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The Qin Zheng, an ancient Chinese musical instrument, embodies centuries of cultural heritage and artistic expression. Amidst its strings, melodies resonate with stories of ancient China, reflecting the country's rich history and cultural identity. The objective of this study is to analyze the Qin Zheng playing techniques of Zhou Wang in musical literacy development. The research investigates Zhou Wang's historical development, pedagogical approach, and playing techniques through a qualitative analysis. The study focuses on the Xi'an Conservatory of Music as the primary research site, where Zhou Wang has taught and mentored students for over three decades. Key informants include Zhou Wang herself, her students, and colleagues in the field of Chinese musical education. Data analysis involves structured interviews, observations of performances and teaching sessions, and transcription of musical examples. The findings reveal Zhou Wang's mastery of Qin Zheng techniques, including intricate right-hand and left-hand skills, and their significance in fostering musical literacy development. The study highlights the potential benefits of integrating music education, particularly traditional Chinese music like Qin Zheng, into curricula as a means to enrich students' language skills, cognitive abilities, and emotional intelligence.

The study examined the content of methods used in amateur guitar education, namely "Guitar Method for Children" (Bülent Isbilen & Özhan Gölebatmaz), "Classical Guitar Method" (Ahmet Kanneci), "Easy Training Method for Classical Guitar" (Bülent Isbilen & Güray Demir), "Classical Guitar Method" (Murat Isbilen), "Arenas I" (Rodriguez Arenas), "Guitar Method I" (Ziya Aydintan), and "Introductory Method for Classical Guitar" (Bekir Küçükay). The research employed a scanning model. In the data collection phase, methods were obtained, and their contents were examined for topics such as the Historical Development of Classical Guitar, Basic Information, Tuning of the Guitar, Nails, Starting Positions, Visuals, Study and Piece Descriptions, Speed Terminology, and Table of Contents. The results, presented in tables, revealed that two of the methods lacked a table of contents, speed terminology was only presented in one method for all pieces and studies, and topics such as nails and tuning of the guitar were not covered in most methods.

People's lives tend to the outside world, leading to the waning of cultural preservation values due to the ease with which foreign cultural influences enter and threaten the existence of local culture. To avoid the decline of the younger generation's interest in traditional art, it is necessary to carry out an idea of preservation through education, in this case, social studies subjects at school. This study aims to analyze the relationship between traditional art and social studies as a learning resource. The traditional art discussed in this study is panting music which is traditional arts in South Kalimantan. This is done to get a pattern for preserving traditional arts through social studies subjects. The research method used is qualitative. Data collection is done through observation, interviews, and documentation. Informant this research panting music players, and social studies teachers. The various data obtained are then reduced, presented, and then concluded. The researcher triangulated and extended the observations. The study's results confirmed panting music performance activities could be packaged as social studies learning resources. This is done by integrating class VII textbooks on the theme of cultural and ethnic diversity in the Indonesian traditional musical.

Th? cr?ativity and g?n?ral cognitiv? d?v?lopm?nt of stud?nts ar? gr?atly aid?d by music ?ducation. In China, th? gov?rnm?nt has tak?n action to nationaliz? th? curriculum in r?cognition of th? valu? of music ?ducation and to ?nsur? that childr?n across th? country r?c?iv? consist?nt, ?xc?ll?nt music training. This study aim?d to ?xamin? th? impact of stud?nt motivation on acad?mic achi?v?m?nt. Furth?rmor?, it ?xplor?d th? m?diating rol? of stud?nt motivation and th? mod?rating rol? of saxophon? t?aching m?thods. Th? study includ?s a sampl? of 375 coll?g? stud?nts in China and us?s a quantitativ? cross-s?ctional d?sign. Th? acc?ptanc? and int?gration of culturally appropriat? music curricula, t?aching strat?gi?s, and ?ducational r?sourc?s ar? r?f?rr?d to as nationalizing music ?ducation. Und?rstanding th? ?ff?cts of nationalization on stud?nts' l?arning r?sults r?quir?s a thorough und?rstanding of stud?nt motivation and acad?mic succ?ss in th? music classroom. Th? principal data coll?ction tool for this study is a surv?y qu?stionnair? that ?xamin?s th? nationalization of music ?ducation, saxophon? t?aching t?chniqu?s, stud?nt motivation, and acad?mic accomplishm?nt. Th? gath?r?d data ar? ?xamin?d using statistical t?chniqu?s lik? PLS-S?M and mod?ration analysis. Th? r?sults of th? study d?monstrat?d a dir?ct and favorabl? r?lationship b?tw??n music ?ducation and acad?mic p?rformanc?. Furth?rmor?, it was discov?r?d that stud?nts' motivation play?d a m?diating rol? in this association, indicating that incr?as?d l?v?ls of motivation amplifi?d th? b?n?ficial influ?nc? of music ?ducation on acad?mic achi?v?m?nts. Mor?ov?r, it was not?d that t?aching mod?s play a mod?rating influ?nc?, wh?r? th? us? of ?xp?rim?ntal t?aching m?thods amplifi?s th? impact of music ?ducation on acad?mic accomplishm?nt, ?sp?cially in practical and cr?ativ? ar?as. This r?s?arch ?nhanc?s th? curr?nt und?rstanding by pr?s?nting ?mpirical ?vid?nc? of th? compl?x conn?ction b?tw??n music ?ducation, stud?nts' motivation, and t?aching m?thods.

The inclusion of jazz ensembles within extra-curricular instrumental music programs in secondary schools in Australia has grown exponentially in the past two decades. Despite this growth, there is a deficiency of specialist teacher training in jazz education and pedagogy in Australian tertiary institution instrumental music courses. This lack of specialist training in jazz pedagogy has left many music educators, especially early career instrumental music teachers, underprepared and underequipped to teach jazz programs successfully in their junior and secondary school settings. This article aims to synthesise and contextualise some of the key literature in jazz pedagogy and jazz ensemble rehearsal techniques for early career teachers, or those with little or no background in jazz. The topics discussed in this article include roles of instrumentation, rehearsal and performance set-ups, rehearsal techniques, the role of the jazz director, directed student listening, jazz style, language and articulation, improvisation, and repertoire. The aim is to equip instrumental music teachers with an introductory knowledge, reference to further literature, and practical examples to maximise the proficiency and potential of their jazz ensembles in junior and secondary school music programs.

There are many young people playing brass band instruments in Australia, yet there is generally an expectation in secondary education, and almost always in higher education, that students will play orchestral brass instruments. This article explores how schools and tertiary music educations in Australia are equipping students to be 21st century musicians, with a focus on players of brass band instruments. Secondary school students playing brass band instruments are often misunderstood by music teachers and can have trouble fitting in to school music programs. Currently, the only university in Australia that offers a specific brass band subject and lists brass band instruments is Griffith University in Queensland, therefore many dedicated brass band instrumentalists choose to travel overseas for tertiary study. This article seeks to highlight a broader picture regarding music education in Australia, and encourages educators (and institutions) to step out of the conservatory-style specialisation regarding brass instruments.

The preservation and transmission of cultural knowledge about bronze drums in Donglan County, Guangxi, China, is crucial for protecting a valuable cultural heritage that has been passed down through generations. In Guangxi, Guizhou, and Yunnan, several ethnic groups, such as the Zhuang, Buyi, Miao, and others, still include bronze drums in their cultural practices. These drums function as visible connections to ancient customs and are actively conserved through on-site visits and recordings of performances. Donglan County in Guangxi is crucial to this effort, as it has been officially designated as a national-level zone for the protection of both cultural and ecological resources starting in 2023. This project emphasizes the dedication to protecting intangible cultural resources, with cooperation between communities and educational institutions guaranteeing the transfer of this cultural knowledge to future generations through education. The clear differentiation between male and female bronze drums, as well as their specific acoustic characteristics, contributes to the cultural wealth of this heritage. This is preserved through cultural events and educational programs, ensuring its lasting importance for future generations.

The Dong Pipa, a traditional Chinese musical instrument, is a significant element of the Dong ethnic group's cultural heritage. The objective is to investigate the historical development of the Dong Pipa, a traditional Chinese musical instrument, in literacy functions and educational occasions. The research was conducted in Liping, Congjiang, and Rongjiang counties in Guizhou Province, Tongdao County in Hunan Province, and Sanjiang in the Guangxi Zhuang Autonomous Region. Two key informants and four casual informants, including national transmitters and experts in Dong Pipa music, were interviewed, and data were gathered through fieldwork, interviews, and observations. The analysis focused on the integration of the Dong Pipa into educational settings and its role in fostering cultural literacy. The results indicate that the Dong Pipa has played a dynamic role both historically and in contemporary times, contributing significantly to cultural transmission and education. The study suggests that incorporating traditional instruments like the Dong Pipa into modern educational practices can enhance cultural literacy and support preservation efforts.

The Xu Gongning Bianzhong, an ancient musical instrument dating back to the Western Zhou Dynasty, embodies China's rich cultural heritage. This study investigates the literacy transmission and development of Xu Gongning Bianzhong in Chinese universities, aiming to understand its preservation and development in traditional Chinese music education. Utilizing qualitative interviews, archival research, and thematic analysis, the research focuses on the School of Music at Pingdingshan University in Henan Province, China, as the research site. A total of 18 informants, including experts in Bianzhong reproduction and performance, students, and teachers, provide insights into the transmission process. Data analysis reveals structured classroom teaching, curriculum integration, and student experiences shaping Bianzhong's literacy. Results highlight historical findings, innovative teaching methods, and positive student feedback, emphasizing the instrument's cultural significance and educational impact. The study suggests a continued emphasis on immersive teaching practices, interdisciplinary collaboration, and cultural preservation efforts within higher education settings.

Lusheng is a traditional wind musical instrument cherished by various ethnic minorities in China. The objective of this study is to investigate the role of Lusheng Chinese musical instruments in promoting literacy through educational functions and transmission. Conducted in Guizhou Province, a region rich in ethnic diversity, this study employs qualitative methods and engages two key informants who are local artisans with interview and observation forms. The data analysis reveals multifaceted insights into Lusheng's transmission and promotion. Findings highlight the challenges posed by modernization to traditional craftsmanship, emphasizing the urgency of preserving Lusheng production skills. The inclusion of Lusheng in the National Intangible Cultural Heritage list and the establishment of educational programs in primary, and secondary schools, and universities underscore the government's commitment to safeguarding Lusheng culture. Moreover, the research underscores the transformative impact of modern media on Lusheng's dissemination, and cross-cultural engagement is recognized as vital for expanding its influence. Balancing tradition and innovation remains a challenge. The study suggests collaborative efforts among government, academia, and society to develop a comprehensive conservation strategy, ensuring the continued transmission and promotion of Lusheng culture.

Si Zhu Yue music is a traditional Chinese folk music genre characterized by stringed and bamboo wind instruments. It originates from the Yangtze River basin in China. This study aims to propose guidelines for transmitting literacy studies in traditional Chinese folk music in Si Zhu Yue. We synthesize literature to provide insights into the cultural heritages. Three key informants with expertise in Si Zhu Yue music, educational settings, and cultural preservation efforts were purposefully selected to provide diverse perspectives on Si Zhu Yue music's transmission and literacy studies. Data analysis involved qualitative approaches to identify recurring themes, patterns, and insights from interviews and observations. The findings highlight the significance of integrating cultural values into planning processes, the challenges of preservation in the face of modernization and globalization, and the need for innovative approaches to safeguard intangible cultural heritage. Recommendations include prioritizing cultural heritage preservation in planning policies and adopting interdisciplinary approaches to address the complexities of cultural sustainability planning.

The objectives of this research are to study (i) the development of the Lusheng and its relationshipwith Rongshui culture and (ii) the knowledge management for learning arts and culture insouthern China. This research used qualitative research methods by studying documentsand collecting field data through surveys, interviews, observations, group discussions, and workshops. The data was collected from a group of 18 people. The analysis was based on the objectives, and the results were presented in a descriptive-analytical manner. The research results indicated that: (i) Lusheng is an ancient musical instrument in the bamboo family that has spread throughout Asia, This instrument has evolved differently in difference regions. This musical instrument is closely related to the way of life of people in southern China. People use it as a show for entertainment during important festivals. They believe that the worship of ancestors and gods can protect one's life. Lusheng culture has artistic value and should be studied to be photographed for future generations. (ii) The knowledge of Rongshui Lusheng, a wind instrument made from bamboo, is a valuable musical and dance cultural heritage and deserves to be carefully studied through systematic inheritance. It was found that it is a teaching activity in educational institutions starting in primary school. Secondary and higher education learning in this study has two characteristics: Learning to produce Lusheng and practicing playing Lusheng, which must create a melody. The rhythm goes along with the related dance. In summary, this study can be used as a guideline for the conservation and inheritance of cultural heritage as well as a guideline for teaching and learning for the transmission of artistic and cultural heritage.

The study on the preservation and transmission of Lusheng knowledge in Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China, yields important findings. It begins by detailing the traditional 6-pipe Lusheng's production process, stressing its employment on numerous cultural occasions but its limited applicability for solo performances owing to its narrow tonal range. Throughout, regional differences in Lusheng scale configurations contribute to a variety of musical styles. Mr. Dong Dan Gan is a key figure in the growth of Lusheng instruments. It starts with the 8-pipe Lusheng, then moves on to the 11-pipe version, which expands tonal potential. Subsequent variations, such as the 12-pipe, 13-pipe, 14-pipe, 16-pipe, 19-pipe, and ground-breaking 18-pipe, 21-tone Lusheng, increased adaptability and melodic possibilities even more. Moreover, Lusheng has a wider tone range. These advancements accommodate varied musical traditions and help to preserve and disseminate Lusheng knowledge, strengthening the cultural legacy. And efforts have enhanced Lusheng music greatly, aiding its transmission and cultural continuation.

This research represents a creative exploration in the field of music (Practice as Research: PaR) with the objectives of 1) studying the use of a sampler from Isan instruments and instruments from various cultures to create musical compositions using music software, and 2) examining the appropriate contexts for using a sampler in creative musical works. The research findings reveal that 1) Isan folk music possesses unique characteristics in terms of sound quality and performance techniques, while other musical elements can be combined with it in a technologically driven creative process. This involves connecting the concepts and methods of both traditional and diverse cultural music to create unified compositions using technology, such as recording musical notes in standard notation, exporting them as MIDI files, and then importing them into audio recording software to refine the sounds for complete songs. 2) Regarding the appropriate contexts for using a sampler in creative music, three main contexts were identified: an Isan folk music composition context, a music education context, and a commercial or music business context. In summary, the process of using a sampler for creative music works can bridge the concepts of various cultural music and integrate them with technology. Furthermore, this process can be extended to enhance interdisciplinary learning and teaching methods, making it applicable in diverse contexts.

This study aims to determine the perceptions of fine arts high school music department students about the concept of "instrument training" through an alternative measurement and evaluation technique "Word Association Test (WAT)". In this study, the survey model, one of the qualitative research methods, was used. The study group of the research consisted of 110 students studying at Nevit Kodalli Fine Arts High School Music Department in the 2021-2022 academic year. The data were obtained by applying the "Word Association Test (WAT)". Firstly, WAT was explained for informative purposes during the application. Then, the students were asked to write the first 5 words that they thought were related to the key concept of "instrument training" within 1 minute. Afterwards, they were asked to make a sentence related to these answer words. The obtained answer words were analysed by content analysis technique. As a result of the analysis, the answer words that the students associated with the key concept of "instrument training" were grouped under 9 categories (teaching materials, performance anxiety, motivation for the instrument, social skills, attitude towards the instrument, technical skills, student capacity, education and training). According to the order of these categories, the most frequently associated answer words with instrument education were instrument, etude, excitement, working, cooperation, happiness, note, talent and teacher. Under the category of performance anxiety and motivation related to the instrument, the students showed a negative distribution on the word "tiring". It was observed that the students had a positive cognitive structure in all categories.

In northeastern Thailand, the beating heart of tradition and music intertwines seamlessly. The objective of this study was to explore the significance of percussion instruments in Isan Thai folk music within the context of music education and learning. The scope of the research site spans the northeastern Provinces of Thailand. The study employs qualitative interviews with experts and practitioners, complemented by field visits and observations. The findings emphasize that Isan Thai folk music serves as a cultural bridge, nurturing mutual understanding and expressing the extraordinary occurrences within the community. Music education emerges as a pivotal tool in safeguarding the cultural heritage of Isan Thai folk music, offering students a window into diverse cultures, and enriching their appreciation of the world's cultural tapestry. Despite challenges such as a dearth of successors and waning interest among the younger generation. The preservation of Isan percussion instruments is an invaluable component of intangible cultural heritage, thus contributing substantially to the broader discourse on cultural heritage preservation and the role of music education in fostering cross-cultural appreciation and understanding.

This study aimed to demonstrate sustainable education practices in the field of amateur guitar education during the COVID-19 pandemic, emphasizing that all lessons were conducted entirely online. The goal of the study was to enhance economic, social, and environmental performance through a comprehensive approach that assessed the effectiveness of activity-based lesson plans focused on scale, chord, and arpeggio instruction. The lesson plans were designed to include introduction, development, and evaluation sections. The instructional intervention involved five beginner-level students over an eight-week period, with performance data evaluated by three expert evaluators using a 5-point Likert scale. The evaluation allocated 40% weight to theoretical knowledge test results and 60% to performance test outcomes, with student achievement scores ranging from 89.2 to 98.8. The success of the study highlights the potential for sustainable education practices in challenging times like the COVID-19 pandemic and serves as a model for others to follow.

Throughout the history of classical music piano, various schools have emerged, often named after cities such as London, Vienna, and Hamburg. Today, it is widely accepted that there are three major piano schools: the French, German, and Russian schools. This study briefly mentions the history of Russian classical music and the development of the piano school in the country. It explores the individuals who played a significant role in this process and the techniques they employed in piano education. The main objective of the study is to determine the development of the piano school in Russia, the key influencers in this process, and the techniques used in piano education. The study employed a literature review and semi-structured interviews. As a result of the study it can be said that many important artists and teachers, especially Anton and Nicolai Rubinstein, created a classical music culture and tradition in Russia. Piano education based on a solid foundation, combined with the musical talent of the Russian nation, has enabled Russia to become one of the leading countries in piano performance today.

Bronze drums, esteemed artifacts saturated in cultural significance, have been integral to the heritage of ethnic communities in Southwest China for centuries. This study aims to investigate the educational and literacy perspectives regarding bronze drums in contemporary learning resources within the region. Conducting fieldwork in Guangxi, Guizhou, and Yunnan -- renowned for their rich bronze drum culture we engaged six key informants selected for their cultural proficiency and educational involvement. Interviews and documentaries were used to gather first-hand information about the cultural significance of bronze drums, how they were categorized by gender, and how they changed from being passed down orally to being written down formally. Findings highlight bronze drums as invaluable resources for contemporary education, emphasizing their role in cultural preservation and literacy development. This research encourages the utilization of cultural traditions as effective tools for education and heritage preservation, ensuring the continued relevance of Southwest China's unique heritage in a rapidly evolving world.

Traditional Chinese fiddle instruments have a long history, with their origins dating back over a thousand years. They are an integral part of Chinese culture and have evolved over time, incorporating various regional styles and techniques. The objective is to examine the historical perspective on literacy and learning resources of traditional Chinese fiddle musical instruments in Jiangxi Province, with a primary focus on Jiujiang City. The study employs a multidisciplinary approach, drawing from ethnomusicology, organology, and musical acoustics, to unravel the intricate cultural, social, and historical context of fiddle music. Key informants, including master craftsmen and experts in fiddle production, provide valuable insights into the region's musical heritage. The research also explores the emergence of the Zhonghu, a plucked stringed instrument, and its role in Chinese folk music. The study's findings reveal the rich cultural landscape of Jiujiang City, characterized by the fusion of fiddle music with silk and bamboo music, private music clubs, religious ceremonies, and Taoist traditions. In conclusion, this research contributes to the preservation and enrichment of Jiangxi's cultural heritage and offers insights into the continued development of traditional Chinese fiddle music education and cultural preservation.

The objectives of this research were to study (1) the development of knowledge on the aesthetics of Lam in Ubon Style, and (2) the process of transferring knowledge to inherit the performing arts of Molam Morlam-Ruang-Tor-Klon in Ubon style. Data from documents and fieldwork were analyzed and presented using descriptive analysis. The results showed that there are developments and changes according to the eras, divided into the old era before 1937, a few numbers of performers; the changing era into theatrical performance; the modern Morlam era brought popular musical instruments to play; and the current Morlam era, in which light and sound technology is used to help in the performance of three aspects of aesthetics: melody, poetry, and aesthetics of singing techniques. Regarding the process of transferring knowledge, the results indicated that two national artists have provided knowledge by practicing the performing arts in singing, dancing, and poetic gestures. Improvements are made in each area to enhance learners' skills development. The study provides significant insight and implications for developing learners' skills in performing arts at home.

Chinese music has played a significant role in the lives of the Chinese people for generations, being passed down from one generation to the next. Particularly, Changchao Lu's Guqin teaching holds valuable academic insights. Therefore, this study aims to investigate the transmission of Guqin knowledge and literacy by Changchao Lu. The researchers used qualitative approaches, specifically interviews and observations. The study's findings illustrate that Changchao Lu's Guqin playing style exhibits attributes of tranquility, minimalism, strength, and adaptability. The instructor's pedagogical approach integrates conventional and progressive elements, placing significant emphasis on a comprehensive and balanced educational experience. He established the College of Chinese Arts, which aimed to amalgamate conventional and contemporary Guqin education. The institution prioritized several aspects, such as theoretical knowledge, performing skills, pedagogy, and even the craft of instrument-making. The use of online technologies, the promotion of collaborative learning, and the implementation of a student-centered approach all improve the educational experience. Changchao Lu's activities encompass the integration of Guqin, a traditional Chinese musical instrument, into rural schools, the promotion of cultural understanding, and the active engagement of local education officials. In addition, he engages in collaborative efforts with local governmental bodies to rejuvenate rural culture by means of Guqin, therefore nurturing artistic potential and establishing connections between Guqin art and local industry.

The purpose of this study is to uncover and comprehend the current state of pre-service music teachers' use of self-regulated learning skills in instrument education, as well as the obstacles they face and the techniques they use to develop these skills throughout their instrument education. The data were obtained from participants' experiences and opinions and may be used to develop a conceptual framework concerning self-regulated learning skills and how these skills can be applied in teaching. This study reveals the importance of autonomy and co-regulation in the learning process, with a focus on teachers' roles in fostering student autonomy and giving support. Previous research has shown that self-regulation tactics can be incorporated in education to improve learners' self-regulation capacities. This study suggests that the "Individualized and Co-regulated Teaching Model in Instrument Education," a student-centered method that stresses dialogue-oriented learning, teacher-student interaction, and tailored learning needs may be appropriate for many learners. Teachers are encouraged to adopt individualized teaching orientations, allowing students to set their own learning goals and monitor their progress, as guided by this model. Furthermore, efficient communication and co-regulation between teachers and students promote self-regulation and musical development. Given the growing importance of self-regulated learning skills in the distance learning era, educational programs should focus their development and empower learners to become independent, and lifelong learners through collaborative knowledge production. The findings of this study imply that more research on the application of self-regulation skills in instrument acquisition among lower-achieving or less-experienced students is needed. Overall, this study highlights the importance of self-regulated learning skills in instrument teaching and advocates its incorporation into instructional procedures.

Miao Nationality music represents a profound and longstanding musical heritage from the cultural legacy of the Miao community in Yunnan Province, China. This qualitative research study endeavor aims to explore the historical development and transmission of Miao Nationality music, emphasizing its significance within the context of ethnomusicology, cultural transmission theory, and education theory. The chosen research site strategically focuses on Yunnan Province, China, especially targeting regions with substantial Miao populace and deeply entranced musical traditions. Seven key informants, including elder musicians, music educators, community leaders, and cultural enthusiasts, were purposefully sampled to provide expert insights. A thematic analysis of qualitative data gathered through interviews and observations revealed important information about the ancient roots of Miao Nationality music, how it is used in everyday life, how cultural exchanges affect it, and how important it is for traditional instruments, vocal styles, and passing down the music from one generation to the next. The study suggests strategies for safeguarding and disseminating Miao Nationality music, emphasizing cultural awareness, technological advancements, support for inheritors, environmental protection, and innovative communication methods.

Mnemonic devices are memory aids that make it easier to recall information and are widely used by students studying anatomy and physiology. Simple musical instruments and toys can serve as mnemonic devices for students learning the functional anatomy of the larynx: balloons can help learners understand and recall how sound is produced; tuning pegs can help learners understand how tension affects vocal pitch; fingers on a fretboard can help learners understand how pitch is further modulated; and a common coach's whistle can demonstrate how vocal volume is controlled. Using instruments and toys engages adult learners and helps them connect complex laryngeal anatomy with previous experiences.

The aim of this study is to investigate the "Carcassi Guitar Method" in terms of content. The research has a descriptive design based on the document analysis model, one of the qualitative research methods. Within the scope of the research, the edition of Matteo Carcassi's guitar method, the original name of which was "Methode Complete pour La Guitarre", named "Carcassi Method for the Guitar", published by Oliver Ditson Company with the editorship of G.C. Santisteban, was obtained, and the 12 parts of the method and the subjects included in the chapters were examined by documentary scanning method. As result of the research: It has been revealed that the content of the method includes scales, cadences, etudes and pieces in all tones, exercises related to the subject are included in all parts of the method; on the other hand, the method is far from being a source of repertory due to the low number of pieces in the content.

The aim of this study is to prepare activity-based lesson plans for amateur guitar education to teach basic positioning and playing techniques, and to test the effectiveness of this teaching method. The research model is a single-group pretest-posttest design, and it was carried out with 5 students at the beginner level for 4 lessons of instructional process. The data obtained from performance tests were evaluated based on a 5-point Likert scale determined by three field experts, and the average success scores of the students for the relevant unit were determined. As a result of the evaluation, student achievements ranged between 87.19-100, and it was concluded that guitar education based on activity-based lesson plans was successful.

Music and the arts are of growing interest in promoting success in school and psychological development of young people in general. However, there are few studies focused on the relationship between music and, more specifically on school engagement of vulnerable students. Thus, this exploratory study aims to understand the perceived impact of student participation in a school percussion group on school engagement. The research followed a qualitative methodology through individual semi-structured interviews. Six pupils aged between eleven and fifteen, two teachers of these pupils and two of the percussion group facilitators took part in the study. The results reveal a positive impact perceived by the participants arising from participation in the percussion group, with emphasis on the behavioural dimension of school engagement. Considering the relation between school engagement and learning processes, promoting school engagement through musical activities could be an innovative strategy to promote school success.

The development of communication technologies, resulting in the arrival of the Internet and the World-Wide-Web has been rapid, influencing almost all aspects of modern society including education. Concepts of epistemology, how we know what we know, have been forced to rapidly adjust to these new and emerging technologies. Online communities of learners have developed in virtual spaces where community members share knowledge and resources as well as offer support and feedback. This is particularly prominent in the field of learning to play the guitar. This paper presents findings of a systematic literature review to empirically examine the question: What does it mean epistemologically to use digital methods when learning the guitar? With a particular focus on self-directed learning through online communities, notions of epistemic inertia and resonance are discussed, and concepts of epistemic indulgence and discretion are presented. This paper also presents the conception of the evolving communication in online guitar communities, in the form of tablature developed in word processors and simple imaging software, to be a folksonomy, which is itself a product of epistemic resonance.

Starting a career in music education is difficult; there are many challenges that first-year band directors face. These challenges can include praxis shock, isolation, stress, and high workloads. First-year band directors may need mentoring support as they transition into the profession. There are different types of mentor programs that a school or district can provide, and many do so. Researchers have examined different mentorship models that work with varying degrees of success. In this study, I utilized a multiple case study approach to better understand the first-year mentorship experiences of three second-year band directors during their first year of teaching. Data in the form of paper artifacts from mentorship experiences and semi-structured interviews were collected using the Zoom platform. Findings included (a) difficulties with participants' mentors and mentorship programs, (b) searching for mentorship, (c) feedback and desires for mentorship programs and (d) challenges of the first year. Based on these findings, suggestions for administrators and teachers to improve the mentorship process are discussed.

Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups -- scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.

Curricula are the guidelines prepared to carry out education and training activities in accordance with their purposes. Teaching programs are prepared based on the goals of the school or educational institution, student needs, learning and teaching processes, course contents, learning materials, measurement and evaluation systems, teacher and student roles and relationships. The curriculum aims to develop students' knowledge, skills and abilities in a specific discipline by supporting their individual development. It can be said that education and training programs have a structure that changes and develops people's behaviors and thoughts in many ways. Students, teachers, and educational programs are among the most important elements that shape and guide the education system. Therefore, while creating the education program, it should be aimed to be focused on meeting the needs of the society as well as the views of students and teachers. Fine Arts High Schools are private schools that aim to provide students with artistic and cultural skills. They offer educational programs where students can develop their skills in art branches such as music, painting, dancing, and increase their artistic accumulation with art history, aesthetics and culture courses. This study aims to determine the differences in the individual instrument (Violin) course curriculum conducted in Fine Arts High Schools between 1990-2022. Relational screening pattern based on qualitative research model was used in the study and status determination and evaluation was performed. In the study, the relevant reports published in the Republic of Turkey Ministry of National Education and MoNE Journal of Communiqués were used to specify the main objectives and program objectives of the individual instrument (violin) course curricula of Fine Arts High Schools between 1990-2022. Document analysis, which is used in case studies, was used in the analysis of the data. When examining the violin curricula in fine arts high schools from their establishment to the present day, it becomes evident that there has been a continuous emphasis on the development of technical and theoretical knowledge, as well as repertoire building. As a result of the research, it is concluded that the violin lesson curriculum of 2022 covers the programs of previous years. Also in order to cultivate well-rounded musicians in fine arts high schools, it is crucial to develop an education plan that not only focuses on technical and theoretical aspects but also places a strong emphasis on enhancing musicality, interpretation, and music literacy. The results were collected under the relevant programs and suggestions were made for the field.

This study uses a qualitative methodology. The objective was to examine a musical instrument for teaching the creation and acoustic characteristics of Guhu of the Zhuang ethnic group in Guangxi, China, about shape and structure to summarize raw materials, craftsmanship, and process of Guhu, then measure by acoustic instruments, conclude the acoustic characteristics of Guhu, and discuss the use and functional significance of the instrument more accurately and logically. The raw materials, tools, production points, and specific steps of Guhu are systematically recorded by interviews, observation, and personal experience. Several acoustic measurements are made to explore the acoustic characteristics of Guhu. Guhu's culture and characteristics are fully demonstrated in the core of technical practice and the theory of technical knowledge. The study results show that: the traditional production method. Overall, it has the potential to be universal and representative of acoustic characteristics. Guhu's wood, leather, and aggregate materials are all standard. Guhu's creation has an influence on its shape, structure, and acoustics. Guhu is being improved as time passes, and research into characteristics is also helping guide the development of a more standard production process and a new improvement scheme. This will result in the integration of knowledge to study techniques and methods for creating Guhu that will last indefinitely.

This study uses a qualitative method and the theory of cultural ecology. The objective was to study the history and development of intangible dance in the Grand Canal section of Henan, China. through text collection, interview, observation, and field investigation. This study's groups were divided into four groups. The first group had 8 people. The second group is made up of 4 people. The third group is made up of 7 people and the fourth group is made up of 8 people. The study's results show that the openness of the social space is reflected in the fact that the canal space is an integrated and interactive linear cultural space. The sustenance of the spiritual space is reflected in the belief in the Fire God and the long-established performance spirit, namely mutual respect, mutual love, and mutual concession, which reflect the way of life of Chinese villagers for thousands of years. Intangible cultural heritage dance music in Henan Province is primarily blowing and beating music. The commonly used instruments are suona, sheng, bangzi, cymbals, big gongs, small gongs, big drums, big drums, small cymbals, war drums, water cymbals, horse gongs, Dou, side drums, soprano drums, three gongs, tenor gongs, tiger gongs, etc. The music's rhythm is strong, powerful, majestic, and powerful. From the standpoint of music form, it is primarily divided into two categories: accompaniment and rap. The accompaniment music is mainly blowing and beating, while the content of rap music is mainly narrative, telling folk stories, or leading the lead singer.

This study used a qualitative and descriptive methodology to classify and examine the large amount of information that was collected through field research. The research objective was to examine the history and development of Heluo Dagu in Henan Province, China. Field investigation, a questionnaire survey, literature research, a case analysis, and comparative induction were all parts of the study. The interviews were divided into three with key informants and two with general informants. The study's results are as expected, as the history of Heluo Dagu is rooted in ancient Chinese rap music, dating back more than 3,000 years to the Zhou Dynasty. In the early stage, rap music has gone through such musical forms as "advocating you," "Gu Meng," "Chengxiangzhou," "talking," "changing Wen," "Zhugong Diao," "Guzi Ci," "Singing and Earning," "Ci Ci," and "Tao Zhen," which laid a solid historical foundation for the formation of Heluo Dagu. The early forms of Heluo Dagu after its formation include "three-string Hingzi Shu," "Luoyang Qinshu," "Dagu Shu," and "single Dagu." The development of Heluo Dagu has experienced: the first stage in 1905 AD, "drum touch string," "Dagu Jingqiang"; the second stage of the "Three Imperial Meetings"; the third stage, "Baishan Huang," and "Heyang Dagu." At present, the development of Heluo Dagu has been inherited by six generations of artists.

This study used a qualitative research and interview methodology with the objective of examining the development and analyzing the playing pattern of Huigu of Zhuang nationality in Mashan County, Guangxi. The fieldwork method is mainly used for collecting data, together with the information from the document. The study's result showed that the process of making HuiGu requires the preparation of tools and instruments used to make musical instruments. and the process of preparing wood, cow hide, and Zhumie to be assembled to make HuiGu. On the playing mode of HuiGu, we found that there were the following types of play styles: (1) Single drumming mode; (2) group drumming patterns; (3) group playing mode; (4) parade performance mode. Playstyle Huigu can be found at Drums of Dragon Dances, Wedding Drums, and Harvest Drums.

This study used a qualitative research methodology. The research objective was to describe the knowledge and development of the Chinese yangqin. discusses the current situation of the yangqin in Chinese music culture from the three aspects of its origin, evolution, and development. Using literature and interview methods, the distribution, name, and form of yangqin in various countries around the world are combs, and the origin theory of yangqin is compiled and supplemented. The area was selected in China. The fieldwork method is mainly used for collecting data, together with the information from the document. The study's result showed that Yangqin has long communicated with Chinese folk art since its introduction into China. It has developed into a unique Chinese national musical instrument through the improvement and innovation of shape, timbre, percussion instruments, and rhythm. Chinese yangqin not only absorbed the essence of Chinese traditional music culture but also drew lessons from western composing techniques and performance techniques of other musical instruments, which provided new ideas for Yangqin's works and was conducive to the development of Yangqin music and the exchange of Chinese and Western cultures.

Music students often encouter problems in reading sheet music, because of the complexity of Traditional Music Notation (TMN). Klavar is an alternative music notation system that is simple, intuitive, and easy to learn. Thousands of compositions from many composers are available in Klavar. In its original form, Klavar can be considered as tablature for keyboard instruments. The present paper compares advantages and disadvantages of Klavar and TMN. Subsequently, the author proposes an innovative extention of the Klavar music notation, such that enharmonic notes can be discriminated, and harmonic and melodic lines can be identified. The resulting Klavar20 notation is complete, since it contains all the composer's information and is therefore useful for all instruments. Further, it is comprehensible--since the score is easy to read--and compatible with all music already published in Klavar. Music educators should familiarize themselves with Klavar20 and stimulate teaching of this notation to students who might otherwise stop taking music lessons.

This study aims to develop educational software for the instrument (guitar) training course through gamification. The study was carried out by basing on the design and development research method and the processes included in the analysis, design, development, implementation, and evaluation phases of the method are considered as the sub-problems of the study. In each phase, interview techniques were used and the participants were determined according to the requirements of the phases. The results reveal that students find the education with traditional methods in instrument education boring and therefore their motivation is low. As a result of the studies carried out to offer solutions to the existing problems related to motivation in instrument (guitar) education, a mobile application called Gitarist was developed and the application was revealed as a product. In the implementation phase, it was concluded that the application developed through gamification techniques had motivation-enhancing effects on students. In line with the results, some suggestions were made for technology-supported studies to be carried out in the future.

Ram Tone is a traditional play that is unique to Thailand. It is a popular folk play in all regions of Thailand and has been popular since ancient times. Ram Tone is a band dance with male and female dancers dancing in a circle, accompanied by tone, cymbaling, and Krab. The objective of the present study is to learn more about Ram Tone's literacy preservation and knowledge transmission in Mahasarakham Province, Thailand. The information is offered by knowledgeable individuals, practitioners, and general informants through qualitative research methods, including preliminary surveys, interviews, and observations. The researchers assessed the data for accuracy, evaluated the data in relation to the desired objectives, and presented the study findings using descriptive analysis. The results of this study show that the Kantharawichai District and Mahasarakham Province have acquired knowledge and built on their indigenous wisdom through the development of the Ram Tone dancing stance and educational curriculum.

The Guqin is a string instrument that has been played in China for over 3,000 years. It is famous for its meditative, soothing sound and is frequently associated with Confucianism, Taoism, and Chinese literati culture. The instrument has seven strings that can be plucked with a plectrum or with the fingers. The Guqin's sound is said to resemble a gentle breeze blowing through the trees, and it is frequently used in Chinese music to evoke feelings of tranquility and introspection. This study was conducted by statistically analyzing field research data and making recommendations for their educational status. In this study, samples of local Guqin musical instruments were selected, and a field study was carried out for the three local Guqin musical instrument groups, the Guangling sect, the Jiuyi sect, and the Yushan sect. The questionnaire was administered to 180 participants and included a literature analysis. The results of this study show that the province of Guizhou is home to a diverse collection of peoples, and the art of the Guqin is being modernized and incorporated to produce a form of art that the general populace appreciates. It is possible to make innovations and explore ways to form an ensemble using Guqin, Guzheng, Dizi, and other ethnic instruments, hold various Guqin concerts and art festivals, and engage in cultural and artistic exchanges. Guqin music will be celebrated at an increasing number of festivals in the future.

The fact that the violin is a fretless instrument brings along intonation problems both in its performance and in its education. The introduction of technology into educational environments day by day, has led to the need to try different methods besides the traditional methods for solving intonation problems. The aim of this study is to examine the effect of computer-based visual feedback on the student's intonation on the violin. For this purpose, an 8-week experimental process was carried out with 8 violin students studying in the 2nd, 3rd and 4th grades of the music teaching undergraduate program in the 2021-2022 academic year. In the quantitative dimension of the research, which was designed with mixed method design, a pretest -- post-test single-group experimental design was used. The quantitative data were collected with the intonation evaluation form and the qualitative data were collected with diaries and a semi-structured interview form. The dependent samples t-test was used in the analysis of the quantitative data, and descriptive analysis technique was used in the analysis of the qualitative data. In the implementation process of the study, students were given visual feedback only with Cubase VariAudio software. At the end of the study, it was seen that computer-based visual feedback contributed positively to the intonation skills of the students. The students stated that the study made an abstract situation concrete, offered an opportunity to make self-evaluation, contributed positively to the motivation and limited class hours, and that they wanted to use it while practicing on their own.

The aim of this study is to reveal the applications for the tools, methods, and strategies used to provide motivation in online instrument education in line with the opinions of instrument educators. In the study, interview, observation, and literature review, which are among the qualitative research methods, were used. Within the scope of the research, 41 teachers who provided online instrument training were interviewed, and 10-hour lesson observations were made. In the content analysis based on the ARCS model, it was observed that teachers used technological tools and applications to provide motivation in their lessons, included games, and planned their lessons according to age groups and individual differences of students in online instrument education. To provide motivation in the context of the ARCS model, it was seen that they applied the most to establish interest and the least to the satisfaction dimension. Based on this research, it has been proposed to use methods and strategies that motivate students in online courses and to develop online pedagogical approaches and technological course programs.

The majority of the pieces that make up the structures of the piano are wooden products. Large piano brands provide resources for the materials. They use various forest products or they create their own forests. Respecting life, biodiversity together with protecting nature and our world are important elements for sustainable environmental awareness. The sustainable environmental awareness is developing by ensuring that current needs are met and transferred to future generations with controlled consumption without destroying natural resources. In this study, it was aimed to examine the knowledge levels of the piano educators regarding the sustainable environmental studies of the piano producer Steinway & Sons brand, and also the production of the Steinway & Sons brand with sustainable environmental awareness. The research is limited to the Steinway & Sons brand. The lecturers in Turkey constitute the scope of the study and the ones who are conveniently reached make up the participants of the study. Qualitative research methods are used in the study. The data are obtained by document review method, content analysis and questionnaire. The results showed that; majority of the lecturers do not have any knowledge about the dimensions of sustainability in piano production, such as energy use, material use, recycling and responsible forestry.

This study aims to examine the studies scanned in Web of Science and Scopus databases between 2006-2020 on the use of augmented reality applications in music education in terms of their descriptive features, methodological features, and outcomes, and to reveal the trends in this field. The criterion sample approach was utilized in this qualitative study, and 35 selected studies were reviewed using the publication classification form and analyzed using the content analysis method. The descriptive and methodological feature data were translated into frequency values using the SPSS 22 program and then interpreted using tables and charts for easy comprehension. Furthermore, the advantages and limitations of AR applications utilized in music education, which were the research's outputs, were coded, organized into relevant categories, and interpreted. The results showed that most studies focused on piano and guitar education for beginners; no studies were undertaken on wind instruments or voice training. Studies, particularly in recent years, have focused on user experience research. Furthermore, it was found that AR applications have the advantages of increasing and facilitating student learning performance, making learning exciting and fun, and providing motivation. Some challenges during use, owing to technical issues and limited field content in the programs, resulted in limited improvements in music education.

The purpose of this research is to determine the effects of flipped learning-based guitar instruction on students' motivation, attitude, and accompaniment skills. This experimental study consisted of 26 students who were attending the lectures at Fine Arts Education Department of Music Teaching. A random sampling technique was employed to select 14 students for the experimental group and 12 students for the control group. Data collection tools used included instrument motivation scale, attitude scale towards instrument, and guitar accompaniment evaluation form. During the twelve-week intervention, both the control group and the experimental group trained for one hour each week. Students in the experimental group performed significantly higher accompaniment skills than students in the control group. The flipped learning model was found to be more effective than traditional learning method. Based on the results of the study, some recommendations were made for future studies.

This study aims to determine high school students' social intelligence and communication skills and the effect of music education on these variables. A survey method was used in the study. Two data collection tools were used in the study. These are Tromso Social Intelligence Scale developed by Silvera et al. (2001), adapted into Turkish by Dogan and Çetin (2009), and Communication Skills Scale created by Korkut Owen and Bugay (2014). The study group consists of students in five high schools in Ankara, the capital of Turkey, in the 2021-2022 academic year. The data collection process was completed in two months (April-May). The study shows that high school students have good social intelligence and communication skills. The scores obtained do not differ according to gender and grade level variables. At the same time, a positive and significant relationship was found between social intelligence and communication skills scores. The scores of the group that received extra music education outside the school were compared with those that did not. According to these results, the social intelligence and communication skills scores of the group that received music education were higher. While this difference was not significant in the case of social intelligence, it was significant in the case of communication skills.

The primary objective of this study is to develop comprehensive lesson plans focused on activities for the purpose of instructing novice guitarists in the performance of introductory-level etudes and compositions. Additionally, the effectiveness of this pedagogical approach will be assessed. The research design employed herein is in the form of a single-group posttest examination, and its implementation involved five students who were at the beginner level of guitar playing. Throughout a four-lesson instructional process, the students' performances were subject to careful evaluation. Specifically, the data derived from performance assessments were subjected to a rigorous evaluation using a 5-point Likert scale, which had been thoughtfully determined by three field experts. Ultimately, the average scores attained by the students in relation to the specific unit under scrutiny were established. Consequently, upon completion of the evaluation, it was discerned that the students' achievements ranged from 73.05 to 88.98. It can therefore be confidently asserted that the implementation of guitar education founded on activity-based lesson plans proved to be highly successful.

Amateur music education, which individuals pursue with a hobbyist spirit based on their own desires and interests, can be defined as music education received for personal enjoyment. In Turkey, it is observed that individuals engaged in amateur music education mostly focus on instrumental training, with the violin being one of the most preferred instruments. In the process of violin education, which holds significant importance in both professional and amateur instrumental training, the identification and resolution of issues related to the right hand is crucial for a healthy progression of the education process. This study, which aims to examine various right-hand problems encountered by amateur violin students and to offer solutions, uses a mixed-methods approach that collects and analyzes data from both qualitative and quantitative sources. The related literature was examined in the qualitative portion of the research to identify the right hand-based challenges faced in amateur violin education and to expose the current state of the problem. The quantitative data utilized in the study were gathered by the researcher's examination of the participants' video recordings (n=10)in which they perform assigned musical exercises that require different bowing techniques. The six relevant items of the "String Performance Rating Scale" developed by Zdzinski and Barnes (2002) were used in the evaluation of the participants' video recordings. Based on the obtained data, solution proposals were developed for resolving the issues related to the right-hand technique.

Sigfrid Karg-Elert, one of the German organ composers of the 20th century, introduced the etudes titled 30 Caprices for Flute Solo Op. 107 into the flute education repertoire to meet the technical demands of the period's orchestral music and flute repertoire. Among these etudes, no.30 Chaconne is a concert etude combining elements that require advanced technique with musical expression and style. This research, which aims to examine Karg-Elert's op.107 no.30 Chaconne etude in terms of form, technique, and pedagogy, is a descriptive case study. A general form analysis of Chaconne was made in the first dimension of the research. Chaconne was examined from a technical perspective in the second dimension of the study. The techniques included in the etude are categorized as articulation technique, finger technique, sonority/embouchure technique, and ornaments. The techniques' usage rates in the etude are determined by frequency and percentages. Among the various articulation techniques included in the etude, the legato technique has the highest usage rate, with 42.10%, and among the fingering techniques, chromatic scales had the highest at 30.26%. In sonority techniques, the usage rate of wide intervals of octave and above is very high at 39.47%. In this context, it has been determined that the most decisive difficulty in the etude comes from the use of wide intervals, and it has been concluded that a significant level of flexibility and embouchure control must be provided in the performance of the etude. The technical difficulties included in the etude were determined on a variation basis in the last dimension of the study, and a study guide consisting of original exercise suggestions was presented. This study is novel in the literature as it presents a study guide on Chaconne. Also, this study is thought to contribute to musical literacy by enabling performers to comprehend Karg Elert Chaconne multi-dimensionally.