An Interpretation Music Teacher Training According to Vroom's

Total Page:16

File Type:pdf, Size:1020Kb

An Interpretation Music Teacher Training According to Vroom's International Journal of Technology and Inclusive Education (IJTIE) , Volume 2, Issue 1, June 2013 An Interpretation Music Teacher Training according to Vroom’s Expectation Theory Sibel Çoban Marmara University, Atatürk Education Faculty, Fine Arts Department Abstract L.W. Porter. Expectation theory aims to explain the relationship between the performance and the result This study aims to reveal the expectations of [5]. Motivation-oriented expectation theory is a candidate music teachers (n=170), concerning process theory. It reveals the reasons why a person teacher training. The study was performed using a prefers a behavioral option to others [6]. “The basis descriptive methodology. A survey, usinga 5-point of the theory is related to the view that the decisions Likert-type scale, was used toreveal how the training of individuals motivate them, since they believe that program corresponds with the students’ vocational these decisions will carry them through” [7]. targets and expectations. The data were assessed “According to the expectation theory, working using percentage, frequency, arithmetic average, motivation depends on the relationship perceived standard deviation, ttest, analysis of variance and between the performance and results, and individuals chi-square. The findings were analyzed according change their behaviors according to the estimations tothe expectancy theory proposed byVroom. concerning the envisaged results” [8]. This condition has a practical and positive benefit on increased 1. Introduction motivation. This theory is based on the view that motivation originates from a person’s reliance in Music teacher training is a process that requires achieving her/his goals as performance or reward. the coexistence of some interdisciplinary features Since the expectation theory of motivation from the physiological, pedagogical and sociological emphasizes the eventual interactions that emerge as a fields. The issue of expectations associated with result of the environment-oriented individual music teacher training also concerns the theme of perceptions and personal expectations, it is classified motivation within educational psychology. as a process theory. The theory indicates that The word motivation comes from the Latin word individuals have different expectations, and could be “movere”, meaning “moving, and activation”. The motivated on condition that they believe in the concept of motivation, which is also defined as “A following conditions. desire or need that motivates, directs a person to do There is a positive correlation between the effort something in order to satisfy a desire or need” [1] being made and the performance. involves not only the activation of a person by Acclaimed performance brings a desired reward. another person in an attempt to work on a subject, but also the desire of the individual to work on a Reward meets an important need. subject [2]. The desire to meet the need is so strong that it is Various theories have been developed regarding motivation, which are classified as content theories worth making an effort [9]. and process theories [3]. Expectation Theory consists of two models. 2. Literature Review 2.1.2. Porter and Lawler’s Model of Advanced Expectancy Theory According to Lyman Porter and Edward Lawler, intense effort does not automatically 2.1. Process Theories result in high performance; two new variables intervene. The first is related to the condition that the Process theories are related to cognitive processes person has the required knowledge and skill; based on personal behaviors. These theories explain Otherwise, s/he will not show an effective motivation according to individuals’ expectations performance no matter how hard s/he tries [4].The regarding their perceptions and attainability of second variable includes the role perceived by a business rewards, as well as their values to satisfy person, which the behavior types that are expected the needs. The key point of these theories is related from the person. In other words, it is the defined to the purposes that motivate the individual [4]. mission of an employee, whose authority and responsibility are determined [4]. 2.1.1. Expectation Theory This theory was According to this theory, the performance propounded by Georgooulos, and subsequently displayed in terms of effort, knowledge, skill and developed by Victor H. Vroom, E.E. Lawler and perceived role will definitely be rewarded. This first Copyright © 2013, Infonomics Society 109 International Journal of Technology and Inclusive Education (IJTIE) , Volume 2, Issue 1, June 2013 stage expresses the result. In addition to Vroom’s the eventual performance. In order to have high model is the variable of fair reward. Everyone expectations, individuals are required to believe that compares their own performance with that of others, they have a certain level of control over the expected and attains an insight regarding the type of reward result. likely from their performance. In other words, some kind of rewardperception arises. If a person receives There is a positive correlation between efforts a reward that is perceived as inferior to this fair and performance, reward, s/he will not be satisfied. Thus, the Favourable performance will result in a desirable expectation of the person will be influenced. The reward, value of the result and the expectation will be The reward will satisfy an important need, influenced according to the satisfaction level, and the The desire to satisfy the need is strong enough to process will repeat [4]. make the effort worthwhile 2.1.3. Vroom Model: This theory, which was developed by Victor H. Vroom in 1964, tries to Instrumentalism-Probability (I→O): explain human behaviors in terms of the objectives Instrumentalism is a person’s expectation that s/he and selections of the individual, as well as the will be rewarded on condition that the performance expectations of achieving these objectives [10]. expectation is met. This reward might be a salary The theory is based on cognitive process regarding increase, promotion, recognition or the feeling of how a person handles different motivational success. If the whole performance is rewarded, the elements. This is done before making the ultimate degree of instrumentalism will be lower. choice. The outcome is not the sole determining factor in making the decision of how to behave [6]. Valence–V (R): Valence is the value that is Vroom (1964) defines motivation as a process that attributed by individuals to rewards, based on their enables individuals to make a selection between needs, targets, values and motivation sources. alternative voluntary activity fields, and which is Factors associated with the individual's valence for controlled by the person. The person makes preferences and Sources of Motivation Strength of an selections based on estimations of whether the individual’s preference fob a particular outcome. expected outcomes of a certain behavior will The valence refers the value the individual correspond to the desired result, or whether the personally places on the rewards. -1 →0→ +1 desired result will be achieved. Motivation is a product of an individual’s expectation of whether a -1= avoiding the outcome certain level of effort will deliver the desired 0= indifferent to the outcome performance, as well as the mediator role of this +1=welcomes the outcome performance in attaining a certain result, and the desire level of this result(known as valence) [11]. Figure 1. Vroom’s VIE Expecancy Theory Motivation-oriented expectation theory explains the behavioral process, which causes individuals to adopt one behavioral selection in preference to another. It also explains how people make decisions to attain the required result. Vroom presents three variables within the framework of the expectation theory: valence (V), expectation (E) and instrumentalism (I). Expectation–Probability (E–P): Expectation is a person’s reliance that their efforts (E) will result in achieving the desired performance (P) targets. It is generally based on a person’s past experiences and self-confidence (selfefficacy), as well as the perceived complexity of the performance Standard or In order for the valence to be positive, the person target. Elements related to expectation perception must prefer attaining the outcome to not attaining it are: self-efficacy, target complexity and control. [12]. Many recent studies have focused on Self-efficacy a person’s reliance on the efficacy of occupational targets and expectations [13–24], successfully fulfilling a certain behavior. Target because these variables have been effective in complexity occurs when the targets are too successfully estimating occupational success [14]. challenging, or when obstructed performance Similarly, according to [25], while occupational expectations result in lower expectations. Control, targets imply the occupations that are ideally refers to an individual’s perception of control over preferred or desired by individuals, occupational Copyright © 2013, Infonomics Society 110 expectations indicate expected occupations, important in occupational targets and expectations. considering the realities of the labor market [14]. Musical instrument training has a distinct importance Several studies [19–24] reveal that a series of in vocational music teaching, and is considered one subjects are studied, such as the determination of the of the most important lessons in qualifying to descriptive analyses of targets and expectations of become a music teacher.
Recommended publications
  • Terminology of Art Music in Ottoman Turkish and Modern Turkish Lexicography (19Th-21St Century)
    TERMINOLOGY OF ART MUSIC IN OTTOMAN TURKISH AND MODERN TURKISH LEXICOGRAPHY (19TH-21ST CENTURY). Agata Pawlina Jagiellonian University Abstract In this paper the author presents preliminary conclusions concerning changes in forms (in respect of orthography and morphology) and semantics of musical terms in Ottoman Turkish and modern Turkish lexicography. Selected dictionaries (including mono- and bilingual, general and specialized ones) from the period between the 19th and 21st century had been analyzed. This period of time is particularly interesting for establishing how a) Turkish lexicographic works reflect the Westernization of high- culture music of the late Ottoman Empire and the young Republic of Turkey and b) differences between art music of the Ottoman and European traditions are perceived nowadays. By presenting a terminological analysis of words considered to be not only basic musicological terms but also a part of natural language (‘singer’, ‘piano’, ‘kanun’) the author unveils some of the issues associated with the translation of Turkish musical terms into European languages and vice-versa. Those problems arise from the duality and hybridity which exist in contemporary Turkish musical culture. Its older part, the so-called classical/traditional art music (tur. Türk sanat müziği or Osmanlı/Türk klasik müziği) emerged at the turn of the 17th century, as a part of a Middle Eastern art musical tradition. Later on, during modernizing efforts conducted in the declining Ottoman Empire in the 19th century, European art music had been incorporated along with its international, translingual terminology. As a result of such duality, interesting phenomena are being observed in modern Turkish vocabulary concerning art music.
    [Show full text]
  • Music: the Case of Afghanistan by JOHN BAILY
    from Popular Music 1, CambridgeUniversity Press 1981 Cross -cultural perspectives in popular music: the case of Afghanistan by JOHN BAILY The problem of definition It is inevitable that the first issue of this yearbook will raise questions about the use of the term 'popular music'. I do not believe that this question is going to be easy to answer and, as a precaution, I think we should regard quick and seemingly clearcut solutions with suspicion. In fact, we may eventually have to operate with intuitive, poorly defined and rather elastic definitions of popular music. Before we resort to that expedient, however, the problem of definition must be considered and discussed from various points of view. The editors have offered the following two definitions (the number- ing is mine): (1)From one point of view 'popular music' exists in any stratified society. It is seen as the music of the mass of the people ... as against that of an élite. (2) From another point of view there is at the very least a significant qualita- tive change, both in the meaning which is felt to attach to the term and in the processes to which the music owes its life, when a society undergoes indus- trialisation. From this point of view popular music is typical of societies with a relatively highly developed division of labour and a clear distinction between producers and consumers, in which cultural products are created largely by professionals, sold in a mass market and reproduced through mass media. (P. i above) The first of these definitions is very general, the second very specific.
    [Show full text]
  • Reading the Meaning of Mother in Your Mother Song Lyrics
    READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTIC OF POETRY ANALYSIS A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining the Bachelor Degree in English Literature By: NAJIB NUGROHO 16150047 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2020 ii iii KEMENTERIAN AGAMA UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA FAKULTAS ADAB DAN ILMU BUDAYA Jl. MarsdaAdisucipto Yogyakarta 55281 Telp./Fak. (0274)513949 Web: http://adab.uin-suka.ac.id E-mail : [email protected] NOTA DINAS Hal : Skripsi a.n. Najib Nugroho Yth. Dekan Fakultas Adab dan Ilmu Budaya UIN Sunan Kalijaga di Yogyakarta Assalamu’alaikum Wr. Wb. Setelah memeriksa, meneliti, dan memberikan arahan untuk perbaikan atas skripsi saudara: Nama : NAJIB NUGROHO NIM : 16150047 Prodi : Sastra Inggris Fakultas : Adab dan Ilmu Budaya Judul: READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS Saya menyatakan bahwa skripsi tersebut sudah dapat diajukan pada sidang Munaqosah untuk memenuhi sebagian syarat memperoleh gelar Sarjana Sastra Inggris. Atas perhatian yang diberikan, saya ucapkan terimakasih. Wassalamu’alaikum Wr.Wb. Yogyakarta, 25 Juni 2020 Pembimbing, Ulyati Retno Sari, S.S. M.Hum. NIP. 19771115 200501 2 002 iv READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS By: Najib Nugroho Abstract Your Mother song teaches how to respect to mothers. This theme is important to discuss because respecting a mother must be done by any children. This song is interesting to be analyzed because this song directly quotes the hadith of the prophet Muhammad SAW.
    [Show full text]
  • The Moldavian Composer V. Rotaru and His Chamber- Instrumental Work
    İNÖNÜ ÜNİVERSİTESİ KÜLTÜR VE SANAT DERGİSİ İnönü University Journal of Culture and Art Cilt/Vol. 5 Sayı/No. 1 (2019): 41-51 THE MOLDAVIAN COMPOSER V. ROTARU AND HIS CHAMBER- INSTRUMENTAL WORK. Natalia Djalilova*1 *Academy of Music, Theatre and Fine Arts, Chishinau, Republic of Moldova Summary This article analyzes the piano Trio INO-3 V. Rotaru, its significance in the author's work, the basic style, the harmonic, rhythmic and inerprtative aspects. The connection with neo-folklore direction in music and traditional genres in Moldovan folk music is revealed, the synthesis of traditional folklore with modern composition techniques. This article assumes to define first of all value of the considered Trio INO-3 in the context of all area of chamber-instrumental music of V. Rotaru, as the last composition of the composer in this genre sphere. The article also focuses on the neo-folklore features of the composer's style and their harmonious combination with the classical traditions typical of the trio of Russian and Western European composers. As for the classical traditions, the Trio is a three-part cycle with a characteristic tempo dramaturgy: I. Moderato II. Lento e molto lamento III. Allegro moderato Since this Trio is the last in the cycle and was written shortly before the composer's death, the author's appeal to the genre of mourning Saraband in the middle part is of interest. As for the neo-folk style elements, they define the whole thematic, rhythmic and Lado - harmonic material of the composition. The article focuses on the Lado - harmonic features of all parts of the Trio, which are characteristic intonation formulas of Moldovan folklore: motives with II increased and decreased levels, motives with IV increased level, VI increased level, enriched with melismatics.
    [Show full text]
  • Yayını Görüntülemek Için Tıklayın
    Prof. Sir John Boardman Sir John Boardman’ın 90. Yaşı Onuruna In Honour of Sir John Boardman on the Occasion of his 90th Birthday TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi Turkish Academy of Sciences Journal of Archaeology Sayı: 20 Volume: 20 2017 TÜBA-AR TÜBA Arkeoloji (TÜBA-AR) Dergisi TÜBA-AR uluslararası hakemli bir TÜRKİYE BİLİMLER AKADEMİSİ ARKEOLOJİ DERGİSİ dergi olup TÜBİTAK ULAKBİM (SBVT) ve Avrupa İnsani Bilimler Referans TÜBA-AR, Türkiye Bilimler Akademisi (TÜBA) tarafından yıllık olarak yayın- İndeksi (ERIH PLUS) veritabanlarında lanan uluslararası hakemli bir dergidir. Derginin yayın politikası, kapsamı ve taranmaktadır. içeriği ile ilgili kararlar, Türkiye Bilimler Akademisi Konseyi tarafından belir- lenen Yayın Kurulu tarafından alınır. TÜBA Journal of Archaeology (TÜBA-AR) TÜBA-AR is an international refereed DERGİNİN KAPSAMI VE YAYIN İLKELERİ journal and indexed in the TUBİTAK ULAKBİM (SBVT) and The European TÜBA-AR dergisi ilke olarak, dönem ve coğrafi bölge sınırlaması olmadan Reference Index for the Humanities arkeoloji ve arkeoloji ile bağlantılı tüm alanlarda yapılan yeni araştırma, yo- and the Social Sciences (ERIH PLUS) databases. rum, değerlendirme ve yöntemleri kapsamaktadır. Dergi arkeoloji alanında yeni yapılan çalışmalara yer vermenin yanı sıra, bir bilim akademisi yayın organı Sahibi / Owner: olarak, arkeoloji ile bağlantılı olmak koşuluyla, sosyal bilimlerin tüm uzmanlık Türkiye Bilimler Akademisi adına Prof. Dr. Ahmet Cevat ACAR alanlarına açıktır; bu alanlarda gelişen yeni yorum, yaklaşım, analizlere yer veren (Başkan / President) bir forum oluşturma işlevini de yüklenmiştir. Sorumlu Yazı İşleri Müdürü Dergi, arkeoloji ile ilgili yeni açılımları kapsamlı olarak ele almak için belirli Managing Editor bir konuya odaklanmış yazıları “dosya” şeklinde kapsamına alabilir; bu amaçla Prof.
    [Show full text]
  • Uluslararası Bilimsel Araştırmalar Dergisi
    IBAD Sosyal Bilimler Dergisi IBAD Journal of Social Sciences IBAD, 2020; (6): 378-389 DOI: 10.21733/ibad.673158 Özgün Araştırma / Original Article Klasik Müzikte Boyutsal Seslendirmeler Prof. Dr. Cihan Işıkhan1* ÖZ Seste boyutsallık algıda şekillenen bir bileşen, bir oluşumdur. Ses kaynağı nerede olursa olsun, iki kulağın aralarındaki yüz engelli mesafesi ve buna bağlı olarak ortaya çıkan işitmedeki zamansal gecikme algıda boyutsallığı yaratır ve boyutsal Geliş tarihi: 10.01.2020 algılama, insanda ses kaynağı konumunun tespitini sağlar. Seste boyutsal Kabul tarihi: 29.01.2020 algılamanın günümüz müzik endüstrisinde bilinen karşılığı genelde teknolojiktir. Kaydedilen müzik mono’dan surround’a kadar çeşitli teknolojik yöntemlerle Atıf bilgisi: işlemden geçirilerek tüketiciye sunulur. Ses kayıt tarihinde bu süreç mono ile 378 IBAD Sosyal Bilimler Dergisi başlayarak günümüzde atmos’a kadar ulaşmıştır. Oysa doğal bir oluşum olan sesteki Sayı: 6 Sayfa: 378-389 boyutsallığın bugün herkes tarafından yukarıdaki terimlerle aranan teknolojik Yıl: 2020 Dönem: Kış halleri, bundan yüzlerce yıl önce batı müziği bağdarlarının bir kısmı tarafından dinleyiciye zaten sunulmaktaydı. 16. yüzyılda Giovanni Gabrieli’nin koroyu ikiye bölerek “cori spezzati” tekniğiyle sunduğu yaratılarında stereo tekniği yatmaktadır. Barok dönemde Vivaldi “per eco in lontano (uzaktaki yankı)” adlı Konçertosuyla This article was checked by Turnitin. ilk surround seslendirme örneklerini sunmuştur. Klasik dönemde Haydn ve Mozart, Similarity Index 04% Romantik dönemde Berlioz ve
    [Show full text]
  • THE UC DAVIS DEPARTMENT of MUSIC PRESENTS the UC Davis
    THE UC DAVIS DEPARTMENT OF MUSIC PRESENTS THE UC Davis Gamelan Ensemble Henry Spiller, director ‐‐‐ PROGRAM Jipang Lontang trad. Galatik Mangut A. Idi Jeruk Bali Djai Ladrak trad. Lutung Bingung A. Absar Kunang‐kunang ("Oray‐orayan") trad. ‐‐‐ 12:05 pm, Tuesday, 2 March 2010 Room 115, Music Building [INSERT STANDARD “QUIET” TEXT.] This performance is made possible in part by the generous support from the Joy S. Shinkoskey Series of Noon Concerts endowment. NOTES Introduction: Indonesia is a nation with 13,000 islands (of which a few thousand are populated), the fourth largest population in the world, and hundreds of ethnic groups and languages. Indonesia's second largest ethnic group is the Sundanese; approximately 30 million Sundanese speakers dominate the modern province of West Java. Sundanese people look back to the medieval West Javanese kingdom of Pajajaran (1333–1579) as a homeland and for the roots of Sundanese culture. Stories and cultural images have developed a romanticized vision of Pajajaran as a mystical, ethical utopia of great natural beauty and its rulers as models of wisdom and power; the memory of Pajajaran inspires modern Sundanese people to maintain a strong Sundanese identity. While the majority of the Sundanese population still lives in rural or semi‐rural settings, large cities and the cosmopolitan culture they nurture have become an increasingly important element of Sundanese lives. Gamelan Degung: The term gamelan refers to matched sets of instruments (primarily tuned bronze percussion instruments) that are unified by appearance, manufacture, tuning, and other characteristics. Each gamelan is unique. The gamelan ensemble known as degung (or gamelan degung) consists of hanging bronze gongs, gong chimes, metallophones, drums, and suling (bamboo flute) tuned to a pentatonic scale.
    [Show full text]
  • Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St
    Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St. Louis St. Louis, Missouri PRESENTER & COMPOSER BIOS updated October 25, 2014 Abeles, Harold F. Dr. Harold Abeles is a Professor of Music and Music Education at Teachers College, Columbia University, where he also serves as Co-Director of the Center for Arts Education Research. He has contributed numerous articles, chapters and books to the field of music education. He is the co-author of the Foundations of Music Education and the co-editor, with Professor Lori Custodero, of Critical Issues in Music Education: Contemporary Theory and Practice. Recent chapters by him have appeared in the Handbook of Music Psychology and the New Handbook of Research on Music Teaching and Learning. He was the founding editor of The Music Researchers Exchange, an international music research newsletter begun in 1974. He served as a member of the Executive Committee of the Society for Research in Music Education and has served on the editorial boards of several journals including the Journal of Research in Music Education, Psychomusicology, Dialogue in Instrumental Music Education, Update, and Arts Education Policy Review. His research has focused on a variety of topics including, the evaluation of community-based arts organizations, the assessment of instrumental instruction, the sex- stereotyping of music instruments, the evaluation of applied music instructors, the evaluation of ensemble directors, technology-based music instruction, and verbal communication in studio instruction. Adler, Ayden With a background as a performer, writer, teacher, and administrator, Ayden Adler serves as Senior Vice President and Dean at the New World Symphony, America’s Orchestral Academy.
    [Show full text]
  • Tncis Syllabus Outline
    EAST MEETS WEST: MUSIC OF TURKEY MUSC 4520/MUSC 5525 Course Title: East Meets West: Music of Turkey Course Number: MUSC 4520/5525 Credit Hours: 3 Catalog Course Description: MUSC 4520/5525 Special Topics (3). Independent/directed study course intended to serve students interested in investigations of musical issues and questions outside of those regularly addressed in programmed courses. Individual research on subjects agreed upon by student and professor. How Program Site will be incorporated into the course: Turkey is the place where East meets West in music. Eastern musical scales (makamlar in Turkish) have different numbers of notes and interval distances between notes, when compared with Western (European/Roman-based) musical scales. Only in Turkey is Western musical notation used to express Eastern sounds in music--though the Western notation is adapted by using four symbols for "sharp", four symbols for "flat", and a very different method for expressing time signatures. The study abroad program’s visit to Anatolia, the region that we know as Turkey, will allow American students with "Western eyes and ears" to experience live, authentic Eastern music as they explore the human experience that includes making music and learning about the people and cultures that support this music. The program begins in Istanbul, the Silk Road city with literal bridges connecting Europe and Asia, where the Western world’s culture and music meets the Eastern world. In Istanbul, students’ experiences will include visits to sites that made up part of ancient Constantinople, Byzantium, and the cultural changes that affected the city’s evolving society. Evidence of this culture will be explored through visits to such places as the Hagia Sophia, City Wall, Blue Mosque, and Topkapi Palace, along with experiences in a variety of live East-West mashup forms of music, blending Western Classical and Pop forms with Anatonlia styles into a broader World Music style.
    [Show full text]
  • Teaching and Learning Musical Composition at Universiti Sains Malaysia
    International Journal of Education and Research Vol. 1 No.11 November 2013 Teaching and Learning Musical Composition at Universiti Sains Malaysia Razak Abdul Aziz, PhD Senior Lecturer, Music Department, Universiti Sains Malaysia, 11800, Malaysia Email: [email protected] Phone: 00604 653 3417 and Toh Lai Chee, PhD Senior Lecturer Teacher Education Institute, Bukit Coombe, 11700 Gelugor, Penang, Malaysia Email: [email protected] Abstract This paper discusses the issues involved in the teaching and learning of musical composition in one of the universities in a country which is dominated by various ethnic and religious groups. The discussion warrants an overview of the historical backdrop of Malaysia, its people, heritage, and the resultant types of music. The paper will also trace the aims of music education in schools and in Universiti Sains Malaysia, the role of the Malaysian Philharmonic Orchestra and its outreach program, the effects of Western compositional styles, classical or popular, and the impact of Islamic influences, imported or homegrown, on music making. It will include a brief study of the musical preferences of Malaysian students. Keywords: Teaching and Learning Musical Composition, Ethnicity and Musical Preference, Multicultural Country, Balance between the study of Malaysian and Western music, Open and Liberal Approach towards Learning of Musical Composition Introduction Strategically located in maritime Southeast Asia, present day Malaysia consists of two non- contiguous areas - the Malay Peninsula or West Malaysia which forms part of mainland Southeast Asia has a landmass of 131,573 sq km, while Sabah and Sarawak or East Malaysia which forms part of the Malay Archipelago has a landmass of 198,160 sq km1.
    [Show full text]
  • Unfamiliar Sounds in Familiar Settings Hartley V1.0
    © 2017 Paul Hartley UNFAMILIAR SOUNDS IN FAMILIAR SETTINGS: ON THE COSMOPOLITAN LABOUR OF FILM COMPOSERS IN ISTANBUL BY PAUL DERRICK GEORGE HARTLEY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Professor Donna A. Buchanan, Chair Professor Emeritus Bruno Nettl Assistant Professor Michael Silvers Assistant Professor John P. Meyers Dr. Ulrike Präger ABSTRACT Filmmaking in Turkey has long, convoluted history. The Turkish film industry developed, flowered, and declined before being nearly obliterated altogether by a military coup in 1980. Following the nearly total disappearance of a coherent studio system, a new approach to filmmaking, the New Turkish Cinema, developed during a time of economic and cultural resurgence. Now in a mature phase, Turkish films and television programs are rapidly becoming a focus of local and global interest, as Turkey grows as a consumer marketplace and as a player in global affairs. Films and television programs have become key players in Turkey’s economic, cultural, and diplomatic resurgence. Despite film’s reemergence, film music has not been a focus of scholarly inquiry until recently because critics and scholars have not seen it as a contributing factor to the development of the new Turkish cinema. This dissertation examines the creative labor of film composers working in the Turkish film industry from 2010-2016. It focuses on the socio-cultural contexts that facilitate the work of filmmakers as they create films suitable for the Turkish market while working from within a much more globalized, cosmopolitan framework.
    [Show full text]
  • Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
    British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia.
    [Show full text]