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Elizabeth CARRASCOSA MARTINEZ - MUSIC AS A TOOL FOR EMOTIONAL WELL-BEING: IMPLEMENTATION OF AN EMOTIONAL EDUCATION PROGRAM WITH PRIMARY EDUCATION STUDENTS COMBINING FACE-TO-FACE AND NON-FACE-TO-FACE IN PANDEMIC TIMES |
ABSTRACT This research consists of the implementation of an emotional education program aimed at the field of primary education that uses music and movement as mediating elements. According to Bisquerra (2011), music has the ability to generate emotions that help people's well-being. The program addresses work with each of the five emotional competencies (emotional awareness, emotional regulation, emotional autonomy, social competence and competencies for life and well-being) according to the model of the GROP (Research Group in Psychopedagogical Orientation) from the University of Barcelona. The work is motivated by the detected need to include emotional education in nursery and primary schools in the context of the Valencian Community, Spain. Mainly in response to the situation caused by the COVID-19 pandemic. The research has been carried out with students in the fourth year of primary school in a public school within the Valencian Community (Spain). The research has used the action research method and has been developed in face-to-face sessions in addition to online sessions. The research results show that after the intervention there is a development of emotional competences in the participants, especially emotional awareness. The combination of face-to-face teaching and online teaching is ideal in the current pandemic situation because it allows students to benefit from aspects of both types of modality. Dialogical musical gatherings are shown as very powerful resources for working with music and emotional education. It is evident that there is a need to work on the development of emotional competencies in primary school students. It is also important to study the possibilities that music education can contribute to the development of emotional education at these ages. Keywords: Music education; Social-emotional learning; emotional competences; Primary school education |
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Cecilia CURIS - NLP AND IMPROVISATION IN MUSIC THERAPY - CONCEPTUAL FRAMEWORK |
ABSTRACT Purpose: Improvisation is a valuable technique in music therapy. However, the inclusion in the category of evidence-based scientific methods requires a reconsideration of the technique in terms of clinical improvisation as well as interpretation - improvisation evaluation, starting from the improvisation evaluation model. Research motivation: The analysis of the technique to establish a conceptual framework to preserve the flexibility of the technique so that it maintains its clinically proven efficiency and scientific validation in accordance with EBP, to expand its use in clinical practice. Research questions: Can we standardize the technique of improvisation in the sense of establishing protocols in its application as a technique in music therapy excluding a contradiction between these notions, standardization and improvisation? Context: The keystone of improvisation is creativity, an individual, innate trait. Improvisation in melotherapy as well as language analysis through the NLP technique are useful tools in psychotherapy. The current clinical practice imposes the need to standardize and algorithmize the intervention methods, in order to frame their application in the category of evidence-based scientific methods (EBP) Theoretical perspective: We combined the two intervention techniques to achieve a translation of emotions from a non-verbal language, the musical language, into a verbal one, made through NLP in order to eliminate the dose of subjectivism that can be attributed to the interpretation of musical improvisation through the model IAP (Improvisational Assessment Profiles) Conceptual framework: The starting point of this paper is the definition developed by the founder of the use of improvisation in music therapy, Kenneth E. Bruscia, in the book 'The Fundamentals of Improvisational Music Therapy. Reformulating we arrive at the hypothesis that beyond the therapeutic value of music per se, the dyad of musical improvisation - therapeutic relationship, gives music a therapeutic effect through an interpersonal relationship. 13 Practical implications: Increasing the availability to use in clinical practice improvisation in music therapy through knowoledge the basics and how to apply. Limitations and opportunities: The limitations are determined by the degree of subjectivism that is attributed to the method. Conclusions: The current context of the application of empirical and intuitive therapeutic techniques, but whose value is indisputable by proven effectiveness over time, requires a new approach in order to validate these from the perspective of evidence-based clinical practices (EBP) Keywords: improvisation, music therapy, systematized flexibility, NLP, EBP, therapeutic relationship |
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| Nicoleta Demian - MOVE ON LINE - TEACHING VIRTUAL DANCE CLASSES |
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| Loredana MUNTEAN, Diana Elena SÂRB - PLAYING INSTRUMENTS ONLINE - WHAT AN E-MOTION! | ABSTRACT The expression through singing or playing instruments generates various emotions for both the performer and among the audience. The pandemic of 2020 carries the communication, with which humanity has learned over the centuries, in a new network, the virtual one. This creates an e-motion (here with a double, oscillating meaning, between the movement - in the obsolete version - invested with the given meaning of using network technology to design, deliver, select, manage and extend learning, respectively the emotion) that requires a pertinent analysis to propose future directions. This study starts from the experience of conducting seminars within the course Study of musical instruments in the primary and preschool cycle in two situations: face to face and online. The sudden and radical change of the educational context brought about essential transformations regarding how the laboratory activity was conducted for the study of eminently practical disciplines. This allows an instrumental case study based on the comparative analysis between the results obtained by students through face-to-face study and those obtained through an online study. The parallel between the two circumstances in which the study activities of the instruments occur is made from the perspective of the acquired instrumental technique - conceived in the context of this work as a form of movement, respectively, from the perspective of lived and transmitted emotions. Keywords: online activity vs. face-to-face activity, instrumental technique, emotion, e-motion, education, music |
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| Ion - Alexandru ARDEREANU - THE CURRENT ONLINE TEACHING OF CHURCH MUSIC AS SEEN BY THE ORTHODOX THEOLOGY STUDENTS IN WESTERN ROMANIA | ABSTRACT The year 2020 and the pandemic brought by it quickly changed the face of the world as we have known it until now. Obviously, the educational systems - of any level - have also been affected, being forced to move quickly in a format that has been discussed in recent years as an experiment, but which has not been expected to happen so soon: the exclusively online format. Part of an approach that, to our knowledge, has not been done yet in Romania, Church Music, one of the most important subjects of any faculty of Orthodox Theology is presented in this paper through the eyes of theological students, more precisely, by how they perceive it in general and the way in which they have perceived the transition to the online format regarding this course. Keywords: Orthodox Music; Orthodox Theology; Music Pedagogy; Church Music Pedagogy |
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| Polina STĂNESCU - METHODS FOR MAINTAINING AND STIMULATING MOTIVATION IN CHOREOGRAPHIC DISCIPLINES |
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| Iulia ROMAN - ONLINE ARTISTIC PROJECTS - A NEW PERSPECTIVE IN MUSICAL PERFORMANCE |
ABSTRACT Abstract: A new perspective in musical interpretation is represented by the introduction of information and communication technology in the artistic, interpretive act. In these times, a topical issue is that of artistic projects carried out online. They are a new approach to the interpretive act, both for solo performers and for teachers and students. Through digital platforms and specialized audio-video music program, artists from all over the world can collaborate in the realization of such a project. But can these projects represent a step in creating a new niche of performers and a new audience? Keywords: online art projects, interpretive act, emotion, questionnaire, social media followers |
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| Ana-Maria DEMIAN, Nelida NEDELCUȚ - THE MENTAL PROCESSES INVOLVED IN THE MUSICAL DICTATION | ABSTRACT The musical dictation represents the auditive recognition of and the ability to write down by hearing the musical elements acquired previously in a conscious manner. It is deemed to be a way to practice that generates musical writing-reading skills with melodic, rhythmic, rhythmic-melodic, harmonic and polyphonic valences. The given elements have to be perceived by the way of the senses, acquired consciously and repeated for several times until the development of the skills of accurate recognition in order for that recognition to be effective. Recognition is complementary to knowledge and together they form an integrated whole. Consequently, the musical dictation exercises are necessary from the very beginning of learning music as they are the most effective activities for the development of the mental processes that are involved in the dictation activity, thus, stimulating the musical representation, memory and thinking. “In the process of reproduction the entire superior nervous complex must be engaged, starting with the sensory audition stage, passing to perception, that is accomplished through acts of comparison and association, in which cognition and imagination are equally involved. Therefore, in order to recognize a musical element it is not enough that it is heard and repeated mechanically so that it is imposed upon the memory, but it is also necessary for it to be recognized, by constantly appealing to the subjects' thinking to make comparisons and associations up to its complete acquisition.”(Silaghi I, 1973, p. 27). Teaching music notation represents a way by which the student receives the possibility to operate with music sounds and to establish a relation from the music sound to the note it represents. Keywords: musical dictation; sensations and perceptinos; musical representations; musical memory and imagination; musical intelligence and thinking. |
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| Gabriel ZAMFIR - CONCEPTUAL REPRESENTATIONS OF BYZANTINE MUSIC IN CONTEMPORARY ROMANIAN CULTURE | ABSTRACT Romanian culture, understood in a general sense, in all its constituent elements, is intertwined with Byzantine culture since its dawn; the appearance of the two in approximately the same historical period, their proximity, the orthodox faith assumed by the Romanian people are just some of the reasons why we cannot talk about the historical route of Romanian culture without taking into account the Byzantine cultural elements taken by it. This paper proposes a short presentation of the way in which an extremely important element of Byzantine culture, its religious music, manifests itself in the Romanian culture as the latter perceives and theorizes it in contemporary times. Keywords: Romanian culture; Byzantine Culture; Byzantine Music; Romanian Orthodox Music. |
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| Ruxandra - Mihaela ENACHE - THE CHALLENGES OF ONLINE MODERN DANCE TEACHING |
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| Iulia TOMA, Mihai POPEAN - EFFECTS OF THE REPERTOIRE ON THE MUSCULOSKELETAL SYSTEM OF BOTH HIGH-SCHOOL AND EXPERT PIANISTS | ABSTRACT This research analyzes the relation between piano repertoire and symptoms of “playing-related musculoskeletal disorder” (PRMD) in high school pianists compared to concert pianists (experts) using online questionnaires. The compared results between the repertoire studied and PRMD was confirmed in 21.42% of the expert pianists and in 48% of the high-school pianists. 36% of the high-school pianists manifesting the symptoms identify a specific repertoire practiced (Classical or Romantic) as a causative factor. 21.42% of the expert pianists detect a relation between repertoire and PRMD symptoms, of which 14.28% point to the Romantic repertoire, 7.14% to a specific musical work, and 7.14% to passages played loud and fast. Due to the possible negative impact of a specific repertoire on young pianists as well as on those who play mainly a very specific repertoire, both professors and pianists may take into consideration, as a prophylactic strategy, a varied pianistic repertoire diversified in terms of styles and technique, and an individualized approach to the piano technique based on the anatomic and physiological particularities of each pianist. Keywords: piano repertoire, piano technique, symptoms, musculoskeletal, beginner vs. expert pianist |
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