Music education is a field of study related to music teaching and learning. It touches all the learning domains, including the psychomotor domain (skills development), the cognitive domain (knowledge acquisition), and, in particular and significant, affective domains (the willingness of students to receive, internalize, and share what they learn), including musical appreciation and sensitivity. Music training from preschool to post-secondary education in most countries because engagement with music is considered as a fundamental component of human culture and behavior. Cultures from around the world have different approaches to music education, largely due to various history and politics. Studies show that teaching music from other cultures can help students feel foreign sounds more comfortable, and they also show that music preferences are related to the language spoken by listeners and other voices they face in their own culture. Music, like language, is an achievement that distinguishes humans as a species.
During the 20th century, many different approaches were developed or more refined for the teaching of music, some of which had widespread impact. The Dalcroze method (eurhythmics) was developed in the early 20th century by Swiss musician and educator ÃÆ' â € ° mile Jaques-Dalcroze. The Kodály Method emphasizes the benefits of physical instruction and response to music. The Orff Schulwerk "approach" to music education causes students to develop their musical abilities in a manner parallel to the development of western music.
The Suzuki method creates the same environment to learn the music one has to learn their native language. Gordon Music Learning Theory gives music teachers a method to teach music through audience , Gordon's term for listening to music in mind with understanding . Conversational SolfÃÆ'¨ge immerses students in music literature from their own culture, in this case America. The Carabo-Cone method involves the use of props, costumes, and toys for children to learn basic staff music concepts, note duration, and piano keyboards. Concrete environments of specially planned classrooms allow children to learn the basics of music by exploring through touch. Popular musical pedagogy is the systematic teaching and learning of rock music and other popular musical forms both inside and outside the formal classroom setting. Oaklander has proven that certain musical activities can help improve the control of the breath, body and voice of a child.
MMCP (Manhattanville Music Curriculum Project) aims to shape attitudes, help students view music not as static content to master, but as a person, present, and evolving. American fiddler, Mark O'Connor, developed a violin educational method designed to guide students in developing the musical techniques necessary to become an accomplished violinist. During his tenure, Mumbai-based Boss School of Music developed an exclusive educational method using audio-visual technology, simplified concepts, and specially designed musical instruments.
Video Music education
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In elementary schools in European countries, children often learn to play instruments such as keyboards or recorders, sing in small choirs, and learn about musical elements and music history. In countries like India, harmonium is used in schools, but instruments such as keyboards and violin are also common. Students are usually taught the basics of Indian Raga music. In primary and secondary schools, students may often have the opportunity to perform in several types of musical ensembles, such as choirs, orchestras, or school bands: concert bands, marching bands or jazz bands. In some secondary schools, additional music classes may also be available. In junior high school or equivalent, music usually continues to be a mandatory part of the curriculum.
At the university level, students in most arts and humanities programs receive academic credits for music courses such as music history, usually Western art music, or musical appreciation, which focuses on listening and learning about different musical styles. In addition, most North American and European universities offer musical ensembles - such as choirs, concert bands, marching bands, or orchestras - that are open to students from different fields of study. Most universities also offer degree programs in music education, certifying students as primary and secondary music educators. Advanced degrees such as D.M.A. or Ph.D can lead to university work. These titles are awarded after completing music theory, music history, engineering classes, personal instruction with special instruments, ensemble participation, and in-depth observation of experienced educators. The music education department at North American and European universities also supports interdisciplinary research in areas such as music psychology, musical education historiography, educational ethnomusicology, sociomysiology, and educational philosophy.
The study of western art is increasingly common in music education outside North America and Europe, including Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges expanded their curriculum by incorporating music beyond the canons of Western art music, including Western African, Indonesian (eg Gamelan music), Mexican (eg mariachi), Zimbabwe (marimba) music, as well as popular music.
Music education also takes place in individual, lifelong, and community learning. Both amateur and professional musicians usually take music lessons, short private sessions with an individual teacher.
Maps Music education
Instructional methodology
While instructional strategies are determined by music teachers and music curricula in the region, many teachers rely heavily on one of the many learning methodologies that emerged in the last generation and grew rapidly during the second half of the 20th century.
Major international music education methods
Dalcroze Method
The Dalcroze method was developed in the early 20th century by Swiss musicians and educators ÃÆ' â € ¢ mi Jaques-Dalcroze miles. This method is divided into three basic concepts - the use of solfÃÆ'¨ge, improvisation, and eurhythmics. Sometimes referred to as "rhythmic gymnastics," eurhythmics teaches the concept of rhythm, structure, and musical expressions using motion, and is the most familiar concept of Dalcroze. It focuses on enabling students to gain physical awareness and musical experience through training that involves all the senses, especially kinesthetic. According to the Dalcroze method, music is the basic language of the human brain and is therefore deeply connected with who we are. The American supporters of Dalcroze's methods include Ruth Alperson, Ann Farber, Herb Henke, Virginia Mead, Lisa Parker, Martha Sanchez, and Julia Schnebly-Black. Many active teachers of the Dalcroze method were trained by Dr. Hilda Schuster who was one of Dalcroze's disciples.
Method Kodá¡ly
ZoltÃÆ'¡n Kodály (1882-1967) was a prominent Hungarian educator and music composer who emphasized the benefits of physical instruction and response to music. Although not really an educational method, its teachings are within a pleasant educational framework built on a strong understanding of basic music theory and musical notation in various verbal and written forms. Koden's ultimate goal is to instill lifelong love of music in his students and feel that it is a child's schoolwork to provide this important element of education. Some of Kodá¡ly's trademark teaching methods include the use of solfÃÆ'¨ge signatures, short musical notation (stick notation), and rhythm solvation (verbalization). Most countries have used their own folk music tradition to build their own instruction sequence, but the United States mainly uses Hungarian order. The works of Denise Bacon, Katinka S. Daniel, John Feierabend, Jean Sinor, Jill Trinka, and others brought Kodal ideas to the forefront of music education in the United States.
Orff Schulwerk
Carl Orff is a prominent German composer. Orff Schulwerk is considered an "approach" to music education. It begins with the innate ability of students to engage in basic forms of music, using basic rhythms and melodies. Orff considers the whole body as a percussion instrument and students are led to develop their musical abilities in a manner parallel to the development of western music. This approach fosters students' self-discovery, encourages improvisation, and inhibits adult pressure and mechanical training. Carl Orff developed a special instrument group, including modification of glockenspiel, gambang, metalofon, drum, and other percussion instruments to accommodate Schulwerk course requirements. Experts in shaping the American-style Orff approach include Jane Frazee, Arvida Steen, and Judith Thomas.
Suzuki Method
The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World War II, and uses music education to enrich the lives and moral character of its students. This movement rests on the double premise that "all children can be well educated" in music, and that learning to play music at a high level also involves learning the characteristics of certain characters or virtues that make a person's soul more beautiful. The main method to achieve this is centered around creating the same environment to learn music that someone has to learn their native language. These 'ideal' environments include love, high-quality examples, praise, training and repetition of memorization, and time determined by the readiness of student development to learn a particular technique. While the Suzuki Method is quite popular internationally, in Japan its influence is less significant than the Yamaha Method, founded by Genichi Kawakami who collaborates with the Yamaha Music Foundation.
Other important methods
In addition to the four major international methods described above, other approaches have had an effect. The lesser known methods are described below:
Gordon Music Learning Theory
Edwin Gordon's Music Learning Theory is based on a broad body of research and field testing by Edwin E. Gordon and others in the broader field of Music Learning Theory. It provides music teachers with a comprehensive framework for teaching music through an audience, Gordon's term for listening to music in mind with understanding and understanding when sound is not present physically. The order of instruction is Discrimination Learning and Inference Learning. Learning Discrimination, the ability to determine whether two elements are the same or not the same uses aural/verbal, verbal association, partial synthesis, symbolic association, and composite synthesis. Inference Learning, students take an active role in their own education and learn to identify, create, and improvise foreign patterns. Skills and content sequences in Audiation theory help music teachers set sequential curricular goals according to their own teaching style and beliefs. There is also a Learning Theory for Newborns and Young Children where the Types and Stages of Preparation Hearings are described.
World Music Pedagogy
The growth of cultural diversity within the school-age population encourages music educators from the 1960s to diversify the music curriculum, and to work with ethnomusicologists and artists to build learning practices rooted in musical traditions. The 'world of pedagogical music' was created by Patricia Shehan Campbell to describe the world music content and practice in elementary and secondary school music programs. The pioneering movements, especially Barbara Reeder Lundquist, William M. Anderson, and Will Schmid, influenced second-generation music educators (including J. Bryan Burton, Mary Goetze, Ellen McCullough-Brabson, and Mary Shamrock) to design and deliver a model curriculum for music teachers from various levels and specialties. Pedagogy advocates the use of human resources, that is, "carrier culture", as well as the depth and constantly listening to archived resources like the Smithsonian Folkways Recordings.
Conversational SolfÃÆ'¨ge
Influenced by the Kodály method and the Gordon Music Learning Theory, Conversational SolfÃÆ'¨ge was developed by Dr. John M. Feierabend, former chair of music education at Hartt School, University of Hartford. The program begins by immersing students in the music literature of their own culture, in this case America. Music is seen as separate from, and more basic than, notation. In the twelve stages of learning, students move from hearing and singing music to decoding and then creating music using syllables and then standard written notation. Instead of applying direct Kodas methods, this method follows Koden's original instructions and builds on American folk songs not on Hungarian folk songs.
Simply Music
Australian music educator Neil Moore founded Simply Music on the core belief that all humans are musically naturally. Simply Music offers programs for students from birth to old age, with the aim of stating that "students acquire and maintain music as lifelong friends." To achieve this goal, this repertoire covers various genres of music, such as classics, blues, jazz, and popular. Simply Music mapped out his approach after major language acquisition, where speaks first. In this case it shares several philosophical foundations with other developmental approaches such as Kodály, Orff-Schulwerk, and Suzuki Methods. Simply Music currently licenses teachers in over 700 locations worldwide.
Carabo-Cone Method
This early childhood approach, sometimes referred to as the Motor-Sensorist Approach to Music, was developed by violinist Madeleine Carabo-Cone. This approach involves the use of props, costumes, and toys for children to learn the basic concepts of staff music, note duration, and piano keyboard. Concrete environments of specially planned classrooms allow children to learn the basics of music by exploring through touch.
Popular Music Pedagogy
'Popular music pedagogy' - or so-called pedagogy of rock music, modern bands, popular music education, or rock music education - is the latest development in music education consisting of systematic teaching and learning of rock music and other popular musical forms. inside and outside the formal classroom setting. Popular music pedagogy tends to emphasize group improvisation, and is more often associated with community music activities than fully institutionalized school music ensembles.
MMCP
The Manhattanville Music Curriculum project was developed in 1965 in response to a decline in student interest in school music. This creative approach aims to shape attitudes, help students view music not as static content to master, but as personal, current, and growing. Rather than passing on factual knowledge, the method is centered around students, who learn through investigation, experimentation, and discovery. The teacher gives a group of students special problems to solve together and allows the freedom to create, perform, improvise, perform, research, and investigate different aspects of music in the spiral curriculum. MMCP is seen as a pioneer for projects in the composition of creative music and improvisation activities in schools.
O'Connor Method
American bluegrass fan Mark O'Connor developed a violin educational method designed to guide students in developing the musical techniques necessary to become an accomplished violinist. This method consists of a series of pieces covering different genres. Teacher-based training sessions take place in the United States.
Boss School Method
During his tenure, Mumbai-based Boss School of Music developed an exclusive educational method using audio-visual technology, simplified concepts, and specially designed musical instruments. They train new students for standard electronic keyboard sequential exams conducted by Trinity College London, which require only 3-6 months of training using their methods. Traditional methods are required up to 8 years to prepare students for testing. Dr. Vidyadhar Vyas, Head of the Music Department at Mumbai University, claims that they "revolutionize" music learning by teaching complex concepts of music in no time. They also train some 6-10-year-olds for the Trinity College Grade 8 exam; after passing the exam, the students are reportedly regarded as a child prodigy. Although the School Boss Method is not officially documented, various famous musicians in Mumbai such as Louis Banks agree that the school has developed a "revolutionary technique". Some controversies surround the school and its methods.
History of music education in the United States
18th century
After the sermon of Rev. Thomas Symmes, the first singing school was created in 1717 in Boston for the purpose of improving the reading of chants and music in the church. These singing schools gradually spread throughout the colony. Music education continues to grow with the creation of the Music Academy in Boston. Reverend John Tufts publishes the Introduction to the Psalms Song Song Using Non-Traditional Notation which is considered the first music textbook in the colony. Between 1700 and 1820, more than 375 tune books will be published by writers such as Samuel Holyoke, Francis Hopkinson, William Billings, and Oliver Holden.
Music begins to spread as curricular subjects to other school districts. As soon as the music is extended to all grade levels and teaching music reading is enhanced until the music curriculum develops to include some activities other than music reading. By the end of 1864 public school music had spread throughout the country.
19th century
In 1832, Lowell Mason and George Webb formed the Boston Academy of Music with the aim of teaching songs and theory and teaching methods of music. Mason published his book Manuel of Instruction in 1834 based on the musical education work of the Pestalozzian Education System founded by Swiss educator Johann Heinrich Pestalozzi. This handbook is gradually being used by many school teachers to sing. From 1837 to 1838, the Boston School Committee allowed Lowell Mason to teach music at the Hawes School as a demonstration. This is considered the first time music education was introduced to public schools in the United States. In 1838, the Boston School Committee approved the inclusion of music in the curriculum and Lowell Mason became the first recognized primary music superintendent. In later years Luther Whiting Mason became Musical Superintendent in Boston and disseminated music education to all levels of public education (grammar, primary school, and high school). During the mid-19th century, Boston became a model in which many other cities throughout the United States incorporated and established their public school music education programs. The musical methodology for teachers as a course was first introduced at Normal School in Potsdam. The concept of classroom teachers in schools that teach music under the direction of musical supervisors is the standard model for public school music education during this century. (See also: music education in the United States ) While women were prevented from writing in the nineteenth century, "then, it was accepted that women would have a role in music education, and they became involved in this field... to some extent that women dominated music education during the second half of the 19th century and far into the 20th century. "
The beginning of the 20th century
In the United States, college teaching with a four-year degree program is developed from the Normal School and includes music. The Oberlin Conservatory first offered a Bachelor of Music Education. Osbourne G. McCarthy, an American music educator, introduced the details to study music for credit at Chelsea High School. Major events in the history of music education in the early 20th century also included:
- The establishment of the National Conference of Musical Watchers (changed to National Conference of Music Educators in 1934, then MENC: National Association for Music Education in 1998, and currently National Association for Music Education - NAfME) in Keokuk, Iowa on in 1907.
- The rise of school bands and orchestral moves leading to a performance-oriented school music program.
- Growth in the publication of musical methods.
- Frances Elliot Clark develops and promotes a library of phonograph records for use in schools.
- Carl Seashore and his students Talent Musical Actions start testing people in music.
The 20th Century Middle 21st Century American Music Education
The following table illustrates some important developments from this period:
Offers music courses and even all degree programs in online music education developed in the first decade of the 21st century in various institutions, and the field of world music pedagogy and popular music pedagogy have also seen significant expansion.
In the late twentieth and early twentieth centuries, the social aspects of learning and teaching music came to the fore. It emerged as a praxis music education, critical theory, and feminist theory. What is important is the colloquia and journal of the MayDay Group, "an international think tank of musical educators aimed at identifying, criticizing, and changing the pattern of professional activity taken-for-granted, polemical approaches to methods and philosophy, and educational politics and public pressure threatening effective practice and critical communication in music education. "With a new focus on social aspects of music education, experts have analyzed important aspects such as music and race, gender, class, institutional ownership, and sustainability.
India
Educational institutional music began in the colonial Indies by Rabindranath Tagore after he founded the University of Visva-Bharati. Currently, most universities have music faculty with several universities dedicated exclusively to fine arts such as Indira Kala Sangeet University, Swathi Thirunal College of Music or Rabindra Bharati University. Indian classical music is based on the gurushysharapara system. The teacher, known as the Master, sends the music knowledge to the students, or shyshya. This is still the main system used in India to transmit music knowledge. Although the art of European music was popularized in schools throughout most of the world during the 20th century (East Asia, Latin America, Oceania, Africa), India remained one of the few high-population nations where non-European native music traditions consistently receive greater emphasis. That said, there are many Western influences in popular music associated with Bollywood movie scores.
Africa
The South African Department of Education and ILAM Music Heritage Project SA teach African music using the western music framework. ILAM's
Since the African era was colonized until 1994, original music and art taught in schools is a rare occurrence. The African National Congress (ANC) seeks to improve the abandonment of indigenous knowledge and the tremendous emphasis on written music literacy in schools. It is not well known that genuine music learning actually has different teaching philosophies and procedures than "formal" western training. It involves the whole community because the indigenous songs are about the history of the people. After the colonization of Africa, music became more centered on Christian beliefs and folk songs of Europe, rather than more improvised and fluid indigenous music. Before major educational change took place from 1994 to 2004, during the first decade of democratic rule, teachers were trained as classroom teachers and said they had to incorporate music into other fields. Some colleges with instructional programs that include instrumental programs hold greater emphasis on music theory, western music history, western music notation, and less to make music. Until 1999, most college syllabuses did not include training in South African indigenous music.
In African culture culture is seen as a community experience and is used for social and religious events. As soon as the children show some signs to be able to handle music or musical instruments they are allowed to participate with adults from the community in a music show. Traditional songs are more important to many people because they are stories about the history of indigenous peoples.
South America
Among the Aztecs, Maya, and the Incas, music is used in ceremonies and rituals to teach the history of their civilization and is also used for worship. The Aztecs were mainly educated by their priests. Music remains an important way to teach religion and history and is taught by pastors for centuries. When Spain and Portugal colonized parts of South America, music began to be influenced by European ideas and qualities. Some European-born priests, such as Antonio Sepp, taught the notation system and European music theory based on their knowledge of playing instruments throughout the 1700-1800s. Since music is taught to the general public by rote, very few know how to read music other than those who play instruments until the nineteenth and twentieth centuries. The development of music in South America mainly follows the development of Europe. The choir was formed to sing the masses, songs, psalms, but secular music also became more common in the seventeenth and eighteenth centuries and beyond.
The music education in Latin America today has a great emphasis on folk music, mass, and orchestral music. Many classrooms teach their choirs to sing in their native language as well as in English. Some Latin American schools, especially in Puerto Rico and Haiti, believe music is an important subject and is working to expand their programs. Outside the school, many communities formed their own musical groups and organizations. Community performances are very popular among local audiences. There are several famous Latin American choir groups, such as "El Coro de Madrigalistas" from Mexico. This famous choir group toured Mexico, showing students around the country what a professional choir choir is.
Education Cross Cultural Music
The music, the language, and the sounds we face in our own culture determine our tastes in music and influence the way we view music from other cultures. Many studies have shown a clear distinction in the preferences and abilities of musicians from around the world. One study attempted to see the difference between the English and Japanese language music preference, providing both groups of people with the same set of tones and rhythms. The same kind of research is done for English and French speakers. Both studies show that the language spoken by the listener determines a more interesting set of tones and rhythms, based on the inflection and natural rhythms of their language groupings.
Other studies conducted by Europeans and Africans try to take advantage of certain rhythms. The European rhythms are orderly and built on a modest ratio, while African rhythms are usually based on irregular ratios. While both groups of people can perform rhythms with European quality, European groups are struggling with African rhythms. It has to do with the ubiquitous complex polarity in African culture and their familiarity with this type of sound.
While each culture has its own musical qualities and appeal, incorporating a cross-cultural curriculum in our music classroom can help teach students how to better understand music from other cultures. Studies show that learning to sing folk songs or popular music from other cultures is an effective way of understanding culture rather than just learning about it. If music classrooms discuss the quality of music and combine styles from other cultures, such as Brazilian roots from Bossa Nova, Afro-Cuban claves, and African drums, it will expose students to new voices and teach them how to compare their culture. music with different music and start making it more comfortable by exploring sound.
Standard and rating
The standard of achievement is the curricular statement used to guide educators in determining their teaching objectives. The use of standards became common practice in many countries during the 20th century. For much of its existence, the curriculum for music education in the United States is determined locally or by individual teachers. In the last few decades there has been a significant step towards the adoption of regional and/or national standards. MENC: National Association for Music Education, created nine standards of voluntary content, called the National Standards for Music Education . [3] This standard requires:
- Singing, alone and with others, a variety of music repertoire.
- Works on instruments, alone and with others, a variety of music repertoire.
- Increase melody, variations, and inclusions.
- Organize and organize music in defined guides.
- Read and mark music.
- Listen, analyze, and describe music.
- Evaluate the appearance of music and music.
- Understand the relationship between music, other art, and the discipline outside of art.
- Understand music in relation to history and culture.
Many state and school districts have adopted their own standards for music education.
Integration with other subject
Some schools and organizations promote the integration of art classes, such as music, with other subjects, such as math, science, or English, believing that integrating different curricula will help each subject to build from each other, improving the quality of education as a whole..
One example is Kennedy Center's "Change Education Through Arts" program. CETA defines the integration of art as finding the natural connection (s) between one or more art forms (dance, drama/theater, music, visual arts, storytelling, wayang, and/or creative writing) and one or more other curricular fields (science, studies social, English, mathematical, and other arts) to teach and assess goals both in the form of art and other subject areas. This allows the focus simultaneously to create, perform, and/or respond to art while still handling content in other subject areas.
The EU Lifelong Learning Program 2007-2013 has funded three projects that use music to support language learning. Lullabies of Europe (for pre-school and early students), FolkDC (for primary), and PopuLLar recently (for secondary). In addition, the ARTINED project also uses music for all subject areas.
Significance
A number of music education researchers and supporters argue that music learning improves academic achievement, such as William Earhart, former chair of the National Conference of Musical Educators, who claims that "Music improves knowledge in mathematics, science, geography, history, foreign languages, physical education, vocational. "Researchers at the University of Wisconsin suggest that students with piano or keyboard experience perform 34% higher on tests that measure spatial-temporal lobe activity, which is part of the brain used when doing math, science, and engineering.
An experiment by Wanda T. Wallace who set the text to the melody suggests that some music can help in remembering the text. He created a three-verse song with a non-repetitive melody; each verse with different music. The second experiment created a three-verse song with repeated melodies; each verse has exactly the same music. The third experiment studied the withdrawal of text without music. He found music that repeatedly produced the highest amount of text, indicating music can serve as a mnemonic tool.
Smith (1985) studied background music with word lists. One experiment involves memorizing a list of words with background music; participants remember the words 48 hours later. Another experiment involves memorizing a list of words without background music; participants also remember the words 48 hours later. Participants who memorize the list of words with background music remember more words that show music gives contextual cues.
Citing studies supporting the involvement of music education in intellectual development and academic achievement, the United States Congress passed a resolution stating that: "Music education enhances intellectual development and enriches the academic environment for children of all ages, and music educators greatly contribute to the arts, intellectual and social children of America and play a key role in helping children to succeed in school. "
Bobbett (1990) states that most of the public school music programs have not changed since their beginnings at the turn of the last century. "... the educational climate is not conducive to their continuity as it is historically conceived and the social needs and habits of people need a completely different band program." A 2011 study conducted by Kathleen M. Kerstetter for the Journal of Band Research found that increased non-music graduation requirements, block scheduling, increased number of non-traditional programs such as magnetic schools, and test emphasis created by No Child Left Behind Act only partially of the problems facing music educators. Both teachers and students are under increasing time constraints "
Patricia Powers states, "It is not unusual to see cutting programs in music and arts when economic problems emerge.It is unfortunate to lose support in this field mainly because music and art programs contribute to society in many ways positive ways." a comprehensive average of $ 187 per student, according to a 2011 study funded by the Association of National Music Merchants Association (NAMM). The Texas Commission for Drug and Alcohol Abuse Report notes that students participating in the band or orchestra report the lowest and current lifespan. use of all substances including alcohol, tobacco, and illegal drugs.
Non-music benefits
Research has shown that music education can be used to improve students' cognitive achievement. In the United States, about 30% of students struggle with reading, while 17% are reported to have a particular learning disability associated with reading. Using an intensive music curriculum as a paired intervention along with regular classroom activities, research shows that students involved with the music curriculum show an increase in reading comprehension, word knowledge, vocabulary, and word coding. When a student sings melodies with texts, they use several areas of their brains to multitask. Music influences language development, improves IQ, spatial-temporal skills, and increases test scores. Music education has also been shown to improve the skills of dyslexic children in similar areas as mentioned before by focusing on visual hearing and fine motor skills as a strategy to combat their disability. Because research in this area is rare, we can not conclusively conclude these findings are correct, but the results of the studies show a positive impact on both students with learning difficulties and those undiagnosed. Further research needs to be done, but a positive draw to bring music into the classroom can not be forgotten, and students generally show a positive reaction to this form of instruction.
Music education has also been noted to have the ability to increase overall IQ, especially in children during peak development years. Spatial abilities, verbal memory, reading and mathematical abilities seem to increase along with music education (especially through instrument learning). The researchers also note that the correlation between general attendance and IQ improvement is real, and because of students' involvement in music education, the general attendance rate increases with their IQ.
Fine motor skills, social behavior, and emotional well-being can also be enhanced through music and music education. The instrumental learning improves fine motor skills in students with physical disabilities. Emotional well being can be improved when students find meaning in the song and relate it to their daily life. Through social interactions playing in groups such as jazz bands and concerts, students learn to socialize and this can be attributed to emotional and mental well-being.
Music advocacy
In some communities - and even the entire national education system - music is given little support as a field of academic lessons, and music teachers feel that they should actively seek greater public support for music education as the subject of legitimate study. This perceived need to change public opinion has resulted in the development of various approaches commonly called "musical advocacy". Music advocacy comes in many forms, some of which are based on legitimate scientific arguments and scientific findings, while other instances are controversial depending on emotions, anecdotes, or inconclusive data.
Popular popular music advocacy projects recently include the "Mozart Effect", the National Anthem Project, and the movements in the World Music Pedagogy (also known as Cultural Diversity in Music Education) that seek fair pedagogical means across students regardless of their race, ethnic, or socioeconomic circumstances. The Mozart effect was highly controversial when early research suggested listening to Mozart positively impact on spatial-temporal reasoning, subsequent studies failed to replicate results, suggesting no effect on IQ or spatial ability, or suggesting Mozart music could replace any enjoying music child in terms called " the joy of pleasure. " Other studies show that even if listening to Mozart can improve students temporal spatial abilities for a while, learning to play the instrument is far more likely to improve student achievement and achievement. Educators have also criticized the National Anthems Project not only to promote the use of music education as a tool for non-musical purposes, but also for its relation to nationalism and militarism.
Contemporary music scholars insist that effective musical advocacy uses empirically audible arguments that transcend political motivation and personal agenda. Music education philosophies such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, John Paynter, and Keith Swanwick support this view, but many music teachers and music and school organizations do not apply this reasoning to their musical advocacy argument. Researchers such as Ellen Winner concluded that art supporters have made false claims for their losses defending music studies, whose research unravels the claim that music education improves math, for example. Researchers Glenn Schellenberg and Eugenia Costa-Giomi also criticized the wrong supporters for correlation with cause and effect, Giomi pointed out that while there is "a strong relationship between musical participation and academic achievement, the causal nature of the relationship is questioned. "Philosopher David Elliott and Marissa Silverman argue that more effective advocacy involves the avoidance of" fooling "values ​​and aiming through slogans and misleading data, energy being a better focus for engaging potential supporters in the making of active music and musical experience Effectively, these acts recognize that music and music making are inherent in human culture and behavior, distinguishing humans from other species.
Female role
While music critics argued in the 1880s that "... women [composers] lacked innate creativity to create good music" because of "biological tendencies", then, it was accepted that women would have a role in music education, and they became involved in this field "... to some extent that women dominated music education during the second half of the 19th century and far into the 20th century." "Traditional notes on the history of music education [in the US] are often ignored, women's contributions, because these texts have emphasized the band and top leaders in hierarchical music organizations." When looking beyond these band leaders and top leaders, women have many educational roles music in "... homes, communities, churches, public schools, and teacher training institutions" and "... as writers, customers, and through their volunteers work in organizations."
Despite the limitations imposed on the role of women in music education in the 19th century, women were accepted as kindergarten teachers, as this was considered a "private space". Women also teach music in private, in girls' schools, Sunday schools, and they train musicians in school music programs. At the turn of the 20th century, women began to be hired as music superintendents at elementary schools, teachers in regular schools and university music professors. Women also became more active in professional organizations in music education, and women presented papers at conferences. A woman, Frances Clarke (1860-1958) founded the National Conference of Musical Supervisors in 1907. While a small number of women served as President of the National Conference of Music Supervisors (and later renamed organization versions over the next century) at the beginning of the 20th century, two women presidents between 1952 and 1992, who "may reflect discrimination."
However, after 1990, the leadership role for women in organizations is open. From 1990 to 2010, there were five female Presidents from this organization. The female music educator "surpasses two-to-one men" in teaching general music, choirs, private lessons, and keyboard instructions. More men tend to be employed such as for band education, administration and jazz work, and more men work in colleges and universities. According to Dr. Sandra Wieland Howe, there is still a "glass ceiling" for women in music education careers, because there is a "stigma" associated with women in leadership positions and "men over women as administrators."
Famous music educator
Professional organization
- Association of American Choir Associations
- The American Orff-Schulwerk Association
- American String Teachers Association
- International Association for Jazz Education
- The International Society for Music Education
- The International Society for Philosophy of Music Education
- National Association for Music Education (based in the US: also called Nafme, and earlier MENC)
- National Association of Music Teachers
Public domain music
Source of the article : Wikipedia
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