The Effect of the Study and Performance of World Music on High School Vocal Music Students' Preferences for World Music PDF Download
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Author: Marjorie A. Simons-Bester
Publisher: ProQuest
ISBN: 9780549594352
Category : Music
Languages : en
Pages : 117
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Book Description
Author: Marjorie A. Simons-Bester
Publisher: ProQuest
ISBN: 9780549594352
Category : Music
Languages : en
Pages : 117
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Book Description
Author:
Publisher:
ISBN:
Category : Dissertations, Academic
Languages : en
Pages : 672
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Author: Stefanie L. Cash
Publisher:
ISBN:
Category : Music
Languages : en
Pages :
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ABSTRACT: The purpose of this study was to examine world music usage within the high school choirs of Georgia. Of interest were the amount of world music used with advanced choirs, which areas of the world were represented, and reasons for its inclusion in the curriculum. Relationships between convention attendance and world music usage were studied, as well as city population size and world music usage. Further, barriers that prohibit teachers from incorporating world music were also examined. After obtaining email addresses for the population, 312 high school choral teachers, a questionnaire containing 13 questions regarding personal and professional demographics, world music programming in the choral curriculum, and issues affecting world music programming was sent out using Survey Monkey. Questions were either single response, based on a 5-point Likert scale, or free response. Upon close of the questionnaire, participants total (N=124) represented a 40% return rate. Results provided further understanding of current programming trends among high school choral directors. When examining relationships between convention attendance and use of world music, results indicated a very weak correlation. However, this correlation corresponds to the main barriers participants find in programming world music. Barriers included lack of experience, exposure and access to world music, and free responses revealed a desire for more sessions at conventions. City population size was also related to world music programming, where participants in metropolis areas tended to program more world music than those in rural areas. Participants indicated diversity in choral music programming by world regions. They most often programmed world music from Africa, followed by music from Latin and South America. Music from the regions South and Southeast Asia and Oceana were rarely programmed. Although participants used music from around the world, the majority did not select music based on their own students' ethnicity. However, free responses indicated they programmed world music so students could understand different cultures. Finally, participants indicated barriers that prevented world music programming. The greatest barrier was a lack of experience, followed closely by a lack of opportunity to learn about world music. Free responses confirmed this finding with a desire for more convention sessions focused on world music. The need for additional sessions corroborates the lack of access expressed by participants. Few teachers lacked interest in world music and funding was not a strong barrier in programming.
Author: Clifford Madsen
Publisher: Rowman & Littlefield
ISBN: 1475859015
Category : Music
Languages : en
Pages : 244
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Book Description
The Housewright Symposium on the Future of Music Education, held at Florida State University in Tallahassee in 1999, assembled 175 music educators, industry representatives, community arts leaders, and students to speculate about what music education might look like in 2020 and the directions the field might take. Participant presentations were published in 2000 as the book Vision 2020, and the current reprint shares the ideas of the likes of Wiley Housewright, Clifford Madsen, Judith Jellison, and other illuminati of music teaching and learning. The contributors to this book asked leading questions about the value of music education, its place in the curriculum, and its possible futures. Many preservice music teachers in the intervening twenty years read chapters like “Why Study Music?” or “How Can All People Continue to Be Involved in Music Education?”—questions whose answers are as relevant today as they were at the end of the last century. As music education moves into a new phase with the current pandemic, the topics considered in this publication are of increasing importance to the discussion. An introduction by two successive presidents of the National Association for Music Education, Kathleen D. Sanz of Florida and Mackie V. Spradley of Texas, place this places this reprint edition in the context of the present day and looks at future directions of the profession.
Author: Paul Gottlieb Dombroske
Publisher:
ISBN:
Category : Bands (Music)
Languages : en
Pages : 150
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Author:
Publisher:
ISBN:
Category : Education
Languages : en
Pages : 306
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Book Description
Author: Simon Frith
Publisher: Manchester University Press
ISBN: 9780719028793
Category : Ethnomusicology
Languages : en
Pages : 244
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Book Description
Twelve essays study the commercialization of ethnic music for markets in the developed world, and the impact on local music and performers in the third world. Drawing on a number of academic disciplines, and music from, among other places, West Africa, Indonesia, Slovenia, Colombia, Israel, and Cuba, the contributors challenge both traditional and progressive assumptions about music. No index. Distributed by St. Martins Press. Annotation copyrighted by Book News, Inc., Portland, OR
Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 10
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Book Description
Author: Patrik N. Juslin
Publisher: Oxford University Press
ISBN: 0199604967
Category : Education
Languages : en
Pages : 990
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Book Description
A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.
Author: Jennifer Marie Dodd
Publisher:
ISBN:
Category :
Languages : en
Pages : 319
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The purpose of this research was to investigate factors affecting choral music preferences of adolescents. The rationale for this research comes from the importance of teaching culturally diverse music in 21st-century music classrooms and the possibility that curricular content and ethnic identity may affect preferences for this music. Six research questions guided the study: (1) How are middle school students' preferences for choral arrangements of folk music grouped? (2) Is there a significant main effect of type of curriculum content instruction on middle school choral students' choral music preference scores? (3) Is there a significant main effect of time on middle school choral students' choral music preference scores? (4) Is there a significant type of curriculum content by time interaction? (5) Descriptively, within each ethnic group, does strength of identity relate differently to growth in scores in different interventions? (6) How do middle school students describe their reasons for their preference? One hundred and thirty-two sixth, seventh, and eighth grade chorus members (11 to 15 years old) participated in the study. Subjects were randomly assigned to one of three intervention groups receiving different curricular content: music concept-based, sociocultural-based, or discussion-based. At the outset of the study, all subjects took a measure of ethnic identity. Two weeks later, all subjects took a preference pretest of eight music excerpts from choral arrangements of folk songs originating from the following cultures: African, American, Asian, and Latin American/Caribbean. One week after their pretest session, subjects took a posttest while simultaneously receiving one of three interventions based on one of three approaches to curricular content. Two factors emerged from principal axis factor analysis of pretest scores. The first factor (simple texture subscale) included arrangements of folk songs with simple unison or predominantly homophonic vocal textures. The second factor (complex texture subscale) included arrangements of folk songs with complex polyphonic vocal textures. A split-plot ANOVA analysis revealed no statistically significant main effects of intervention or time, and no statistically significant interaction of intervention and time for the simple texture subscale. A second split-plot ANOVA revealed no statistically significant main effects, but a statistically significant interaction of intervention and time for the complex texture subscale. A regression analysis revealed that adding ethnic identity scores to preference pretest scores did not help predict to a significantly better extent posttest scores for any of the three intervention groups. Subjects' open-ended responses were placed into one of four categories: musical, sociocultural/linguistic, affect, or perception of performance. Subjects in the sociocultural-based group wrote more sociocultural/linguistic comments than subjects in the other two groups, and subjects in the discussion-based group wrote more affect comments than subjects in the other two groups. Subjects in all three groups seemed to lack the musical vocabulary to describe why they liked or disliked the selections. Comments about perception of performance most often referred to subjects' perceptions that singing songs with complex textures or songs in a foreign language would be too difficult for their chorus. Numerous factors interact to affect music preferences. By continuing to study their students' music preferences, general music teachers and choral directors can gain further insights into how to best approach culturally unfamiliar music. Using a combination of music concept-based, sociocultural-based, and discussion-based curricular content may be an answer to ways to foster positive preferences for culturally unfamiliar choral music. Focusing on curricular content is important; however, general music teachers and choral directors may find success by initially introducing students to culturally unfamiliar choral music with simple vocal textures before songs with complex vocal textures.
