Peran Mata Kuliah Solfeggio Untuk Meningkatkan Kemampuan Sight-Reading, Ear Training dan Menuliskan Dalam Bermusik

Penelitian ini mengangkat masalah peran mata kuliah solfeggio untuk meningkatkan kemampuan sight-reading, sight hearing dan menuliskan dalam bermusik. Peneliti menemukan masalah pada mahasiswa, kurangnya memahami mata kuliah solfeggio sehingga membuat mereka sulit untuk mengikuti perkuliahan dengan mata kuliah musik lainnya ketika hendak membaca partitur lagu, mendengarkan ritme, nada bahkan belum pahamnya bagaimana cara menuliskan nada yang benar pada garisparanada. Metode penelitian yang digunakan dalam penelitian ini adalah metode penelitian deskriptif kualitatif sebagai pendekatan dalam menggali data serta tahapan-tahapan yang harus dilakukan. Teknik pengumpulan data yang dilakukan berupa wawancara, observasi, dan studi pustaka. Penelitian ini mendapatkan hasil bahwa mata kuliah solfeggio sangat mempunyai peran penting terhadap mata kuliah musik lainnya dan mata kuliah solfeggio dapat mengatasi permasalahan yang dihadapi mahasiswa selama peroses pembelajaran mata kuliah musik lainnya. Permasalahannya yaitu mahasiswa jadi mampu untuk membaca notasi musik pada partitur lagu, serta memberikan kepekaan mahasiswa terhadap musik

Boston University Wind Ensemble, December 9, 2004

This is the concert program of the Boston University Wind Ensemble performance on Thursday, December 9, 2004 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were "Slava!" by Leonard Bernstein (trans. Clare Grundman), Concerto for Horn, Op. 8 by Franz Strauss (arr. Phillips), "Csardas" by Vittorio Monti (arr. L. Trent David), "Postcard" by Frank Ticheli, Fourth Symphony by Alfred Reed, and "Dionysiaques" by Florent Schmitt. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Melodia : A Comprehensive Course in Sight-Singing (Solfeggio)

Melodia is a 1904 book designed to teach sight-singing. The educational plan is by Samuel W. Cole; the exercises were written and selected by Leo R. Lewis. Melodia is presented here as a complete edition and has also been divided into its four separate books.https://scholarworks.sjsu.edu/oer/1000/thumbnail.jp

ECE Music Courses in Higher Education: Rhythmic Learning Based on Local Culture Through the Solfeggio Technique

The lack of learning techniques used by teachers in teaching music in early childhood, especially rhythmic learning, in general teachers only teach rhythm by explaining the value of notes, not using singing, and not connecting it with singing. The purpose of this research is to describe the effectiveness of rhythmic learning using cultural-based solfeggio techniques through lecture assignments. The research method used is descriptive qualitative with an emphasis on exploration. Data collection was taken from the results of the learning value of the rhythmic ensemble which lasted for four meetings. The results showed that of the eighteen students who attended the Culture-Based Arts Education course, when it came to Rhythmic Ensemble, fifteen of them got an A and only one got an A-. All of them can read notes and show them through body rhythmics while singing folk songs. Therefore, it can be recommended that early childhood teachers for music learning, especially in discussing the value of notes/rhythmic learning, use the solfeggio technique using folk songs to introduce local culture from an early age. Keywords: ECE program student, rhythmic learning, local culture, solfeggio technique References: Banoe, P. (2003). Kamus musik. Kanisius. Bronson, M. B. (1995). The right stuff for children birth to 8: Selecting play materials to support development. Natl Assn for the Education. Burak, S. (2019). Self-efficacy of pre-school and primary school pre-service teachers in musical ability and music teaching. International Journal of Music Education, 37(2), 257–271. https://doi.org/10.1177/0255761419833083 Carrillo, C., Baguley, M., & Vilar, M. (2015). The Influence of Professional Identity on Teaching Practice: Experiences of Four Music Educators. International Journal of Music Education, 33(4), 451–462. https://doi.org/10.1177/0255761415582348 Duţică, L. (2018). Assessment Typologies Used Within the Discipline Theory, Solfeggio, Musical Dictation. Review of Artistic Education, 15(1), 37–43. https://doi.org/doi:10.2478/rae-2018-0004 Eyles, A.-M. (2018). Teachers’ Perspectives about Implementing ICT in Music Education. Australian Journal of Teacher Education, 43(5), 110–131. https://doi.org/10.14221/ajte.2018v43n5.8 Hamilton, A. (2007). Music and the Aural Arts. The British Journal of Aesthetics, 47(1), 46–63. https://doi.org/10.1093/aesthj/ayl038 Ismail, M. J., Fung Chiat, L., & Anuar, A. F. (2021). Learning Music Through Rhythmic Movements in Malaysia. Malaysian Journal of Learning and Instruction, 18(Number 1), 241–263. https://doi.org/10.32890/mjli2021.18.1.10 Jing, W., & Danprdit, P. (2022). Piano Rhythmic Exercise for Preschool Education Major Teaching at Taiyuan Teacher College. Journal of Green Learning, 2(2), 100–105. https://doi.org/10.53889/jgl.v2i2.120 Kim, H., Sefcik, J. S., & Bradway, C. (2017). Characteristics of Qualitative Descriptive Studies: A Systematic Review. Research in Nursing & Health, 40(1), 23–42. https://doi.org/10.1002/nur.21768 Kiraly, Z. (2003). Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer. International Journal of Music Education, os-40(1), 41–58. https://doi.org/10.1177/025576140304000105 Lubkov, A. V. (2020). Modern Problems of Pedagogical Education. The Education and Science Journal., 22(3). https://doi.org/10.17853/1994-5639-2020-3-36-54 Mohedo, M. T. D., & Bújez, A. V. (2012). Improving Learning in a Professional Context: A Research Perspective on the New Music Teacher. Procedia - Social and Behavioral Sciences, 69, 579–584. https://doi.org/10.1016/j.sbspro.2012.11.449 Niland, A. (2009). The Power of Musical Play: The Value of Play-Based, Child-Centered Curriculum in Early Childhood Music Education. General Music Today, 23(1), 17–21. https://doi.org/10.1177/1048371309335625 Wang, L. (2022). The Skill Training of Reading Music in the Teaching of Solfeggio and Ear Training in the New Media Environment. Applied Bionics and Biomechanics, 2022, 1–11. https://doi.org/10.1155/2022/8209861 Zhang, W. (2022). Practice and Exploration of Music Solfeggio Teaching Based on Data Mining Technology. Journal of Environmental and Public Health, 2022, 5436772. https://doi.org/10.1155/2022/5436772 &nbsp

Changes in Conceptions of Music Education in Junior High School Curricula during the Twentieth Century in France

International audienceThe paper aims at describing and analysing the emerging explicit and implicit values in seven series of curriculum for the teaching of music from 1925 to 1997. The dimensions and transformations which can be found in these official texts are analysed from an epistemic and didactic point of view according to the text analysis method (Tropes software). The analyses highlight different teaching approaches. Before 1977, the references employed show that these texts are more teaching-oriented than learning-oriented. The various sorts of knowledge are superimposed according to positivist cumulative even teleological logic as regards the history of music, solfeggio, audition and singing. 1977 marks a transition: training in art and through art. From 1977 to 1998, historic determinism is replaced by a constructivist representation of knowledge: the advent of the subject pupil, the primacy of sensitivity and of practice over knowledge. The auto-structuring aims (expression, invention) replace the hetero-structuring aims (works, history of music, solfeggio)