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Nowadays classroom practice is heavily influenced by an increase in resources linked to Artificial Intelligence (AI), and music education is no exception. Teachers still find difficulties in achieving a balance between content and skills, but, without a doubt, the practical opportunities offered by AI in Secondary Education are motivating for students. The objectives of this investigation are to analyze the experience of teachers in AI, quantify the skills learned by students, and examine the training needs that allow for the didactic use of AI. The focus of this study was on the perception of specialist teachers of music in relation to the resources and utilities of AI. The study was carried out in the Autonomous Community of Madrid, with a random sample of 301 participants, all of them teachers in Secondary Education schools. A mixed, qualitative and quantitative, questionnaire was employed to gather data. Results revealed that almost 40% of the teachers had been in contact with AI tools, around 30% had received training, and, when asked about their knowledge of the educational legislation, 91% highlighted they did not know how AI was articulated legislatively. Regarding teachers' demands in relation to AI, the most common ones referred to software management (60%), classroom resources (19%), and group dynamics (10%). More than 94% considered that it is necessary to increase training in resources linked to AI. [ABSTRACT FROM AUTHOR]

Statistical analysis of the time-to-event scenarios commonly involves the use of the exponential and Rayleigh distributions. However, the exponential distribution is constrained by its constant failure rate, while the Rayleigh distribution exhibits a growing (or increasing) failure rate. The linear failure rate distribution provides a broader perspective by encompassing both of these distributions, including the possibility of a non-increasing hazard function. In this paper, a new distribution is introduced, which could be considered as one of the major modifications to the linear failure rate distribution, known as the weighted linear failure rate distribution. The model proposed illustrates both monotonic and a known non-monotonic failure rate. This paper extensively explores the characteristics of the proposed distribution. It presents the maximum likelihood estimates for the unknown parameters and includes a simulation study. The analysis focuses on three real data sets obtained from the fields of musical education and engineering. By employing three decisive tools, it is observed that the current distribution provides a superior fit in comparison to several other widely recognized distributions. [ABSTRACT FROM AUTHOR]

Copyright of Journal History of Latin American Education / Revista Historia de la Educación Latinoamericana is the property of Universidad Pedagogica y Tecnologica de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this article is an empirical study of the effectiveness of learning to play the bass guitar using virtual platforms. The empirical study employed such methods as the non-parametric Student’s t-test, the parametric Levene’s test, SWOT analysis and the interview method, the SPSS Statistics 26 package. The results showed a statistically significant improvement in the academic performance of students in the experimental group (EG) after using digital teaching methods, with an increase in average scores when playing the bass guitar by 6.25 points. Intragroup comparisons showed statistically significant improvements (p-value = .000) in the studied subject in the EG. The conclusions emphasize the importance of using digital learning methods to improve academic performance, offering valuable empirical data for the development of educational practices and the basis for further research in this area. Research prospects are based on the need to develop interactive and multimedia resources in the context of studying different forms of art, which contribute to improving the understanding and involvement of students.

Copyright of Revista de la Asociacion Aragonesa de Criticos de Arte is the property of Asociacion Aragonesa de Criticos de Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the important elements of musical education is correct body posture and the ability to properlay use the motor organ to play. This work presented the possibility of applying biomechanical tests to support and enhance the education of playing instruments. The results showed that it is possible to perform such an assessment based on measurements of the body's centre mass (COM) and loads exerted on the feet. The measurement data collected in this way enables quantitative evaluation of the body posture and the COM movement during the playing activity. [ABSTRACT FROM AUTHOR]

Copyright of EDU REVIEW: International Education & Learning Review / Revista Internacional de Educación & Aprendizaje is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Revista Linguagens, Educação e Sociedade (LES) is the property of Revista Linguagens, Educacao e Sociedade (LES) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Horizonte de la Ciencia is the property of Horizonte de la Ciencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The musical preparation of teachers to work with preschool and school-age children is an essential issue in the global academic discourse. Most studies confirm that many teachers and caregivers of young children have limited knowledge and poor professional skills to organize effective music education. In the world, there is a lack of good musical education for students and in-service training for teachers to meet the expectations of modern curricula It pays attention to different elements of musical preparation, such as knowledge, skills, training, abilities, attitudes, and motivation. This paper presents the model of musical competencies of preschool and school teachers, based on the division of teaching competencies (substantive, methodical, and pedagogical). The authors focus on the musical education and self-esteem of the preschool and school teachers. The article also highlights the need for continuous development of teachers’ musical competence. The supportive strategies to develop the musical competencies and skills of future teachers are crucial.

Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils’ body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective.

Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils' body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective. [ABSTRACT FROM AUTHOR]

The paradigmatic approach in the study of vocal phenomena art offers new approaches and produces non-traditional standards of scientific thinking, making significant corrections to the general scientific picture of the world. This is precisely what is connected with the growth of scientific interest in the multidimensional personality phenomenon of music theorist, composer, pianist-concertmaster Boleslav Yavorsky (1877-1942) and his influence on the formation of the vocal paradigm of music education in Ukraine. Historical musicology, exploring different areas of artistic life, has lost track of an important topic such as the concertmaster activity of pianistscomposers who traditionally accompanied the performance of not only their but also other's compositions, resulting in the unique creative act when one author was becoming the interpreter of other master's compositions - his predecessor or contemporary. In the cognition of music history, such artistic events are of notable significance, as they reflect not just the performing evolution but also the process of creative reframing of the musical material. The main benefits of Yavorsky's theory consist in analyzing the structure of mode formation and the internal modal organization of musical composition and musical-historical processes as well as drawing analogies in the development of various kinds of arts. [ABSTRACT FROM AUTHOR]

The paper discusses the role of teachers in the identification and support of musically gifted students. The goal is to point out the role of teachers in the identification and support of musically gifted students, but also the importance of timely discovery of musically gifted students for the development of musical abilities. Musical giftedness is the earliest of all giftednesses. The role of the teachers in the identification of musically gifted students is great and of great importance for the further advancement and development of musical abilities. It is the teacher's responsibility, but a great challenge, to design and implement more complex musical activities that encourage and direct the development of musically gifted students. In this regard, the teacher should encourage students to engage in music ‒ sing more complex songs, listen to quality musical works, play children's musical instruments, but also refer them to activities within children's musical creativity. Methodical instructions for the realization of certain musical activities are given in the paper. [ABSTRACT FROM AUTHOR]

The proliferation and increasing application of modern technology have led to the improvement of tactics used to teach to play guzheng, the Chinese national instrument. This study aimed to investigate the effectiveness of using MOOCs (Massive Open Online Courses) for this purpose to argue on the possibility of reforming guzheng instruction in Chinese schools. The basis of this investigation was represented by a specially developed MOOC and an online survey. Verification of the collected data was made by means of Fisher's exact test. As research participants, 88 seventh graders and 10 teachers from three schools in China (China, Taiyuan, Jinzhong) were invited. The time frame this study covered was from February to June of the 2020-2021 academic year. The outcomes obtained from the conducted experiment indicate that the lowest grades were obtained by students who took traditional guzheng lessons and did not take advantage of online learning (71.1, 72.9, and 73.0 for each institution, with an average of 72.3). At the same time, the results of respondents who were additionally involved in the dedicated MOOC were notably higher: 78.8, 78.1, and 79.2, with an average of 78.7 (8.1% better). These data show that the use of modern technology when teaching students to play guzheng is effective. The outcomes of the survey on students' impressions from the proposed learning course and its usefulness revealed that 98% of all the persons involved were satisfied with their participation in the MOOC. Students showed high support for the statements claiming MOOC's positive impact on teachers' intercultural professionalism in guzheng teaching and overall approach to instruction. The practical and scientific significance of this study resides in the fact that it demonstrates the effectiveness of modern technology, particularly distance learning platforms, in the context of guzheng learning. This paper demonstrates clearly that through the use of additional multimedia, better results can be achieved. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

British conductor Paul Mann is a regular guest with many major orchestras throughout Europe, the US, Australia, and the Far East. Orchestras with which he has worked include the London Symphony Orchestra, Royal Liverpool Philharmonic, Royal Scottish National Orchestra, Netherlands Radio Philharmonic, St Petersburg Philharmonic, RAI Torino, Orchestra dell’Arena di Verona; the BBC Orchestras, City of Birmingham Symphony, Hallé, among many others. Mr Mann has guest-conducted extcollaborations with USA and is a regular guest with the New York City Ballet. Projects with the LSO included collaborations the legendary rock group Deep Purple in two widely acclaimed performances of Jon Lord’s Concerto for Group and Orchestra at the Royal Albert Hall, the live DVD and CD which remain international bestsellers. Paul Mann was chief conductor of the Odense Symphony Orchestra in Denmark until 2008 and has made numerous critically acclaimed recordings for labels such as Bridge, Warner Classics, Da Capo, EMI, and Toccata Classics.

Copyright of RED - Revista de Educación a Distancia is the property of Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An education innovation involves profound transformations of our institutions, values, perceptions and ideas. Modern challenges in society can have the appearance of change, if we perceive the new cultural trends as dynamic and systemic. In this sense, we can consider them interconnected and interdependent. In the specialized literature, transitions in society are discussed, which would have a profound impact on everyday life. Artificial intelligence is one of the most recent IT-based developments among advanced technologies, and of extraordinary importance because of its potential to create a rupture in the very fabric of life as we know it. [ABSTRACT FROM AUTHOR]

This article analyses the possibilities of digital music production tools in the field of music teacher training. To do so, it identifies the different fields of action and the projection of music production resources in the educational environment, as well as the tools and functionalities of the Digital Audio Workstation (DAW) as a didactic resource. Based on the above, an action-research is carried out within the framework of secondary education teacher training of the music specialty of University of Salamanca, through a series of learning situations developed using the DAW and aimed at the acquisition of basic knowledge, the development of competences and the assimilation of music production concepts. The work shows how the DAWs are a very powerful and versatile resource for articulating learning situations that promote meaningful learning in real contexts, the development of creativity, the assimilation of complex and abstract concepts, while at the same time boosting self-esteem, motivation, and commitment to the subject. [ABSTRACT FROM AUTHOR]

INTRODUCTION. The characteristics of an activity can encourage students to integrate significantly into a social group, so it can be considered an element that stimulates situational interest. Given this, music can become a powerful tool to face educational challenges in multicultural societies and a potential activator of the situational interest of these students. METHOD. Based on this, the "World Music Workshop" was designed as a strategy to stimulate the situational interest of Secondary school students to work on interculturality in multicultural educational environments. In order to carry out this process, a validation was carried out by expert judgment with the method of individual aggregates. Seven teachers (five university professors and two from Secondary school) evaluated the phases and instruments of the strategy. RESULTS AND DISCUSSION. Based on their considerations, modifications were made to the diagnosis and evaluation instruments and new resources were incorporated into the Workshop proposal. [ABSTRACT FROM AUTHOR]

British conductor Paul Mann is a regular guest with many major orchestras throughout Europe, the US, Australia, and the Far East. Orchestras with which he has worked include the London Symphony Orchestra, Royal Liverpool Philharmonic, Royal Scottish National Orchestra, Netherlands Radio Philharmonic, St Petersburg Philharmonic, RAI Torino, Orchestra dell'Arena di Verona; the BBC Orchestras, City of Birmingham Symphony, Hallé, among many others. Mr Mann has guest-conducted extcollaborations with USA and is a regular guest with the New York City Ballet. Projects with the LSO included collaborations the legendary rock group Deep Purple in two widely acclaimed performances of Jon Lord's Concerto for Group and Orchestra at the Royal Albert Hall, the live DVD and CD of which remain international bestsellers. Paul Mann was chief conductor of the Odense Symphony Orchestra in Denmark until 2008 and has made numerous critically acclaimed recordings for such labels as Bridge, Warner Classics, Da Capo, EMI, and Toccata Classics. [ABSTRACT FROM AUTHOR]

Music, constituting a great phenomenon of the world, represents an inherent element in the daily life of society, in the consciousness and nature of man, because everything is movement, everything is vibration, everything is sound. The relationship “man-music (arts)” places in the foreground the educational function through which it - educates moral feelings, human qualities, cultivates the spiritual sphere of man. Musical education throughout life is presented as a continuous individual process of spiritual self-improvement of the personality through multiple forms of relationship with the art of music. In this context, musical education is significant to perpetuity - lifelong education, on the three dimensions of the human being: biological, intellectual, spiritual, because it is implicitly based on the undulating character of the universe, the cosmos and human existence.

Muchos países incorporan el estudio de la flauta dulce en las enseñanzas de música de Educación Primaria. El alumnado cuenta con una clase grupal a la semana de no más de una hora de duración, siendo complejo realizar una individualización real del proceso de aprendizaje. Tras la clase colectiva, los alumnos/as tienen que practicar en casa solos, recayendo sobre sí mismos la responsabilidad de su avance en el estudio. Este trabajo propone la inclusión de una herramienta digital como complemento a las carencias que presenta el proceso de enseñanza-aprendizaje del instrumento, así como una propuesta de protocolo de estudio a seguir por parte del alumnado en su avance autónomo.La aplicación informática tiene como objetivos ofrecer la posibilidad de escuchar la pieza musical, mostrar la partitura, grabar las interpretaciones y, finalmente, brindar referencias y datos sobre los errores cometidos, tanto al alumnado como a la figura docente. Esta información, hasta ahora desconocida, hace que el modelo de enseñanza tradicional se transforme completamente.Tras llevar a cabo la inclusión y evaluación de ambas propuestas en un contexto educativo se han obtenido conclusiones positivas que demuestran la mejora sustancial del proceso de enseñanza-aprendizaje de este instrumento musical. /// Many countries incorporate the study of the recorder into the teaching of music in primary education. The students have a group class per week of no more than one hour in duration, being a complex that performs a real individualization of the learning process. After the collective class, the students have to practice at home alone, with the responsibility for their progress in the study falling on themselves.This work proposes the inclusion of a digital tool as a complement to the deficiencies that the teaching-learning process of the instrument presents, as well as a proposal for a study protocol to be followed by the student in their autonomous progress.TThe objective of the computer application is to offer the possibility of listening to the musical piece, showing the score, recording the performances and, finally, providing references and data on the mistakes made, both to the students and to the teaching figure. This information, until now unknown, causes the traditional teaching model to be completely transformed. After carrying out the inclusion and evaluation of both proposals in an educational context, positive conclusions have been obtained that show the substantial improvement of the teaching-learning process of this musical instrument.

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The inclusion of music is central to early education pedagogy as an efficient means of conveying information and a mechanism for knowledge retention, yet these tools are generally omitted from higher educational approaches. Drawing on prior studies highlighting how musical assignments successfully supplemented traditional criminal justice coursework, a criminological theory course was redesigned with music as a core component. Musical selections were included and discussed in each class meeting as well as being tied to class assignments within a pilot course. Teaching techniques were refined over several semesters with the revised course framework including more student involvement, somewhat approaching a flipped classroom model whereby the instructor and students equally shared musical selections relevant to course curriculum. The instructor perceived students were more invested in the course. The professor-student dynamic also appeared to become more intimate due to both sharing music about which they were personally passionate. Further, the instructor's inclusion of crime-specific songs from older musical genres appeared to disrupt students' stereotypes associating crime with other genres and demographics. We offer a summary of the techniques for teaching a criminological theory course framed by instructor presentations of "outlaw" country music; guidance is also provided for utilizing other genres. [ABSTRACT FROM AUTHOR]

The text presents a theoretical synthesis of the musicological and ethnomusicological tendencies with the objective of exploring these categories in the context of the research in musical education, which approaches music in the school. Thirty theses were chosen for the application of these categories with codified cuts, mostly in the abstracts of the works. The methodologies of Categorical Content Analysis and Qualitative Research Synthesis were used to give security to the qualitative analysis process of theses. This exploratory and descriptive work revealed fundamental aspects about the influence of musicology and ethnomusicology in the research in musical education in Brazil. The chosen categories of the theoretical contexts of musicology and ethnomusicology and the processes of analysis presented may enable new forms of understanding of the area of musical education as a field of pedagogical knowledge and also (ethno)musicological. [ABSTRACT FROM AUTHOR]

The realization of projects based on musical performances within the scope of the Music Education discipline of Basic Education in Portugal is a constant. The novelty of this work lies in a methodological proposal that views Musical Performance as a field of educational action that enhances teaching-learning experiences in music and pedagogical relationships more in line with the needs dictated by the ideal/real of the school today. The A...2018 approach consists of a didactic tool that was designed to run in the realization of educational musical activities of the cycle of studies. This work aims to expose the respective conception and operationalization premises so that they can serve as a basic reference for the development of performative musical projects in the context of the Music Education classroom. [ABSTRACT FROM AUTHOR]

Copyright of Journal Practical Didactics / Revista de Didáctica Práctica is the property of ECORFAN-Mexico S.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Music, constituting a great phenomenon of the world, represents an inherent element in the daily life of society, in the consciousness and nature of man, because everything is movement, everything is vibration, everything is sound. The relationship "man-music (arts)" places in the foreground the educational function through which it - educates moral feelings, human qualities, cultivates the spiritual sphere of man. Musical education throughout life is presented as a continuous individual process of spiritual self-improvement of the personality through multiple forms of relationship with the art of music. In this context, musical education is significant to perpetuity - lifelong education, on the three dimensions of the human being: biological, intellectual, spiritual, because it is implicitly based on the undulating character of the universe, the cosmos and human existence. [ABSTRACT FROM AUTHOR]

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