Sound Exposure of Secondary School Music Students During Individual Study

2019 ◽  
Vol 34 (2) ◽  
pp. 98-101
Author(s):  
Matilde A Rodrigues ◽  
Sandra Gonçalves ◽  
Paula Neves ◽  
Manuela V Silva
Keyword(s):  
Secondary School ◽  
Sound Pressure ◽  
Music Students ◽  
Individual Study ◽  
Hearing Conservation ◽  
Sound Exposure ◽  
School Music ◽  
The Individual ◽  
Hearing Damage ◽  
High Sound

Music students can be exposed to high sound pressure levels (SPLs) during classes, which can result in hearing damage. However, individual study can also boost their exposure. This short presentation aims to describe the SPLs to which secondary school music students are exposed during individual study, as well as the circumstances in which practice is carried out. The study involved 16 young music students, aged 12–15 yrs old. SPLs were monitored during individual study at school and at the students’ homes. Measurements were performed throughout rehearsals over a 3-week period. The results show that music students are exposed to high SPLs during the individual study, with potential for it to increase, depending on the type and features of the rooms used for practice. Students were not entirely aware of the health risks related to exposure to high SPLs during individual practice, and hearing protection was never used by them. These findings denote that hearing conservation programs targeting music students should also focus on the risks to which they are exposed during individual study in different settings.

scholarly journals Podcasting para la motivación del alumnado de música en educación secundaria hacia la práctica instrumental / Podcasting for Motivating Secondary School Music Students Towards Musical Performance

2014 ◽  
Vol 1 (1) ◽  
Author(s):  
Jose Palazon Herrera
Keyword(s):  
Secondary Education ◽  
Secondary School ◽  
Digital Technology ◽  
Work Experience ◽  
Music Students ◽  
Post Secondary Education ◽  
Post Secondary ◽  
School Music ◽  
Musical Interpretation ◽  
Music Class

ABSTRACTEven though podcasting is a relatively new digital technology, it is becoming a tool of great value in the field of education. Although its possibilities are mainly being explored in post-secondary education, in recent years, the amount of studies and experiences in secondary education have incremented. In this communication we present a music class work experience where podcasts (mainly video podcasts) have been used to support musical interpretation. The data in this project indicates that students feel very motivated when using podcasts, a tool which comes from the 2.0 Web and that has a great potential for working on instrumental techniques.RESUMENAunque el podcasting es una tecnología digital relativamente nueva, se está convirtiendo en una herramienta de gran valor en el ámbito educativo. Aunque sus posibilidades están siendo exploradas principalmente en la educación superior, en los últimos años han ido apareciendo estudios y experiencias llevados a cabo en la educación secundaria. En esta comunicación presentamos una experiencia de trabajo en el aula de música utilizando podcasts (principalmente videopodcasts, podcasts de vídeo) de apoyo a la interpretación instrumental. Los datos de este trabajo indican que el alumnado se muestra muy motivado con el uso de podcasts, una herramienta proveniente de la Web 2.0 con gran potencial para el trabajo de la técnica instrumental. Contacto principal: [email protected]

The Extent of Hearing Damage from Exposures to Music

2000 ◽  
Vol 31 (2) ◽  
pp. 14-25
Author(s):  
Antoni Jaroszewski
Keyword(s):  
Sound Pressure ◽  
Music Students ◽  
Sound Pressure Levels ◽  
Hearing Damage

Sound pressure levels in discotheques and during training sessions of music students we re measured and analysed. Effects of exposure in the form of permanent and temporary threshold shifts we re determined in the samples of young discotheque attenders and in music students and musicians. The consequences of the threshold shifts in the perception of pitch, loudness, and time are discussed.

scholarly journals The relationship between musical self-concept and musical creativity among secondary school music students

2018 ◽  
Vol 37 (1) ◽  
pp. 78-90
Author(s):  
Lucy Lugo Mawang ◽  
Edward M. Kigen ◽  
Samuel M. Mutweleli
Keyword(s):  
Gender Difference ◽  
Secondary School ◽  
Positive Relationship ◽  
Self Concept ◽  
Music Students ◽  
Creativity Assessment ◽  
Significant Difference ◽  
School Music ◽  
Musical Creativity ◽  
The Relationship

The purpose of this study was to establish the relationship between musical self-concept and musical creativity, and to determine the best predictors of musical creativity given the musical self-concept dimensions. Participants ( N = 201) were music students, drawn from 21 secondary schools in Kenya. Music Self-perception Inventory-Version 2 (MUSPI) was used to gather data on participants’ musical self-concept. Musical creativity was measured using the Consensual Musical Creativity Assessment Scale (CMCAS). Results indicated a positive relationship between musical self-concept and musical creativity ( r = .25, p < .01). All the musical self-concept dimensions, except singing and dancing showed positive associations with musical creativity. Further, a significant mean difference in musical creativity for positive and negative musical self-concept was observed. Multiple regression indicated that the best predictors of musical creativity were sense of rhythm and dancing self-concepts and the strongest predictor of musical creativity was sense of rhythm self-concept. A significant gender difference in musical creativity was observed, with males scoring higher than females. However, there was no significant difference in participants’ musical creativity based on age. The study recommends interventions and conducive environments for the development of positive musical self-concept.

Firecrackers Noise

2003 ◽  
Vol 34 (5) ◽  
pp. 9-12 ◽  
Author(s):  
N. Tandon
Keyword(s):  
Impulse Noise ◽  
Sound Pressure ◽  
Measurement Methods ◽  
Noise Levels ◽  
The World ◽  
Noise Measurements ◽  
Pressure Peak ◽  
Hearing Damage ◽  
High Sound

Fireworks are used all over the world to celebrate special occasions. Noise produced by firecrackers that are used to celebrate these occasions has been highlighted. This impulse type of noise can cause hearing damage. Noise measurements of firecrackers show that they produce high sound pressure peak levels. Typical firecracker impulse noise levels are given. Noise limits and measurement methods used for the fireworks in some countries are presented.

QR codes for instrumental performance in the music classroom

2018 ◽  
Vol 36 (3) ◽  
pp. 447-459
Author(s):  
José Palazón ◽  
Andrea Giráldez
Keyword(s):  
Secondary School ◽  
Musical Instrument ◽  
Music Students ◽  
Quick Response ◽  
Instrumental Performance ◽  
Qr Codes ◽  
Music Classroom ◽  
Music Score ◽  
School Music ◽  
And Gender

This article presents an experiment with a group of secondary school music students in Spain. We used music score sheets enriched with Quick Response codes as a resource for the practice required to play a musical instrument. The first group (n = 56) was compared with another group (n = 56) that used traditional resources (textbooks and compact discs). The results of the research supported the fact that the students who used QR codes associated with videos – read by using mobile devices such as smartphones or tablets – achieved better results than those who used more traditional resources. The analysis of variance test showed that the learning resource had a significant effect on the scores obtained by the students. In other words, the marks of the students participating in the study varied significantly according to the resource used. There was no significant effect on the interaction of method and gender, so there is no relation between the students’ gender and the resources’ impact on the results obtained by students.

Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?

2020 ◽  
Vol 35 (4) ◽  
pp. 227-232
Author(s):  
Haley Busenbarrick ◽  
Kathleen L. Davenport
Keyword(s):  
Hearing Loss ◽  
Performing Arts ◽  
Sound Pressure ◽  
Sound Level ◽  
Sound Recording ◽  
Exposure Limits ◽  
Moderate Risk ◽  
Sound Exposure ◽  
Daily Dose ◽  
High Sound

Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was measured, each collected on a different day, yielding a total of 114 measurements. Results showed that 20.2% of all recordings exceeded the recommended NIOSH sound exposure limits of both 100% projected daily dose and 85 LAeq. Analysis between styles of dance demonstrated significantly lower LAeq (p≤0.05) in soft shoe Irish dance compared to ballet (p=0.023), modern (p=0.035), and Irish hard shoe dance (p=0.009). Irish soft shoe dance demonstrated minimal to no risk of high sound exposure. Conversely, 53.25% of ballet, 90.9% of Irish hard shoe dance, and 68.24% of modern recordings exhibited minimal to moderate risk of high sound exposure. Furthermore, we found wide ranges of projected daily noise doses within classes taught by the same teacher. It is recommended that multiple recordings of dance environments be obtained, as a single sound recording may not accurately represent potential exposure. These findings indicate that dancers of Irish hard shoe, modern, and ballet may benefit from noise intervention such as audiometric testing, noise controls, and hearing protection.

scholarly journals An Example of a Study with Instructed Music Listening Activities with Information and Concert Event Content

2021 ◽  
Vol 14 (8) ◽  
pp. 14
Author(s):  
Ajda Şenol Sakin ◽  
Gülnihal Gül
Keyword(s):  
Secondary School ◽  
Music Education ◽  
General Education ◽  
Music Listening ◽  
General Music ◽  
Music Culture ◽  
School Music ◽  
The Individual ◽  
Teaching Programs ◽  
Learning Area

It is thought that music education in general education, especially for individuals of all ages and levels, is important in the musical development of the individual. Besides, it is seen that the &ldquo;listening-singing&rdquo; learning area in general music education teaching programs has an important weight in the program. In this context, it is considered necessary that music listening activities carried out for this learning area should be among the main activities that support other musical activities in classroom music education, which form the basis for the students to benefit from music education. For this reason, it is thought that the active participation of the students in music listening activities will contribute to effective and efficient music education. With this study, it is aimed to determine the contribution of instructed music listening activities to music culture learning outcomes in secondary school music education. For this purpose, an instructed music listening activity was held for students in a secondary school. The effect of the activity performed on the level of success was measured with knowledge tests. According to the results it is found that most of the students achieved an above-moderate success from the recorder family knowledge test.

scholarly journals University music teachers' exposure to noise and hearing loss

2017 ◽  
Vol 1 (1) ◽  
pp. 49-58
Author(s):  
A. Delgado ◽  
F. Carvalho ◽  
R. B. Melo
Keyword(s):  
Hearing Loss ◽  
Extracurricular Activities ◽  
Sound Pressure ◽  
Noise Exposure ◽  
Music Teachers ◽  
Brass Instruments ◽  
School Of Music ◽  
Exposure Levels ◽  
Hearing Damage ◽  
High Sound

Musical instruments and singers' voices can reach high sound pressure values representing a risk to hearing health, which is of particular relevance for music teachers. Therefore, the potential risk of hearing damage among music teachers in a university school of music was assessed. Twenty teachers completed all phases of the study. Sound pressure levels were measured with a sound meter and daily noise exposure levels were computed and compared with legal reference values in force. Three types of hearing exams were administered to all teachers by health technicians. Most teachers (75%) were subjected to daily noise exposure levels below 80 dB(A). Teaching to play brass instruments appears to be the most risky activity. Only three subjects were diagnosed with noise-induced hearing loss, which cannot be exclusively ascribed to occupational activities because they are involved in extracurricular activities. Increased sample size and the use of noise dosimetry would have improved the study conclusions.

Achievement goal motivation and cognitive strategies as predictors of musical creativity among secondary school music students

2018 ◽  
Vol 48 (3) ◽  
pp. 421-433 ◽  
Author(s):  
Lucy L. Mawang ◽  
Edward M. Kigen ◽  
Samuel M. Mutweleli
Keyword(s):  
Secondary School ◽  
Learning Strategies ◽  
Achievement Goal ◽  
Music Students ◽  
Processing Strategy ◽  
Deep Processing ◽  
School Music ◽  
Goal Motivation ◽  
Musical Creativity ◽  
Mastery Approach

The purpose of this study was to (a) establish the relationships among achievement goal motivation, cognitive learning strategies, and musical creativity; (b) determine the best predictors of musical creativity among the study variables. Participants ( N = 201) were secondary school music students in Kenya. Two self-report measures, the Achievement Goal Questionnaire-Revised (AGQ-R) and Motivated Strategies for Learning Questionnaire (MSLQ) were used in data collection for the independent variables. Musical creativity was measured by a creative composition task and evaluated according to four dimensions of musical craftsmanship, syntax, originality and aesthetic sensitivity. The results showed that musical creativity was positively correlated with mastery-approach goal and deep processing learning strategy but negatively correlated with surface processing strategy, performance-approach and performance-avoidance goals. The best predictor of musical creativity was deep processing strategy, β = .45, p < .01, which accounted for approximately 26% of the variance in participants’ musical creativity, followed by mastery-approach goal, β = .27, p < .01, R2 =.09. The implication for music education is that music teachers should create conducive environments and adopt teaching strategies that nurture mastery-approach goal orientation and deep processing learning strategies to enhance musical creativity

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