Produktbild: Creative Music Making in Asia
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Creative Music Making in Asia Global Structures for Meaningful Expressive Experiences

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Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

10.12.2026

Abbildungen

Approx. 70 illus., schwarz-weiss Illustrationen

Herausgeber

Mayumi Oie + weitere

Verlag

Springer

Seitenzahl

255

Maße (L/B)

21/14,8 cm

Sprache

Englisch

ISBN

978-3-032-32555-6

Beschreibung

Portrait

Mayumi Oie is a Professor at Tokyo Woman’s Christian University, specializing in educational psychology, creativity, and learning motivation. She serves as a Board Member of Reischauer Gakuen School for the Deaf (since 2025). She is also an Editorial Board member of the International Journal of Creativity in Music Education and an international board editor for Springer's Creativity in the Twenty First Century book series.

Yukiko Tsubonou is Professor Emeritus at Japan Women’s University, Guest Fellow at the Arts Center at The University of Tokyo, and the President of the Institute of Creativity in Music Education. Her work has encompassed a variety of workshops and concerts on creative music for children, teachers, the elderly, and professional musicians. She served as the President of the Japanese Music Education Society from 2005 to 2008 and was also a member of the Committee of Art Education of the Ministry of Education, Culture, Sports, Science & Technology in Japan (MEXT) from 2005 to 2007.

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

10.12.2026

Abbildungen

Approx. 70 illus., schwarz-weiss Illustrationen

Herausgeber

Verlag

Springer

Seitenzahl

255

Maße (L/B)

21/14,8 cm

Sprache

Englisch

ISBN

978-3-032-32555-6

Herstelleradresse

Springer Nature Customer Service Center GmbH
Europaplatz 3
69115 Heidelberg
DE
ProductSafety@springernature.com

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  • Produktbild: Creative Music Making in Asia
  • Section 1: Everyone Can Improvise and Create Music.- Chapter 1: The Simplest Musical Idea: Repetition.- Chapter 2: Exploring Musical Games as Inclusive Expression Education in Preschool Teacher Training Programs.- Section 2: Creating Music through Various Collaboration.- Chapter 1: A new Form of Collaboration based on Creative Music-making: Proposal of the Lessons of TAS Model.- Chapter 2: Collaboration with Professional Musicians.- Section 3: Creating Music in Japanese Gagaku.- Chapter 1: History and Origins of Gagaku, the Most Ancient Form of Japanese Music.- Chapter 2: Gagaku in Music Education: From the Meiji Era to the Present through the TAS Model.- Chapter 3: Gagaku Education in Japanese Junior High Schools: Effects of the TAS Model on Student Perception and Teacher Mastery.- Chapter 4: Collaborative Creativity in Junior High Music Classrooms: Case Study of Gagaku-Style Composition.- Section 4: Creating Music Based on World and Contemporary Music.- Chapter 1: Music from the Jomon Period.- Chapter 2: Creative Music Making Based on the Traditional Japanese Sarashi Pattern and the Koto.- Chapter 3: Tongatong is fun for all of us: What Emerged from the Spread of Tongatong.- Chapter 4: Music Lessons Focusing on the Nature of Folk Music That Creates Songs: Using the Bhutanese Earthen Wall-Building Song “Patsi” as Teaching Material.- Chapter 5: North Indian Music in a Japanese Elementary.- Chapter 6: Attempts at Multicultural Understanding through Rhythm Creation -Through Practices Using Additional Rhythms in Junior High School.- Section 5: Discovering Commonality and Distinctiveness in Music Cultures: Improvising and Creating Music Using the Pentatonic Scale.- Chapter 1: ICT‑Supported Creative Music Making Using Japanese Pentatonic Modes.-        

    Chapter 2: The Wind Tells…: A Study of Composition and Pedagogical Practice in Contemporary.- Chapter 3: Chinese Pentatonic Music.- Chapter 4: Korean Pentatonic Modal Systems in Korean Music Education.- Chapter 5: Pentatonic Scale in J-Pop Music.- Section 6: Why Creativity Is Important and How It Is Developed Beyond Music Education.- Chapter 1: Creative Music Making in Singapore’s Multicultural Education Policy.- Chapter 2: Music in Aesthetic Education: Creativity on a Continuum.- Chapter 3: Why “creativity” does not exist: A philosophical view of music education.- Chapter 4: Situating Musical Creativity in Asian Contexts: Toward Glocalized Understandings.