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| ABSTRACT There is a cognitive element in music education which is often neglected or ignored, and teachers ought to address this in their teaching practices. Back in 1989, Reimer noted that the devalued condition of the arts in education stems from the misconception that arts have no genuine cognitive status for that is arts involvement with the emotional expression. If arts are solely regarded with how one is feeling at a particular moment, education of music would become rather irrelevant. Ever since, researchers have examined the scientific and cognitive elements related with music teaching and learning, and its ontological existence within the overall educational and scientific spectrum. However, the misconception of music relating mainly with the emotional realm of oneself remains a stronghold in many curricula, or perhaps rooted in the essence of several teaching approaches. In this position paper we approach music education from the standpoint that there exist cognitive processes involved in responses to musical stimuli. Teaching music involves defining a logical education problem and, thus, toward finding logical answers through a designative logical process. We will, therefore, recommend various strategies which, we hope, will enable fellow music educators to address the cognitive skills required to music development. Keywords: Music Education; Cognitive Processes; Cognition in Music; Classroom Pedagogy. |
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| Lavinia-Maria POJAR-CHIȘ - MULTIPLE INTELLIGENCES AND MUSIC CLASSES - AN INNOVATIVE APPROACH | ABSTRACT As music teachers in mainstream schools, we approach teaching strategies, activities, work tasks and games in our lessons, more or less intentionally, for pupils who have and demonstrate musical abilities, as about the rest of them, considered as not having a musical ear, either neglecting them or assigning them other compensatory work tasks, in the best situation. Because they require not only creativity, willingness and a good knowledge of pupils' abilities, inclinations and capabilities, but also a considerable effort in the didactic design of the process of transmitting and assimilating knowledge, differentiated activities are used particularly when there are pupils with Special Educational Needs included in the classroom. According to Gardner's Theory of Multiple Intelligences, each human being possesses and demonstrates in practice different types of intelligence, with the specification that some of them may be more developed and easily observable, while others may only be present in a rudimentary form. So, in order to make the instructional-educational process more effective, it is necessary to considering the abilities and inclinations of each pupil at music classes for designing and carrying out activities, not only to enhance and strengthen their abilities, but also to meet their needs. This article aims to explore the application of the theory of multiple intelligences to music classes. Proposing an innovative approach to teaching-learning-assessment strategies, the article analyzes the relevance of each type of intelligence in specific lesson approaches and, at the same time, provides concrete examples of teaching activities and games that capitalize on these intelligences. Keywords: Multiple intelligences, didactic strategy, music education, interdisciplinarity, connections, cognitive diversity, skills. |
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Cecilia CURIS - THE POTENTIAL OF MUSIC THERAPY IN MEDICINE – THE USE OF MUSIC IN THE PREVENTION AND THERAPY OF OBESITY |
ABSTRACT Music has accompanied humanity throughout its evolution and can be considered a characteristic of the human species that emerged with the acquisition of self-awareness. There are different theories regarding the appearance of music in human life, as well as its functions. What is unanimously accepted at this time is the fact that music does not only have an entertainment function but also a therapeutic function. Studies in recent years have confirmed that music can be used in therapy with a multitude of benefits. In favor of these statements is the fact that music has been used in the history of humanity both in moments of joy and sadness or distress, with different purposes. Therefore, other motivations for its use in different situations, excluding its entertainment function, cannot be disputed. Lullabies, funeral laments, healing rituals or incantations, songs of mobilization for battle, are examples of situations in which music was used outside its entertainment role. This study aims to highlight another type of potential of music, namely that of a therapeutic tool in medicine. We conducted a review of the articles with the mentioned theme by querying the PubMed database, using as key search terms music therapy - obesity - food. We identified a number of 71 articles from which we eliminated 54 articles, which did not fit the research theme. We processed the data obtained using the Microsoft Excel program. The results highlighted that the potential of music as a therapeutic tool is insufficiently used, there are data that could open new avenues of research on the use of music in medicine and regarding the strict use of music in obesity therapy and nutritional management especially in children, the results are very good. In conclusion, we can say that music can be a useful therapeutic tool, almost without adverse reactions, cheap and easy to use in modifying undesirable nutritional behavior patterns, as well as in obesity therapy with reference to certain cognitive-behavioral skills. Keywords: Music therapy, obesity, food. |
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| Gabriela SIMA - THE DANCE ELECTIVE: A PLEA FOR EDUCATION THROUGH DANCE IN MAINSTREAM SCHOOLING | ABSTRACT Movement and dance have long been recognized as valuable tools in a child's development, which highlights the need to prioritize the introduction of dance as an optional school subject from an early age. The subject Education through Dance serves as a fundamental support for the development of emotional intelligence, bodily-kinesthetic intelligence, and nonverbal communication skills. In addition to these aspects, it is a highly complex and diverse discipline, shaped by the influences of various historical periods and capable of stimulating a child’s imagination. Furthermore, its interdisciplinary nature creates meaningful connections with other subjects such as history, anthropology, geography, ethnography, and even mathematics. Keywords: Dance education; optional dance subject; school curriculum; creative workshop. |
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| Ramona PREJA, Elisabeta-Anda MOLDOVAN - MUSICAL LISTENING - AN ESSENTIAL COMPONENT IN THE EDUCATIONAL PROCESS | ABSTRACT Musical education in today’s schools is founded on a set of laws and principles that imbue it with educational and scientific value. This value is conferred by the nature of music as an artistic phenomenon, by the distinctive human psychic activity involved in creating–perceiving–interpreting musical works, and by the specific process of training and developing students in the values of musical culture. Keywords: Music-listening, established methods, active musical school. |
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| Alina STAVĂR - IS IT ALL IN THE MIND?  MUSIC PERFORMANCE ANXIETY AND THE INTERRELATION BETWEEN THE PHYSICAL, MENTAL AND SOCIAL ASPECTS | ABSTRACT The article below explores several factors that contribute to music performance anxiety (MPA) such as fear of mistakes, high expectations, evaluation and perfectionism. Moreover, the study aims to explore the symptoms of music performance anxiety, what category of age they apply to, as well as the level of training. Brain developmental stages in children and the psychosocial development theories by Piaget and Erikson are a significant discovery in psychology which explicates how they influence the overall life experience for children and adults alike. Furthermore, the personal experience of the great performers such as Menuhin and Havas is an invaluable resource in transmitting their methods of coping with MPA. Finally, thoughts for educators with practical implications are presented. Keywords: Music; Performance anxiety; Brain developmental stages; Psychosocial development; Piaget; Erikson; Havas. |
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| Simona NOJA-NEBYLA - COGNITIVE LEARNING STRATEGIES IN CLASSICAL BALLET |
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| Petruta Maria COROIU - MUSICAL COGNITION-INTERDISCIPLINARY CONNECTIONS | ABSTRACT The twentieth century has allowed many disciplines to reflect on the neurological structures and psychic processes that accompany the studied phenomena: this is also the case of music, which benefits from the help of psychology and neurology in understanding and explaining concrete phenomena related to the artistic act (whether it is composition, interpretation or the perception of the message of the work of art). Research on music cognition aims to understand the nature of listeners' musical knowledge, its acquisition, and the influence of this knowledge on encoding, organizing, understanding and performing musical patterns. Keywords: Neurology, music, psychology, semantics, cognition. |
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| Anca BOENGIU - THE ANALYTIC-INTERPRETATIVE PARADIGM OF SIGISMUND TODUȚĂ’S LIED SPUNE-O ÎNCET (“SAY IT SOFTLY”): A COMPARATIVE PERSPECTIVE ON HUMAN AND ARTIFICIAL INTELLIGENCE-BASED ANALYSIS WITH ELEMENTS OF COGNITIVE DISSONANCE |
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| Ana Maria LIBERAL - ENHANCING AURAL SKILLS IN PORTUGUESE MUSIC EDUCATION: PEDAGOGICAL STRATEGIES FOR UNDERGRADUATE MUSIC STUDENTS AT ESMAE-P.PORTO | ABSTRACT This study explores the role of Music Education within Portuguese vocational and higher education, with a particular focus on aural skills development. Since the foundation of the Lisbon Conservatory of Music in 1835, Music Education has been a fundamental component of curricula at the basic and secondary levels. The 1983 reform integrated Music Education into higher education programs, maintaining ear training and active listening as core competencies. Despite the absence of a unified national program, the development of aural skills remains a common educational goal across institutions. Using the case of the Bachelor’s Degree in Music at the School of Music and Performing Arts of the Polytechnic Institute of Porto (ESMAE-P.PORTO), this article presents specific pedagogical strategies implemented in the Musicianship I and II courses. These strategies are designed to strengthen relative listening abilities, which are considered crucial for professional musicianship. The study demonstrates that student engagement with this approach is driven not only by the cognitive and technical challenges it presents but also by a deepening recognition of the fundamental value of developing relative aural skills within their broader musical education. Keywords: Portuguese music education; ear training; pedagogical strategies; undergraduate students; aural skills. |
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