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Distinctive Features of Traditional Singing in Sri Lanka 斯里兰卡传统歌唱的特色
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i2.7
Saman Panapitiya, Rohan Nethsinghe
It is evident that Sri Lankan musicologists have mainly used the meanings of traditional folk poetry/verses and the occasions on which they are sung to categorize them. The authors of this paper attempt to introduce a classification that can be used according to the characteristics of the melody/pitches, focusing on seepada, currently only known as a poetic stanza in Sinhala folk songs. The authors explain the distinctive features of seepada identified employing yathi and the notion of ‘Cents’, a logarithmic unit used for measuring musical intervals, and reveal those characteristics, acknowledging seepada as a traditional singing style unique to Sri Lanka. Suggestions for sustaining this fading art form are presented in this article including the urgent need for action by stakeholders to preserve the identity of traditional Sinhala folk songs, music and melodies of Sri Lanka.
很明显,斯里兰卡音乐学家主要使用传统民间诗歌/诗句的含义和它们被演唱的场合来对它们进行分类。本文以僧伽罗民歌中的诗节“seepada”为研究对象,尝试根据其旋律/音高的特点,对其进行分类。作者解释了seepada的独特特征,即使用yathi和“Cents”(一种用于测量音程的对数单位)的概念,并揭示了这些特征,承认seepada是斯里兰卡特有的传统演唱风格。本文提出了维持这一衰落艺术形式的建议,包括利益相关者迫切需要采取行动,以保护斯里兰卡传统僧伽罗民歌、音乐和旋律的身份。
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引用次数: 0
Study on the Importance of Including Concepts Related to Value Education in the Grade Six Western Music Sri Lankan School Curriculum 斯里兰卡六年级西洋音乐课程纳入价值教育相关概念的重要性研究
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i1.4
G.S.G. Wasantha Kumara
A perfect person is not born at birth. Just as we learn mathematics and languages, we should also become specialists in those lessons that are fundamental to living in harmony and social progress, such as respect, empathy, equality, solidarity, and critical thinking. Without these and other ethical principles that define us as human beings, it will be difficult for us to build a better world. Value education, therefore, promotes tolerance and understanding above and beyond our political, cultural, and religious differences, putting special emphasis on the defense of human rights, the protection of ethnic minorities and the most vulnerable groups, and the conservation of the environment. Developing value education in students is the primary responsibility of all stakeholders, and it is not the sole responsibility of each school. It is the collective responsibility of the family, schools, universities, businesses, and sports associations to provide all the ideal contexts to teach those ethical principles. Teachers and students are directly involved in the learning-teaching process of the school system according to the curriculum designed for the school system by the Education Ministry of Sri Lanka. Teachers must have a good understanding of the syllabi relevant to any subject and have a good understanding of school children. Teachers should comprehend their learners’ needs, tastes emotions, possibilities, aspirations, and mental and psychological capacities. Therefore, teachers are the major contributors among the key parties who make any changes and developments in the curriculum. Teachers have a vast body of knowledge and experience about the knowledge, skills, and attitudes to be taught to children through the curriculum, as well as concepts and skills related to good personal and social habits, and it is important to look into that when the curriculum is reformed. All these malpractices occurred because of the lack of knowledge of religious, moral and education values. Therefore, it is the foremost duty of each and every citizen of Sri Lanka to promote and rebuild value education. As such, this study may help to promote and develop a specific value education in the school system of Sri Lanka. If students do not learn good values through education, they will have to face various problems not only in school but also in society. The incorporation of value concepts into the school curriculum may be a solution to resolve this situation. When designing curricular, one needs to ask such questions such as, how should value concepts be included in the curriculum? What are the values that should be taught in the current curriculum? Failure to ask teachers about the inclusion of value concepts into the school curriculum can lead to several practical problems in the learning-teaching process.
一个完美的人不是生来就有的。就像我们学习数学和语言一样,我们也应该成为那些对和谐生活和社会进步至关重要的课程的专家,比如尊重、同理心、平等、团结和批判性思维。没有这些和其他界定我们作为人类的道德原则,我们将很难建设一个更美好的世界。因此,价值教育促进超越政治、文化和宗教差异的宽容和理解,特别强调捍卫人权、保护少数民族和最弱势群体以及保护环境。在学生中开展价值教育是所有利益相关者的首要责任,而不是每个学校的唯一责任。家庭、学校、大学、企业和体育协会的共同责任是为教授这些道德原则提供所有理想的环境。 根据斯里兰卡教育部为学校系统设计的课程,教师和学生直接参与学校系统的学与教过程。教师必须对与任何科目相关的教学大纲有很好的理解,并对学生有很好的了解。教师应该了解学生的需求、品味、情感、可能性、愿望以及心理和心理能力。因此,教师是课程变化和发展的关键因素中的主要贡献者。教师拥有丰富的知识和经验,这些知识、技能和态度是通过课程传授给孩子们的,以及与良好的个人和社会习惯有关的概念和技能。在课程改革时,研究这些是很重要的。所有这些弊端都是由于缺乏对宗教、道德和教育价值的认识。因此,促进和重建价值教育是每一个斯里兰卡公民的首要责任。因此,本研究可能有助于促进和发展斯里兰卡学校系统中特定的价值教育。 如果学生没有通过教育学到良好的价值观,他们将不仅在学校而且在社会上面临各种问题。将价值观念纳入学校课程可能是解决这一问题的一种方法。在设计课程时,我们需要问这样的问题:价值观念应该如何融入课程?当前的课程应该教授什么样的价值观?没有向教师询问关于将价值概念纳入学校课程的问题,可能会在学习-教学过程中导致一些实际问题。
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 Value education, therefore, promotes tolerance and understanding above and beyond our political, cultural, and religious differences, putting special emphasis on the defense of human rights, the protection of ethnic minorities and the most vulnerable groups, and the conservation of the environment. Developing value education in students is the primary responsibility of all stakeholders, and it is not the sole responsibility of each school. It is the collective responsibility of the family, schools, universities, businesses, and sports associations to provide all the ideal contexts to teach those ethical principles.
 Teachers and students are directly involved in the learning-teaching process of the school system according to the curriculum designed for the school system by the Education Ministry of Sri Lanka. Teachers must have a good understanding of the syllabi relevant to any subject and have a good understanding of school children. Teachers should comprehend their learners’ needs, tastes emotions, possibilities, aspirations, and mental and psychological capacities. Therefore, teachers are the major contributors among the key parties who make any changes and developments in the curriculum. Teachers have a vast body of knowledge and experience about the knowledge, skills, and attitudes to be taught to children through the curriculum, as well as concepts and skills related to good personal and social habits, and it is important to look into that when the curriculum is reformed.
 All these malpractices occurred because of the lack of knowledge of religious, moral and education values. Therefore, it is the foremost duty of each and every citizen of Sri Lanka to promote and rebuild value education. As such, this study may help to promote and develop a specific value education in the school system of Sri Lanka.
 If students do not learn good values through education, they will have to face various problems not only in school but also in society. The incorporation of value concepts into the school curriculum may be a solution to resolve this situation. When designing curricular, one needs to ask such questions such as, how should value concepts be included in the curriculum? What are the values that should be taught in the current curriculum? Failure to ask teachers about the inclusion of value concepts into the school curriculum can lead to several practical problems in the learning-teaching process.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Issues in Radio Music Broadcasting in the Sri Lankan Cultural Environment 斯里兰卡文化环境下电台音乐广播的问题
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i2.11
Manoj Alawathukotuwa
The interference of mass media plays a key role in changing people's listening behavior and thinking patterns in numerous ways. Due to technological factors, a majority of Sri Lankans are exposed to “light songs” which are music tracks to last only for three to five minutes. From earlier to present times, almost all recording and reproducing technologies in the island have been used basically for this purpose. Various types of government and private FM channels, TV channels, and social media propagate these forms of songs in the contemporary music scene for different purposes. Because of the commercial benefits and good demand for songs, mobile network companies also promote artists to record songs according to the contemporary taste of the younger generation. This study discusses how Sri Lankan music was stuck to a monocentric stream of light songs due to the fact that the listeners in Sri Lanka are constantly being exposed to “light songs” through radio broadcasting and radio politics.
大众传媒的干扰对人们的倾听行为和思维模式的改变有着多方面的关键作用。由于技术因素,大多数斯里兰卡人接触的是“轻歌”,即只有三到五分钟的音乐曲目。从早期到现在,岛上几乎所有的录音和复制技术基本上都是为此目的而使用的。各种类型的政府和私人调频频道、电视频道和社交媒体在当代音乐场景中传播这些形式的歌曲,目的不同。由于商业利益和对歌曲的良好需求,移动网络公司也推动艺人根据年轻一代的当代品味录制歌曲。本研究探讨斯里兰卡音乐是如何受困于单一中心的轻歌曲流,因为斯里兰卡的听众经常透过电台广播与电台政治接触“轻歌曲”。
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引用次数: 0
How a Song can be Exhibited in a Music Museum 一首歌曲如何在音乐博物馆展出
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i1.1
Lin Zhi
This paper will focus on the folksongs of people living in Napo, Nanning, and Funin in Guangxi Autonomous Region and Yunnan province. The study was initiated with the experience of working at the new Music Museum of the city of Nanning established within the campus of Guangxi Arts University. Since this is a Music Museum, arrangements were made to exhibit a sample repertoire of folksongs from this region in addition to all the interesting musical instruments. This was a very difficult task as it is a well observable fact that a song does not exist in a single version as it moves from one place to another, and changes all the time. This paper is about the experiences during this particular activity and how these difficulties had to be mastered. There might be others who face the same difficulties. As such, this paper may help find solution for the problems encountered by other music museums. Technically, this is the elaboration about a topic strongly connected to live interviews and personally collected statistics that were found through an intense personal presence in the mentioned area. The reference style had to be adapted to these circumstances. In order to make information traceable, many parts of the references carry translations in square brackets behind the transliteration. Also, Chinese names are left as a whole despite starting with the family name, the middle name and given names are tremendously important for identification. Name characters are presented in square brackets. Material can be obtained upon request made per email to the author.
本文将以广西和云南的那坡、南宁、阜宁等地的民歌为研究对象。本研究以广西艺术大学校园内新建的南宁市音乐博物馆的工作经验为出发点。由于这是一个音乐博物馆,除了所有有趣的乐器外,还安排了展示该地区民歌的样本曲目。这是一项非常困难的任务,因为很明显,一首歌并不存在于一个单一的版本中,因为它从一个地方移动到另一个地方,并且一直在变化。这篇文章是关于在这个特殊的活动中的经验,以及如何克服这些困难。可能还有其他人面临同样的困难。因此,本文对其他音乐博物馆所遇到的问题有一定的帮助。从技术上讲,这是对一个与现场采访和个人收集的统计数据密切相关的话题的阐述,这些数据是通过在提到的领域的强烈个人存在而发现的。参考风格必须适应这些情况。为了使信息可追溯,参考资料的许多部分在音译后面的方括号中都有翻译。此外,中国人的名字是一个整体,尽管以姓开头,中间名和名对于识别非常重要。名称字符用方括号表示。材料可以通过电子邮件向作者索取。
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引用次数: 0
Exploring the Musical Heritage of the Traditional Sri Lankan Musical Instrument Horanewa 探索斯里兰卡传统乐器Horanewa的音乐遗产
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i2.8
Mahinda Wimalasiri
Some historical information reveals that the art of ensemble playing in Sri Lanka dates back to the Yaksha, Naga, and tribal eras that existed even before the suggested arrival of King Vijaya. Indigenous ensembles can also be described as an art that evolved with the development of humankind in different periods due to various invasions. A large number of ensemble instruments used by the Sri Lankan village artist from then to now are revealed in bibliographical information such as the Mahavamsa, Thupavamsa, Dambadeniya Asna, Kuveni Asna, and Saddharmalankara. These ensembles are divided into five types, mainly, that which is described as the panchathurya, including aathatha, vithatha, vithathaathatha, ghana and sushira, of which sushira is the calibration of blowing instruments that includes the horanewa as well. The horanewa can be introduced as the only swara/ notes instrument used by the Sinhala folk artist of the day among the instruments of the panchathurya. The main purpose of this research is to investigate the technical methods used in the production of this musical instrument called horanewa and its special techniques adopted in playing. Why does the horanewa instrument used at present not produce its own definite melodic sound? In relation to this question that arose, data were collected, analyzed and interpreted and conclusions were reached. As revealed in this descriptive research, the horanewa is a special musical instrument built with the technology of three traditional manufacturers. This research will be important to introduce and preserve the arts related to this musical instrument which is gradually dying out.
一些历史资料显示,斯里兰卡的合奏艺术可以追溯到Yaksha, Naga和部落时代,甚至在Vijaya国王到来之前就存在了。土著合奏也可以被描述为一种艺术,随着人类在不同时期的发展,由于各种入侵而演变。从那时到现在,斯里兰卡乡村艺术家使用的大量合奏乐器在诸如Mahavamsa, Thupavamsa, Dambadeniya Asna, Kuveni Asna和Saddharmalankara等书目信息中得到了揭示。这些合奏主要分为五种,被称为panchathurya,包括aathatha, vithatha, vithathatha, ghana和sushira, sushira是吹乐器的校准包括horanewa。horanewa可以作为当时僧伽罗民间艺术家在panchathurya乐器中唯一使用的swara/音符乐器。本研究的主要目的是调查这种乐器的生产技术方法和它在演奏中采用的特殊技术。为什么目前使用的horanewa乐器不能发出自己明确的旋律声音?关于所产生的这个问题,收集、分析和解释了数据,并得出了结论。在这个描述性研究中,horanewa是一种特殊的乐器,由三个传统制造商的技术制造而成。这项研究对于介绍和保存与这种逐渐消亡的乐器有关的艺术具有重要意义。
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引用次数: 0
Social Processes that Shaped Sinhala Folk Music and its Characteristics Based on the Purposes of Usage 形成僧伽罗民间音乐的社会过程及其基于使用目的的特征
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i2.12
Kamani Samarasinghe, Rohan Nethsinghe
Folk music is the music of the people. People have used folk songs to express different emotions. This research paper argues that the social processes that have shaped Sinhala folk music are multifaceted and have significant cultural and historical implications. By exploring the different categories of Sinhala folk music and their purposes of usage, this study aims to fill the research gap in understanding the characteristics and functions of this musical tradition, highlighting its role in preserving the cultural heritage of the Sinhalese people. Brief explanations of why these songs were used, including how lyrical characteristics and meanings are applied for grouping and naming, are included. Literature on Sri Lankan Sinhala Folk Music that has been published over the years in journals, books, research reports, web articles, and other materials was analysed using qualitative content analysis. It was found that people sing these songs mainly to express their feelings and emotions in addition to a range of other purposes such as communication, passing the time, motivating people, and entertainment. The existing classifications are made mainly considering activities or work-related aspects and meanings of lyrics demonstrating that they are influenced by social interactions. The authors suggest several methods to conserve Sri Lankan Sinhalese traditional music elaborating on the importance of ensuring such preservations.
民间音乐是人民的音乐。人们用民歌来表达不同的情感。本文认为,形成僧伽罗民族音乐的社会过程是多方面的,具有重要的文化和历史意义。本研究透过探讨僧伽罗民间音乐的不同类别及其使用目的,旨在填补了解这一音乐传统的特征和功能的研究空白,突出其在保护僧伽罗人文化遗产中的作用。简要解释了为什么使用这些歌曲,包括如何将抒情特征和含义应用于分组和命名。多年来在期刊、书籍、研究报告、网络文章和其他材料上发表的斯里兰卡僧伽罗民间音乐文献,使用定性内容分析进行分析。研究发现,人们唱这些歌曲主要是为了表达自己的感受和情绪,此外还有一系列其他目的,如交流、消磨时间、激励他人和娱乐。现有的分类主要考虑活动或与工作相关的方面和歌词的含义,表明它们受到社会互动的影响。作者提出了几种保护斯里兰卡僧伽罗传统音乐的方法,并详细阐述了确保这种保护的重要性。
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引用次数: 0
A Study on how Relaxed Technical Approaches affect Perceived Tension and Performance in Pianists 放松技术方法对钢琴家感知张力和演奏的影响研究
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i1.3
Pavithra M. Madapatha, Priyeshni P. Perera
The pianoforte is one of the most popular musical instruments that has attracted by any individuals at any age in any part of the world. Much of the music that had been composed for various keyboard instruments in different periods of history is often performed in the present-day acoustic piano. As a result, many music students who enroll in piano study are regularly at risk of acquiring poor technical approaches at the keyboard, which often leads to physical tension, continuous pain, injuries and a slower rate of progress. Therefore, this pilot study explored relaxed technical concepts which may help pianists to be more efficient technically in their performances. The purpose of this research study was to examine how the application of an appropriate technical concept to a technically challenging extract of a piece of music affects the perceived physical tension of piano students. It also sought to determine whether the implementation of physically relaxed approaches aids in diminishing physical tension and increasing the performance level of piano students. 26 undergraduates studying piano at the University of Visual and Performing Arts, Colombo, Sri Lanka participated in this research study. The technical approach termed ‘the underwave and overwave motion’, a relaxed technical approach of Ortmann and Taubman was applied to minimize physical tension. Participants of this research study were required to perform and record their playing for two days and the music tracks were adjudicated by five judges. The collected data were statistically analyzed by the Shapiro-Wilk test to verify the relationship between the use of piano technique, performance, and perceived tension. The perceived tension difference was computed based on the collected data as ‘performance difference = day one performance minus day two performance; and perceived tension difference = day two perceived tension minus day one perceived tension’. Based on the results, the application of appropriate technical approaches to technically challenging extracts of music minimized the perceived physical tension and also improved the tone quality of the performance.
钢琴是最受欢迎的乐器之一,它吸引了世界上任何地方任何年龄的任何人。在不同历史时期为各种键盘乐器创作的许多音乐,经常在今天的原声钢琴上演奏。因此,许多学习钢琴的音乐学生经常面临着在键盘上获得糟糕技术方法的风险,这往往导致身体紧张,持续疼痛,受伤和进步速度较慢。因此,本研究旨在探索放松的技术概念,以帮助钢琴家在演奏中提高技术效率。本研究的目的是探讨如何将适当的技术概念应用于一段具有技术挑战性的音乐摘录,影响钢琴学生感知到的身体紧张。它还试图确定实施身体放松的方法是否有助于减少身体紧张和提高钢琴学生的演奏水平。26名斯里兰卡科伦坡视觉与表演艺术大学钢琴专业的本科生参与了本研究。技术方法被称为“下波和上波运动”,这是奥特曼和陶布曼的一种放松的技术方法,用于最小化物理张力。这项研究的参与者被要求表演和录制他们的演奏两天,音乐曲目由五位评委评判。收集的数据通过Shapiro-Wilk检验进行统计分析,以验证钢琴技术的使用、演奏和感知张力之间的关系。根据收集的数据计算感知张力差:性能差=第一天的性能差减去第二天的性能差;感知张力差=第二天感知张力减去第一天感知张力'基于结果,应用适当的技术方法来技术上具有挑战性的音乐摘录,最大限度地减少了感知到的身体紧张,也提高了演奏的音质。
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引用次数: 0
Women in the Circle of Political Modesty: Nobodies in Music Research among Chinese Scholars 政治谦虚圈中的女性:中国学者音乐研究中的无名小卒
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i2.13
Gisa Jähnichen
One might think of knowing it all: In Chinese research institutions, people base their admiration on positioning within a professional realm. Is the position powerful and the admiration growing? Might it come with even bigger power in the context of music research, where topics and experiences are still strongly connected to a biologist approach? Is the name of an author or contributor important in this circle? This short study gives some explanations about dealing with gender perspectives in a self-adopted circle of political modesty among Chinese scholars in music research. How do names play a role in addressing research outcomes and their applications? The direct observation span is 2015-2022 in major Chinese cities with larger tertiary educational institutions. Some insights may help understand current issues in the field of music research, used terminology, and priorities in referencing techniques. The gender perspective includes issues that are highly sensitive among those scholars and cannot be simply broken down into straightforward categories. The author is fully aware of the long journey ahead in order to change certain male-centered or -dominated conventions and thinking patterns.
有人可能会想知道这一切:在中国的研究机构里,人们的钦佩是基于在一个专业领域的定位。地位是否强大,受到的钦佩是否与日俱增?在主题和经验仍然与生物学方法密切相关的音乐研究领域,它是否会有更大的影响力?作者或贡献者的名字在这个圈子里重要吗?这篇简短的研究对中国学者在音乐研究中自我采用的政治谦虚圈中处理性别观点给出了一些解释。名称如何在研究成果及其应用中发挥作用?直接观察跨度为2015-2022年,在高等教育机构较多的中国主要城市。一些见解可能有助于理解音乐研究领域的当前问题,使用的术语,以及参考技术的优先级。性别观点包括对这些学者来说高度敏感的问题,不能简单地分成简单的类别。作者充分意识到,要改变某些以男性为中心或主导的习俗和思维模式,还有很长的路要走。
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引用次数: 0
Strategies of Online Music Teaching: The Story of Eight Cases during the COVID–19 Lockdown in Sri Lanka 在线音乐教学策略:以斯里兰卡新冠肺炎封锁期间的八个案例为例
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-25 DOI: 10.4038/jrm.v1i1.2
Kamani Samarasinghe, Rohan Nethsinghe
In the subject areas of performing and visual arts, most teaching and learning take place in the traditional classroom, with face-to-face instruction methods but as a result of the COVID-19 pandemic the University of Visual and Performing Arts (UVPA) promptly moved the delivery of all of its undergraduate courses to an online format. During the COVID-19 period, the UVPA, like other Sri Lankan universities, began to use emerging technologies and tools such as Zoom and a Learning Management System (LMS) for pedagogical intent. The goal of this study is to find out what teaching strategies can be applied to improve music teaching and learning in an online environment and how faculty staff experienced teaching music online. This research is designed as a Multiple Case Study. Depending on the purpose of the research, structured interviews were conducted to collect feedback from randomly selected faculty members. The participants were eight faculty members from the Faculty of Music engaged in teaching during the 2018/2019 academic year. Previously, the Faculty of Music has underutilized e-learning and the use of an LMS. However, the recent COVID-19 outbreak has forced them to rely on e-learning/online learning in order to ensure the continuity of educating the students enrolled in the degree programmes offered by the faculty. The results revealed that most of the teaching staff were new to teaching music online; however, they learned how to teach online given the circumstances which had left them with no other feasible solution. According to this study, the online music teaching activities utilized have improved teaching performance and technological skills and abilities, saved time, allowed participants to complete tasks more quickly, enhanced productivity of work, and increased educational values.
在表演和视觉艺术学科领域,大多数教学和学习都是在传统的课堂上进行的,采用面对面的教学方法,但由于2019冠状病毒病大流行,视觉和表演艺术大学(UVPA)迅速将其所有本科课程的交付改为在线格式。在2019冠状病毒病期间,与斯里兰卡其他大学一样,UVPA开始使用新兴技术和工具,如Zoom和学习管理系统(LMS),以实现教学目的。本研究的目的是找出在网路环境下,可以运用哪些教学策略来改善音乐教与学,以及教职员如何体验网路音乐教学。本研究设计为多案例研究。根据研究的目的,进行了结构化访谈,以收集随机选择的教职员工的反馈。参与者是来自2018/2019学年音乐学院从事教学工作的8名教师。以前,音乐学院没有充分利用电子学习和LMS的使用。然而,最近的COVID-19疫情迫使他们依靠电子学习/在线学习,以确保对学院提供的学位课程的学生进行持续教育。调查结果显示,大多数教师是在线音乐教学的新手;然而,在没有其他可行方案的情况下,他们学会了如何在线教学。根据本研究,所使用的在线音乐教学活动提高了教学效果和技术技能和能力,节省了时间,让参与者更快地完成任务,提高了工作效率,增加了教育价值。
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引用次数: 0
High School Concert Band Directors’ Self-Efficacy for Classroom Management 高中音乐会乐队指挥对课堂管理的自我效能感
4区 教育学 Q2 EDUCATION & EDUCATIONAL RESEARCH Pub Date : 2023-10-13 DOI: 10.1177/00224294231202399
Bradley J. Regier
The purpose of this study was to examine relationships between high school concert band directors’ self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants ( N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants’ level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants’ self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.
摘要本研究旨在探讨高中音乐会乐队指挥课堂管理自我效能感、有效资源与课堂管理行为之间的关系。参与者(N = 271)完成了乐队指挥课堂管理自我效能量表,并回答了他们的人口统计和学校特征、正式的准备经历、学生行为的压力、支持和信任以及对最近课堂管理的满意度。此外,参与者还评估了他们使用课堂管理行为的有效性。参与者对他们最近的课堂管理的满意程度是他们对课堂管理得分的自我效能感的最强正向预测因子,其次是他们对家长资源支持的评级。当参与者表示来自学生行为的压力较高或行政资源支持较高时,他们对课堂管理得分的自我效能感也较低。结果表明,一些课堂管理行为预测了参与者的自我效能感,包括建立惯例和程序,让学生完成任务,很少参考乐谱或课程计划。实施和完善有效的课堂管理行为可以提高管理者获得积极掌握体验的可能性,减轻学生行为压力对课堂管理自我效能感的影响。
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引用次数: 0
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Journal of Research in Music Education
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