Embodiment, sound and visualization: A multimodal perspective in music education

Fortuna, Sandra

doi:10.5937/zbakum1705120f

Cited by 8 publications

(6 citation statements)

References 28 publications

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“…Children's invented notations could be a measure of their musical understanding (Gromko 1994) because children's drawings are a mirror of the child's mental image of the perceptual discrimination of a different elements of musical structures. An analogue correspondence between sound and sign is sometimes more acceptable than traditional notation: first, children create the external graphic representation or drawing map while listening to music, and then using movement to suggest a musical meaning (Fortuna 2017).…”

Section: Representing Music By Visual and Verbal Metaphorsmentioning

confidence: 99%

The use of metaphorical musical terminology for verbal description of music

Petrović

Golubovic

2018

Raspr. Inst. hrvat. jez. jezikosl. (Online)

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The aim of this paper is to indicate the importance of the metaphorical terminology and verbal description of music in education and performance due to inevitable role of emotions and embodiment in music experience. Metaphorical music terminology should follow the interpretative maturity, such as for the term scherzo, which would be joke for younger, but forced joke or all but prank for older musicians. For music beginners we can use extramusical verbal symbols: the pulse is represented as the stickman; major with the symbol of sun and minor with the symbol of rain; sequencing is presented with the picture of stairs; the picture of butterfly implies image-schematicity in interpreting the wave melodic contour; children understood duple meter through the picture of a soldier, while triple meter appreciated through the picture of a ballerina; staccato is experienced as a movement, but also as a visual and auditory metaphor. Multimodality plays an important role in music education, because it implies the integration of movement, sound, picture and verbal metaphors. Therefore, the musical experience is described and performance interpreted by following the direction from the emotional sound experience to its cognitive processing. Mul-628 Rasprave 44/2 (2018.) str. 627-641 timodal approach would increase associative thinking and enlarge individual associations on musical terms, which gives a better understanding of music and widens perspective in music education.

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Section: Representing Music By Visual and Verbal Metaphorsmentioning

confidence: 99%

The use of metaphorical musical terminology for verbal description of music

Petrović

Golubovic

2018

Raspr. Inst. hrvat. jez. jezikosl. (Online)

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“…Hence, visualization acts as a support to enhance students' understanding in music lessons (Dzamashvili, 2020). Subsequently, the effectiveness of conducting musical lessons requires mainly communication between teachers and students with the support of visual learning material that fit to help students in accordance with stronger mental image of musical experience (Fortuna, 2017). To ensure that students are motivated and progressively positive, the use of blended teaching method with an appropriate learning strategy able to help in balancing student's motivation based on visualization must be integrated to increase the potential of receiving clear instruction by the instructor, and to support student's learning progress.…”

Section: Introductionmentioning

confidence: 99%

Blending Synchronous and Asynchronous Based on Visualization Strategy in Music Lesson to Promote Music Students’ Performance Skill

Chan Pui Leng,

Atan

2023

ITLJ

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During the COVID-19 pandemic, music lessons greatly impact teachers and students, especially the constraints of applying proper tools in online music lessons including delivering lessons, classroom interactions, and conducting assessments to ensure students’ learning goals attain a desired end. This research study aimed to examine the effect of blending synchronous and asynchronous music lessons based on visualization strategy towards students’ music performance skill. This research applies a quasi-experimental design where obtaining validation from teachers and experts on the learning activities through blended learning based on visualization strategy, Wilcoxon Signed Rank Test and Spearman Correlation for measuring the effectiveness of learning activities for music lesson based on blended learning approach towards student’s musical performance skill and achievement, and a quantitative design supported with quantitative data where descriptive statistics are used to examine the perception of student’s on learning activities based on blended learning using synchronous and asynchronous towards their performance skill. This study was conducted based on an experiment whereby students participated during their music lesson via synchronous and asynchronous with the support of visual media. Digital platform with learning activities was used to conduct the synchronous and asynchronous lessons, and student’s performance skill were measured in relation to learning effectiveness. Six weeks of planning evaluation variables were tested involved rubric scores according to students’ pre-activity and post-activity in addition to test the interrelationship of students’ achievement grading system during pre-test and post-test conducted. A questionnaire with items of 30 student’s perception on the learning activities based on blended learning using synchronous and asynchronous with visualization strategy towards music performance skill were brought forward after the completion of 5 weeks program. Using visualization strategy positively impacts students’ understanding and enhances their skill in music performance and music theory achievement. Nevertheless, there was no correlation between students’ music performance skill and music theory achievement in promoting students’ music performance skill. Based on the students’ perception, they were able to improve in music performance skill substantially developed from viewing visualized materials, understanding the concept of music performance skill, and implementing on their musical instruments. Teachers’ perceptions should be considered to provide expectations towards students’ motivation and accomplishment.

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“…The study of musical gestures is a growing field of research in performance (Leman, 2007;Fortuna, 2017;Mazzola & Mannone, 2016), composition (Antoniadis, 2016), mathematics (Visi, Schramm, & Miranda, 2014), physics (Bouënard, Gibet, & Wanderley, 2012), cognitive sciences (Schutz & Lipscomb, 2007), as well as signal processing and computer sciences (Antoniadis & Bevilacqua, 2016;Bergsland & Wechsler, 2015), and the comparisons among different definitions of musical gestures (Cadoz & Wanderley, 2000). The mathematical definition of musical gestures uses the formalism of category theory (Mac Lane, 1978).…”

Section: Introductionmentioning

confidence: 99%

Knots, Music and DNA

Mannone

2018

Journal of Creative Music Systems

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Musical gestures connect the symbolic layer of the score to the physical layer of sound. I focus here on the mathematical theory of musical gestures, and I propose its generalization to include braids and knots. In this way, it is possible to extend the formalism to cover more case studies, especially regarding conducting gestures. Moreover, recent developments involving comparisons and similarities between gestures of orchestral musicians can be contextualized in the frame of braided monoidal categories. Because knots and braids can be applied to both music and biology (they apply to knotted proteins, for example), I end the article with a new musical rendition of DNA.

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Embodiment, sound and visualization: A multimodal perspective in music education

Cited by 8 publications

References 28 publications

The use of metaphorical musical terminology for verbal description of music

The use of metaphorical musical terminology for verbal description of music

Blending Synchronous and Asynchronous Based on Visualization Strategy in Music Lesson to Promote Music Students’ Performance Skill

Knots, Music and DNA

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