Guest  

 
Search: 
Search By: SubjectAbstractAuthorTitleFull-Text

 

Showing 1 through 5 of 3,997 records.
Pages: Previous - 1 2 3 4 5 6 7 8 9 10 11 12 13 ... 800 - Next  Jump:
2012 - ISME World Conference and Commission Seminars Pages: unavailable || Words: 1900 words || 
Info
1. Durairaj, Manju. "Indian Music and Western General Music Education: Introducing Indian Music in an Elementary General Music Education Setting" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, Thessaloniki Concert Hall, Thessaloniki, Greece, Jul 15, 2012 Online <APPLICATION/PDF>. 2019-08-20 <http://citation.allacademic.com/meta/p547051_index.html>
Publication Type: Workshop/Demonstration
Review Method: Peer Reviewed
Abstract: Indian music is the music of the Indian subcontinent. It is the music of India, Pakistan, Nepal, Bhutan, Sri Lanka, Maldives and Bangladesh. Indian music has two branches, North Indian or Hindustani music and South Indian or Carnatic music. Carnatic music is practiced in the four South Indian states of Karnataka, Tamil Nad, Kerala and Andhra Pradesh. An increasing number of nations now connect with each other through the travel, internet, television and radio. Cultures and traditions are subject to pervading global influences. Indian music with its evocative melodies and rhythms, is gaining popularity all around the world. Indian music, with its roots steeped in antiquity is complex and intricate, but now, more than ever before, it is accessible even in the elementary classroom. Melody and rhythm are the fundamental concepts of most musical traditions. In this workshop, participants explore these concepts in Indian music through movement, song and speech percussion pieces. The workshop aims to provide music educators with concrete lesson ideas that will be effective in the music classroom. The focus of the workshop will be on the music and dances of the Indian subcontinent. The religious practices in the region greatly influence the music. Hence the festivals of Ramadan and Diwali will be discussed. Participants will be led through the teaching process of Dandiya (stick) dances, and Orff arrangements of Ramadan and Diwali percussion pieces, songs and dances. All of the above pieces maybe integrated successfully in any performance that celebrates diversity. Each piece will be presented using the Orff processes of movement, body percussion, and performing on Orff instruments. Participants will be provided with handouts that include lesson plans on introducing Indian Music in the General Music classroom and sheet music and Orff arrangements of the songs.

2010 - ISME World Conference and Commission Seminars Words: 258 words || 
Info
2. Chang, Che-Jung. "A Study of Music Preferences and Emotions of Classical Music Through Movie Music at the Vocational High School Music Classes" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, China Conservatory of Music (CC) and Chinese National Convention Centre (CNCC), Beijing, China, Aug 01, 2010 <Not Available>. 2019-08-20 <http://citation.allacademic.com/meta/p398277_index.html>
Publication Type: Spoken Paper
Review Method: Peer Reviewed
Abstract: The purpose of this study was to investigate if the students’ preference and emotions of classical music will be different throughout movie music experiences or not, and to determine what’s the students’ emotions while listening. The researcher selected the film “Together” directed by Kaige Chen and used this film’s underscore (the third movement of “Scottish Fantasia” composed by Bruch). Participants (N=79) were selected from two classes from one vocational high school: students from one of the classes previewed the film, and the others didn’t. After the movie session, all participants were asked to listen the third movement of “Scottish Fantasia,” and answered the questionnaire related to their preference and emotions.

There were three questions in the questionnaire. The first question asked students to indicate preference on a 10-point semantic differential scale (dislike/like). The second question asked students to check their emotions while listening the music on a checklist revised from the emotions tree of music textbook, include 24 emotional adjectives. The last question was open-ended question for participants to describe their feeling about the music.

Results showed no significant difference in preference between the two classes. However, the film group had more emotional response (N=24) than non-film group (N=21). The major emotions of film group were “elegant” (n=22), “peaceful” (n=16), and “noble” (n=15); and the major emotions of non-film group were “elegant” (n=28), “tender” (n=22), and “lyric” (n=21). The future study would select more participants or different elements such as a film with actors familiar and/or preferred by students to determine is there any differences in preference and emotions.

2010 - ISME World Conference and Commission Seminars Words: 224 words || 
Info
3. Waldron, Janice. "‘Give Me That Good Old Time Music’ Online: A Virtual Ethnography of Music Learning and Teaching in One Online Music Community" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, China Conservatory of Music (CC) and Chinese National Convention Centre (CNCC), Beijing, China, <Not Available>. 2019-08-20 <http://citation.allacademic.com/meta/p397711_index.html>
Publication Type: Abstract
Abstract: Old Time music is one of the oldest forms of traditional folk music in North America, geographically tied to Appalachia. Traditionally people learned Old Time music from friends or relatives and later, through attending local jam sessions and festivals. With the advent of the Internet however, Old Time music has become accessible to any learner in any geographical locale with a URL connection. The Sugar in the Gourd (SITG) website (http://forum.sugarinthegourd.com/) is a primary congregating space of the online Old Time community. The purpose of this paper is to explore the music teaching and learning in the Old Time music online community.

I joined the SITG forum in December 2007 initially participating as an observing non-poster, gaining first insights of member interactions. In July 2009, I began posting on the SITG forum in order to become an active participant-observer for the purposes of this research. Following Hines (2000) and Lysloff (2003), I interviewed participants – members of the SITG forum – online, through chat rooms, e-mail, and bulletin boards.

Questions I ask in this paper include: What compels participants to participate in the Old Time online music community? What factors do participants perceive as significant about their online learning? Do learners perceive online music learning differently from offline music learning? What technologies do learners use and how are learners modifying them to fit their needs?

2010 - ISME World Conference and Commission Seminars Words: 172 words || 
Info
4. Xie, Jiaxing., Hou, Xiaohong. and Liu, Xueliang. "New Perspectives and Means for the Transmission of Beijing Area Folk music——Thoughts Triggered by the Folk Music Carnival of 2009 Beijing Traditional Music Festival" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, China Conservatory of Music (CC) and Chinese National Convention Centre (CNCC), Beijing, China, <Not Available>. 2019-08-20 <http://citation.allacademic.com/meta/p406342_index.html>
Publication Type: Abstract
Abstract: As a crucial performance in Beijing Traditional Music Festival, "Beijing folk music carnival" has profound significance. In this event, our committee invited dozens of folk performances to our campus, which include The Hanchuan of YanQing, The Tongluohui of Songzhuang , The Xiaocheshenghui and so on. These folk performances or exhibitions are all in threat of extinction. Through this folklore onto campus activities are aimed at the development and dissemination of folk in Beijing. And the Beijing area folk performances or exhibitions held in the professional music institution: China Conservactory of music. These triggered the author’ thoughts and exploration.

Traditional Folk Music Festival in Beijing as a platform to showcase Beijing carnival folk performances or exhibitions, to promote the folk tradition and folk artists for the dissemination of folk art. How to promote folk music in the spread of schools:
1. Further explore the possibility of the Beijing folk music tradition in the community.
2. Take "Beijing Traditional Music Festival" Folk Showcase Carnival as an opportunity to promote the transmission of folk music in the local.

2012 - ISME World Conference and Commission Seminars Pages: unavailable || Words: 1772 words || 
Info
5. Waldron, Janice. "Music Teaching and Learning in the Online Academy of Irish Music: Music, Meaning, Identity and Practice in Community" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, Thessaloniki Concert Hall, Thessaloniki, Greece, Jul 15, 2012 Online <PDF>. 2019-08-20 <http://citation.allacademic.com/meta/p551305_index.html>
Publication Type: Spoken Paper (Full Paper) for Commission Seminars
Review Method: Peer Reviewed
Abstract: The purpose of this qualitative field study was to explore the manner in which Irish traditional music (IrTrad)) is taught and learned by teacher and learner participants from the Online Academy of Irish Music (OAIM). Physically headquartered in West County Clare, Ireland, the OIAM is an Irish traditional music school whose teachers form a community of IrTrad musician-teachers based in Ireland and whose students are nonenculturated adult learners from around the world. Formal music instruction is integrated with informal music learning practices and delivered in an online context. This research has implications for informal music learning and formal music teaching in both online and offline contexts.

Pages: Previous - 1 2 3 4 5 6 7 8 9 10 11 12 13 ... 800 - Next  Jump:

©2019 All Academic, Inc.   |   All Academic Privacy Policy