Ioanna Etmektsoglou | Ionian University (original) (raw)
Papers by Ioanna Etmektsoglou
Deleted Journal, Jul 13, 2015
It may be said that music therapy training in the UK has come to maturity since most of the curre... more It may be said that music therapy training in the UK has come to maturity since most of the current Master’s programmes now have a history of more than a decade. The recently founded music therapy training programme in South Wales seems to have benefited from the existing experience of earlier courses in the UK but has had to take into consideration the unique features of the area in which it serves. In this interview Elizabeth Coombes, the Course Leader of the MA Music Therapy at the University of South Wales, shares with the readership of Approaches facts, ideas and ethical considerations regarding the planning and implementation of this new programme. The discussion between Elizabeth Coombes and the interviewer Ioanna Etmektsoglou touches on themes such as the adaptation to the unique local features of the area, the applicants' necessary skills and the interview approach, the development of musical skills during the course, the nature and length of the music experiential group and personal psychotherapy as well as the counselling services provided by the university. Clinical placements and work possibilities for UK and international graduates are also discussed. The interviewer concludes with some thoughts regarding the relevance of the interview to music therapists in Greece.
Orff-Schulwerk International 1.2 Autumn, 2022
The purpose of this study was to (a) evaluate the vocal pitch matching skills of college freshman... more The purpose of this study was to (a) evaluate the vocal pitch matching skills of college freshman music students and (b) examine the relationships between these skills and selected performance skills, admission criteria used by the School of Music at the University of Illinois at Urbana-Champaign, former music experiences, and personal characteristics of students. The Computer-Based College Pitch Matching Test (CCPMT) employed the first 20 items of the Selected Music Skills Test (SMST) (Etmektsoglou, 1990b) which included single pitches, intervals, and motives/short phrases derived from western tonal music compositions. The SMST was pilot tested on-line and off-line with high school and college students prior to its administration to the CCPMT participants. The CCPMT was administered individually to 38 music education freshman students during the fall semester of 1990. The test completion time was approximately 15 minutes. Test equipment included a DELL 286 computer (IBM compatible)...
Action, Criticism, and Theory for Music Education, 2019
It may be said that music therapy training in the UK has come to maturity since most of the curre... more It may be said that music therapy training in the UK has come to maturity since most of the current Master’s programmes now have a history of more than a decade. The recently founded music therapy training programme in South Wales seems to have benefited from the existing experience of earlier courses in the UK but has had to take into consideration the unique features of the area in which it serves. In this interview Elizabeth Coombes, the Course Leader of the MA Music Therapy at the University of South Wales, shares with the readership of Approaches facts, ideas and ethical considerations regarding the planning and implementation of this new programme. The discussion between Elizabeth Coombes and the interviewer Ioanna Etmektsoglou touches on themes such as the adaptation to the unique local features of the area, the applicants' necessary skills and the interview approach, the development of musical skills during the course, the nature and length of the music experiential group and personal psychotherapy as well as the counselling services provided by the university. Clinical placements and work possibilities for UK and international graduates are also discussed. The interviewer concludes with some thoughts regarding the relevance of the interview to music therapists in Greece.
Η συχνότατη χρήση του ηλεκτρισμού σε όλες τις εκφάνσεις των ηχητικών φαινομένων από τη δημιουργία... more Η συχνότατη χρήση του ηλεκτρισμού σε όλες τις εκφάνσεις των ηχητικών φαινομένων από τη δημιουργία τους έως την πρόσληψη από τον ακροατή, έχει αλλάξει σημαντικά τα ηχοτοπία των σύγχρονων δυτικών πόλεων και τις ακουστικές εμπειρίες των ακροατών (ανθρώπων και άλλων ζώων). Αναπόφευκτα έχει επηρεάσει και την αισθητική του ήχου και της μουσικής, αλλά και τη μουσική εκπαίδευση των παιδιών και νέων. Η προτεινόμενη Οικολογική Ακουστική Αγωγή εμπλουτίζει την ηχητική παλέτα με ήχους της φύση και του πολιτισμού και μεταφέρει μέρος του μαθήματος της μουσικής στα 'εργαστήρια' της φύσης και της κοινότητας. Αντλεί πρωτίστως ιδέες και πρακτικές από την Aκουστική Oικολογία και ιδιαίτερα από το έργο του R. M. Schafer, και σε δεύτερο επίπεδο από το χώρο της ψυχολογίας. Παρέχει πλούσιες εμπειρίες για την ανάπτυξη της αντιληπτικής ευαισθησίας και ευελιξίας στην ακρόαση και( παραγωγή( ήχων( και μουσικής με ή δίχως ηλεκτρονική διαμεσολάβηση. Μέσω πολλαπλών αντιληπτικών ασκήσεων, ακροάσεων, συνθέσεων και αυτοσχεδιασμών ηχοτοπίου αλλά και μέσω ηχοπεριπάτων και επίλυσης πραγματικών προβλημάτων ήχου/μουσικής στην καθημερινή ζωή, παρέχει στους μαθητές ευκαιρίες για ανάπτυξη υψηλών αισθητικών κριτηρίων ώστε να 'απαιτούν' την ποιότητα στις ηχητικές/μουσικές τους εμπειρίες. Η κατανόηση των φυσιολογικών μηχανισμών του ανθρώπου και άλλων ζώων για την παραγωγή και πρόσληψη ήχων καθώς και της σημασίας του ήχου στη ζωή τους, μέσα από έρευνα και συστηματικά επαναλαμβανόμενες επισκέψεις στο πεδίο, συμβάλλει στην ψυχολογική ταύτιση των νέων με τους άλλους οργανισμούς. Έτσι δυνητικά οδηγεί με φυσικό τρόπο στην επιθυμία προστασίας τους από πιθανά προβλήματα ηχορύπανσης. Η Οικολογική
Ακουστική Αγωγή ξεκινάει ως 'ηχητική' εκπαίδευση και είναι συμβατή και συμπληρωματική μιας δημιουργικής μουσικής εκπαίδευσης από την προσχολική ηλικία έως και μετασχολικά, τόσο σε τυπικά όσο και σε άτυπα πλαίσια.
The global composition: Conference Proceedings, Jun 2012
ABSTRACT The pervasive use of technology-based media in all aspects of life has a significant im... more ABSTRACT
The pervasive use of technology-based media in all aspects of life has a significant impact on the encoding and decoding of the message. The ‘message’, is inevitably transformed by the medium at multiple levels and in ways that potentially shape knowledge, philosophy, health, politics, art, culture and human experience as a whole. An educational approach in media aesthetics, which is grounded both on acoustic ecology and psychology, views aesthetics in close association with the senses, emphasizing the two-way communication between the perceiving organism and the environment. The aim of the workshop is to guide the participants in the analysis, interpretation and exploration of technologically mediated experiences through the use of voice and the body. Participants will be encouraged to re-sound the mediated experience in order to achieve creative interpretations and a potentially enhanced understanding of the essential message.
Music, in the form of instrumental accompaniment, sound effects (live, recorded or electronic), s... more Music, in the form of instrumental accompaniment, sound effects (live, recorded or electronic), songs, simple body percussion or even rhymes, can make a story come alive. But at the same time, a story can become the ‘house’ of music. It can offer it a) a context to exist in space and time, b) action, with points of reference from which it can tie lines and hang its melodies, c) characters, to hate, to honor, or to ignore and d) motives to allow it to be created and recreated over and over.
This presentation will attempt to demonstrate--based on theories of psychology, psychoanalysis and neuropsychology-- the ways in which a story can facilitate the teaching and learning of music. Issues briefly addressed will include: the context of knowledge, the role of associations during encoding and retrieval of knowledge, the active way of acquiring knowledge, the encoding of information as different kinds of memories (i.e. episodic, semantic, procedural memory), the provision of characters for identification, of symbols, and of different ways for representing knowledge.
“The Golden Violin” a story based on the paintings of the French artist Raoul Dufy, will be used as an example of a practical application of a ‘marriage’ of story and music. The above project was realized by students of the Department of Music of the Ionian University in Corfu, Greece, in collaboration with children from two local primary schools, under the supervision of the presenter.
Current trends and dynamics of School Psychology in Education and Music Pedagogy. (Argyriou, M., Editor), 2008
One of the big challenges faced by contemporary educators is noise in class; noise, which results... more One of the big challenges faced by contemporary educators is noise in class; noise, which results from primary school students’ difficulty to concentrate on and participate in the lesson appropriately. The class noise problem appears to be worse in subjects traditionally associated by children with games and expressive activities, such as the music class. Many young music educators, in their effort to compete with class noise, harm their vocal mechanism, while at the same time experience an atmosphere of constant anxiety and disappointment due to their inability to achieve the educational objectives. This presentation describes a musical approach to the problem of class noise. In the suggested model, the music educator is asked to interpret the noise of his/her class as a ‘social arrhythmia’. Acting as an arranger of his students’ energies, he/she is to choose appropriate sound frames for every occasion, which would ‘contain’ this energy and would lead every time to the creation of a eurhythmic music composition and an equally eurhythmic lesson. The presentation will be supplemented by examples of application of sound frames (i.e. rondo, ABA form, song-improvisation alternations etc.) as organizers and ‘containers’ of primary school students’ emotions and excess energy during music class.
Deleted Journal, Jul 13, 2015
It may be said that music therapy training in the UK has come to maturity since most of the curre... more It may be said that music therapy training in the UK has come to maturity since most of the current Master’s programmes now have a history of more than a decade. The recently founded music therapy training programme in South Wales seems to have benefited from the existing experience of earlier courses in the UK but has had to take into consideration the unique features of the area in which it serves. In this interview Elizabeth Coombes, the Course Leader of the MA Music Therapy at the University of South Wales, shares with the readership of Approaches facts, ideas and ethical considerations regarding the planning and implementation of this new programme. The discussion between Elizabeth Coombes and the interviewer Ioanna Etmektsoglou touches on themes such as the adaptation to the unique local features of the area, the applicants' necessary skills and the interview approach, the development of musical skills during the course, the nature and length of the music experiential group and personal psychotherapy as well as the counselling services provided by the university. Clinical placements and work possibilities for UK and international graduates are also discussed. The interviewer concludes with some thoughts regarding the relevance of the interview to music therapists in Greece.
Orff-Schulwerk International 1.2 Autumn, 2022
The purpose of this study was to (a) evaluate the vocal pitch matching skills of college freshman... more The purpose of this study was to (a) evaluate the vocal pitch matching skills of college freshman music students and (b) examine the relationships between these skills and selected performance skills, admission criteria used by the School of Music at the University of Illinois at Urbana-Champaign, former music experiences, and personal characteristics of students. The Computer-Based College Pitch Matching Test (CCPMT) employed the first 20 items of the Selected Music Skills Test (SMST) (Etmektsoglou, 1990b) which included single pitches, intervals, and motives/short phrases derived from western tonal music compositions. The SMST was pilot tested on-line and off-line with high school and college students prior to its administration to the CCPMT participants. The CCPMT was administered individually to 38 music education freshman students during the fall semester of 1990. The test completion time was approximately 15 minutes. Test equipment included a DELL 286 computer (IBM compatible)...
Action, Criticism, and Theory for Music Education, 2019
It may be said that music therapy training in the UK has come to maturity since most of the curre... more It may be said that music therapy training in the UK has come to maturity since most of the current Master’s programmes now have a history of more than a decade. The recently founded music therapy training programme in South Wales seems to have benefited from the existing experience of earlier courses in the UK but has had to take into consideration the unique features of the area in which it serves. In this interview Elizabeth Coombes, the Course Leader of the MA Music Therapy at the University of South Wales, shares with the readership of Approaches facts, ideas and ethical considerations regarding the planning and implementation of this new programme. The discussion between Elizabeth Coombes and the interviewer Ioanna Etmektsoglou touches on themes such as the adaptation to the unique local features of the area, the applicants' necessary skills and the interview approach, the development of musical skills during the course, the nature and length of the music experiential group and personal psychotherapy as well as the counselling services provided by the university. Clinical placements and work possibilities for UK and international graduates are also discussed. The interviewer concludes with some thoughts regarding the relevance of the interview to music therapists in Greece.
Η συχνότατη χρήση του ηλεκτρισμού σε όλες τις εκφάνσεις των ηχητικών φαινομένων από τη δημιουργία... more Η συχνότατη χρήση του ηλεκτρισμού σε όλες τις εκφάνσεις των ηχητικών φαινομένων από τη δημιουργία τους έως την πρόσληψη από τον ακροατή, έχει αλλάξει σημαντικά τα ηχοτοπία των σύγχρονων δυτικών πόλεων και τις ακουστικές εμπειρίες των ακροατών (ανθρώπων και άλλων ζώων). Αναπόφευκτα έχει επηρεάσει και την αισθητική του ήχου και της μουσικής, αλλά και τη μουσική εκπαίδευση των παιδιών και νέων. Η προτεινόμενη Οικολογική Ακουστική Αγωγή εμπλουτίζει την ηχητική παλέτα με ήχους της φύση και του πολιτισμού και μεταφέρει μέρος του μαθήματος της μουσικής στα 'εργαστήρια' της φύσης και της κοινότητας. Αντλεί πρωτίστως ιδέες και πρακτικές από την Aκουστική Oικολογία και ιδιαίτερα από το έργο του R. M. Schafer, και σε δεύτερο επίπεδο από το χώρο της ψυχολογίας. Παρέχει πλούσιες εμπειρίες για την ανάπτυξη της αντιληπτικής ευαισθησίας και ευελιξίας στην ακρόαση και( παραγωγή( ήχων( και μουσικής με ή δίχως ηλεκτρονική διαμεσολάβηση. Μέσω πολλαπλών αντιληπτικών ασκήσεων, ακροάσεων, συνθέσεων και αυτοσχεδιασμών ηχοτοπίου αλλά και μέσω ηχοπεριπάτων και επίλυσης πραγματικών προβλημάτων ήχου/μουσικής στην καθημερινή ζωή, παρέχει στους μαθητές ευκαιρίες για ανάπτυξη υψηλών αισθητικών κριτηρίων ώστε να 'απαιτούν' την ποιότητα στις ηχητικές/μουσικές τους εμπειρίες. Η κατανόηση των φυσιολογικών μηχανισμών του ανθρώπου και άλλων ζώων για την παραγωγή και πρόσληψη ήχων καθώς και της σημασίας του ήχου στη ζωή τους, μέσα από έρευνα και συστηματικά επαναλαμβανόμενες επισκέψεις στο πεδίο, συμβάλλει στην ψυχολογική ταύτιση των νέων με τους άλλους οργανισμούς. Έτσι δυνητικά οδηγεί με φυσικό τρόπο στην επιθυμία προστασίας τους από πιθανά προβλήματα ηχορύπανσης. Η Οικολογική
Ακουστική Αγωγή ξεκινάει ως 'ηχητική' εκπαίδευση και είναι συμβατή και συμπληρωματική μιας δημιουργικής μουσικής εκπαίδευσης από την προσχολική ηλικία έως και μετασχολικά, τόσο σε τυπικά όσο και σε άτυπα πλαίσια.
The global composition: Conference Proceedings, Jun 2012
ABSTRACT The pervasive use of technology-based media in all aspects of life has a significant im... more ABSTRACT
The pervasive use of technology-based media in all aspects of life has a significant impact on the encoding and decoding of the message. The ‘message’, is inevitably transformed by the medium at multiple levels and in ways that potentially shape knowledge, philosophy, health, politics, art, culture and human experience as a whole. An educational approach in media aesthetics, which is grounded both on acoustic ecology and psychology, views aesthetics in close association with the senses, emphasizing the two-way communication between the perceiving organism and the environment. The aim of the workshop is to guide the participants in the analysis, interpretation and exploration of technologically mediated experiences through the use of voice and the body. Participants will be encouraged to re-sound the mediated experience in order to achieve creative interpretations and a potentially enhanced understanding of the essential message.
Music, in the form of instrumental accompaniment, sound effects (live, recorded or electronic), s... more Music, in the form of instrumental accompaniment, sound effects (live, recorded or electronic), songs, simple body percussion or even rhymes, can make a story come alive. But at the same time, a story can become the ‘house’ of music. It can offer it a) a context to exist in space and time, b) action, with points of reference from which it can tie lines and hang its melodies, c) characters, to hate, to honor, or to ignore and d) motives to allow it to be created and recreated over and over.
This presentation will attempt to demonstrate--based on theories of psychology, psychoanalysis and neuropsychology-- the ways in which a story can facilitate the teaching and learning of music. Issues briefly addressed will include: the context of knowledge, the role of associations during encoding and retrieval of knowledge, the active way of acquiring knowledge, the encoding of information as different kinds of memories (i.e. episodic, semantic, procedural memory), the provision of characters for identification, of symbols, and of different ways for representing knowledge.
“The Golden Violin” a story based on the paintings of the French artist Raoul Dufy, will be used as an example of a practical application of a ‘marriage’ of story and music. The above project was realized by students of the Department of Music of the Ionian University in Corfu, Greece, in collaboration with children from two local primary schools, under the supervision of the presenter.
Current trends and dynamics of School Psychology in Education and Music Pedagogy. (Argyriou, M., Editor), 2008
One of the big challenges faced by contemporary educators is noise in class; noise, which results... more One of the big challenges faced by contemporary educators is noise in class; noise, which results from primary school students’ difficulty to concentrate on and participate in the lesson appropriately. The class noise problem appears to be worse in subjects traditionally associated by children with games and expressive activities, such as the music class. Many young music educators, in their effort to compete with class noise, harm their vocal mechanism, while at the same time experience an atmosphere of constant anxiety and disappointment due to their inability to achieve the educational objectives. This presentation describes a musical approach to the problem of class noise. In the suggested model, the music educator is asked to interpret the noise of his/her class as a ‘social arrhythmia’. Acting as an arranger of his students’ energies, he/she is to choose appropriate sound frames for every occasion, which would ‘contain’ this energy and would lead every time to the creation of a eurhythmic music composition and an equally eurhythmic lesson. The presentation will be supplemented by examples of application of sound frames (i.e. rondo, ABA form, song-improvisation alternations etc.) as organizers and ‘containers’ of primary school students’ emotions and excess energy during music class.
Μουσική Εκπαίδευση και Κοινωνία: νέες προκλήσεις, νέοι προσανατολισμοί. Πρακτικά 8ου Συνεδρίου της Ε.Ε.Μ.Ε, 2019
Η σχέση µε τη µουσική 'εκ των έσω', από τη θέση του 'µουσικού', αποτελεί συχνά ανεκπλήρωτο όνειρο... more Η σχέση µε τη µουσική 'εκ των έσω', από τη θέση του 'µουσικού', αποτελεί συχνά ανεκπλήρωτο όνειρο πολλών ενηλίκων. Το πρόγραµµα Κιθάρα Express (Κ.Ε.) απευθύνεται σε αυτούς και αποτελεί έναν βιωµατικό τρόπο µάθησης µουσικής σε πλαίσιο οµάδας. Προσεγγίζεται εδώ ως µουσική εργαλειοθήκη, µε την έννοια ενός συνεκτικού, αλλά και ευέλικτου πλαισίου για τα µουσικά εργαλεία του προγράµµατος Κ.Ε. Οι συµµετέχοντες στις οµάδες Κ.Ε. διαπραγµατεύονται στη ζωή τους απώλειες, τραύµατα, νέες φάσεις. Από την οµάδα φαίνεται να αναζητούν, ο καθένας, µια αυτοβιογραφική επαναφήγηση που να ικανοποιεί τις απαιτήσεις της µνήµης και να αποδίδει την αξία που αρµόζει στις ιστορίες που έχουν ζήσει. Τα βασικά ερευνητικά ερωτήµατα εστιάζουν στο πώς ενήλικες µη-µουσικοί-οι οποίοι συµµετέχουν σε οµάδες Κ.Ε., ενώ παράλληλα διαπραγµατεύονται κάποια κρίση ζωής-σηµασιοδοτούν το πρόγραµµα αυτό ως µοχλό για την ανασύνθεση α) της µουσικής τους ταυτότητας αλλά και β) της ευρύτερης προσωπικής τους ταυτότητας. Λέξεις κλειδιά: µουσικές ταυτότητες, µουσική και ιστορίες ζωής, µουσική εκπαίδευση ενηλίκων, Κιθάρα Express U 131 8th Conference of GSME-8ο Συνέδριο της Ε.Ε.Μ.Ε.-2018
Η Μουσική Εκπαίδευση σε έναν κόσμο που αλλάζει: Ταυτότητες, Αξίες, Εμπειρίες. Πρακτικά του 9ου Συνεδρίου της Ε.Ε.Μ.Ε., 2023
Η εξελισσόμενη οικολογική κρίση έχει αναδείξει την αναγκαιότητα για επαναδιαπραγμάτευση της σχέση... more Η εξελισσόμενη οικολογική κρίση έχει αναδείξει την αναγκαιότητα για επαναδιαπραγμάτευση της σχέσης του ανθρώπου με τη φύση, καθώς και για επανανοηματοδότηση της έννοιας του περιβάλλοντος. Προτεραιότητα της σημερινής εκπαίδευσης οφείλει να είναι η ανάπτυξη ενός οικολογικού εαυτού σε ένα πλαίσιο όπου ο άνθρωπος δημιουργεί ταυτίσεις τόσο με άλλους ανθρώπους όσο και με άλλα όντα της φύσης. Στη βάση αυτού του σκεπτικού, δημιουργήθηκε η μουσικοθεατρική παράσταση «Σταχτάρες, το ηχόσημο της Κέρκυρας» η οποία, μέσω της ιστορίας, των τραγουδιών και των ηχοτοπίων, αναδεικνύει αυθεντικά πορτρέτα του πουλιού σταχτάρα (Apus apus) στο πλαίσιο της ακουστικής (και ευρύτερης) οικολογίας. Το παρόν άρθρο παρουσιάζει τα αποτελέσματα που προέκυψαν από μελέτη των πιθανών μακροχρόνιων επιδράσεων της παράστασης στην ανάπτυξη του οικολογικού εαυτού των συντελεστών της παράστασης. Περίπου δυόμιση χρόνια μετά την αρχική παράσταση, πραγματοποιήθηκε ομάδα εστίασης στην οποία συμμετείχαν εθελοντικά οκτώ συντελεστές. Τα αποτελέσματα της έρευνας έδειξαν ότι οι συμμετέχοντες ευαισθητοποιήθηκαν σε ζητήματα της οικολογίας και της διαφορετικότητας, καθώς και ότι επηρεάστηκε η οπτική τους σχετικά με τη συμπεριφορά ανθρώπου προς άνθρωπο και ανθρώπου προς άλλα όντα της φύσης. Επιπλέον, διαφάνηκε η διάχυση των γνώσεων και των εμπειριών τους σε σχέση με τις σταχτάρες και σε άλλα άτομα και πλαίσια. To άρθρο καταλήγει σε συμπεράσματα τα οποία αναδεικνύουν την αξία του μουσικού θεάτρου με οικολογικό προσανατολισμό ως κοινωνικού και εκπαιδευτικού εργαλείου