This research included 46 teacher candidates studying Computer-Assisted Music Teaching in the Department of Music Teaching Education at Marmara University. The students completed the exam anxiety inventory and CAE attitude scale prior to administration of the computer-assisted music education exam. The results of the research indicated a significant negative relationship between the students‟ CAE attitude levels and their anxiety levels. Findings of the scales showed that, CAE attitudes were high and anxiety levels were low. Findings of the study indicated that the computer education they received contributed positively to their computer experiences and their attitudes towards CAE. Keywords: computer assisted education, test anxiety, instructional technologies
opportunities to learn about this topic at their institution. One might expect HBCU students to know more about Black musical history because of the greater emphasis on Black history, identity, and culture taught at an HBCU, and therefore display a higher baseline score. “HBCUs generally seem to place a distinctive emphasis on formation of student identity, or self-concept, on at least three levels: racial/ ethnic, intellectual, and leadership” (Arroyo & Gasman, 2014, p. 68). However, the similarity between pre-test scores does not support the idea that students at the HBCU know more about Black musical history, at least in this instance on this particular topic, than students at PWIs. It is also likely that prior to college, PWI and HBCU students in this study received years of K-12 Black history education taught through the lens of Whiteness, which often is reductionist and neglects rich, complex topics. Teaching on this level is often limited and rarely involves the aspects of CRML that challenge students to reflect upon the deeply entrenched layers that privilege and position White contributions as superior. Perhaps, years of mainstream education ensured that both the PWI and HBCU students in this study had a similar and limited understanding of Black music history.
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According to Saracho & Spodek (2003) at its core, play is considered activity that is the result of free choice and “inherent motivation” (p. 2). Play often stands in contrast to work, which is typically something that is required of the individual and is not a choice. Musical play, then, is play in which children incorporate music in some way. This normally includes “spontaneous singing, sound exploration, and dance” (Niland, 2009, p. 19). Musical play is an important part of the early childhood classroom. Children are naturally curious about sounds in their environment. They often sing, hum, and chant to themselves as they go throughout their daily activities (Hansen, Bernstorf, & Stuber, 2007). Encouraging musical play in the classroom and planning whole-group musical activities builds upon the natural interests of children and encourages them to further explore their environments through music and sound. Hansen and colleagues (2007) suggested that facilitating a musical environment and encouraging children’s interest in musical play can help provide a classroom environment in which children are engaged and learning occurs. They explained that musical activities help promote literacy learning such as phonological awareness, visualization of text, and vocabulary development. Furthermore, the inclusion of musical play in the classroom promotes non- literacy related skills such as divergent thinking, creativity, problem-solving, and social development.
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better communication and interaction between colleagues and teachers resulting in better Concentration and motivation for conviviality and learning. In this sense, it is important to emphasize the asserted by Levitin (2010) when he says that the musical stimulus moves several areas of the brain and neural systems and the fact of the individual (any individuals, including what has ASD and/or other disturbances) hear or making music, causes intense brain activity, and this activity contributes to human intellectual development. Therefore, there is a consonance between what this author affirms and what the EE responded about the benefit of music and musical activities among students with ASD. Antão et al. (2006) consider music a valuable instrument not only in the communication process but also of rehabilitation, literacy, sensitization and improvement of various aspects of life, thus resulting in the inclusion of these individuals in any environments. The World Music Therapy Federation considers that music therapy, as an intervention in educational environments with individuals with ASD, is valuable as it aims to create favorable conditions for quality of life, physical and social wellbeing, individuals with ASD (Sampaio et al., 2015). It was expected, therefore, this convergence of conceptions among the music therapist’s respondent with the one advocated by the Federation.
So the results of the survey in Table 3 show that it could be found that many college students admitted that music could effectively improve their skills in practice of line dance. The focuses were the need for rhythm training and the improvement of the performance of line dance by understanding of music. It was obvious that the experimental group was more supportive, while the control group was less supportive. After the experiment, the line dance test on college students continued. The results of the related tests showed that the experimental group to which music knowledge was explained could have a deeper under- standing of music and a better sense of rhythm. In addition, the experimental group also had bigger expressive force and tension, and good aesthetic feeling. In conclusion, the improvement of music literacy is of great significance for college students to master the skills of line dance.
“This experience was a great opportunity to meet colleagues from around the country and hear about their schools and programs. Grading the exams for all those days was a great way to boost one’s skill level in a really short time!” Dr. Mary Lenn Buchanan, Professor of Music, was awarded a research grant through the DSU “Health And Wellness In The Delta” foundation fund. She attended the Care of The Professional Voice Symposium in Philadelphia, PA in May 2007 and is conducting informal research on health issues that affect the voice and classroom teachers. In association with the Delta Center for Culture and Learning, in June of 2007, Dr. Buchanan also presented a workshop to MS High School history teachers titled “The Legacy of Opera in Mississippi.” Dr. Buchanan continues to serve as director of the North MS District Metropolitan Opera auditions, secretary/treasurer for the MS National Association of Teachers of Singing conference, and chair of the Department of Music tenure and promotion committee.
Well, another summer has passed us by and I imagine that you are back to the normal routine. I trust you enjoyed some time off with friends and family. I enjoyed spending some time in Montana. My family has a small cherry orchard located on beautiful Flathead Lake in NW Montana, just an hour or so south of Glacier National Park and the Canadian border. Working the cherry harvest and taking in the mountain air is always refreshing and rejuvenating. But it is nice to be back in Cleveland again, and as the new academic year begins, new and returning students and faculty are settling in to the hectic routine of school. I guess one could say that music is in the air again in Zeigel Hall!
MUS 207 Inter Group Piano 1 ( ) ______ MUS 108 Intro Group Piano 1 ( ) _____ MUS 150 Music Theory 3 ( ) ______ MUS 208 Inter Group Piano 1 ( ) _____ MUS 151 Music Theory 3 ( ) ______ MUS 152 Musicianship 1 ( ) _____ MUS 250 Music Theory 3 ( ) ______ MUS 153 Musicianship 1 ( ) _____ MUS 251 Music Theory 3 ( ) ______ MUS 252 Aural Theory 1 ( ) _____ MUS 301 Music History 3 ( ) ______ MUS 253 Aural Theory 1 ( ) _____ MUS 450 Form & Analysis 3 ( ) ______ MUS 302 Music History 3 ( ) _____ MUS 309 Conducting 1 ( ) ______ MUS 350 Orchestration 3 ( ) _____ MUS 311 Inst Conducting 2 ( ) _____
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Wolf Memorial Blues Festival with Hubert Sumlin, Colin Linden, and Willie King was also filmed for an upcoming DVD release about Hubert Sumlin, who made Rolling Stone Magazines' the 100 Greatest Guitarists of All Time list, and whose latest CD release features an all star lineup of Eric Clapton, Keith Richards, Levon Helm, James Cotton, David Johansen, and others. Colin Linden is one of the most sought after Roots Music producers in North America, and was heavily involved in the films O Brother, Where Art Thou? and Down From the Mountain.
The audience enjoyed the well-mannered and well-prepared performances. One of the great things in this ensemble competition was that all participating ensembles included at least one freshman. It is often difficult for freshmen to experience public performances on stage at the early stage of their study at university. However, performing in an ensemble might have made the experience friendlier for them. All music faculty members available during the convocation judged the competition, giving valuable comments to the ensemble groups. The DSU Flute Trio and the Delta State Saxophone Quartet shared first place. After the competition, the participants spoke about their experiences in the preparation process, which was of benefit to their fellow students in the audience.
This fall a new ensemble was formed: The New Music Ensemble. Under the direction of Dr. Mark Snyder, Assistant Professor of Music Production & Technology, and Dr. Andrea Cheeseman, Associate Professor of Music, this 15-member ensemble will perform an eclectic assortment of music, ranging from post-rock to post- modern and performances are planned in a variety of venues, including the Electro-acoustic Juke Joint Festival on November 13, 2008, and a performance of the Film Scoring Class’ score to Nosferatu on October 4, 2008 in the BPAC D&PL Theatre. Look for more information on this group’s activity in the next newsletter.
Professional Education 21 hours MUS 354 String Methods 1 ( ) _____ CUR 300 Survey of Education 3 ( ) ______ MUS 355 Percussion Methods 1 ( ) _____ MUS 388 School Music Meth 3 ( ) ______ MUS 357 Brass Methods 1 ( ) _____ CUR 490 Instr Music Meth 3 ( ) ______ MUS 358 Woodwind Methods 1 ( ) _____ CUR 393 Classroom Mgmt. 3 ( ) ______
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Dr. Jung-Won Shin, Assistant Professor of Music, was invited to perform at the All Liszt Piano Concert in celebration of Franz Liszt’s 200th Birthday at the Manhattan School of Music in New York City, New York, in February 2011. She also presented a collaborative lecture recital with Amy Yeung, titled “A discussion of Richard Strauss’ treatment of the vocal and piano parts in relationship to the poetry in four of his songs about the night,” at the College Music Society (CMS) Southern Regional Conference at Rhodes College in Memphis, Tennessee, in February 2011. Last July, Dr. Shin presented a piano duo recital with Dr. Kumiko Shimizu, titled “Korean and Japanese Works for Four Hands and Two Pianos: Cultures through Music,” at the CMS Biennial International Conference in Seoul, Korea. The recital featured works for piano four hands and piano duo written by Korean and Japanese composers. She also presented a joint concert with Dr. Shimizu as part of the Wednesday Brunch Concert series at Daejeon City Hall in Daejeon, Korea, on July 13, 2011. The concert featured solo pieces by Liszt, Mozart, and Sung, and works for four hands by Nakada and Barber. This year Dr. Shin will continue to serve as Chamber Music Chair of the Mississippi Music Teachers Association.
Over 130 high school students from across Mississippi gathered on the Delta State University campus for the annual Honor Choir festival on February 9-11. These talented students were selected by audition to participate in the festival by members of the DSU music faculty. This year’s guest conductor was Dr. David Childs, Director of Choral Studies at Vanderbilt University in Nashville. Dr. Kumiko Shimizu, Assistant Professor of Piano, served as the accompanist. The weekend concluded with a well-received performance at the Bologna Performing Arts Center. The concert included the world premiere of “Gray Stones in the Grass,” which Dr. Childs composed especially for the festival. Thanks to all who participated!
In the Fall 09 edition of Music Notes, I wrote that students of music are making decisions to attend DSU based not on just the quality of our music program, but the availability of scholarship dollars. Tuition has increased from $2,596 in 1999 to $4,450 in 2009. Next year it will increase yet again. During this same period our pool of scholarship dollars remained unchanged. The result of this combination of events has led to a reduction in the overall scholarship amounts we can offer talented students. This impacts our competitive position with other music schools for recruiting new students to Delta State University. Looking forward, it is vital that we actively develop additional resources that will allow us to improve our ability to financially assist students. Unless we increase our ability to provide financial support for our music students, many of our applicants will go elsewhere.
Desi Melancon Goodson, BME (Voice) ’07 and Tim Goodson, BME (Trombone) ’07 are currently living in Vicksburg, MS. Tim teaches choir at Vicksburg Jr. High School. Desi is teaching elementary music at Sherman Avenue Elementary School where she works with over 600 students each week in grades K-3. Her third-grade choir recently entered a Christmas Contest and won first place - $1,000 to buy new instruments and music for their classroom. Tim and Desi purchased a home in the summer of 2008 and are working to become expert renovaters. Both Tim and Desi are looking forward to becoming parents of a baby girl in May 2009.
Some motion in the last goal began in Zeigel this summer, with several spaces receiving a decorative makeover. We are continuing to “de-clutter” by purging unused and outdated equipment and furnishings. One notable space update is the transformation of the “Renaissance” room in 201 into a dedicated faculty lounge and meeting space complete with running hot and cold water, sink, refrigerator, and several tables for dining and work. This has been sorely needed, and this outstanding and hard-working music faculty deserves it. I really enjoyed working on this metamorphosis from a long-time singular use to one to be enjoyed by all of us.
Abstract: As the population ages, the prevalence of dementia is increasing. Distressing behavioral problems are often part of the illness. This review considers the available evidence for cognitive effects related to music, evidence for the efficacy of music in the management of behavioral problems in dementia, and evidence about the effects of different types of music, their mode of delivery, and any adverse effects. Live music may be more beneficial than recorded. The effect of music may not be lasting, but there is evidence of benefit in studies, which to date are mostly not of high quality.
The primary suggestion of a relationship amongst music and personality by Raymond Cattell. It was his conviction that individuals had numerous traits that were shared to everybody; however every individual has special character tics. He was the antecedent for the statically prouder called the factor analysis. This test has connection between a couple of estimations to inspect exceptional elements. Factor examination prompted the 16 PF test where an individual would be tested on 16 trait (Schultz and Schultz, 2013).The consequences of high and low indicates were then connected to determine specific aspects of personality. These strategies were utilized as a passage to be analysis by other quality theorists Hans Eysenck. Like
In the sections that follow (Shame, Blame, and Acclaim), several examples will illustrate the complex territories in which screen music’s disputed notions of originality operate. These include the film The Artist (dir. Michel Hazanavicius, 2011) whose use of the love theme from Vertigo (dir. Alfred Hitchcock, 1958) so incensed the actress Kim Novak that she wrote a scathing letter of complaint to Variety (2012: 9), raising questions about the morality of plundering antecedent music. A film such as There Will Be Blood (dir. Paul Thomas Anderson, 2007) received a less inflammatory response but was deemed ineligible for submission to the Academy Awards Original Score category because too much of the music was taken from the composer’s own preexisting material. Additionally, Antonio Sánchez’s score for Birdman (dir. Alejandro G. Iñárritu, 2014) was disqualified from the Oscars because the soundtrack featured a substantial amount of preexisting classical music. Legalistically tight interpretations of originality, especially in the last example, failed to appreciate the freshness with which musical ideas were applied in the context of these filmic narratives. Ultimately, this chapter aims to consider the ways in which the thorny concept of originality is perceived within screen music, and to reflect on the implications of this problematization for wider cultural production.
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