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21st Century Innovation in Music Education - Proceedings of the 1st International Conference of the Music Education Community (INTERCOME 2018), October 25-26, 2018, Yogyakarta, Indonesia (Paperback)
Bambang Sugeng, Nila Kurniasari, Tutut Herawan, Christopher Drake, A.S. Hadi, …
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R1,518
Discovery Miles 15 180
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Ships in 12 - 17 working days
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Music is an expression of feelings of the soul conveyed through the
medium of sound. But not all sounds are music. It might be said
that only an organised sound or series of sounds can be called
music. Thus, music is connected to the eternal and constant flow
and order of the universe, to the laws and rhythms of nature. It
can also be said that musical order is comparable to the natural
order of the universe. There are laws of a certain nature in the
natural sciences and likewise in music there are structures and
procedures, or even rules, that should be followed to produce
beautiful music. The International Conference "Innovations for 21st
Century Music Education and Research" provided a timely opportunity
to take stock of the latest developments in music education and
brought together educators, researchers and members of the broader
community in a welcoming forum in which they were able to express
theoretical and practical views, concepts, research results and
principles to help support the further development of music
education.
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21st Century Innovation in Music Education - Proceedings of the 1st International Conference of the Music Education Community (INTERCOME 2018), October 25-26, 2018, Yogyakarta, Indonesia (Hardcover)
Bambang Sugeng, Nila Kurniasari, Tutut Herawan, Christopher Drake, A.S. Hadi, …
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R5,389
Discovery Miles 53 890
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Ships in 12 - 17 working days
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Music is an expression of feelings of the soul conveyed through the
medium of sound. But not all sounds are music. It might be said
that only an organised sound or series of sounds can be called
music. Thus, music is connected to the eternal and constant flow
and order of the universe, to the laws and rhythms of nature. It
can also be said that musical order is comparable to the natural
order of the universe. There are laws of a certain nature in the
natural sciences and likewise in music there are structures and
procedures, or even rules, that should be followed to produce
beautiful music. The International Conference "Innovations for 21st
Century Music Education and Research" provided a timely opportunity
to take stock of the latest developments in music education and
brought together educators, researchers and members of the broader
community in a welcoming forum in which they were able to express
theoretical and practical views, concepts, research results and
principles to help support the further development of music
education.
Free to Be Musical: Group Improvisation in Music is for those who
lead musical experiences in the lives of children, youth, and
adults. Offering a set of experiences to inspire creative musical
expression, this book will prove useful for music education majors,
practicing music teachers, community musicians, and music
therapists alike. The experiences (or "events") are designed to
reduce the musical barriers that Western societies pass on to
children by the time they reach the "age of reason," when the
natural childhood penchant to sing, dance, and play musically gives
way to perfect performances of standard repertoire preserved in
Western staff notation. The authors present ways to encourage music
that is expressive and inventive, spontaneous yet thoughtful,
communal and collaborative, and unlimited in its potential to bring
fulfillment to those who make it. You'll find opportunities to
release the musical imagination in ways that are free and
expansive, playful and instructive, personal and interpersonal.
Higgins and Campbell have created a context that validates the
experiments and explorations of all people who are potential makers
of all styles of music. Their musical events embrace the belief
that music-making is "a trail of no mistakes," a celebration of the
many and varied musical pathways that both teacher and student can
take.
The two-volume Oxford Handbook of Music Performance provides a
resource that musicians, scholars and educators will use as the
most important and authoritative overview of work within the areas
of music psychology and performance science. The 80 experts from 13
countries who prepared the 53 chapters in this handbook are leaders
in the fields of music psychology, performance science, musicology,
psychology, education and music education. Chapters in the Handbook
provide a broad coverage of the area with considerable expansion of
the topics that are normally covered in a resource of this type.
Designed around eight distinct sections - Development and Learning,
Proficiencies, Performance Practices, Psychology, Enhancements,
Health & Wellbeing, Science, and Innovations - the range and
scope of The Oxford Handbook of Music Performance is much wider
than other publications through the inclusion of chapters from
related disciplines such as performance science (e.g., optimizing
performance, mental techniques, talent development in non-music
areas), and education (e.g., human development, motivation,
learning and teaching styles) as well as the attention given to
emerging critical issues in the field (e.g., wellbeing, technology,
gender, diversity, inclusion, identity, resilience and buoyancy,
diseases, and physical and mental disabilities). Within each
chapter, authors have selected what they consider to be the most
important scientific and artistic material relevant to their topic.
They begin their chapters by surveying theoretical views on each
topic and then, in the final part of the chapter, highlight
practical implications of the literature that performers will be
able to apply within their daily musical lives.
The two-volume Oxford Handbook of Music Performance provides a
resource that musicians, scholars and educators will use as the
most important and authoritative overview of work within the areas
of music psychology and performance science. The 80 experts from 13
countries who prepared the 53 chapters in this handbook are leaders
in the fields of music psychology, performance science, musicology,
psychology, education and music education. Chapters in the Handbook
provide a broad coverage of the area with considerable expansion of
the topics that are normally covered in a resource of this type.
Designed around eight distinct sections - Development and Learning,
Proficiencies, Performance Practices, Psychology, Enhancements,
Health & Wellbeing, Science, and Innovations - the range and
scope of The Oxford Handbook of Music Performance is much wider
than other publications through the inclusion of chapters from
related disciplines such as performance science (e.g., optimizing
performance, mental techniques, talent development in non-music
areas), and education (e.g., human development, motivation,
learning and teaching styles) as well as the attention given to
emerging critical issues in the field (e.g., wellbeing, technology,
gender, diversity, inclusion, identity, resilience and buoyancy,
diseases, and physical and mental disabilities). Within each
chapter, authors have selected what they consider to be the most
important scientific and artistic material relevant to their topic.
They begin their chapters by surveying theoretical views on each
topic and then, in the final part of the chapter, highlight
practical implications of the literature that performers will be
able to apply within their daily musical lives.
Music education takes place in many contexts, both formal and
informal. Be it in a school or music studio, while making music
with friends or family, or even while travelling in a car, walking
through a shopping mall or watching television, our myriad sonic
experiences accumulate from the earliest months of life to foster
our facility for making sense of the sound worlds in which we live.
The Oxford Handbook of Music Education offers a comprehensive
overview of the many facets of musical experience, behavior and
development in relation to this diverse variety of contexts. While
the first volume primarily focuses on children during school-age
years, this second collects an international list of contributors
to explore how music learning takes place outside of the
traditional classroom environment. Discussing a range of issues
such as music education for the special needs population, music
learning in adulthood, and music learning through media and
technology these chapters help to broaden conceptions of music and
musical involvement. Whether they are used individually or in
tandem, the two volumes of The Oxford Handbook of Music Education
update and redefine the discipline, and show how individuals across
the world learn, enjoy and share the power and uniqueness of music.
Free to Be Musical: Group Improvisation in Music is for those who
lead musical experiences in the lives of children, youth, and
adults. Offering a set of experiences to inspire creative musical
expression, this book will prove useful for music education majors,
practicing music teachers, community musicians, and music
therapists alike. The experiences (or 'events') are designed to
reduce the musical barriers that Western societies pass on to
children by the time they reach the 'age of reason, ' when the
natural childhood penchant to sing, dance, and play musically gives
way to perfect performances of standard repertoire preserved in
Western staff notation. The authors present ways to encourage music
that is expressive and inventive, spontaneous yet thoughtful,
communal and collaborative, and unlimited in its potential to bring
fulfillment to those who make it. You'll find opportunities to
release the musical imagination in ways that are free and
expansive, playful and instructive, personal and interpersonal.
Higgins and Campbell have created a context that validates the
experiments and explorations of all people who are potential makers
of all styles of music. Their musical events embrace the belief
that music-making is 'a trail of no mistakes, ' a celebration of
the many and varied musical pathways that both teacher and student
can tak
Music educators and practicing musicians have failed to benefit as much as they could from the past two decades of music psychology research. In this volume, Parncutt and McPherson propose to improve the situation by describing new approaches, informed by recent psychological research, to teaching music, learning music, and making music at all educational levels. Each chapter represents the collaboration between a music psychologist and a music educator. The articles begin by outlining music-psychological issues that are probably unfamiliar to musicians and music educators. Then, they propose teaching strategies and materials inspired by the psychologists' findings. The volume's twenty-one articles cover the broad issues of "the developing musician", "subskills of musical performance", and "instruments and ensembles".
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