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Research suggests that when we treat our non-obligatory activities playfully, we are more likely to engage with them and derive meaningfulness from them. Play is of interest to the field of music education on at least two counts: the perceived relationship between play and music, and the perceived educational aspects of play related to human development and behavior. Using Johan Huizinga's definition of play in Homo Ludens as a starting point, I interrogate the ways in which school music may militate against play efforts in music education. I draw particular attention to the problem of group-based musical performance, competition, and how school music in many jurisdictions has capitulated to an impoverished paradigm of "getting it right." I conclude with a brief appeal to re-center play as critically important to the aims of school music. [ABSTRACT FROM AUTHOR]

Copyright of Orientamenti Pedagogici is the property of Pontificio Ateneo Salesiano (Facoltà di Scienze dell'Educazione dell'Università Pontificia Salesian) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music education often struggles to sustain students' long-term commitment, with many perceiving lessons as frustrating or unengaging, leading to discontinuation. To address this gap, our study aimed to elucidate the primary reasons for dropout from the perspectives of various stakeholders, including students, parents, teachers, and principals. Drawing upon the self-determination theory, our research comprehensively investigated external and internal factors contributing to dropout. Among external factors, competing extracurricular commitments, music theory and solfége lessons, and teacher's approach emerge as the most prominent. Among internal factors, our findings highlighted the critical role of autonomy, competency, and relatedness in shaping students' decisions to continue or discontinue music education. Inadequate teacherstudent relationships, limited peer interactions, and uninspiring classroom atmospheres significantly impacted dropout. Moreover, challenges in the music school curriculum, such as difficulties with music theory and solfège, resource limitations, and excessive workloads, emerged as prominent barriers to student engagement. By addressing these multifaceted issues, our study underscores the importance of fostering supportive environments that cater to individual needs and interests, ultimately enhancing the overall music education experience and reducing dropout rates. This research represents the first systematic empirical study in Slovenian music education, laying the groundwork for future quantitative investigations to advance education practices in Slovenia. [ABSTRACT FROM AUTHOR]

In recent years, music education has seen a decline in the number of students choosing to continue their studies at Key Stage 4 (14- to 16-year-old students) and choose music as a GCSE option in England. Whilst the English Baccalaureate (EBacc), a school performance measure which excludes the arts, has come under much scrutiny as to its impact on school music, enjoyment and the perceived importance of music lessons could also be contributing factors to low uptake. This paper presents student survey findings from the first part of a two-phase project that was based on a qualitatively driven mixed-method research design. Findings demonstrated that a decline in enjoyment and in the importance attributed to school music occurred in the first three years of lower secondary school (Key Stage 3). The enjoyment of school music was linked with the students' engagement with practical components of music making, and its importance was mostly equated with future employment opportunities. The findings are discussed in terms of their practical implications in the teaching of music in secondary schools. [ABSTRACT FROM AUTHOR]

This paper attempts to delve more into the complex role that music education plays in both traditional and music schools. Beyond teaching skills, music education frames children's personality and helps them fit in future working environments. Nurturing environments, modelled after music schools, emphasize comprehensive development, integrating cognitive, psychomotor, socioemotional, and artistic aspects. Beyond conventional lines, a holistic approach to education fosters creativity, emotional intelligence, and cross-cultural understanding. Music emphasizes the importance of selfexpression and encourages individuals to explore their own unique voice. It also promotes collaboration and teamwork, as musicians often work together to create harmonious melodies. Additionally, music education has been shown to improve cognitive abilities such as problem-solving and critical thinking skills, which can be applied to various areas of life beyond the realm of music. Music schools emphasize immediacy and subjectivity, whereas traditional schools emphasize different feedback mechanisms. Aligning these components have the potential of enhancing learning opportunities and encourage a more comprehensive approach to learning and evaluation in the traditional school setting. [ABSTRACT FROM AUTHOR]

During his stay at the Groupe de musique expérimentale de Bourges (gmeb), Yves Daoust had the opportunity to attend creative workshops given by the Groupe's mediators to young students. Fond of that experience, many years later, he accepted the smcq's invitation to develop a lutherie that would help open young people up to music creation. With his collaborators, he invented a hardware instrument known as the "Musicolator," then a software version for iPad called the "Fonofone." However, Daoust didn't abandon 'pure' composition entirely and commits to propose a new creative-based approach to music in schools. He has been focusing most of his time for the past 20 years to the development, alongside the tools, of open creative activities that young students and teachers can adopt. [ABSTRACT FROM AUTHOR]

Transmitting traditional music for sustainability has been a common theme in global music education. Recently, the school systems of Hong Kong and Guangdong have been encouraged by governmental authorities to teach Cantonese opera aiming at enhancing the sustainability of the genre and promote a Chinese cultural identity within students. This paper details a survey of school music teachers working in Hong Kong and Guangdong examining the current state of Cantonese opera teaching in the schools of both regions and investigate how it is affected by teacher variables including their interest in Chinese opera, the confidence in teaching the subject, and their perceptions of their Chinese cultural identities. A total of 1,974 valid questionnaires were received and examined. Descriptive and inferential statistics including MANOVA and chi-square tests were used to analyze the data. Findings reveal that Cantonese opera teaching is limited in both regions. While teachers are modestly interested, confident, and knowledgeable about teaching the genre, there is a significant relationship between the music backgrounds of teachers and their interest in Cantonese opera. The article discusses the findings within the context of a historical predominance of Western music within music education curricula and wider societies. Implications for policy makers are proposed. [ABSTRACT FROM AUTHOR]

This study examines the underpinnings of Japan's programming education in elementary school music, officially implemented nationwide in 2020. Through that reform, which has introduced programming thinking (a local version of computational thinking) in all areas of compulsory education, the country follows the international trend of reinforcing IT skills, considered essential for employability. However, Japan's cross-curricular policy raises questions on its implications for the arts, including music. In view of that, this study presents a content analysis of 12 recent Japanese-language sources, selected for reporting about activities that integrate programming education into music in elementary schools in Japan. As part of that analysis, the main objectives of those activities are described and examined together with their approaches to programming and music learning contents. Findings reveal the apparent lack of a specific theoretical framework aimed at music learning goals, and beliefs about a certain affinity between music and programming, only partially defined. They also show tensions between flexible and fixed-goal approaches to compositional activities, as well as several interpretations of IT terms that have permeated music education, namely, algorithm and program. This suggests new roles being attributed to music as a school subject in relation to computer science, a fact that leads to discussion about the need for specific strategies, in view of challenges and goals particular to this country, such as society 5.0. [ABSTRACT FROM AUTHOR]

Can Aristotle's idea of practice be made fruitful for music pedagogical action in schools? That this is the case is repeatedly asserted in the music pedagogical discussion. This article takes up this assertion and develops a proposal for class music making based on Aristotle's theory of action. [ABSTRACT FROM AUTHOR]

Copyright of Croatian Journal of Education / Hrvatski Časopis za Odgoj i Obrazovanje is the property of Uciteljski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The institutionalization of music in Kosovo emerged as a necessary process, playing a pivotal role in fostering sustainable cultural and social development. Its profound effectiveness became evident in the musical trajectory of cultural advancements from the 1950s and 60s onwards. Music schools stood as the primary catalysts, generating a cadre of music professionals involved in various facets of musical productivity. They provided comprehensive professional training to the entire musical community, encompassing composers, conductors, instrumentalists, and pedagogues, who actively contributed to the vibrant musical activities. The year 1948 marked a significant milestone with the establishment of the first music school, initially named 'Josip Slavenski' and now known as 'Lorenc Antoni,' in Prizren. This was followed by the inception of the music school 'Stevan Mokranjac,' later renamed 'Prenk Jakova,' in Prishtina in 1949. These institutions served as foundational pillars, laying the groundwork for the subsequent development of a multidimensional music landscape. Notably, the establishment of the Higher Pedagogical School (Branch of Music Education) in 1963 and the Music Academy in 1975 represented crucial milestones, marking the expansion and enrichment of the music sector. The period between 1990 and 1999, characterized by a tumultuous socio-political landscape, posed significant challenges to music education. In the years following 2000, music education in Kosovo continued to adapt and evolve, reflecting to the changing socio-political and cultural landscape. This era witnessed new processes of the established institutional forms and typologies, prompting the adoption of new curricula and a reevaluation of music education within the context of the evolving social reality and market demands. Furthermore, the demand for music education continued to grow, leading to the establishment of more music schools and programs throughout the country. In general, since 1948, music education in Kosovo represents an unstoppable process that in terms of historical importance, it represents the cornerstone of all professional musical developments in Kosovo. [ABSTRACT FROM AUTHOR]

The application of music to the pedagogy of Andrés Manjón is inserted in the context of the Silver Age of Grenada (Spain). It is a stage of great creativity, of transformations, creation of institutions, of new postulates, of reforms, of search for new paths in all areas. Mention in this period the house of the “Polinario” and the figure of the composer Ángel Barrios; the current of musical “Alhambrismo”; the symphonic concerts of Corpus Christi in the Palace of Carlos V; the magistery of the musical chapel of the Cathedral of Grenada, the Royal Chapel and the Sacromonte Abbey; the Zambras del Sacromonte; the vanguard of the Russian Ballet and their stay in Grenada; Falla, Lorca, Lanz, and the 1922 Cante Jondo Contest; the “Cachiporra (blackjack) Puppets”; Andrés Manjón and music as a pedagogical and formative resource; the collaborations of the composer Francisco Alonso with the “children’s zarzuelas”, “musical toys”, or the school music bands. Finally, review some of the important artists who have been trained in this pedagogy up to the present. [ABSTRACT FROM AUTHOR]

The multidimensional transformation of musical experience in musical self-concept is expressed as an emerging musical identity in adolescence. In the action research, we analysed the academic and non-academic dimensions of musical self-concept in instrument learning in the upper years of public music school. In the conceptual design of individual perceptions of music learning and development, Hargreaves' model of the outcomes of music education was taken into account. Four female students, aged 11-16 years, participated in two action sets, facilitated by two instrument teachers, from February to June 2022. The results of the study suggest the possibilities of effective music pedagogical activities from musical-artistic, personal and socio-cultural areas of learning outcomes. The teaching of an instrument in Slovenian music schools is confirmed in the research as a flexible and dynamic practice that, even in the period of identity research, enables positive reciprocity of musical learning with musical self-concept. [ABSTRACT FROM AUTHOR]

This article explores the evolution of the bassoon in the Romanian school of music from the late 20th century to the beginning of the 21st century. It examines the cultural and political context that influenced the development of the Romanian school of composition and the diversification of artistic currents. The article highlights the technical improvements in the bassoon and the contributions of Romanian bassoonists in expanding the repertoire for the instrument. It also discusses the exploration of new effects and sounds in contemporary compositions. The article showcases notable works in the Romanian school of music, including Nicolae Brânduș' "Melopedie & Fugue," Maya Badian's "Capriccio," Ștefan Niculescu's "Monophonie -- Sonata," and Violeta Dinescu's "Satya II." Overall, the article emphasizes the fusion of tradition and avant-garde elements in the Romanian school of music and the continuous push to expand the boundaries of the bassoon. [ABSTRACT FROM AUTHOR]

This study aims to provide a comprehensive description of the forms of symbolic interaction in the learning process of Semarang Gambang Music. The concept and theory of Symbolic Interaction belonging to George Herbert Mead (1934, 1938) which views the way of thinking about the mind (mind), self (self) and society (society) is used to examine the implementation of the learning process of Gambang Semarang Music. By using a qualitative approach, the data were obtained through the use of literature study techniques, observations, interviews, and document studies. Then some of the data that has been obtained is analyzed using steps according to Miles and Huberman's theory, namely analyzing data in three steps: 1) Data condensation, presenting data (data display), and drawing conclusions or verification (conclusion drawing and verification) ). Data condensation refers to the process of selecting, focusing, simplifying, abstracting, and transforming data. The results of the study show that symbolic interaction in learning Gambang Semarang Music occurs during the learning process. The forms of symbolic interaction between the teacher and the students are first, the teacher gives a signal (one, two, three, four) when leading the students to play the Semarang gambang musical instruments and sing songs together, and secondly, the teacher guides and guides them. students in reading sheet music notation prepared in the learning process. [ABSTRACT FROM AUTHOR]

This study focuses on the integration of Indonesian traditional music education at the elementary school level as a strategy for promoting culture in Indonesia. It recognizes the significance of social capital, cultural capital, and knowledge capital as the foundation for fostering a comprehensive and systematic approach to cultural development. The research employs interview, observation, and literature review methods to gather data, guided by three key questions: (1) the current state of traditional music teaching in Indonesian elementary schools, (2) the strategies employed in integrating traditional music education, and (3) the outcomes of the Archipelago Traditional Music pre-congress in 2021 within the paradigm of elementary school music education. The analysis is primarily based on the implementation of previous policies and programs, particularly those managed by the Ministry of Education and Culture. The study's findings reveal several important aspects, including: (1) the need for statutory regulations supporting the conservation of traditional music programs, (2) fostering active collaboration between teachers and traditional artists or musicians through open participation, (3) providing necessary facilities and infrastructure to create an ecosystem conducive to traditional music education at the elementary school level, (4) implementing training programs to enhance the traditional music competence of elementary school teachers, and (5) involving the traditional music community in the design of the curriculum for traditional music education in elementary schools. These results underscore the importance of integrating traditional music education at the elementary school level to promote Indonesian culture. By implementing the suggested strategies, policymakers and educators can contribute to the preservation and development of traditional music, creating a stronger cultural foundation within Indonesian society. [ABSTRACT FROM AUTHOR]

Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín's Music Schools: The Search for Coexistence and Citizenship in Medellín's Music Schools Geoffrey Baker: Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín's Music Schools (Cambridge, UK: Open Book Publishers, 2021) If indeed there exists, as Geir Johansen has proposed,[1] a self-critical movement within the field of music education, Geoffrey Baker is undoubtedly one of its leading figures. It is with reference to the reflexive processes of the Red that Baker conducts insightful and well-informed discussions of a range of themes relevant to music educators and scholars. [Extracted from the article]

Copyright of SituArte is the property of Universidad del Zulia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study I examined archival material relating to music lessons that aired on the Indiana School of the Sky during its inaugural season in the 1947–1948 school year. The Indiana School of the Sky was an educational radio program intended for use in the public schools and produced by Indiana University students and professors, in partnership with the State Department of Education. The purpose of this study was to illuminate details of the Indiana School of the Sky music program during its inaugural season in 1947–1948, such as the staff, repertoire, teaching strategies, and program structure. Of particular interest was Dorothy G. Kelley, who served as supervisor of the Indiana School of the Sky music episodes during its inaugural season, and was the first female to join the faculty of the Music Education Department at Indiana University. A secondary purpose was to examine the intersection of education and technology in the late 1940s through the lens of the Indiana School of the Sky and to afford contemporary music educators the opportunity to reflect on how they use current technologies in their classrooms. This study found that the program employed three main teaching strategies: singalong, call and response, and listening. Indiana University music and music education students performed in many music episodes alongside Kelley, and 34% of compositions that aired during the 1948–1949 school year comprised of music by composers from the United States, or folk music originating in the United States. Other countries represented by either composer or folk tradition included Australia, Austria, Czechoslovakia, England, Finland, France, Germany, Italy, Norway, Mexico, Russia, and Spain. [ABSTRACT FROM AUTHOR]

The 2020 bicentennial year of Indiana University (IU) Bloomington is a fitting time to recognize the 100-year legacy of the faculty members of the IU Music Education Department. This legacy has not been heretofore documented, exposing a gap in the knowledge of historical traditions and influences. The purpose of this study was to create a comprehensive list of the faculty names, and years of service, and to identify publications, leadership roles, curriculum development, and biographical insights. The historical narrative was created through immersion in the following primary sources found in the IU Archives: The annual Indiana University Bulletins, the Trustees Minutes, and miscellaneous clippings files containing photographs, news items, and obituaries. First edition hard copies of books and published articles by the faculty were examined. Greatest detail is provided for those IU professors of the distant past, including Edward Bailey Birge, Samuel T. Burns, Thurber H. Madison, Jack M. Watson, Dorothy G. Kelley, Newell H. Long, Miriam P. Gelvin, Charles R. Hoffer, and Robert H. Klotman. This study illustrates how one-storied Music Education Department is inextricably linked to its past and suggests that other legacy studies are needed for comparison and contrast. [ABSTRACT FROM AUTHOR]

On the basis of summarizing the relevant theories of performance management at home and abroad, the important role, significance, and development trend of performance management in music tutoring schools are analyzed. Starting from the actual management of music tutoring schools, taking a music tutoring school as an example, this article comprehensively analyzes the current situation of the school's performance assessment. Considering that the constructed index system is a multilevel comprehensive index system, the analytic hierarchy process is used to give weight to the index. The calculation method and calculation steps are described in detail, and the weight of each index is obtained. Through the design and implementation of the school's performance management system, solid theoretical and institutional support will be provided for the school to achieve sound development in the future. It is expected that the design of this performance can provide reference for such private schools in the country and promote the healthy and sustainable development of private training institutions in China. Let more schools and learners share the nectar and dividends brought by the system reform. [ABSTRACT FROM AUTHOR]

The focus of this paper is to highlight the importance of music listening, which affects pupils' holistic development. It encompasses a greater engagement during listening to music, so pupils can feel, understand and appreciate it. To achieve a better understanding of music, pupils should be actively involved during the musical experience and respond spontaneously before engaging in a more detailed analysis. In regards to the study of cognitive-emotional listening to music in Croatian schools, this paper will be focused on pupils' motivational incentive and impressions, and teachers' reflections. [ABSTRACT FROM AUTHOR]

Music has been a part of the public-school curriculum in developed nations for a long. Many educators have highlighted the importance of school music education, as music helps to improve cognitive abilities and holistic development of students. Numerous studies are present about various aspects of school music education in other countries. However, study related to school music education in India is limited and our previous pilot study with a small sample in the east district of Sikkim indicated lacunas regarding this. This article explores the evolution of school music education in a developed nation and also shows its status in India from a perspective. [ABSTRACT FROM AUTHOR]

Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores how social class, "race," and their intersections manifest in Finnish popular music education (PME) through an exploration of popular music practices in one upper elementary music classroom where I worked as a teacherresearcher. By engaging with systems reflexivity, I illustrate how social class, racialization, and their intersections work together with the social system of PME to maintain inequalities. I argue that in the popular music classroom, identity work is especially required from the students who belong to racialized and lower-class groups. Furthermore, I argue that PME (re)produces a Eurocentric practice of school popular music that favors middle-classness and Whiteness. I suggest that moving towards genuinely multivocal and democratic music education entails questioning popular music as an eminent democracy maker. Alternatively, democracy might be fostered by considering the intersectional identities of the students--a process for which systems reflexivity serves as a useful tool. [ABSTRACT FROM AUTHOR]