The primary objective of this study is to review and characterize research-based music assessments that might be used to guide and assist teachers and students in transforming their attitudes and perceptions, ability to express their ideas and concepts during the assessment process openly. This study employed descriptive and autoethnographic methods to elicit information about current conditions and practices through the library approach and literature review. The identified music assessment techniques were used to determine how well students comprehend important points in a session. It includes the Music Concept Memory Exercise and Instrumental and Vocal Schematic Processing for music lesson instructions and the Five-Letter Name Pitch Memory Test and Three-Chord Familiarization Assessment for basic instrumental music instructions. They are used as a core component deliberately designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices. Effective evaluation ensures that learners’ knowledge, understanding, and skills are transferred effectively in future contexts.

The music that is played at school and the music that is played at home vary significantly for the majority of teenagers, despite the fact that music is highly important to them and plays a large part in their life. This is true despite the fact that most teenagers place a high value on music. Teenagers have a broad range of musical preferences, according to research, and these disparities may be attributed to a number of personal and societal factors. The researcher makes a case for incorporating non-Western musical idioms into the music curriculum and addresses the issue of insufficient music education in Croatian elementary schools. The author specifically supports the inclusion of popular music and music from other cultures in the curriculum. The author also argues in favor of broadening the scope of music lessons by including non-Western musical traditions into the curriculum. Students who participate in music education will acquire the skills necessary to perform successfully in a variety of situations throughout the world.

Instead of being seen as an essential component of the core curriculum, creative dance is often considered to be within the purview of the physical education department. In order to determine whether or not creative dance can be categorized as experiential learning for children aged 5 to 12 who are engaged in standard state education, the primary objective of this study is to conduct a literature review on the benefits of creative dance for this population. This will allow the researchers to determine whether or not creative dance can be categorized as experiential learning. The literature study included key phrases from a number of different databases, and it arrived at possible advantages that may be articulated within the context of experiential learning. The research indicates that creative dance has positive effects on socioemotional, arts-based, transferrable, physical, embodied, and cognitive learning. Considering creative dance to be a kind of hands-on education may lend credence to the idea that it should have a more prominent place in the instructional framework. Through a study of the relevant material, this essay reinterprets the function that creative dance plays in the educational development of young children. If the advantages of creative dance as well as its method were recast as experiential learning, then maybe it would have a more prominent position in the curriculum.

Exercisers often listen to music as they work out, which may boost their levels of motivation and good affect respectively. It is possible to play it through a sound system while you are working out. The purpose of the research was to look at the different types of music that are played in various fitness centers and analyze the factors that are connected with certain types of music. It used an exploratory approach to the study design. A community in which there are a total of four fitness centers was chosen for this experiment. Research was conducted on each and every teacher working at those centers. It was determined to adopt a key informant interview (KII) guide. In order to identify the differences that were statistically significant, a one-way ANOVA and Tukey post hoc tests were carried out. According to the results of the research, classical music was listened to the most, with a mean of 5.177.06 times, whilst twist was listened to the least, with a mean of 0.750.82 times. Only listening to classical music was substantially (p 0.05) different between fitness centers 1 and 2, but in general, there were no significant changes among the various fitness centers. The kind of exercise, the client's age, and their religious affiliation were revealed to be key predictors. Other factors that were taken into consideration were the customers' health, as well as their personal interests, objectives, goals, and role models, as well as the clients' requests, the time of day, and the gender of the instructor.