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Conference Time: 3rd June 2025, 01:47:41am WEST
 

Conference Agenda

Overview and details of the sessions of this conference. Please select a date or location to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).

 
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Session Overview
Session
Posters presentation
Time:
Saturday, 07/June/2025:
10:30am - 12:00pm

 Location: Claustro pequeno

Session Abstract

POSTERS

Musical Shower

Ferreira, Inara de Barros; Eretzky, Natalia

In the Musical Shower project, Pre-Kindergarten students developed a sound installation inspired by their experience at the “CRIA_ Experiência de Invenção,” an exhibit by artist Stella Barbieri. The installation was designed to allow students to physically engage with the artwork, where some people could step inside the installation and experience the sounds firsthand. In contrast, others created the sounds outside the installation. This interactive process enabled students to explore and reflect on how different sounds, music, and objects interact with the human body. In addition, students were introduced to the concept of repurposing materials to create handmade sound objects, engaging with various art forms. Collaboration was essential, as students worked with their peers to achieve a common goal, fostering creativity, teamwork, sensory awareness, and environmental consciousness. The project encouraged students to think critically about sound, material reuse, and artistic expression while strengthening their connections with their peers and the wider community.

Teaching and learning of intonation in string instrumental education: an overview of mobile apps

Sant'Ana, Géssica dos Santos; Foletto, Clarissa; Caixinha, Hélder

The use of smartphones and their apps have become an integral part of our daily life.Such mobile apps are utilised for a large array of daily activities and possess considerable potential as educational instruments. In the field of music education, there have already been efforts made to integrate the use of mobile applications within the classroom. Nevertheless, there is a notable absence of studies and instructional strategies that integrate this technology into individual instrument lessons. This deficit is particularly evident in the domain of teaching intonation for string instruments. Therefore, the aim of this project is to identify and analyse the mobile apps that are currently available for teaching and learning intonation in the apps market. The intent is to analyse the potential of these applications to be utilised by both educators during the lessons and by students during their practice sessions. To achieve this objective, a comprehensive mapping of applications, available for both iOS and Android Operating Systems, related to intonation was conducted. Subsequently, their content was analysed to assess their potential effectiveness as pedagogical tools for teaching and learning intonation. After the initial mapping, which identified 1008 apps, several exclusion criteria were applied, narrowing the selection to a total of 96 apps that were subsequently analyzed. These apps were categorized into four main groups: tuners, audio recorders, audio editors, and ear training apps. The analysis highlighted several key functionalities that could enhance the suitability of these apps for educational use. These include the option to customize the tuning pitch and reference sounds encompassing the full chromatic scale over more than one octave. Preliminary results indicated that several apps hold promise for educational purposes. However, the effective integration of these tools into the learning process ultimately depends on educators designing appropriate pedagogical strategies that leverage the apps' functionalities.

Increasing the visibility and audibility of female composers and their works -The integration of gender-reflective topics in music teaching materials

Rak, Monika

If educators aim to diversify their music education canon and weave female composers and their works into music lessons because they share a democratic and equitable worldview, it means considerable additional work for them due to the lack of teaching materials.

The importance of working toward gender equality and its visibility in educational materials is driven not only by the Sustainable Development Goals (Nr 5 - Gender Equality), but also by national educational policy requirements.

Studies show, however, that there is a clear underrepresentation of female composers in textbooks (Schiemann 2023, Ostleitner 1991).

This means that neither a gender-sensitive nor a diverse representation of musicians in music lessons can be achieved, nor can role models become visible for female students.

In a participatory study, a research team of scientists and teachers

- examines the role of teaching materials in instructional change

processes (three-tetrahedron model by Prediger 2017),

- creates and tests teaching materials,

- integrates the current state of research from other disciplines (musicology, sociology, gender studies),

- identifies opportunities for implementation in the curriculum and

- fosters development of materials in iterative cycles.

Expected results, such as information on the efficiency of different implementation levels (Puentedura's SAMR model 2006) as well as on suitable and successful strategies of gender-reflective pedagogy (Debus 2017), can be used for the for the training of teachers and as a model for further implementation needs (e.g. multiculturalism in music teaching materials).

The poster will show preliminary results from the first cycle of our DBR study and provide an update on the ongoing progress of the project.

I hope my poster presentation will open up the opportunity to discuss the diverse situations in various European countries, different approaches in teacher training and varied ways to integrate gender equality into music teaching materials with the audience.

Stress management of music teacher students in Germany

Sammer, Gerhard; Brandl, Sebastian

The well-being of music teachers and music teacher students is becoming an important topic from various perspectives: In view of the shortage of qualified music teachers all over Europe we need to reshape the future music teacher training and increase our efforts to develop strategies for a study and work context that supports high job satisfaction. The presentation will follow on from a brief description of general terms (Lazarus1966;Selye1974,Rudow1994), connect to studies on stress management of music teachers (Sammer2011,Rebmann2022) and present new results from a big quantitative study recently conducted among music teacher training students from all over Germany (n=323,2024). Due to the demonstrable deterioration in student health in recent years, this study aims to investigate the area of music teacher students: Central questions concern subjective and objective stress, motivation to study, physical and psychosomatic complaints and the students' coping strategies. Using standard statistical methods, the data is examined for significant correlations, differences and variances. The results show that the stress in music teaching studies is generally high and manifests itself in particular through a lack of relaxation. Although female and male students do not differ significantly in their overall stress assessment, there are significant differences with regard to their assessment of complaints. Surprisingly only less significant correlations were found between the stress assessment and the characteristics of the Big Five personality traits. Against the background of increasing demands on students and an enormous increase in stress and complaints, the results are in line with comparable research on students in general. These findings are relevant for the further development of study structures, but can also contribute to the discussion on the mental health of student teachers in general. The presentation will finalize with concrete proposals for improving study conditions with the aim of promoting the well-being of music teaching students.

EyeLa: An accessible digital musical instrument (DMI) augmented reality (AR) app

Cheng, Lee

EyeLa is an accessible digital musical instrument (DMI) augmented reality (AR) app. Utilising passthrough capabilities (i.e., seeing a real-time view of the surroundings), as well as eye-tracking, head-tracking, and gesture recognition in commercially available virtual reality (VR) headsets, it enables users to play musical notes by moving their hands, head, and eyes. EyeLa seeks to remove the barriers posed by conventional musical instruments, which require certain levels of cognitive and sensorimotor skills that may not align with the functional diversity of some individuals. By addressing this diversity in music education, EyeLa has the potential to empower individuals with functional differences to engage in musical activities and experience the benefits of learning and enjoying music.

EyeLa’s user interface incorporates a harmonic table note layout, allowing users to navigate through musical notes of interval sequences using eye movement and to trigger musical events by blinking. Users can also switch to head-tracking or hand-gesture modes, adapting to the functional needs of each individual. In hand-gesture mode, Kodály hand signs are mapped to trigger their corresponding solfège notes, with a variety of instruments to choose from. The passthrough function enables users to see the real world while interacting with the visual artefacts in the augmented environment, opening up possibilities for ensemble playing and collaborative music-making.

The current version of EyeLa replicates the conventional idioms of Western classical music, with the potential to enable individuals with functional diversity to engage in music learning activities in schools. By translating motions and gestures into musical language, future development of EyeLa can open new creative possibilities, allowing users to explore music with input mechanisms that are more intuitive and aligned with their natural body movements.

Principles, requirements and limitations of music notation in a cross-cultural perspective using the example of the Brazilian instrument pandeiro

Nilles, Johannes

In the field of intercultural music education and in the teaching of non-European music, learning by observation is only possible to a limited extent. This means that teaching is especially dependent on notation, which constitutes a central aspect of my PhD project on translocal music education in Salvador da Bahia.
The research presented compares notations in popular teaching materials, online courses and board illustrations found during my fieldwork in pandeiro lessons. This comparison aims to identify general principles, requirements, and limitations of pandeiro notation by way of example. My research is thus embedded in the discourse on the notation of non-Western music (Hood, Seeger).
The project is conceptualized as collaborative ethnographic research (Lassiter) in cooperation with the pandeiro musician and textbook author João Araújo. It brings together Araújo's emic and my etic perspectives (Harris, Goodenough) in all research steps and thus reflects on notation systems from both points of view.
The research has shown that notation systems are always linked to the experience of those who decode them. This can include learners outside Brazil or orchestral musicians without pandeiro training. However, notation systems always reflect the relevancies of their developers in their representations and omissions. Considering these relevancies is of fundamental importance to an appropriate representation of cultural diversity in teaching materials. Discussions about the appropriate notation of global music culture reveal the Eurocentrism inherent in the employment of staff notation: Written representation is always deficient and using elements of staff notation merely reflects a Western perspective on the actual music. This makes it necessary to constantly reflect on the advantages and disadvantages of the notation systems used in teaching materials in order to meet the demands of culturally sensitive and decolonial music education.


Developing musical skills in preschool-aged children through playing by ear

Andrioti, Evi

This poster presents findings from research conducted with preschool children at a private kindergarten in Athens, Greece, exploring the progression of rhythmic skills and improvisation through Lucy Green’s 'Playing by Ear' method. Rooted in informal learning, the method aims to enhance students’ auditory, rhythmic, and overall musical abilities. Given the children's age (4-5 years), their need for social interaction, teamwork through play, and lack of formal music notation instruction, this study examined the effectiveness of applying an informal music learning approach in formal educational settings. Since Green's original study focused on children aged 13-14, this research investigates necessary adaptations for younger children.
Using qualitative methodology, specifically an action research approach, the study investigated how the 'Playing by Ear' method developed rhythmic skills and enhanced students’ ability to play music in small groups without teacher guidance. The results showed that the method significantly contributed to rhythmic development, both through instruments and kinetic activities. It fostered early experimentation and improved students’ capacity to play independently, promoting new communication and cooperation skills.
Aligned with student-centered learning, the method encouraged educators to focus on individual student interests, allowing children to explore their unique musical identities. The approach positively impacted students' well-being, strengthening friendships and fostering a sense of belonging. Overall, the 'Playing by Ear' method enhanced musical skills and was perceived by students as a highly enjoyable and recreational experience. These findings are relevant to the conference theme, highlighting the benefits of informal music learning in early education.


Uniting Voices Across Borders: The International Kodály Society – Professional Network and Community

Zsuzsanna Polyák



Movements, professions, disciplines, and advocacy groups frequently organise themselves into formal institutions to better advance their respective causes. For music educators, organisations such as the European Association for Music in Schools (EAS) or the International Society for Music Education (ISME) serve as professional networks, bringing together music educators from various countries.

This presentation, using the case study of the International Kodály Society (IKS), seeks to explore the challenges and opportunities faced by an organisation in fostering not only a professional network but also a community of musicians and music educators united by a shared vision of music education.

The IKS was founded in 1975 in Kecskemét, Hungary, with the stated objective of "the worldwide propagation of the musical, educational, and cultural concepts associated with Zoltán Kodály for the benefit of music generally and, in particular, for the educational advancement of children and youth" (IKS Statutes).

Headquartered in Budapest, Hungary, the IKS plays a pivotal role, through its institutional and individual members from 30 countries, in the global recognition and dissemination of music education practice based on Kodály’s principles, which was inscribed on the UNESCO Intangible Cultural Heritage list in 2016.

The establishment of the IKS during the Cold War era exemplifies a unique instance of cross-cultural collaboration, wherein committed music educators overcame the political hostilities of their respective nations to cultivate a shared community.

Over the course of its fifty-year history, the IKS has initiated numerous projects in pursuit of its goals. These include international youth choir competitions, scholarships, publication of various collections (reminiscences, scholarly studies, and musical scores) and a scientific journal, the commissioning of choral works by contemporary composers, and the organisation of the biennial Symposia. This presentation will underscore both the successful endeavours of the IKS and the challenges faced by the organisation in the contemporary context.






 
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