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2008, Music Education as Critical Theory and Practice: Selected Essays, London and Burlington, VT:Ashgate Contemporary Thinkers on Critical Musicology Series ISBN 9781409461005; 2008, Music, Informal Learning and the School: A New Classroom Pedagogy, London and New York: Ashgate Press ISBN 978 0 7546 6522 9
Students from the Paul Green School of Rock Music performing at the 2009 Fremont Fair, Seattle, Washington. Popular music pedagogy — alternatively called popular music education, rock music pedagogy, or rock music education — is a development in music education consisting of the systematic teaching and learning of popular music both inside and outside formal classroom settings. [1]
Music education is a field of study that focuses on the teaching and application of music in the classroom. As this addition to the curriculum progresses, the effects and implications to this course of study are being widely debated, especially the factors pertaining to.
In professional training contexts, such as music conservatories, university music performance programs (e.g., Bachelor of music, Master of music, DMA, etc.), students aiming for a career as professional musicians take a music lesson once a week for an hour or more with a music professor over a period of years to learn advanced playing or ...
Music education is a field of practice in which educators are trained for careers as elementary or secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music.
While formal music education has roots going at least as far back as the Hebrews in Egypt [2] or the ancient Greeks, [3] challenges arose as music became more specialized and technically complex after the 5th century BCE in Ancient Greece and as the development of notation shifted music education from training in singing to training in music reading. [4]
Several studies have investigated the effect of music education on the early childhood educators’ capacity for promoting Developmentally Appropriate Musical Practice (DAMP) in the learning environment with young children (de l’Etoile; [2] Nicholas; [3] Rogers, Hallam, Creech, & Preti; [4] Saunders & Baker [5]). For example, these studies ...
The central belief of Suzuki, based on his language acquisition theories, is that all people can (and will) learn from their environment.The essential components of his method spring from the desire to create the "right environment" for learning music, which he also believed would foster excellent character in every student.