Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: The Ear Playing Project (EPP)

Varvarigou, Maria; Green, Lucy

doi:10.1177/0305735614535460

Cited by 16 publications

(24 citation statements)

References 30 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In relation to the instrumental sphere, see e.g. Baker (2013), Baker and Green (2013), Green (2014), Varvarigou (2014), and Varvarigou and Green (2014). 19 We are not suggesting that a fully-sighted person cannot develop procedural musical knowledge in the same way but, for some sight-impaired or severely sight-impaired people, this is their only way of acquiring it when using a score, whether enlarged or modified stave notation, or Braille music.…”

Section: Braille Musicmentioning

confidence: 98%

Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians

Baker¹,

Green²

2016

Research Studies in Music Education

Self Cite

View full text Add to dashboard Cite

This article discusses findings on schooling, pedagogy and notation in the life-experiences of amateur and professional visually-impaired musicians; and the professional experiences of sighted music teachers who work with visually-impaired learners. The study formed part of a broader UK Arts and Humanities Research Council funded project, officially entitled "Visually-impaired musicians' lives: Trajectories of musical practice, participation and learning" (Grant ref. AH/K003291/1), but which came to be known as "Visually-Impaired Musicians' Lives" (VIML) (see http://vimusicians.ioe.ac.uk). The project was led at the UCL Institute of Education, London, UK and supported by the Royal Academy of Music, London, and Royal National Institute of Blind People (RNIB) UK, starting in 2013 and concluding in 2015. It sourced "insider" perspectives from 219 adult blind and partially-sighted musicians, and 6 sighted music teachers, through life history interviews, in tandem with an international questionnaire, which collected quantitative and qualitative data. Through articulating a range of "insider" voices, this paper examines some issues, as construed by respondents, around educational equality and inclusion in music for visually-impaired children and adults in relation to three main areas: the provision of mainstream schooling versus special schools; pedagogy, including the preparedness of teachers to respond to the needs of visually-impaired learners; and the educational role of notation, focussing particularly on Braille as well as other print media. The investigation found multifaceted perspectives on the merits of visually-impaired children being educated in either mainstream or special educational contexts. These related to matters such as access to specific learning opportunities, a lack of understanding of visually-impaired musicians' learning processes at times (including accessible technologies and score media) in mainstream contexts, and concerns about the knowledge of music educators in relation to visual impairment. Regarding pedagogy, there were challenges raised, but also helpful areas for sighted music educators to consider, such as differentiation by sight condition and approach, and the 2 varying roles of gesture, language, light, and touch. There was a diversity of musical participation in visually-impaired adult learners, along with some surprising barriers as well as opportunities linked to different genres and musical contexts, particularly in relation to various print media, and sight reading. INTRODUCTION This article reports findings on schooling, pedagogy and notation from a broader UK Arts and Humanities Research Council funded study. The project was officially entitled "Visuallyimpaired musicians' lives: Trajectories of musical practice, participation and learning" (Grant ref. AH/K003291/1), but came to be known as "Visually-Impaired Musicians' Lives" (VIML) (see http://vimusicians.ioe.ac.uk). It was led at the UCL Institute of Education, London, UK, starting in 2013 and concluding in 2015. It had...

show abstract

Section: Braille Musicmentioning

confidence: 98%

Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians

Baker¹,

Green²

2016

Research Studies in Music Education

Self Cite

View full text Add to dashboard Cite

show abstract

“…All musical playing is by ear, learnt sometimes by imitation, sometimes by invention and sometimes by a combination or a synthesis of both of these'. 2 Previous studies (Baker, 2013;Baker & Green, 2013;Green, 2012aGreen, , 2012bVarvarigou & Green, 2015) have used the same material with beginner and intermediate learners.…”

Section: N O T E Smentioning

confidence: 99%

Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation

Varvarigou

2017

Brit. J. Music. Ed.

Self Cite

View full text Add to dashboard Cite

This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students’ aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes two routes taken by the students, whilst progressing from GEP to group improvisation and it is compared to Priest's (1989) model on playing by ear through imitation and invention. The article concludes with suggestion on how these two routes could be used to scaffold the development of western classical musicians’ improvisation skills.

show abstract

“…3) Aspectos psicológicos que intervienen en la práctica violonchelística, en especial la concentración (Beaty et al, 2013;Cosano, Zych, & OrtegaRuiz, 2017;Gregg, Clark, & Hall, 2008) y el desarrollo de la memoria musical (Chaffin, Lisboa, Logan, & Begosh, 2010;Herrera & Cremades, 2012). 4) Sensibilización musical, con especial atención hacia la afinación (Baker & Green, 2013;Varvarigou, 2014;Varvarigou & Green, 2015), el sentido rítmico (Ibeas, 2015;McPherson & Renwick, 2011), y los hábitos de estudio (Ballantyne & Packer, 2004;Cain, 2012;Lisboa, 2008).…”

Section: Aprendizaje Musical Y Métodos De Iniciaciónunclassified

“…Para el desarrollo del oído musical en el alumnado, varios autores concuerdan sobre la idoneidad de promover el canto interior (Beaty et al, 2013;Etxepare, 2011;Whitcomb, 2007) y la inclusión de grabaciones (Baker & Green, 2013;Varvarigou, 2014;Varvarigou & Green, 2015). Estos dos recursos son ampliamente tratados por Suzuki (1991) y Sassmannshaus (2009 en sus métodos.…”

Section: Sensibilización Musicalunclassified

Estudio comparativo de métodos de aprendizaje de violonchelo utilizados en conservatorios de música españoles. Implicaciones para el profesorado

Quiles

Mendiluce²,

Júnior³

2018

PSYE

View full text Add to dashboard Cite

Este estudio analiza diferentes métodos de enseñanza-aprendizaje de violoncello en conservatorios de música de Andalucía (España) y las implicaciones educativas que estos puedan tener en el proceso de enseñanza-aprendizaje de este instrumento, especialmente para el profesorado. Se ha utilizado una metodología de tipo descriptivo, mediante análisis de contenido. Como instrumento de recogida de datos se ha usado una ficha adaptada de Garde, Gustems y Calderón (2015), compuesta por 41 item. Se llevó a cabo una comparación de los diferentes métodos de iniciación al violonchelo empleados en los conservatorios participantes, en función de cuatros dimensiones de análisis: aspectos didáctico-metodológicos, parámetros físicos, aspectos psicológicos y sensibilización musical. Sobre la primera dimensión, los resultados muestran una divergencia entre los textos analizados respecto al rol del profesor en el proceso didáctico. Con relación a los parámetros físicos, se observa una escasez de contenidos en los diferentes métodos que no ayuda a prevenir posibles problemas de salud y de interpretación en el alumnado novel. Aparece también poca atención respecto al desarrollo de aspectos psicológicos (concentración y memoria). Por último, los manuales analizados muestran especial atención hacia los aspectos vinculados a la dimensión sensibilización musical (afinación, sentido rítmico y hábitos de estudio). Los resultados de este estudio ponen de relieve la importancia de la formación del profesorado en metodologías de enseñanza activas, creativas y contemporáneas, ya que la mayoría de los métodos analizados deja en manos de los docentes aspectos de alta relevancia en el desarrollo musical del alumnado.

show abstract

Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: The Ear Playing Project (EPP)

Cited by 16 publications

References 30 publications

Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians

Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians

Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation

Estudio comparativo de métodos de aprendizaje de violonchelo utilizados en conservatorios de música españoles. Implicaciones para el profesorado

Contact Info

Product

Resources

About