The Festival of Lights in Berlin was conducted despite the current emergency situation regarding electric power. Nothing could stop the organizers and the visitors from doing this event. It took place in Berlin’s city centre from 6-16 October 2022. This review describes the experience with special emphasis given to the sound-video-concept that was realised.
{"title":"The Berlin Festival of Lights in Darker Times and How it Sounds in 2022","authors":"Gisa Jaehnichen","doi":"10.4038/jrm.v1i1.6","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.6","url":null,"abstract":"The Festival of Lights in Berlin was conducted despite the current emergency situation regarding electric power. Nothing could stop the organizers and the visitors from doing this event. It took place in Berlin’s city centre from 6-16 October 2022. This review describes the experience with special emphasis given to the sound-video-concept that was realised.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135169356","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}
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.
{"title":"Distinctive Features of Traditional Singing in Sri Lanka","authors":"Saman Panapitiya, Rohan Nethsinghe","doi":"10.4038/jrm.v1i2.7","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.7","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168583","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}
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.
{"title":"Study on the Importance of Including Concepts Related to Value Education in the Grade Six Western Music Sri Lankan School Curriculum","authors":"G.S.G. Wasantha Kumara","doi":"10.4038/jrm.v1i1.4","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.4","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"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}
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.
{"title":"Issues in Radio Music Broadcasting in the Sri Lankan Cultural Environment","authors":"Manoj Alawathukotuwa","doi":"10.4038/jrm.v1i2.11","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.11","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135166840","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}
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.
{"title":"How a Song can be Exhibited in a Music Museum","authors":"Lin Zhi","doi":"10.4038/jrm.v1i1.1","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.1","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168753","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}
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.
{"title":"Exploring the Musical Heritage of the Traditional Sri Lankan Musical Instrument Horanewa","authors":"Mahinda Wimalasiri","doi":"10.4038/jrm.v1i2.8","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.8","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135169358","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}
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.
{"title":"Social Processes that Shaped Sinhala Folk Music and its Characteristics Based on the Purposes of Usage","authors":"Kamani Samarasinghe, Rohan Nethsinghe","doi":"10.4038/jrm.v1i2.12","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.12","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135166734","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}
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.
{"title":"A Study on how Relaxed Technical Approaches affect Perceived Tension and Performance in Pianists","authors":"Pavithra M. Madapatha, Priyeshni P. Perera","doi":"10.4038/jrm.v1i1.3","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.3","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168384","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}
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.
{"title":"Women in the Circle of Political Modesty: Nobodies in Music Research among Chinese Scholars","authors":"Gisa Jähnichen","doi":"10.4038/jrm.v1i2.13","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.13","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167805","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}
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.
{"title":"Strategies of Online Music Teaching: The Story of Eight Cases during the COVID–19 Lockdown in Sri Lanka","authors":"Kamani Samarasinghe, Rohan Nethsinghe","doi":"10.4038/jrm.v1i1.2","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.2","url":null,"abstract":"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.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168394","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}
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