment.

Amedeo Giorgi, Chairperson

Arts education in music, theater, dance and the visual arts is one of the most creative ways we have to find the gold that is buried just beneath the surface. They (children) have an enthusiasm for life, a spark of creativity, and vivid imaginations that need training: training that prepares them to become confident young men and women. As I visit schools around the country I see a renewed interest in arts education and a growing concern about the negative impact of cutting art and music out of curriculum. The creativity of the arts and the joy of music should be central to the education of every Indian child.

This paper discusses the advantages of integrating music in studies not only as a particular subject but also as a teaching and learning tool to other subjects and sports. The paper also focuses what musical should be incorporated in the school for fun learning and personality development and what teachers should prohibit the students to listen; musical pieces and genre which is not useful for their creative minds and brain. There are some of the selected genre everyone should listen to, to heal their inner being and make their kids and students listen.

Τα τραγούδια ανέκαθεν αποτελούσαν τον πυρήνα της κοινωνικής ζωής, από τη πρώτη στιγμή γέννησης του νέου ανθρώπου, ως το θάνατό του.  Οι βαθιές σχέσεις της γλώσσας με τη μουσική βρήκαν στο τραγούδι όχι μόνον την έκφραση της κουλτούρας κάθε τόπου μα συχνά αποτέλεσε και όχημα γνώσης της ίδιας της γλώσσας και των κοινωνικών συμβάσεων. Μετά από μια σύντομη βιβλιογραφική επισκόπηση του ρόλου του τραγουδιού στην εκπαίδευση μέσα από επιστημονικές έρευνες, το παρόν άρθρο παρουσιάζει τα αποτελέσματα μιας ποιοτικής έρευνας που δείχνουν τη θέση και το ρόλο του τραγουδιού στη γενική εκπαίδευση, ειδικότερα στις δυο πρώτες τάξεις του Δημοτικού σχολείου, όπως εκφράζεται μέσα από τα βιβλία όλων των μαθημάτων των δυο τάξεων και τα σχετικά ΔΕΠΠΣ και ΑΠΣ.

The links between music and language have been receiving quite some attention in the research fields of neuroscience, psychology, and, in this case, in linguistics. This interdisciplinary study focuses on the effect of music on second language acquisition, and in particular, vocabulary acquisition. Two groups of S2 pupils in a Scottish Secondary School were assigned to two learning conditions, No-Song and Song, and were taught 15 items of French vocabulary via a set text, Des Os, il en faut. Participants were measured for linguistic and musical aptitude before completing various exercises in the testing period. The first research question asks if music will have a positive influence on the acquisition of second language vocabulary. The second research questions asks if participants who received musical tuition would perform better across the test worksheet, in particular in the verbatim word recall exercise. Following ANOVA analysis, neither learning condition nor effect of musical tuition was found to have a significant impact on the performance of the participants, however further analysis showed an interaction between the learning condition and whether the participant received musical tuition. This was most evident in the verbatim recall task, with three out of four comparisons results in a significant t-test result. All findings correlate with the trends identified in the literature. Limitations, possible adjustments to the study, and future research avenues are also discussed.

Among the different aims of scientific inquiry are those of describing, explaining, understanding the phenomena we live with or are surrounded by, many of them profoundly embedded in human nature since ancient times, even since the creation of humankind. This is the case of language and music, two unique, innate human capacities that have been considered an object of study in many different disciplines. In fact, it is a research topic that goes across disciplines and has been dealt with in brain, language, music, education, and health studies. More concretely, melodic and rhythmical patterns are two crucial elements that can be found in both, language and music studies.
Curiously enough, the idiom “to have an ear for” is found in many different languages and is directly related to language and music. So in French, we find the expression ‘avoir de l'oreille pour’, while in German it is ‘ein Ohr haben für’ and in Spanish ‘tener oído para’. It shows that beliefs about the relationship between music and language are somehow supported by our common verbal behaviour, by common sense or street wisdom. However, analysing what is meant by ‘having a good ear for music or languages’ brings many different research perspectives into the picture. From neuroscience, it raises question about brain functioning, what brain areas are triggered by both or how musical and language stimuli are processed (Patel, 2014). Psychologists are interested in the affective power of music and words, as well as in the explanation of the common cognitive processes the mind activates (Chobert & Besson, 2013). Musicologists mainly seek to understand how musical training benefits language learning and to describe the main ingredients of an optimal music-for-language learning intervention program (Runfola, Etopio, Hamlen & Rozendal, 2012). Health studies are concerned about the conditions in which humans’ well-being is affected by music and language (Barnes, 2015). Finally, Educational specialists are interested in finding if alternative teaching methods based on musical approaches could help learners to overcome language learning difficulties or simply make them learn at a quicker rate (Fonseca, Gomez, Jara, 2015).
The interplay language-music brings to applied linguists enquiries about the nature and function of speech melodies, the role of prosody, or the descriptions of rhythmical patterns in verbal behaviour. From another perspective, applied linguists are interested in knowing about the role of music in first and second language acquisition to see if students with a good ear for music are better equipped for language learning (Fonseca, Avila & Segador, 2015). While trying to understand the relationship between language and music, and more deeply, while trying to find out how music contributes to communication exchanges in any language, what universal properties it adds to the first language acquisition process and how the teaching and learning of foreign languages could be improved, the necessarily fragmentary answers from all disciplines are needed. As language and music are innate human capacities, with an undeniable link between them, does it mean that everyone could benefit from its intertwined input in the language classroom? On the one hand, musical abilities enhance linguistic cognitive processes such as phonemic and phonological awareness, reading comprehension, vocabulary acquisition, listening and speech abilities. On the other hand, language learning takes also advantage of the emotional elements provided by music and songs. Musical activities have been found to influence memory, attention and effort as a result of their physiological properties and to foster a relaxed and safe but motivating and productive classroom atmosphere (Fonseca & Herrero, 2016).

The question how music influences the perception of lyrics is rather complicated. There are indications that music enhances the perception, comprehension and memorization of sung language, but also that it obstructs language perception and comprehension by withdrawing attention from the words, or undermining their meaning. The linguistic concept of foregrounding, might be helpful to understand the paradoxical way in which music seems to affect lyric perception. Foregrounding (the use of stylistic features such as metaphors and parallelisms, etcetera) is supposed to obstruct normal understanding, but, by doing so, to draw attention to the language too. Foregrounding, for example, both slows down reading and increases strikingness and affects ratings. The Musical Foregrounding Hypothesis (MFH) states that matching music to words has a similar effect to language perception as linguistic foregrounding. However, music is far more complex than any stylistic feature. Music consists of components such as rhythm, pitch, harmony, song structure, etcetera, all of which might affect lyric perception independently. This leads to several sub-hypotheses. An MFH-based model for lyric perception explains the relations between the MFH and these sub-hypotheses. Support for some of these sub-hypotheses is found in the existing literature, others should be tested. The MFH offers an interdisciplinary approach to song and to the relationship between language and music, that might be beneficial to science, education, music, advertising and literature.

1. PENDAHULUAN
a. Perkembangan lagu animasi anak kecil
b. Mengapa animasi disukai oleh anak kecil
c. Logika Berbahasa dalam Lagu Indonesia untuk Anak-anak

2. PEMBAHASAN
o Beberapa contoh lagu animasi anak-anak yang memiliki lirik dengan penggunaan bahasa Indonesia yang digeser maknanya
 Naik Delman Istimewa (duduk di muka)
 Topi Saya Bundar  (topi saya bundar)
 Naik kereta api (Bolehlah naik secara percuma)
o Dampak dari penggeseran makna dalam lirik
o Fungsi Bahasa pada lirik lagu anak-anak
o Fungsi dan peran animasi lagu anak-anak secara umum

Croatian high school students are increasingly presented with opportunities for incidental out of school EFL learning through the Internet, subtitled TV programmes, music and video games with English language content. This paper statistically analyzes the data collected by means of a questionnaire, with the aim of comparing the EFL grades of 78 high school students with their approach to unfamiliar English vocabulary they encounter through media: how often they attempt to determine meaning through context or look it up. Research questions also address the relation between students’ EFL grades and their opinions on the extent of various media influence on their English vocabulary acquisition. The results of Chisquare tests have shown that successful EFL students try to guess meaning from context as well as check for meaning significantly more frequently. Moreover, statistically they report acquiring a larger amount of vocabulary by listening to music and watching films than less successful EFL students. The purpose of this paper is to highlight the importance of Croatian adolescents’ incidental English vocabulary acquisition through media and draw attention to the potential use of these findings within formal EFL teaching.

This paper presents a view into the pre-history of music, using the most recent resources and information on biology, ethnomusicology, music sociology, archeology, and psychoacoustics. The pattern of acquisition of musical skills in childhood is used as a framework for reconstructing the genesis and general course of development of principles of tonal organization in music. The existing data of comparative ethnomusicology is placed into this framework, and plotted against the data of perception of melody and harmony, in an attempt to distinguish the biological and cultural substrates for each of the schemes of tonal organization, which are identified in the traditional music of the ethnicities that have retained a hunter/gatherer lifestyle.

The lineage of such schemes is proposed based on the similarity/dissimilarity of cognitive resources that each scheme requires – supported with the available empirical evidence, such as analysis of intervallic structure in the hole placement of the Paleolithic and Neolithic “bone flutes.” As a result, pentatonic and heptatonic schemes of tonal organization appear to constitute two alternative prehistoric “mainstream” methods of ordering musical tones, each cultivating its own worldview and philosophy.

For the past 15 years the close relationship between language and music has been the subject of many studies. However, little attention has been given to young children of a minority lingual background who are acquiring the majority language as a second or third language and the role music can play in such situations. This essay presents findings from an ethnographic study conducted in Norwegian kindergartens (Kulset 2015a). Children aged three to six, 50% of minority lingual background (n=38), were given extensive exposure to singing for the purpose of exploring how this might affect their second (or third) language development. The results found 1) that children joined in the singing long before they started speaking Norwegian and 2) that the joint music making acted as a means of communication between children across language barriers, helping them to make friends. To explain these conditions, Patel's OPERA hypothesis (Patel 2011, 2012) is applied to give an orderly understanding of why singing facilitates second language acquisition.

With the rise of a form of multicultural nationalism on Taiwan, a number of institutions have formed around indigenous language revival, including mother tongue language education classes in elementary and middle schools, competence tests in all variants of Taiwan's extant indigenous languages, and mother tongue speech and performance contests. To many in this island country of 23 million people, including those in the dominant Sinophone population, commitment to indigenous languages is a necessary part of Taiwan's process of democratization. Yet such measures have been symbolic rather than effective. In this article, I discuss the influence of this sociopolitical context on the work of contemporary indigenous songwriters writing in Sowal no 'Amis. These songwriters have attempted to create a media profile for the 'Amis language by emulating popular music forms. However, their actual impact for language revival is limited. The limitations of such work suggest that for musical production to benefit language revival, song composition in endangered languages is a necessary but not sufficient condition. Other sociological features of music circulation and consumption might be needed for songwriting in endangered languages to have the intended effect

Inspired by Kahneman's book, here's a look at a few Cognitive principles from research and their applications in the way we learn and teach music: How the brain is slower when switching gear, cognitive overload, blindness to stimuli, and our tendency to wrongly jump to conclusions.

This is the third in a series of articles concerning the European Music Portfolio – see also Caroline Davenport's article in NAME Magazine Issue 36 and David Wheway's in Issue 37 – and is an account of a project, undertaken as part of a Masters degree, in the Albanian community of Thethi.

This work has as main objective the exploration of possible strategies that allow an optimization of the pianist’s practice process while applying them to the specific needs of the field of the collaborative piano. Therefore, it addresses the research of two authors with significant publications in the field of cognitive psychology of music, John Sloboda and Roger Chaffin, as well as a book regarding efficient practice written by violinist Robert Gerle in order to obtain not only suggestions from a professional for practicing in a more efficient way, but also the scientific directions that support these suggestions. For the application of this information in the field of the collaborative piano, it aims firstly to list specific aspects of this practice according to the work of pianist Martin Katz in order to, in a second moment, document the practice process of the author of this work as he learns a piano reduction of an opera’s air. As a result, the theme is approached from three different aspects: scientific (Sloboda and Chaffin’s publications); technical (Gerle and Katz’s publications); and personal (documentation of the practice process of the author of this work). With this research some of the main factors pertinent to the practice efficiency could be highlighted such as the conception of a musical work in its totality; the structural approach in the codification of new information; the decomposing of problematic passages in its components and the mental anticipation of the material to be executed. Among the aspects pertinent to the pianistic collaboration were emphasized the knowledge of the parts of other musicians as well as the specific needs of its execution; the study of the text of vocal works and the adaptation of orchestral reductions.

Subtitled television programmes, the omnipresent English-language music and new media seem to provide a rich context for English foreign language acquisition among Croatian adolescents. The study compared the EFL grades of 78 secondary school pupils with their self-reported frequency of exposure to different English media and English in informal situations. The results revealed that students who frequently undertake activities involving the use of English in non-institutional context achieve better success in their formal English-language education at school. The study examines the frequency with which the students engage in watching English-language films or TV programmes, listening to English-language music, reading trivia and literature or talking to others in the foreign language, playing video games with English-language content and finally surfing the Internet; moreover, the research questions also address which of the mentioned activities has the greatest influence on excellent grades and which is the most popular among male and which among female students. Analyses were also made regarding the attitudes of students towards music sung in English as opposed to Croatian music and their attitudes towards subtitling, captioning, and dubbing of English-spoken movies.

Croatian high school students are increasingly presented with opportunities for incidental out of school EFL learning through the Internet, subtitled TV programmes, music and video games with English language content. This paper statistically analyzes the data collected by means of a questionnaire, with the aim of comparing the EFL grades of 78 high school students with their approach to unfamiliar English vocabulary they encounter through media: how often they attempt to determine meaning through context or look it up. Research questions also address the relation between students’ EFL grades and their opinions on the extent of various media influence on their English vocabulary acquisition. The results of Chisquare tests have shown that successful EFL students try to guess meaning from context as well as check for meaning significantly more frequently. Moreover, statistically they report acquiring a larger amount of vocabulary by listening to music and watching films than less succ...

This research was designed to study the adaptation and applications of informal music learning practices in a context of formal education. The knowledge of musical learning processes in extracurricular contexts has been approached with great interest by researchers, throughout the years. The aim was to explore the link between these processes, its procedures and their interrelationships, to assist the work of teachers and enrich the practice of music in general. The methodological support of Action Research, in conjunction with the use of ethnographic techniques of data collection such as participant observation and questionnaires, allowed gathering students’ views about the applied activities. The subject “Musical Informal Practices,” offered for four months in the Undergraduate Course at the School of Music of the State University of Minas Gerais, Brazil, served as the base environment for the study. The research involved fourteen students and with the activities developed through them it was possible to apply, study and discuss the main musical practices of informal learning, with reference to the work of Professor Dr. Lucy Green (2008). Thus, at the end of the study, through the reports of the students, we concluded that the informal practices, after due adaptations, act as facilitators for the students’ in their musical practices.

Eudaimonia: Perspectives for Music Learning asserts the fertile applications of eudaimonia—an Aristotelian concept of human flourishing intended to explain the nature of a life well lived—for work in music learning and teaching in the 21st century. Drawing insights from within and beyond the field of music education, contributors reflect on what the "good life" means in music, highlighting issues at the core of the human experience and the heart of schooling and other educational settings. This pursuit of personal fulfillment through active engagement is considered in relation to music education as well as broader social, political, spiritual, psychological, and environmental contexts. Especially pertinent in today’s complicated and contradictory world, Eudaimonia: Perspectives for Music Learning is a concise compendium on this oft-overlooked concept, providing musicians with an understanding of an ethically-guided and socially-meaningful music-learning paradigm.

Purpose: Former studies suggested that music perception can help produce certain accentual features in the first and second language (L2), such as intonational contours. What was missing in many of these studies was the identification of the exact relationship between specific music perception skills and the production of different accentual features in a foreign language. Our aim was to verify whether empirically tested musical hearing skills can be related to the acquisition of English vowels by learners of English as an L2 before and after a formal accent training course.

Method: Fifty adult Polish speakers of L2 English were tested before and after a two-semester accent training in order to observe the effect of musical hearing on the acquisition of English vowels. Their L2 English vowel formant contours produced in consonant–vowel–consonant context were compared with the target General British vowels produced by their pronunciation teachers. We juxtaposed these results with their musical hearing test scores and self-reported musical experience to observe a possible relationship between successful L2 vowel acquisition and musical aptitude.

Results: Preexisting rhythmic memory was reported as a significant predictor before training, while musical experience was reported as a significant factor in the production of more native-like L2 vowels after training. We also observed that not all vowels were equally acquired or affected by musical hearing or musical experience. The strongest estimate we observed was the closeness to model before training, suggesting that learners who already managed to acquire some features of a native-like accent were also more successful after training.

Conclusions: Our results are revealing in two aspects. First, the learners' former proficiency in L2 pronunciation is the most robust predictor in acquiring a native-like accent. Second, there is a potential relationship between rhythmic memory and L2 vowel acquisition before training, as well as years of musical experience after training, suggesting that specific musical skills and music practice can be an asset in learning a foreign language accent.

Integrated work on different parts of the curriculum is a major challenge for teachers who have been trained within a system that views the different subjects in isolation. This article describes the characteristics and criteria underlying the Continuous Professional Development courses for European teachers (lasting 30 hours), designed within the framework of the European Music Portfolio: A Creative Way into Languages Comenius Project in order to teach music and foreign languages together. Specifically, these courses have been developed using the training models applied in Switzerland and Catalonia (Spain) during 2011 and 2012. At the same time, the results of some in-depth interviews (conducted with participants on a course) are presented, which were intended to gain a deeper insight into the different ways teachers (from kindergarten to secondary education) cope with the challenges of integrated music and language teaching. The discussion highlights the usefulness of the feedback provided by the interviews as an inspiration for new ideas to develop more effective and higher quality professional development.

Este trabalho objetiva contribuir de forma reflexiva na área de educação musical, mais especificamente em torno da construção e elaboração de espaços de trocas de
conhecimentos favoráveis à construção social da educação musical. Para tal, apresentaremos como relato de experiência, as etapas e metodologias que nortearam a montagem do espetáculo ArteSemas, que aconteceu em 16 de dezembro de 2010 dentro das comemorações da 20ª Mostra de Assistência Social de Parnamirim. Para o tema Um Novo Natal em uma
Nova Casa, foi considerada a regionalização do natal, por isso um Novo Natal e as recentes melhorias estruturais nos núcleos que abrigam os serviços socioassistenciais, por isso Nova
Casa. Objetivamos com este artigo incrementar as discussões em torno das questões da construção de prática musical nas políticas públicas sociais, tendo como principal proposta a
construção do conhecimento a partir de relações ocorridas nas oficinas, descrevendo com criticidade as ações pedagógico-musicais desenvolvidas. Por fim, concluímos que dentro de
uma ação interdisciplinar a música e a realização de musicais nas práticas dos contextos não formais constituiu uma forma efetiva de atuação na busca pela proatividade, estímulo à
criatividade, ao incremento da auto-estima.

This study aims to examine the effects of English course with background music on self-efficacy beliefs and achievement emotions of students who have different learning styles and find out what students think about the implementation. For this purpose, the sequential explanatory design was used. To obtain quantitative data, an experimental design, and to collect qualitative data, a semi-structured questionnaire form was applied. The study was carried out with 53 students at a high school in Turkey. During the experiment period, the background music was used in the English course. The study has revealed that using background music leads to a significant diferentiation in the achievement emotions in a positive way but not on self-efficacy beliefs. In terms of learning styles, the implementation has had positive effects on class-related enjoyment of the students with the style of converging and accommodating. In terms of class-related boredom, the implementation has had a positive effect on students having converging learning styles. The data obtained from qualitative processes also has confirmed this. The qualitative data has proved that the implementation is effective on emotions such as happiness, enjoy, excitement, boredom, anger and on motivation, engagement and actively participating. The students generally have supported background music.

This work focuses on the implementation of an education environment to specific distance learning in music teaching, initially for electric guitar, using Java technologies related to musical computation. It is proposed a model and a development methodology to the platform in order to offer an alternative to the traditional courses through the integration of various technologies using dynamic communication between the user interface and the  sound processing / recognition.
Finally, this project plans to offer the community with a public repository with the possible results, which can be accessed and developed in a team.

The education profession is presently facing the challenges of touch-based electronic devices, as a part of their teaching performances and in the behavioral reflections of the device-use. These devices may distract children, harm attention, and even cause addictions (Adams, 2014; Richtel, 2010). However, other researchers reported that using the iPad helps stimulate 2-year-old children's creative-intellectual potential (Geist, 2012), children's focus, learning styles, and various learning levels (Wilkinson, 2010). According to Hodgson (2013), 5-6-yearold children were found to use higher order thinking skills in creating content independently in music because of the possibilities of touch interface technology. This was also shown in the behavior of Finnish 6-year-olds (Marjanen, 2014). Nevertheless, the essential nature of children's interactivity with the iPad in all its potential richness has not yet received enough attention (Tu, Cslovjecsek, Pérez, Blakey & Shappard, 2014). Many possibilities for increasing our understanding of how children develop their visual and audio preferences through the use of the touch screen tablets is to be observed, with the connections of the cultural and developmental inclinations. The present study points out to the interests of young children in favor of sounds, produced by manipulation of objects, supported by views opened via quantitative approach across culturally, and with qualitative aspects as a view for creating comprehension, and to interpret the results through the triangulation between the data, theory and the researchers from different cultural backgrounds. In this research, the authors investigate the Finnish-American, cross-cultural observations and comparisons and provided us interesting results.

This text is a summary of the doctoral research in which non-formal learning processes and informal music learning practices were discussed at the music workshop of the Brazilian federal project PIBID of The Minas Gerais State University/Brazil in a public school of Belo Horizonte city, in 2014. The applicability and adaptation of these approaches in the Brazilian public school context was investigated, besides the possibility
of being used as instruments to stimulate the processes of music practice, teaching and learning. Using the qualitative research methodology and data collection from observations, questionnaires, interviews and videos recorded, it was possible to raise the opinions and conceptions of the participants, five project scholars and twenty students of the school, about the activities. The workshop provided an interaction between the students which facilitated a sharing of strategies, information and music learning. As a result, we can highlight that the project offered opportunities for peer learning and the
research proved the feasibility and applicability of non-formal and informal learning approaches as pedagogical possibilities for music learning.

Subtitled television programmes, the omnipresent English-language music and new media seem to provide a rich context for English foreign language acquisition among Croatian adolescents. The study compared the EFL grades of 78 secondary school pupils with their self-reported frequency of exposure to different English media and English in informal situations. The results revealed that students who frequently undertake activities involving the use of English in non-institutional context achieve better success in their formal English-language education at school. The study examines the frequency with which the students engage in watching English-language films or TV programmes, listening to English-language music, reading trivia and literature or talking to others in the foreign language, playing video games with English-language content and finally surfing the Internet; moreover, the research questions also address which of the mentioned activities has the greatest influence on excellent grades and which is the most popular among male and which among female students. Analyses were also made regarding the attitudes of students towards music sung in English as opposed to Croatian music and their attitudes towards subtitling, captioning, and dubbing of English-spoken movies.

O crescente interesse do meio acadêmico brasileiro pelas teorias do campo da psicologia que tratam das particularidades do aprendizado acaba refletindo também nos estudos sobre os processos cognitivos do aprendizado musical. O presente artigo descreve uma experiência sobre a criação de arranjos musicais para atividades coletivas de violão e, através de diálogos com o pensamento de Bandura (1986) sobre a autoeficácia e motivação, busca descrever o processo de elaboração e aplicação desse tipo de material. A compreensão da aplicação de material didático como uma meta, argumentação baseada nas propostas de Schunk (1991;2009), acaba por revelar o potencial dessa ferramenta como elemento motivacional, além de um eficiente instrumento para o aprendizado da leitura e da técnica instrumental.

Read online: http://journal.sonicstudies.org/vol02/nr01/a03 or https://www.researchcatalogue.net/profile/show-exposition?exposition=261722
This essay probes the nature of listening by refusing to pin it down to a single essence. The epistemological value of metaphor is explained in terms of the cognitive metaphor and embodied mind theories of Lakoff and Johnson as well as the philosophies of Rorty and Fiumara. Then the various natures of listening are explained via seven metaphors: (1) Digestion, (2) Recording, (3) Adaptation, (4) Meditation, (5) Transport, (6) Improvisation, and (7) Computation. As a positive example, this set of metaphors promotes recognition of the inherent plurality of listening by staking out distinct facets which cannot be reduced to one another. This irreducibility is made more vivid and conceptually manageable by associating each of these facets with more concrete activities that are literally irreducible, or indeed seemingly unrelated. Moreover, some of these metaphors suggest the complementary and sometimes interdependent nature of diverse aspects of listening.