Affective and musical understanding in piano chamber music pedagogy at the fundamental level

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>

Affective and musical understanding in piano chamber music pedagogy at the fundamental level

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>

The Public Music Theory of George Bernard Shaw

George Bernard Shaw is best known today for his plays, but he first exercised his incisive wit as a drama and music critic in London, intermittently from 1876, regularly from 1888 to 1894, and intermittently again to the end of his life. Shaw explicitly intended to make his reviews both educational and accessible to the general public, combining performance critiques with broader considerations, including aspects of music theory and music education, and avoiding technical terms to the extent possible. Thus, his music criticism serves as an example of public music theory. This chapter surveys Shaw’s music-theoretic comments through this lens, analyzing what they demonstrate about his own musical understanding and underlying ideologies, the educational purpose of his reviews, and the level of musical knowledge he assumed on the part of his late nineteenth-century London readership.

THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY

The focus of this study is on the history of jazz music between 1959 and 1967. The 1950s was a period of intense creativity in jazz, defined by emerging styles such as third stream, cool jazz and hard bop. The end of that decade, 1959, is considered to be a watershed year in which some of jazz’s most influential recordings were made and also effected the free jazz movement, which dominated until 1967, known as the "year that jazz music died". Therefore, 1959 becomes a bridge between the stylistic homogeneity of first half of the century and an outpouring of creativity in the second half. The echoes of the pre-fusion period 1959-1967 are still influential on the musical output of jazz in the twenty first century. This study aims to convey the variety of jazz styles between 1950 and 1967 by looking at the foundational elements that create the musical understanding of these styles by means of a descriptive methodology. Keywords: Jazz, Free Jazz, Hard Bop, 1959, Third Stream, Cool Jazz, Avant-Garde

Virtuosity, Obviously

This chapter employs a phenomenological framework to argue that virtuosity—often understood as individual musical excellence—is an intersubjective phenomenon that centers on skill made apparent and socially meaningful. Rather than locating virtuosity solely in a performer’s body, a piece’s demands, or a listener’s opinions, the author argues that it arises within the dynamic relationships—what Maurice Merleau-Ponty would call the “intentional threads”—that connect audiences, performers, and musical sound. Drawing on Edmund Husserl’s and Merleau-Ponty’s discussions of intersubjectivity, intercorporeality, and apperception, the author utilizes Ravi Shankar’s early reception in the United States as a case study in how audiences come to experience musical performances as virtuosic, despite their lack of background knowledge or musical understanding. A phenomenological approach to virtuosity reframes the issue not as one of objective measure or subjective opinion, but of intersubjective experience and value.

The validity and efficacy of ‘Spheres of Musical Understanding: A Fluid, Situational and Context-Specific Model’

The purpose of this article is to propose a model for the development of musical understanding that is fluid, situational and context-specific and to investigate the model’s validity. The model was developed through observations while teaching, viewing video recordings of young children in interactive music environments, analysing other models and theories of development of musical understanding, and discussion and reflection on our own practice and that of others. In this article, we present the model, comparing and contrasting it primarily with Gordon’s theories of Preparatory Audiation and Audiation and Voyajolu and Ockelford’s Sounds of Intent model. For this initial validation of the model, two early childhood music researchers independently observed a video recording of one 3-year-old child during a 60-minute preschool music class, documenting his musical responses and initiations as well as periods where there was seemingly a lack of musical engagement. We labelled each response in association with the model, as appropriate. Through this study, we were able to explain the child’s engagements through the lens of the model; it was clear the hypothesis of a fluid model was supported. Refinements to the model for easier use were recommended as well as conducting observations of children in other situations and contexts.

Music-Play in the Guided Music Setting

Given its importance in children’s development and learning, researchers have rigorously studied play, and many teachers have used it as a classroom tool. Music researchers have observed that music regularly accompanies children’s play because music is part of their culture, and “playing with music” is the most natural form of expression of their existence as musical beings. Hence, play is at the heart of early childhood music, and music teachers design activities that are playful using manipulatives, instruments, movements, and musical sounds to engage children. However, scant research has explored the types of play enacted in guided music settings and how children construct musical understanding through play. This article discusses children’s play and related theories, illustrates how children “play with music” in the guided music setting, and offers practical applications of play in guided music activities.

Cinema Sem Imagem: um caso de estudo de geração imagética

Cinema Without Image (CSI) is a sound creation exercise without visual support. It was purposely designed for cinema and audiovisual students, consequently, inspired and oriented by the audio workflow that usually makes up a film production. The authors believe that it is necessary to create pedagogical resources and experimental exercises which allows one to do creative sonic work, albeit led by a musical context and not sound design per se. This kind of context encompasses critical listening, sound manipulation practices, a phenomenological and empirical relationship with sound and, above all, a musical understanding of what one is producing and/or listening. This paper will describe and analyze the CSI exercise based on contributions by the professor and the students but, specifically, the authors will try to understand the (musical) impact that the CSI had on the students.

Kelas Gitar Akustik Berbasis Pembelajaran Kooperatif

This article examines learning acoustic guitar in formal schools employing cooperative learning design. The problem is focused on students’ perceptions of the difficulty of interpreting theory, teacher mastery of music theory, and the learning methods used. This study aims to describe the cooperative learning method implemented in acoustic guitar classes at schools (N = 30). Data were collected through observation, interviews, and documentation to be analyzed qualitatively using an interactive model (Miles et al., 2014). The guitar learning process is carried out in groups by breaking the home group and the expert group. Music material in group interaction is in the form of theory and practice. Based on observations of students’ musical abilities, there is an increase in knowledge of music theory and practice in guitar classes. Students receive the highest score on the aspects of sound accuracy, chord progression to the song, and the time expended learning the song. This study concludes that learning acoustic guitar applying cooperative learning methods is effective in enhancing students’ musical understanding through appreciation and creation. Appreciative attitude turns out as a manifestation of a positive response affective.