684 research outputs found
The tablet as a classroom musical instrument
Music education is rightly recognised as an important part of children’s social, creative
and academic development. Current UK policy holds that all children should have the opportunity to learn a musical instrument and have access to quality music education. In practice, however, many primary schools do not have the resources and guidance to deliver this, and with the pressures of literacy and numeracy attainment, the more advanced aspects of music education, such as notation and theory, often seem unachievable goals. Primary schools increasingly utilise tablet devices, such as iPads, to improve interactivity, engagement and accessibility in other aspects of learning, but this approach is yet to be widely adopted within music classes. As part of a wider research project funded by the Arts and Humanities Research Council, this study examines the effectiveness of such tablet applications in a Year 5 class on performance and composition, and assesses how this approach might function on a wider level. All children have the right to a music education which allows them to develop their expression and understanding. The modes of interaction and representation with which children are accustomed from regular use of tablets may help to ensure that this is present in every music class
Evaluating Improvisation As A Technique For Training Pre-service Teachers For Inclusive Classrooms
Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher’s self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs ttests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants’ self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants’ aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class iv artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and…, mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student. Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results
Recommended from our members
Music interaction: understanding music and human-computer interaction
We introduce and review recent research in Music and Human Computer Interaction, also known as Music Interaction. After a general overview of the discipline, we analyse the themes and issues raised by the fifteen chapters of this book, each of which presents recent research in this field. The bulk of this chapter is organised as an FAQ. This enables some FAQs to focus on cross cutting issues that appear in multiple chapters, and some chapters to feature in multiple FAQs. Broad topics include: the scope of research in Music Interaction; the role of HCI in Music Interaction; and conversely, the role of Music Interaction in HCI. High-level themes include embodied cognition, spatial cognition, evolutionary interaction, gesture, formal language, affective interaction, and methodologies from social science. Musical activities of interest include performance, composition, analysis, collaborative music making, and human and machine improvisation. Specific issues include: whether Music Interaction should be easy; what can be learned from the experience of being “in the groove”, and what can be learned from the deep commitment of musical amateurs. Broader issues include: what Music Interaction can offer traditional instruments and traditional musical activities; what relevance it has for non-musical domains; and ways in which Music Interaction can enable entirely new musical activities possible
Recommended from our members
The Effect of Individual Versus Collective Creative Problem Solving Experiences on Fourth- and Fifth-grade Students' Compositional Products.
The purpose of the study was to explore the effects that individual vs. collective structured creative musical problem solving tasks had on students' compositional products. Subjects in a convenience sample of 32 fourth-graders and 32 fifth-graders were randomly assigned to either the individual or collective condition. The 3 treatment sessions were characterized by an open-ended creative problem solving task, which included questions intended to guide subjects through 3 stages of the creative problem solving process: Understanding the Problem, Generating Ideas, and Planning for Action. Subjects participated in the pre- and posttest individually. Three experienced music educators assessed the compositional products in terms of pattern use, cohesiveness, and creativity. The originally intended MANCOVAs could not be carried out because the data did not meet the necessary assumptions. Pretest and posttest scores were explored with individual ANOVAs. The Bonferroni technique was used to adjust the alpha level. The statistical analyses showed that subjects exposed to the individual condition obtained higher scores than subjects exposed to the collective condition on six of the eight explored subtests, but these differences were not significant. The level of interjudge reliability decreased at each of the three measurements of the study: pilot test, pretest, and posttest. The study's results suggest that music educators interested in observing specific characteristics of individual students' compositional products, such as the levels of cohesiveness, creativity, and pattern use, could do so regardless of the condition under which students were exposed to compositional tasks, either individually or collectively. Recommendations for future research include the use of a measurement instrument specifically designed for open-ended tasks, and the exploration of the current study's measurement instrument with closed-ended tasks. The study highlights the need for appropriate measurement instruments designed for the compositional tasks at hand, and the need for research results reported clearly, so that more advancement of this field is possible
Perspectives in Gifted Education: Creativity
This is the fifth in a series of monographs published through the Institute for the Development of Gifted Education at the University of Denver, and it has been graciously funded by the Lynde and Harry Bradley foundation. The first monograph contained different perspectives on the growth and development of young gifted children while the second addressed the characteristics and needs of the twice-exceptional - those who are gifted and also have some type of disabling condition. The third monograph focused on the personality and spiritual and character development of gifted children; the fourth explored giftedness in a variety of diverse, under-represented populations of learners.
It is a pleasure to welcome Dr. Bonnie Cramond as guest editor for this issue. which is focused on aspects of creativity and the gifted learner. Dr. Cramond is currently a Professor in the Department of Educational Psychology and Instructional Technology at the University of Georgia and has formerly been director at the Torrance Center for Creativity and Talent Development. During her career she has worked as a classroom teacher and university professor and researcher, and she has assumed many leadership roles through membership on national boards, editorship of journals, presentations at conferences, and contributions to books, articles and monographs. Her efforts and leadership have furthered professional understanding of creative learners.https://digitalcommons.du.edu/perspectivesingifteded/1004/thumbnail.jp
Recommended from our members
Musical expertise as a scaffold for novice programming
textThis study addresses the role of musical expertise on novice computer programming. Engaging novices with computer programming is one of the great challenges of computer science education. Although there is extensive research focusing on constructionist approaches to programming education and creative entry points to programming, little research addresses the topic of how musical expertise informs an unstructured programming activity. To answer this question I focused on the role of participant talk during programming, patterns in participant programming, and evidence of computational thinking in participants’ final Scratch projects.
For this interpretivist study, I worked with a dozen novice programmers from a variety of musical backgrounds: classical musicians, jazz musicians, composers, and non- musicians. Each participant worked on a free-form musical project in the Scratch programming environment. I collected data including participant talk, screen recordings of participant programming, and participants’ final Scratch projects.
Overall, musical participants more readily took to the numeracy involved in programming music in Scratch. Also, musical participants were able to use musical concepts and techniques as jumping-off points for programming challenges. Considering my results by participant group, composers stood out in a number of ways: working the
longest, testing their programs the most often, adding Scratch objects the slowest, v
removing the most Scratch objects, creating projects of the greatest nested depth, and unanimous use of operators and random numbers. Non-musicians, on the other hand, worked for the shortest amount of time, added the fewest Scratch objects, and created projects of the lowest nested depth.
In addition to adding to the body of research around chunking and tinkering, this study reinforces the importance of context and comfort in an introduction to computer programming. Composition may be an especially rich area to leverage, given the design- like programming activity of the composers here. Future research projects could resemble this one while focusing on younger learners, explicit musical concepts like those invoked by participants, or alternative performing arts framings such as theater or dance.Curriculum and Instructio
Recommended from our members
Supporting virtuosity and flow in computer music
As we begin to realise the sonic and expressive potential of the computer, HCI researchers face the challenge of designing rewarding and accessible user experiences that enable individuals to explore complex creative domains such as music.
In performance-based music systems such as sequencers, a disjunction exists between the musician’s specialist skill with performance hardware and the generic usability techniques applied in the design of the software. The creative process is not only fragmented across multiple physical (and virtual) devices, but divided across creativity and productivity phases separated by the act of recording.
Integrating psychologies of expertise and intrinsic motivation, this thesis proposes a design shift from usability to virtuosity, using theories of “flow” (Csikszentmihalyi, 1996) and feedback “liveness” (Tanimoto, 1990) to identify factors that facilitate learning and creativity in digital notations and interfaces, leading to a set of design heuristics to support virtuosity in notation use. Using the cognitive dimensions of notations framework (Green, 1996), models of the creative user experience are developed, working towards a theoretical framework for HCI in music systems, and specifically computer-aided composition.
Extensive analytical methods are used to look at corollaries of virtuosity and flow in real-world computer music interaction, notably in soundtracking, a software-based composing environment offering a rapid edit-audition feedback cycle, enabled by the user’s skill in manipulating the text-based notation (and program) through the computer keyboard. The interaction and development of more than 1,000 sequencer and tracker users was recorded over a period of 2 years, to investigate the nature and development of skill and technique, look for evidence of flow experiences, and establish the use and role of both visual and musical feedback in music software. Quantitative analyses of interaction data are supplemented with a detailed video study of a professional tracker composer, and a user survey that draws on psychometric methods to evaluate flow experiences in the use of digital music notations, such as sequencers and trackers.
Empirical findings broadly support the proposed design heuristics, and enable the development of further models of liveness and flow in notation use. Implications for UI design are discussed in the context of existing music systems, and supporting digitally-mediated creativity in other domains based on notation use
Cognition and musical improvisation in individual and group contexts
The aims of this research are to investigate how improvisatory skills develop in individuals and\ud
teams. It focuses upon the effect of musical expertise in different musical genres on the\ud
development of improvisatory skills. Multi methods were applied in the research and classified\ud
into four phases. The first phase involved a self-case study implementing deliberate self\ud
regulated practice based on a planned sequential model; a) sight-reading; b) memorising; and c)\ud
improvising; over 8 weeks in a trained classical musician. Additionally, the self-case study used\ud
two commissioned musical compositions matched in length, harmony and structure, one in the\ud
classical genre the other in jazz. In the 2nd phase, semi-structured interviews were conducted\ud
with novice and expert improvisers. The final phases included experiments studying sightreading,\ud
memorising and improvising as a duo and observations and interviews relating to\ud
ensemble rehearsals and improvisation with cross genre compositions. The findings suggest\ud
that learning to improvise is frustrating and anxiety provoking. Seven elements were found to\ud
be important in acquiring musical skills and domain knowledge acquisition: physiological\ud
adaptation and developing reading music skills; establishing auditory schemata; automaticity;\ud
use of memorisation strategies; analytic strategy application; and improvising to a coherent\ud
musical structure. The findings also show that sight-reading and improvising share similarities\ud
in their characteristics when learning to improvise as a duo. Issues such as communicating to\ud
the audience, performance identity and connecting to the context are essential in the duo\ud
improvisation performance. The findings indicate that a 'concept of break-points' (Poole,\ud
1983) take place during the latter stage of the ensemble improvisation process where changes\ud
occur across all three elements, musical structure, social structure and communicative behavior. (Bastien\ud
and Hostager, 2002:21) Factors such as leadership, group member characteristic, resource, information flow, the creative environment and collateral structure can influence the quality of\ud
group improvisation performance
- …