Search results for: music education

Authors: Yumeng He

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The purpose of this paper is to establish the “extenics” of children music education, the “extenics” thought and methods are introduced into the children music education field. Discussions are made from the perspective of children music education on how to generate new music cognitive from music cognitive, how to generate new music education from music education and how to generate music learning from music learning. The research methods including the extensibility of music art, extensibility of music education, extensibility of music capability and extensibility of music learning. Results of this study indicate that the thought and research methods of children’s extended music education not only have developed the “extenics” concept and ideological methods, meanwhile, the brand-new thought and innovative research perspective have been employed in discussing the children music education. As indicated in research, the children’s extended music education has extended the horizon of children music education, and has endowed the children music education field with a new thought and research method.

Keywords: comprehensive evaluations, extension thought, extension cognition music education, extensibility

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Authors: Sofia Douklia

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The present context paper aims to present the important role of ‘student voice’ and the music teacher in the classroom, which contributes to more student-centered music education. The aim is to focus on the functions of the student voice through the music spectrum, which has been born in the music classroom, and the teacher’s methodologies and techniques used in the music classroom. The music curriculum, the principles of student-centered music education, and the role of students and teachers as music ambassadors have been considered the major music parameters of student voice. The student- voice is a worth-mentioning aspect of a student-centered education, and all teachers should consider and promote its existence in their classroom.

Keywords: student's voice, student-centered education, music ambassadors, music teachers

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Authors: Emmanuel Carlos De Mata Castrejón

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Music education has shown to be connected to many areas of sciences and arts, it has also been associated with several facets of human life. The many aspects around the study of music and education, make very difficult for the music educator to find a way through, even though there are lots of methods of teaching music to young children, they are different between one another and so are the students. For the music to help improve children’s development, it is necessary for the children to explore their musicality as they explore their creativity; it must be a challenging, playful, and enjoyable activity. The purpose of this investigation is to focus the music education not in the music, nor the teaching, but the children to be guided through their own musicality. The first approach to this kind of music education comes from the Active learning methods during the nineteenth century, most of which are still used around the world, sometimes with modifications to fit a certain place or type of students. This approach on children’s musicality requires some knowledge of music, pedagogy, and developmental psychology at least, but more important than the theory or the method used for music education, the focus should be on developing the student’s musicality, considering the complexity of this concept. To get this, it is needed, indeed, far more research in the topic, so this is a call for collaborative research and for interdisciplinary teams to emerge. This is a review of authors and methods in music education trying to trace a line pointing to transdisciplinary work and pursuing the development of children’s musicality.

Keywords: children, methods, music education, musicality

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Authors: Yoon Suh Song

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Though music education can broaden one’s capacity for mathematical performance, many countries lag behind in music education. Little empirical evidence is found to identify the connection between math and music. Therefore, this research was set out to explore what music-related variables are associated with mathematical performance. The result of our analysis is as follows: A Pearson's Correlation analysis revealed that PISA math score is strongly correlated with students' Intelligence Quotient (IQ). This lays the foundation for further research as to what factors in students’ IQ lead to a better performance in math.

Keywords: music education, mathematical performance, education, IQ

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Authors: Jinan Laurentia Woo

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This paper explores the intersection of technology, music education, and social-emotional learning (SEL) with a focus on Latin America. It delves into the impact of music education on social-emotional skills development, highlighting the universal significance of music across various life stages. The integration of artificial intelligence (AI) in music education is discussed, emphasizing its potential to enhance learning experiences. The paper also examines the implementation of SEL strategies in Latin American public schools, emphasizing the importance of fostering social-emotional well-being in educational settings. Challenges such as unequal access to technology and education in the region are addressed, calling for further research and investment in tech-assisted music education.

Keywords: music education, social emotional learning, educational technology, Latin America, artificial intelligence, music

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Authors: Z. Kurtaslan, H. Hakan Okay, E. Can Dönmez, I. Kuçukdoğan

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Music education aims to bring up individuals most appropriately and to advanced levels as a balanced whole physically, cognitively, affectively, and kinesthetically while making a major contribution to the physical and spiritual development of the individual. The most crucial aim of music education, an influential education medium per se, is to make music be loved; yet, among its educational aims are concepts such as affinity, friendship, goodness, philanthropy, responsibility, and respect all extremely crucial bringing up individuals as a balanced whole. One of the most essential assets of the music education is the training of making music together, solidifying musical knowledge and enabling the acquisition of cooperation. This habit requires internalization of values like responsibility, patience, cooperativeness, respect, self-control, friendship, and fairness. If musicians lack these values, the ensemble will become after some certain time a cacophony. In this qualitative research, the attitudes of music teacher candidates in orchestra/chamber music classes will be examined in terms of values.

Keywords: education, music, orchestra/chamber music, values

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Authors: Shan-Ken Chine

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This research aims to a one-year course run of String Music Appreciation, an international online course launched on the British open education platform. It explains how to present music teaching videos with three main features. They are music lesson explanations, instrumental playing demonstrations, and live music performances. The plan of this course is with four major themes and a total of 97 steps. In addition, the paper also uses the testing data provided by the education platform to analyze the performance of learners and to understand the operation of the course. It contains three test data in the statistics dashboard. They are course-run measures, total statistics, and statistics by week. The paper ends with a review of the course's star rating in this one-year run. The result of this course run will be adjusted when it starts again in the future.

Keywords: music online courses, MOOCs, ubiquitous learning, string music, general music education

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Authors: Rohit Rutka

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The aim of the present paper is to reveal the importance of music as an indispensable aspect in education of art, with regard to every single culture which serves as indisputable support to sustainable development in India. Indian system of education is one of the oldest systems of the world. Both secular and sacred education was handed over systematically by formalizing the system of education. We have found significant growth in the system of education in our country since ancient times. It is a veritable avenue which enables societies to transmit music and musical skills from one generation to the upcoming ones. The research is based on a comprehensive literature review on the impact of music to sustainable development. This paper contextualized that music education is imperative to Sustainable Development, to the adult. It is a vital force of self-expression, communication and empowerment economically, in growing children, involvement in music education will promote their creative ability, thereby contribute to the full development of intellectual capacities, apt emotional development that gives the right values and feelings to various events and happenings, music helps to develop skills, innate and instinctive talent in human being and recommend that the informal music teaching should be incorporated into school system so as to transmit and preserve the cultural music and that the study of music should be made compulsory at all levels of the Indian educational system.

Keywords: sustainable development, music education, culture, music as a pillar to sustainable development

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Authors: David O. A. Ogunrinade

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The significance of education to the growth and development of man is imperative. The Nigerian education philosophy and national objectives are geared towards self-realization, social, cultural, and economic, just to mention a few. The acquisition of skills and abilities, both mental and physical, for individual to live and contribute to the development of society should be of major importance to a functional education curriculum. This study specifically set out to examine the momentous potentials of popular music as a veritable tool to be properly incorporated into the curriculum of music education in Nigeria. This will equip the learners to be self-reliant and contribute to the national economy. Interviews with exponents of Nigerian popular music and the stakeholders in the music industry, as well as audio-visual materials were employed to elicit information. Findings reveal that there are lots of potentials and dexterities in popular music that can enable Nigerian music graduates to contribute their own quota to the national development of the nation, as well as being useful to themselves. If the Nigerian society is not to be plagued by a breed of unemployable youths who could not raise the economic productivity of the country, it is deemed pertinent that the music curriculum as one of the vocational education needs to be reviewed to incorporate popular music, as well as to reflect more of the Nigerian cultural heritage.

Keywords: popular music, music curriculum, music in schools, popular music prospect

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Authors: Guangzhuang Yu, Chun-Chu Liu

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With the advent of the Internet era in recent years, social music education has gradually shifted from the original entity education mode to the mode of entity plus network teaching. No matter for school music education, professional music education or social music education, the teaching quality is the most important evaluation index. Regarding the research on teaching quality evaluation, scholars at home and abroad have contributed a lot of research results on the basis of multiple methods and evaluation subjects. However, to our best knowledge the complete evaluation model for the virtual teaching interaction mode of the emerging network music education Application (APP) has not been established. This research firstly found out the basic dimensions that accord with the teaching quality required by the three parties, constructing the quality evaluation index system; and then, on the basis of expounding the connotation of each index, it determined the weight of each index by using method of fuzzy analytic hierarchy process, providing ideas and methods for scientific, objective and comprehensive evaluation of the teaching quality of network education APP.

Keywords: network music education APP, teaching quality evaluation, index and connotation

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Authors: Shan-Ken Chien

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This research aims to share the application of the Music and Narrative Curriculum developed through a college community service-learning course to a special education classroom in a local secondary school. The development of the Music and Narrative Curriculum stems from the music appreciation courses that the author has taught at the university. The curriculum structure consists of three instructional phases, each with three core literacy. This study will show the implementation of an eighteen-week general music education course, including classroom training on the university campus and four intervention music lessons in a special education classroom. Students who participated in the Music and Narrative Curriculum came from two different parts. One is twenty-five college students enrolling in Music Literacy and Community Service-Learning, and the other one is nine junior high school students with intellectual disabilities (ID) in a special education classroom. This study measures two parts. One is the effectiveness of the Music and Narrative Curriculum in applying four interventions in music lessons in a special education classroom, and the other is measuring college students' service-learning experiences and growth outcomes.

Keywords: college service-learning, general music education, music literacy, narrative skills, students with special needs

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Authors: Ka Lei Au

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The Dalcroze method has been emerging in music classrooms, and music teachers are encouraged to integrate music and movement in their teaching. Music programs in colleges in Hong Kong have been introducing method courses such as Orff and Dalcroze method in music teaching as teacher’s education program. Since the targeted students of the course are music teachers who are making the decision of what approach to use in their classroom, their perception is significantly valued to identify how this approach is applicable in their teaching in regards to the teaching and learning culture and environment. This qualitative study aims to explore how the Dalcroze method as a teacher’s education course is perceived by music teachers from three aspects: 1) application in music teaching, 2) self-enhancement, 3) expectation. Through the lens of music teachers, data were collected from 30 music teachers who are taking the Dalcroze method course in music teaching in Hong Kong by the survey. The findings reveal the value and their intention of the Dalcroze method in Hong Kong. It also provides a significant reference for better development of such courses in the future in adaption to the culture, teaching and learning environment and teacher’s, student’s and parent’s perception of this approach.

Keywords: Dalcroze method, music teaching, perception, self-enhancement, teacher’s education

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Authors: Mina Fenercioglu

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This study discusses a Turkish music education model similar to El Sistema. The Music for Peace (Baris icin Muzik) program, founded in 2005 by an idealist humanitarian in Istanbul, started as a pilot project with accordion and then with flute in ensembles at the Ulubatlı Hasan Primary School where mostly underprivileged children attend. The program gives complimentary music lessons particularly to deprived children, who at the beginning were prone to crime. With music education, the attitudes of the children turn to a positive aspect. The aim of this initiative provides social and cultural awareness, which serves the same mission as the world known El Sistema. In 2009, the Music for Peace project received Deutsche Bank Urban Age Award, which is a prize presented to enterprises that improve the quality of life in urban environment. Since 2010, the Music for Peace continues the symphonic music education at its own place. In 2011, Music for Peace gained foundation status, and started to accept donations as musical instruments for children who attend the courses. On July 2013, IKSV (Istanbul Culture and Arts Foundation) became the institutional partner of Music for Peace Foundation and in June 2014, the foundation signed up to join El Sistema’s global program. Now in 2015, the foundation has three ensembles: the Music for Peace Orchestra, which consists of two orchestras practicing and performing in different levels; the Music for Peace Chorus, which has joined Istanbul International Polyphonic Choruses Festival; and the recently established Music for Peace Brass Ensemble.

Keywords: El Sistema, music education, music for peace, socialization

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Authors: Michael J. Cutler

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This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author’s best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner.

Keywords: boundary play, boundary objects, music education, music pedagogy, musical boundary play

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Authors: Jonathan Bolduc

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Studies have demonstrated the effectiveness of music training approaches to help children with language disabilities. Because music is closely associated with a number of cognitive functions, including language, it has been hypothesized that musical skills transfer to other domains. Research suggests that music training strengthens basic auditory processing skills in dyslexic children and may ameliorate phonological deficits. Furthermore, music instruction has the particular advantage of being non-literacy-based, thus removing the frustrations that can be associated with reading and writing activities among children with specific learning disabilities. In this study, we assessed the effect of implementing an intensive music program on the development of language skills (phonological and reading) in 4- to 9-year-old children. Seventeen children (N=17) participated in the study. The experiment took place over 6 weeks in a controlled environment. Eighteen lessons of 40 minutes were offered during this period by two music specialists. The Dalcroze, Orff, and Kodaly approaches were used. A series of qualitative measures were implemented to document the contribution of music training to this population. Currently, the data is being analyzed. The first results show that learning music seems to significantly improve verbal memory. We already know that language disabilities are considered one of the main causes of school dropout as well as later professional and social failure. We aim to corroborate that an integrated music education program can provide children with language disabilities with the same opportunities to develop and succeed in school as their classmates. Scientifically, the results will contribute to advance the knowledge by identifying the more effective music education strategies to improve the overall development of children worldwide.

Keywords: music education, music, art education, language diasabilities

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Authors: Diella Gracia Martauli

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This study investigated the relationship between music aptitude and school readiness in Indonesian children. Music aptitude is described as children’s music potential, whereas school readiness is defined as a condition in which a child is deemed ready to enter the formal education system. This study presents a hypothesis that music aptitude is correlated with school readiness. This is a correlational research study of 17 children aged 5-6 years old (M = 6.10, SD = 0.33) who were enrolled in a kindergarten school in Jakarta, Indonesia. Music aptitude scores were obtained from Primary Measures of Music Audiation, whereas School readiness scores were obtained from Bracken School Readiness Assessment Third Edition. The analysis of the data was performed using Pearson Correlation. The result found no correlation between music aptitude and school readiness (r = 0.196, p = 0.452). Discussions regarding the results, perspective from the measures and cultures are presented. Further study is recommended to establish links between music aptitude and school readiness.

Keywords: BSRA, music aptitude, PMMA, school readiness

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Authors: Sanaa Ali Ahmed Alrashid

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The present study aimed to investigate the effect of synchronous music in gymnastics' motor skill performance among undergraduate female students in physical education college at Basra University. The researcher used an experimental design. 20 female students of physical education divided equally into two groups, (10)experimental group with music, (10) control group without music. All participants complete 8 weeks in testing. Data analysis based on T-test shows a significant difference at (α = 0.05) in all skills level between experimental and control groups in favor of the experimental group. Results of this study contribute to developing the role of synchronous music in improving gymnastic skills performance.

Keywords: performance, motor skill, music, synchronous

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Authors: Aditi Kashi

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While educational technologies have taken great strides, especially in Musical Instrument Digital Interface (MIDI) composition, teachers across the world are still adjusting to incorporate such technology into their curricula. While using MIDI in the classroom has become more common, limited class time and a strong focus on performance have made composition a lesser priority. The balance between music theory, performance time, and composition learning is delicate and difficult to maintain for many music educators. This makes including MIDI in the classroom. To address this issue, this paper aims to outline a general conceptual framework centered around a key element of music theory to integrate MIDI composition into the music classroom to not only introduce students to digital composition but also enhance their understanding of music theory and its applicability.

Keywords: educational framework, education technology, MIDI, music education

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Authors: Tripti Watwe

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Music or art of any country is its national heritage and represents the cultural personality of that region. Noble Laureate Rabindranath Tagore through his international educational endeavour called ‘Visva-Bharati’ established this concept that music can very much be a part of the mainstream education of a country because the purpose of both music and education is to bring in transformation in an individual. An individual with musical veins is more focused and meditative towards his or her goal in life. That is why in Tagore’s Visva-Bharati, one can observe even the brightest brains from various fields of economics, science, social sciences or literature equally verbal and efficient in Rabindra songs which the poet created under his own name.Tagore established this phenomenon that music if made a part of education and life, brings in profound transformation in the character and over-all personality of a person giving better and responsible citizens to a nation. It is expected that this hypothesis that music and education can be a nectarine combination can be established and proved with the help of various recorded observations containing Tagore’s educational philosophy, his experiments in his own institution ‘Visva-Bharati’ and through recorded research materials which have been gathered during the author’s field work in Visva-Bharati.

Keywords: Rabindranath Tagore, Visva-Bharati, education, music, philosophy

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Authors: E. N. Jansen van Vuuren

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When visiting Foundation Phase (FP) students during their Teaching Practice at schools in rural Mpumalanga, the lack of music education is evident through the absence of musical sounds, with the exception of a limited repertoire of songs that are sung by all classes everywhere you go. The absence of music teaching resources such as posters and music instruments add to the perception that generalist teachers in the FP are not teaching music. Pre-service students also acknowledge that they have never seen a music class being taught during their teaching practice visits at schools. This lack of music mentoring impacts the quality of teachers who are about to enter the workforce and ultimately results in the perpetuation of no music education in many rural schools. The situation in more affluent schools present a contrasting picture with music education being given a high priority and generalist teachers often being supported by music specialists, paid for by the parents. When student teachers start their music course, they have limited knowledge to use as a foundation for their studies. The aim of the study was to ascertain the music knowledge that students gained throughout their school careers so that the curriculum could be adapted to suit their needs. By knowing exactly what pre-service teachers know about music, the limited tuition time at tertiary level can be used in the most suitable manner and concentrate on filling the knowledge gaps. Many scholars write about the decline of music education in South African schools and mention reasons, but the exact music knowledge void amongst students does not feature in the studies. Knowing the parameters of students’ music knowledge will empower lecturers to restructure their curricula to meet the needs of pre-service students. The research question asks, “what is the extent of the music void amongst rural pre-service teachers in a B.Ed. FP course at an African university?” This action research was done using a pragmatic paradigm and mixed methodology. First year students in the cohort studying for a B.Ed. in FP were requested to complete an online baseline assessment to determine the status quo. This assessment was compiled using the CAPS music content for Grade R to 9. The data was sorted using the elements of music as a framework. Findings indicate that students do not have a suitable foundation in music education despite supposedly having had music tuition from grade R to grade 9. Knowing the content required to fill the lack of knowledge provides academics with valuable information to amend their curricula and to ensure that future teachers will be able to provide rural learners with the same foundations in music as those received by learners in more affluent schools. It is only then that the rich music culture of the African continent will thrive.

Keywords: generalist educators, music education, music curriculum, pre-service teachers

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Authors: Konstantinos Sofianos, Michail Stefanidakis

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Nowadays, despite the great advances in technology, most educational frameworks lack a strong educational design basis. E-learning has become prevalent, but it faces various challenges such as student isolation and lack of quality in the learning process. An intelligent learning system provides a student with educational material according to their learning background and learning preferences. It records full information about the student, such as demographic information, learning styles, and academic performance. This information allows the system to be fully adapted to the student’s needs. In this paper, we propose a framework and an ontology for music education, consisting of the learner model and all elements of the learning process (learning objects, teaching methods, learning activities, assessment). This framework can be integrated into an intelligent learning system and used for music education in schools for the development of professional skills and beyond.

Keywords: intelligent learning systems, e-learning, music education, ontology, semantic web

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Authors: Violeta Kostadinova, Emilia Tsankova

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The purpose of this research is to explore and analyze the integration of the younger generation with Bulgarian folklore through various innovative forms, methods and approaches. A survey was conducted among students to evaluate its success. The results prove the relevance of the problem as well and the necessity of innovation to keep the national and promotion of Bulgarian folklore. Innovation in music education is a good way to create positive motivation and raise interest in folk art, which is especially pronounced when the folk songs have contemporary arrangement. Modern interpretation of Bulgarian folk music makes the music more approachable to young people and makes it more likely that folk music will become an integral part of our modern culture. The research would help the implementation of appropriate innovations for more effective training and upgrading for music students in all middle and high schools in the country.

Keywords: Bulgarian folklore, innovative forms, methods and approaches, motivation, music education

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Authors: Konstantinos Sofianos, Michael Stefanidakis

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Nowadays, advances in information and communication technologies offer a range of opportunities for new approaches, methods, and tools in the field of education and training. Teacher-centered learning has changed to student-centered learning. E-learning has now matured and enables the design and construction of intelligent learning systems. A smart learning system fully adapts to a student's needs and provides them with an education based on their preferences, learning styles, and learning backgrounds. It is a wise friend and available at any time, in any place, and with any digital device. In this paper, we propose an intelligent learning system, which includes an ontology with all elements of the learning process (learning objects, learning activities) and a massive open online course (MOOC) system. This intelligent learning system can be used in music education.

Keywords: intelligent learning systems, e-learning, music education, ontology, semantic web

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Authors: Bernett Nkwayi Mulungo

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There are vast community music projects in South African townships, and their courses range from music theory aural practical individual and ensemble lessons on orchestral instruments and recorders – these instruments being primarily “Western”. Despite this relative success – indeed one of the few in the realm of arts in post-apartheid South Africa – what remains troubling is the dominance of western thought (as music theory) and modes of teaching music that maintain the idea of music study as alien in black communities. This identified problem speaks to a significant theme, namely: Arts education for community development, which is my area of interest. Primarily for, it is a timely platform to firmly entrench appreciation, understanding, and, most undoubtedly, the value(s) of the arts to the youth. Drawing on one’s experience as a lecturer in (and graduate from) a South African tertiary institution and as a teacher in a community project, this research will interrogate the content of some of the program(s): from the theoretical material taught in music theory classes to the practical repertoire taught and/or performed. The focal point of this research is on how this content informs or speaks to its intended “beneficiaries” – the African youth. Through these and other considerations, the paper aims to sketch the potentially radical consequences that transformed music education at community and earlier levels will have for higher education music studies in South Africa.

Keywords: decolonization, Africanization, indigenous knowledge, community engagement

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Authors: Tim Nikolsky

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This paper seeks to explore the different ways in which music producers choose to embrace various levels of technology based on musical values, objectives, affordability, access and workflow benefits. Current digital audio production workflow is questioned. Engineers and music producers of today are increasingly divorced from the tangibility of music production. Making music no longer requires you to reach over and turn a knob. Ideas of authenticity in music production are being redefined. Calculations from the mathematical algorithm with the pretty pictures are increasingly being chosen over hardware containing transformers and tubes. Are mouse clicks and movements equivalent or inferior to the master brush strokes we are seeking to conjure? We are making audio production decisions visually by constantly looking at a screen rather than listening. Have we compromised our music objectives and values by removing the ‘hands-on’ nature of music making? DAW interfaces are making our musical decisions for us not necessarily in our best interests. Technological innovation has presented opportunities as well as challenges for education. What do music production students actually need to learn in a formalised education environment, and to what extent do they need to know it? In this brave new world of omnipresent music creation tools, do we still need tangibility in music production? Interviews with prominent Australian music producers that work in a variety of fields will be featured in this paper, and will provide insight in answering these questions and move towards developing an understanding how tangibility can be rediscovered in the next generation of music production.

Keywords: analogue, digital, digital audio workstation, music production, plugins, tangibility, technology, workflow

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Authors: Vartan Agopian

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Millions of Syrian families have been displaced since the beginning of the Syrian war, and the negative effects of post-war trauma have shown detrimental effects on the mental health of refugee children. While educational strategies have focused on vocational training and academic achievement, little has been done to include music in the school curriculum to help these children improve their mental health. The literature of music education and psychology, on the other hand, shows the positive effects of music on traumatized children, especially when it comes to dealing with stress. This paper presents a brief literature review of trauma, music therapy, and music in the classroom, after having introduced the Syrian war and refugee situation. Furthermore, the paper highlights the benefits of using music with traumatized children from the literature and offers strategies for teachers (such as singing, playing an instrument, songwriting, and others) to include music in their classrooms to help Syrian refugee children deal with post-war trauma.

Keywords: children, music, refugees, Syria, war

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Authors: Kunyu Yan

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Early childhood music education plays a significant role in an individual’s growth. Music can help children understand themselves and relate to others, and make connections between family, school, and society. In recent years, with the development of early childhood education in China, an increasing number of kindergartens have been established, and many of them pay more attention to music education. This research has two main aims. One is to discover how and why music is used in both public and private kindergartens. The second aim is to make recommendations for widening the use of music in kindergartens. In order to achieve these aims, the research uses two main methods. Firstly, it considers the historical background and cultural context of early childhood education in China; and secondly, it uses an approach that compares public and private kindergartens. In this research, six kindergartens were chosen from Qingdao city in Shandong Province as case studies, including 3 public kindergartens and 3 private kindergartens. This research was based on using three types of data collection methods: observation, semi-structured interviews with teachers, and questionnaires with parents. Participant and non-participant observational methods were used and included in daily routines at the kindergartens in order to experience the situation of music education first-hand. Interviews were associated with teachers’ views of teaching and learning music, the perceptions of the music context, and their strategies of using music. Lastly, the questionnaire was designed to obtain the views of current music education from the children’s parents in the respective kindergartens. The results are shown with three main themes: (1) distinct characteristics of public kindergartens (e.g., similar equipment, low tuition fee, qualified teachers, etc); (2) distinct characteristics of private kindergartens (e.g., various tuition fees, own teaching system, trained teachers, etc); and (3) differences between public and private kindergartens (e.g., funding, requirements for teachers, parents’ demands, etc). According to the results, we can see that the main purpose of using music in China is to develop the musical ability of children, and teachers focus on musical learning, such as singing in tune and playing instruments. However, as revealed in this research, there are many other uses and functions of music in these educational settings, including music used for non-musical learning (e.g., counting, learning language, etc.) or in supporting social routines.

Keywords: differences between private and public school, early childhood education, music education, uses and functions of music

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Authors: Kyung Hwa Shin

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Primary school music education plays a crucial role in nurturing students' musical abilities and fostering a lifelong appreciation for music. As we embark on the 21st century, it becomes imperative to explore advanced approaches that can effectively engage and empower students in the realm of music. This study aims to shed light on the aspects of primary school music education in South Korea, with a specific focus on the incorporation of the Zoltán Kodály Concept. The Zoltán Kodály Concept, developed by Hungarian composer and educator Zoltán Kodály (Kodály, 1974) advocates for a holistic music education that integrates singing, movement, and music literacy. This concept has gained recognition worldwide for its effectiveness in developing musicianship and enhancing music learning experiences. This study will delve into the ways in which the Zoltán Kodály Concept has been adapted and implemented in the context of South Korean primary school music education. It will highlight the benefits of this approach in nurturing students' musical skills, fostering creativity, and promoting cultural understanding through music. Furthermore, it will enhance the delivery of the Kodály-based curriculum challenges posed by the 21st-century digital age. Drawing on this research, pedagogical practices, and case studies, this study will provide valuable insights into the practical applications of the Zoltán Kodály Concept in South Korean primary school music education. It will discuss the impact of this approach on student engagement, motivation, and achievement, as well as the role of teachers in facilitating effective implementation. Additionally, it will address the professional development opportunities available to music educators to enhance their pedagogical skills in line with the Kodály philosophy. Ultimately, it aims to inspire and empower educators, policymakers, and researchers to embrace the Zoltán Kodály Concept as a transformative and forward-thinking approach to primary school music education in the 21st century. By embracing current aspects and progressive methodologies, South Korea can continue to strengthen its music education system and cultivate a generation of musically literate and culturally enriched individuals.

Keywords: primary school music education, Zoltán Kodály concept, 21st century, South Korea, music literacy, pedagogy, curriculum

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Authors: Baoshan Wang

Abstract:

The present study investigates how music theory has developed across different countries due to their diverse histories, religions, and cultural differences. It is unknown how these various factors may contribute to differences in music theory across countries. Therefore, we examine the differences between China and Greece, which have developed unique music theories over time. Specifically, our analysis looks at musical notation and scales. For example, Tonal music originates from Greece, which harbors quite complex notation and scaling. There exist seven notes in each scale within seven modes of scales. Each mode of the diatonic scale has a unique temperament, two of which are most commonly used in modern music. In contrast, we find that Chinese music has only five notes in its scales. Interestingly, a unique feature of Chinese music theory is that there is no half-step, resulting in a highly divergent and culture-specific sound. Fascinatingly, these differences may arise from the contrasting ways that Western and Eastern musicians perceive music. While Western musicians tend to believe in music “without borders,” Eastern musicians generally embrace differing perspectives. Yet, the vast majority of colleges or music conservatories teach the borderless theory of Western music, which renders the music educational system incomplete. This is critically important because learning music is not simply a profession for musicians. Rather, it is an intermediary to facilitate understanding and appreciation for different countries’ cultures and religions. Education is undoubtedly the optimal mode to promote different countries’ music theory so people across the world can learn more about music and, in turn, each other. Even though Western music theory is predominantly taught, it is crucial we also pursue an understanding of other countries’ music because their unique aspects contribute to the systematic completeness of Music Theory in its entirety.

Keywords: culture, development, music theory, music history, religion, western music

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Authors: Julian Dario Castro Cifuentes

Abstract:

In Colombia, the armed conflict has lasted for more than sixty years bringing poverty, internal displacement of people, deaths from both government and insurgent forces and other violence-related problems that has damaged its social fabric. In 2016, the peace process between the Colombian government and the FARC rebels brought the possibility of ending this war and a new set of challenges to Colombian society in order to achieve pacific coexistence and reconciliation. In this scenario, there have been different efforts from diverse social actors in order to build peace and reconciliation mainly within the victims of the armed conflict. In the case of music, there have been multiple programs for social transformation through music and pedagogical experiences. Nevertheless, the need to strengthen this initiative by giving ‘peace building oriented’ pedagogical tools to the musicians that lead this experiences and understanding which aspects make this practices ‘musically meaningful’, has been recognized. For this reason, the purpose of this study is to discuss the convergences and divergences of music, and educational experiences applied to peacebuilding in the context of Colombia’s post-conflict. In this research, the hermeneutic phenomenology paradigm is applied in a case study of a peace building music education experience in the department of Nariño, Colombia articulated with the program ‘Manos a la Paz’. Two particular experiences, one on musical practice and another on music education are taken as a unit of analysis to understand its essence and structure in order to find ways to articulate efforts in peace building actions from music. This study shows how the existent gap between music experience and its subjacent pedagogical knowledge, can be reduced through deconstruction of the music and pedagogical experience. The ‘Manos a la Paz’ program showed how a peace building approach to music education can make major contributions to Pacific Coexistence and Reconciliation in Colombia’s Post-Conflict.

Keywords: music education, music for peace, music pedagogy, peace building, social fabric

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