{"id":2985,"date":"2025-01-15T08:00:00","date_gmt":"2025-01-15T08:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=2985"},"modified":"2025-02-24T14:15:53","modified_gmt":"2025-02-24T14:15:53","slug":"adolescence-aesthetic-sense-children-inclinations-music-listening","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=2985","title":{"rendered":"Article 48-Issue 01 vol 6 January 2025"},"content":{"rendered":"\n

Aesthetic Sense among Children between 11 and 14 Years: Music Listening Tendencies for Middle School Pupils as a Case Study<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n

\u0627\u0644\u062d\u0633 \u0627\u0644\u062c\u0645\u0627\u0644\u064a \u0644\u062f\u0649 \u0627\u0644\u0623\u0637\u0641\u0627\u0644 \u0645\u0627 \u0628\u064a\u0646 (11 \u064814) \u0633\u0646\u0629:<\/strong>
\u0627\u0633\u062a\u0642\u0631\u0627\u0621 \u0644\u0646\u0645\u0648\u0630\u062c \u0645\u0646 \u0645\u064a\u0648\u0644\u0627\u062a \u0627\u0644\u0627\u0633\u062a\u0645\u0627\u0639 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a \u0644\u062a\u0644\u0627\u0645\u064a\u0630 \u0627\u0644\u0637\u0648\u0631 \u0627\u0644\u0645\u062a\u0648\u0633\u0637 <\/strong><\/bdo><\/strong><\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n

Chichoune Nadjib<\/strong>
Ecole Normale Superieure Cheikh Mohamed El-Bachir El-Ibrahimi Kouba, Algeria
nadjib.chichoune@g.ens-kouba.dz<\/a>
0009-0009-7219-3896
Belkacem Chaima<\/strong>
Ecole Normale Superieure Cheikh Mohamed El-Bachir El-Ibrahimi Kouba, Algeria
 chaima.belkacem@g.ens-kouba.dz<\/a>
0009-0009-0729-1799<\/strong><\/strong><\/strong><\/p><\/div><\/div>\n\n\n\n

Abstract<\/strong><\/p><\/div><\/div>\n\n\n\n

The study addresses the issue of awakening the musical aesthetic sense among middle school pupils. The goal of this process is to enhance their sense of beauty, concentration, and mental performance, which results from the processes of receiving and enjoying lyrical and musical works; thus, the interest and desire to work. Musical awakening is an important educational process, which comes through the music education class in the intermediate stage, aiming to motivate pupils and develop their creative abilities and critical thinking. To cover the topic and achieve its objectives, the study required the use of a questionnaire to collect, describe and analyze data following the requirements of the descriptive analytical approach, and to evaluate the motivations and level of musical awakening among a sample of pupils composed of two groups: first-year intermediate pupils who had not studied music before, and fourth-year pupils from the same level, because they studied music in the previous years. At last, the differences are recorded and monitored with the two groups of the sample, allowing concrete suggestions aiming to activate the roles of this artistic course.<\/p><\/div><\/div>\n\n\n\n

Keywords:<\/strong> Adolescence, aesthetic sense, children, inclinations, music listening<\/p><\/div><\/div>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

DOI: https:\/\/doi.org\/10.70091\/Atras\/vol06no01.48
<\/strong><\/h1><\/div><\/div>\n\n\n\n

How to Cite this Paper :<\/strong><\/strong> <\/p><\/div><\/div>\n\n\n\n

\u0646\u062c\u064a\u0628 \u0634\u064a\u0634\u0648\u0646\u060c \u0634\u064a\u0645\u0627\u0621 \u0628\u0644\u0642\u0627\u0633\u0645   .(2025) . \u0627\u0644\u062d\u0633 \u0627\u0644\u062c\u0645\u0627\u0644\u064a \u0644\u062f\u0649 \u0627\u0644\u0623\u0637\u0641\u0627\u0644 \u0645\u0627 \u0628\u064a\u0646 (11 \u064814) \u0633\u0646\u0629: \u0627\u0633\u062a\u0642\u0631\u0627\u0621 \u0644\u0646\u0645\u0648\u0630\u062c \u0645\u0646 \u0645\u064a\u0648\u0644\u0627\u062a \u0627\u0644\u0627\u0633\u062a\u0645\u0627\u0639 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a \u0644\u062a\u0644\u0627\u0645\u064a\u0630 \u0627\u0644\u0637\u0648\u0631 \u0627\u0644\u0645\u062a\u0648\u0633\u0637 . \u0645\u062c\u0644\u0629 \u0623\u0637\u0631\u0627\u0633\u060c 6<\/em>(1)\u060c 722-743  <\/bdo><\/p><\/div><\/div>\n\n\n\n

References<\/strong>:<\/p><\/div><\/div>\n\n\n\n

\u0625\u0628\u0631\u0627\u0647\u064a\u0645\u060c \u0639\u0628\u062f \u0627\u0644\u0644\u0647. (2005).  \u0627\u0644\u062a\u0644\u0642\u064a \u0648\u0627\u0644\u0633\u064a\u0627\u0642\u0627\u062a \u0627\u0644\u062b\u0642\u0627\u0641\u064a\u0629. \u0645\u0646\u0634\u0648\u0631\u0627\u062a \u0627\u0644\u0627\u062e\u062a\u0644\u0627\u0641. \u06372. \u0627\u0644\u062c\u0632\u0627\u0626\u0631.
\u0625\u064a\u0646\u064a\u0643\u060c \u0646\u0627\u062a\u0627\u0644\u064a. (2011).  \u0633\u0648\u0633\u064a\u0648\u0644\u0648\u062c\u064a\u0627 \u0627\u0644\u0641\u0646. \u062d\u0633\u064a\u0646 \u062c\u0648\u0627\u062f \u0642\u0628\u064a\u0633\u064a (\u062a\u0631\u062c\u0645\u0629). \u0627\u0644\u0645\u0646\u0638\u0645\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0644\u0644\u062a\u0631\u062c\u0645\u0629. \u0644\u0628\u0646\u0627\u0646.
\u0628\u0646 \u0642\u0631\u0645\u0627\u0632\u060c \u0637\u0627\u0637\u0629. (2021). “\u0627\u0644\u062a\u062c\u0644\u0651\u064a \u0627\u0644\u0623\u0633\u0644\u0648\u0628\u064a\u0651 \u0627\u0644\u062c\u0645\u0627\u0644\u064a \u0644\u0644\u0648\u0638\u064a\u0641\u0629 \u0627\u0644\u0635\u0648\u062a\u064a\u0629”. \u0645\u062c\u0644\u0629 \u0635\u0648\u062a\u064a\u0627\u062a \u0627\u0644\u0639\u0631\u0628\u064a\u0629: \u0627\u0644\u0639\u062f\u062f 1: \u0627\u0644\u0646\u0633\u062e\u0629 \u0627\u0644\u0648\u0631\u0642\u064a\u0629: 77-100. \u0639\u0627\u0644\u0645 \u0627\u0644\u0643\u062a\u0628 \u0627\u0644\u062d\u062f\u064a\u062b. \u0625\u0631\u0628\u062f\u060c \u0627\u0644\u0623\u0631\u062f\u0646.                           www.takc.org   
\u0628\u0648\u0645\u0646\u064a\u0631\u060c \u0643\u0645\u0627\u0644. (2013).  \u0642\u0636\u0627\u064a\u0627 \u0627\u0644\u062c\u0645\u0627\u0644\u064a\u0629 \u0645\u0646 \u0623\u0635\u0648\u0644\u0647\u0627 \u0627\u0644\u0642\u062f\u064a\u0645\u0629 \u0625\u0644\u0649 \u062f\u0644\u0627\u0644\u0627\u062a\u0647\u0627 \u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629. \u0645\u0646\u062a\u062f\u0649 \u0627\u0644\u0645\u0639\u0627\u0631\u0641. \u0628\u064a\u0631\u0648\u062a. \u0644\u0628\u0646\u0627\u0646.
\u0627\u0644\u062a\u0631\u064a\u0643\u064a\u060c \u0631\u0634\u064a\u062f\u0629. (2009).  \u0627\u0644\u062c\u0645\u0627\u0644\u064a\u0627\u062a \u0648\u0633\u0624\u0627\u0644 \u0627\u0644\u0645\u0639\u0646\u0649. \u0627\u0628\u0631\u0627\u0647\u064a\u0645 \u0627\u0644\u0639\u0645\u064a\u0631\u064a (\u062a\u0631\u062c\u0645\u0629 \u0648\u062a\u0642\u062f\u064a\u0645). \u0627\u0644\u062f\u0627\u0631 \u0627\u0644\u0645\u062a\u0648\u0633\u0637\u064a\u0629 \u0644\u0644\u0646\u0634\u0631. \u062a\u0648\u0646\u0633.
\u062d\u0645\u0627\u062f\u064a\u060c \u062d\u0645\u064a\u062f. (2011). “\u0627\u0644\u062a\u062c\u0631\u0628\u0629 \u0627\u0644\u0641\u0646\u064a\u0629 \u0648\u0627\u0644\u0641\u0647\u0645 \u0627\u0644\u062c\u0645\u0627\u0644\u064a”. \u0641\u064a: \u062a\u064a\u0648\u062f\u0648\u0631 \u0623\u062f\u0648\u0631\u0646\u0648 \u0645\u0646 \u0627\u0644\u0646\u0642\u062f \u0625\u0644\u0649 \u0627\u0644\u0625\u0633\u062a\u0637\u064a\u0642\u0627. \u0643\u0645\u0627\u0644 \u0628\u0648\u0645\u0646\u064a\u0631 (\u0625\u0634\u0631\u0627\u0641 \u0648\u062a\u0642\u062f\u064a\u0645). \u0645\u0646\u0634\u0648\u0631\u0627\u062a \u0627\u0644\u0627\u062e\u062a\u0644\u0627\u0641: 133-140. \u0627\u0644\u062c\u0632\u0627\u0626\u0631.
\u0627\u0644\u062e\u0645\u064a\u0633\u064a\u060c \u0641\u062a\u062d\u064a. (2020).  \u0641\u064a \u0627\u0644\u0646\u0642\u062f \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a. \u0627\u0644\u0647\u064a\u0626\u0629 \u0627\u0644\u0645\u0635\u0631\u064a\u0629 \u0627\u0644\u0639\u0627\u0645\u0629 \u0644\u0644\u0643\u062a\u0627\u0628. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u0632\u0643\u0631\u064a\u0627\u060c \u0641\u0624\u0627\u062f. (1968).  \u0645\u0639 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0649 \u0630\u0643\u0631\u064a\u0627\u062a \u0648\u062f\u0631\u0627\u0633\u0627\u062a. \u0645\u0643\u062a\u0628\u0629 \u0645\u0635\u0631:1991. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u0632\u064a\u062a\u0648\u0646\u060c \u0645\u0646\u0649 \u0645\u0635\u0637\u0641\u0649. (2018). “\u0641\u0627\u0639\u0644\u064a\u0629 \u0628\u0631\u0646\u0627\u0645\u062c \u0642\u0627\u0626\u0645 \u0639\u0644\u0649 \u0627\u0644\u062a\u062e\u064a\u0644 \u0627\u0644\u0645\u0648\u062c\u0647 \u0641\u064a \u062a\u0646\u0645\u064a\u0629 \u0628\u0639\u0636 \u0645\u0647\u0627\u0631\u0627\u062a \u0627\u0644\u062a\u0631\u0628\u064a\u0629 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a\u0629 \u0644\u062f\u0649 \u0637\u0627\u0644\u0628\u0627\u062a \u0627\u0644\u0645\u0631\u062d\u0644\u0629 \u0627\u0644\u062b\u0627\u0646\u0648\u064a\u0629”. \u0645\u062c\u0644\u0629 \u0639\u0644\u0648\u0645 \u0648\u0641\u0646\u0648\u0646 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0649: 39: 1733-1773. \u0643\u0644\u064a\u0629 \u0627\u0644\u062a\u0631\u0628\u064a\u0629 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a\u0629. \u062c\u0627\u0645\u0639\u0629 \u062d\u0644\u0648\u0627\u0646. \u0645\u0635\u0631.                    https:\/\/jfma.journals.ekb.eg\/article_142705.html<\/a>   
\u0633\u0627\u0631\u062a\u0648\u060c \u0645\u064a\u0634\u0627\u0644 \u062f\u0648. (1993).  \u0627\u0644\u062b\u0642\u0627\u0641\u0629 \u0628\u0627\u0644\u062c\u0645\u0639 \u0633\u064a\u0627\u0633\u0627\u062a \u062b\u0642\u0627\u0641\u064a\u0629 \u062c\u062f\u064a\u062f\u0629 .\u0645\u062d\u0645\u062f \u0634\u0648\u0642\u064a \u0627\u0644\u0632\u064a\u0646 (\u062a\u0631\u062c\u0645\u0629 \u0648\u062a\u0642\u062f\u064a\u0645). \u0627\u0628\u0646 \u0627\u0644\u0646\u062f\u064a\u0645 \u0644\u0644\u0646\u0634\u0631 \u0648\u0627\u0644\u062a\u0648\u0632\u064a\u0639. 2022. \u0648\u0647\u0631\u0627\u0646\u060c \u0627\u0644\u062c\u0632\u0627\u0626\u0631.
\u0627\u0644\u0634\u0648\u0627\u0646\u060c \u0639\u0632\u064a\u0632. (2005).  \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0649 \u062a\u0639\u0628\u064a\u0631 \u0646\u063a\u0645\u064a \u0648\u0645\u0646\u0637\u0642. \u0627\u0644\u0642\u0631\u0627\u0621\u0629 \u0644\u0644\u062c\u0645\u064a\u0639. \u0633\u0644\u0633\u0644\u0629 \u0627\u0644\u0641\u0646\u0648\u0646. \u0627\u0644\u0647\u064a\u0626\u0629 \u0627\u0644\u0645\u0635\u0631\u064a\u0629 \u0627\u0644\u0639\u0627\u0645\u0629 \u0644\u0644\u0643\u062a\u0627\u0628\u060c \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u0634\u064a\u0634\u0648\u0646\u060c \u0646\u062c\u064a\u0628. (2024\u0623). “\u0623\u062b\u0631 \u0627\u0644\u062a\u0646\u0634\u0626\u0629 \u0627\u0644\u062b\u0642\u0627\u0641\u064a\u0629 \u0627\u0644\u0648\u0637\u0646\u064a\u0629 \u0641\u064a \u0628\u0646\u0627\u0621 \u0627\u0644\u0623\u0645\u0646 \u0627\u0644\u062b\u0642\u0627\u0641\u064a: \u062a\u0643\u0648\u064a\u0646 \u0627\u0644\u0630\u0627\u0626\u0642\u0629 \u0627\u0644\u062c\u0645\u0627\u0644\u064a\u0629 \u0627\u0644\u0633\u0645\u0639\u064a\u0629 \u0644\u0644\u0646\u0627\u0634\u0626\u0629 \u0628\u0627\u0644\u0645\u062f\u0631\u0633\u0629 \u0627\u0644\u062c\u0632\u0627\u0626\u0631\u064a\u0629 \u0646\u0645\u0648\u0630\u062c\u0627”. \u0627\u0644\u0645\u062c\u0644\u0629 \u0627\u0644\u062c\u0632\u0627\u0626\u0631\u064a\u0629 \u0644\u0644\u0623\u0645\u0646 \u0627\u0644\u0625\u0646\u0633\u0627\u0646\u064a: 9 (1): 534-557.  https:\/\/www.asjp.cerist.dz\/en\/article\/239069
\u0634\u064a\u0634\u0648\u0646\u060c \u0646\u062c\u064a\u0628. (2024\u0628). “\u0627\u0644\u0630\u0627\u0626\u0642\u0629 \u0627\u0644\u0641\u0646\u064a\u0629 \u0628\u064a\u0646 \u0628\u064a\u0626\u0627\u062a \u0627\u0644\u062a\u0644\u0642\u0651\u064a \u0627\u0644\u0633\u0651\u0648\u064a\u0651 \u0648\u0627\u0644\u0641\u0636\u0627\u0621\u0627\u062a \u0627\u0644\u0625\u0644\u0643\u062a\u0631\u0648\u0646\u064a\u0629: \u0646\u0645\u0648\u0630\u062c \u0627\u0644\u0623\u0646\u0633\u0627\u0642 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a\u0629”. \u0645\u062c\u0644\u0629 \u062f\u0631\u0627\u0633\u0627\u062a \u0648\u0623\u0628\u062d\u0627\u062b: 16 (3): 611-624. https:\/\/www.asjp.cerist.dz\/en\/article\/244598
\u0635\u0628\u0631\u064a\u060c \u0639\u0627\u0626\u0634\u0629 \u0648\u0622\u0645\u0627\u0644 \u0623\u062d\u0645\u062f \u0645\u062e\u062a\u0627\u0631 \u0635\u0627\u062f\u0642. (1997).  \u0637\u0631\u0642 \u062a\u0639\u0644\u064a\u0645 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0649. \u0645\u0643\u062a\u0628\u0629 \u0627\u0644\u0623\u0646\u062c\u0644\u0648 \u0627\u0644\u0645\u0635\u0631\u064a\u0629. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u0639\u0628\u0651\u0627\u0633\u060c \u0631\u0627\u0648\u064a\u0629 \u0639\u0628\u062f \u0627\u0644\u0645\u0646\u0639\u0645. (1998).  \u0627\u0644\u062d\u0633 \u0627\u0644\u062c\u0645\u0627\u0644\u064a \u0648\u062a\u0627\u0631\u064a\u062e \u0627\u0644\u0641\u0646. \u062f\u0627\u0631 \u0627\u0644\u0646\u0647\u0636\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0644\u0644\u0637\u0628\u0627\u0639\u0629 \u0648\u0627\u0644\u0646\u0634\u0631. \u0628\u064a\u0631\u0648\u062a.
\u0639\u0628\u062f\u064a\u060c \u0632\u0647\u0648\u0631 \u0648\u0633\u0631\u0627\u062f\u0648\u0646\u064a \u062c\u0642\u062c\u0642\u0629 \u0644\u064a\u0644\u064a\u0627. (2016). “\u0627\u0644\u0625\u064a\u0642\u0627\u0638 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a \u0644\u0644\u0623\u0637\u0641\u0627\u0644 \u0645\u0627 \u0628\u064a\u0646 (3-6) \u0633\u0646\u0648\u0627\u062a \u0641\u064a \u0627\u0644\u062c\u0632\u0627\u0626\u0631”\u060c \u0645\u0630\u0643\u0631\u0629 \u062a\u062e\u0631\u062c \u063a\u064a\u0631 \u0645\u0646\u0634\u0648\u0631\u0629 \u0644\u0646\u064a\u0644 \u0634\u0647\u0627\u062f\u0629 \u0627\u0644\u062f\u0631\u0627\u0633\u0627\u062a \u0641\u064a \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0649. \u0627\u0644\u0645\u0639\u0647\u062f \u0627\u0644\u0639\u0627\u0644\u064a \u0644\u0644\u0645\u0648\u0633\u064a\u0642\u0649 \u0645\u062d\u0645\u062f \u0641\u0648\u0632\u064a. \u0627\u0644\u062c\u0632\u0627\u0626\u0631.
\u0639\u0637\u064a\u0629\u060c \u0645\u062d\u0633\u0646 \u0645\u062d\u0645\u062f. (1997).  \u0627\u0644\u062a\u0630\u0648\u0651\u0642 \u0627\u0644\u0641\u0646\u064a: \u0627\u0644\u0623\u0633\u0627\u0644\u064a\u0628- \u0627\u0644\u062a\u0642\u0646\u064a\u0627\u062a- \u0627\u0644\u0645\u0630\u0627\u0647\u0628. \u062f\u0627\u0631 \u0627\u0644\u0645\u0639\u0627\u0631\u0641 \u0628\u0645\u0635\u0631. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u0645\u0634\u0627\u0631\u064a\u060c \u0639\u0644\u064a \u0646\u062c\u0645 \u0639\u0628\u062f \u0627\u0644\u0644\u0647. (2024). “\u0623\u062b\u0631 \u0627\u0644\u062a\u0631\u0628\u064a\u0629 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a\u0629 \u0641\u064a \u062a\u0639\u0632\u064a\u0632 \u0648\u062a\u0646\u0645\u064a\u0629 \u0627\u0644\u0630\u0643\u0627\u0621 \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u064a \u0644\u062f\u0649 \u0627\u0644\u0623\u0637\u0641\u0627\u0644”. \u0645\u062c\u0644\u0629 \u0646\u0627\u0628\u0648 \u0644\u0644\u0628\u062d\u0648\u062b \u0648\u0627\u0644\u062f\u0631\u0627\u0633\u0627\u062a: 37 (47): 1082-1111.
\u0645\u0647\u064a\u0628\u0644\u060c \u0639\u0645\u0631. (2007).  \u0645\u0646 \u0627\u0644\u0646\u0633\u0642 \u0625\u0644\u0649 \u0627\u0644\u0630\u0627\u062a. \u0645\u0646\u0634\u0648\u0631\u0627\u062a \u0627\u0644\u0627\u062e\u062a\u0644\u0627\u0641. \u0627\u0644\u062c\u0632\u0627\u0626\u0631.
\u0647\u0648\u0628\u0632\u0628\u0627\u0648\u0645\u060c \u0625\u0631\u064a\u0643. (2015).  \u0623\u0632\u0645\u0646\u0629 \u0645\u062a\u0635\u062f\u0639\u0629 \u0627\u0644\u062b\u0642\u0627\u0641\u0629 \u0648\u0627\u0644\u0645\u062c\u062a\u0645\u0639 \u0641\u064a \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064a\u0646. \u0633\u0647\u0627\u0645 \u0639\u0628\u062f \u0627\u0644\u0633\u0644\u0627\u0645 (\u062a\u0631\u062c\u0645\u0629). \u0627\u0644\u0645\u0631\u0643\u0632 \u0627\u0644\u0639\u0631\u0628\u064a \u0644\u0644\u0623\u0628\u062d\u0627\u062b \u0648\u062f\u0631\u0627\u0633\u0629 \u0627\u0644\u0633\u064a\u0627\u0633\u0627\u062a. \u0642\u0637\u0631-\u0644\u0628\u0646\u0627\u0646.
\u064a\u0648\u0633\u0641\u060c \u0646\u0628\u064a\u0644\u0629 \u0645\u064a\u062e\u0627\u0626\u064a\u0644. (1999).  \u0627\u0644\u0639\u0644\u0627\u062c \u0628\u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0649. \u0645\u0643\u062a\u0628\u0629 \u0627\u0644\u0627\u0646\u062c\u0644\u0648 \u0627\u0644\u0645\u0635\u0631\u064a\u0629. \u0645\u0635\u0631.
Adorno, T. (1995). Th\u00e9orie esth\u00e9tique<\/em>. trad., Marc Jimenez. Edit. Klincksckiek, Paris.
Bennoune, M. (2000). Education, Culture et D\u00e9veloppement en Alg\u00e9rie: Bilan & Perspectives du syst\u00e8me Educatif, Etude des mod\u00e8les: Allemagne, Am\u00e9rique, Japon.<\/em> Marinoor. ENAG.
Meyer, L. B. (1959). Some Remarks on Value and Greatness in Music. The Journal of Aesthetics and Art Criticism,<\/em> 4<\/em>, 486-500. jstor.org\/stable\/428221.
Ponsard, A. P. (1909). La formation du sentiment esth\u00e9tique chez les enfants.<\/em> Alger. El-Borhane : 2007. Alg\u00e9rie.
Sadak, A. (2006). Researches and studies in the psychology of music and music education. <\/em>The AngiloEgyptian bookshop. Cairo.<\/p><\/div><\/div>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Copyright for all articles published in ATRAS <\/strong>belongs to the author. The authors also grant permission to the publisher to publish, reproduce, distribute, and transmit the articles. ATRAS <\/strong>publishes accepted papers under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License. Authors submitting papers for publication in ATRAS <\/strong>agree to apply the CC BY-NC 4.0 license to their work. For non-commercial purposes, anyone may copy, redistribute material, remix, transform, and construct material in any media or format, provided that the terms of the license are observed and the original source is properly cited.<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Adolescence, aesthetic sense, children, inclinations, music listening<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[599],"tags":[808,809,811,810,812],"class_list":["post-2985","post","type-post","status-publish","format-standard","hentry","category-vol-06-n01-2025","tag-adolescence","tag-aesthetic-sense","tag-children","tag-inclinations","tag-music-listening"],"gutentor_comment":0,"yoast_head":"\nArticle 48-Issue 01 vol 6 January 2025 - ATRAS journal<\/title>\n<meta name=\"description\" content=\"Adolescence, aesthetic sense, children, inclinations, music listening The study addresses the issue of awakening the musical aesthetic sense among middle school pupils. The goal of this process is to enhance their sense of beauty, concentration, and mental performance, which results from the processes of receiving and enjoying lyrical and musical works; thus, the interest and desire to work. Musical awakening is an important educational process, which comes through the music education class in the intermediate stage, aiming to motivate pupils and develop their creative abilities and critical thinking. To cover the topic and achieve its objectives, the study required the use of a questionnaire to collect, describe and analyze data following the requirements of the descriptive analytical approach, and to evaluate the motivations and level of musical awakening among a sample of pupils composed of two groups: first-year intermediate pupils who had not studied music before, and fourth-year pupils from the same level, because they studied music in the previous years. At last, the differences are recorded and monitored with the two groups of the sample, allowing concrete suggestions aiming to activate the roles of this artistic course.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/atras-univ-saida.dz\/en\/?p=2985\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Aesthetic Sense among Children between 11 and 14 Years: Music Listening Tendencies for Middle School Pupils as a Case Study\" \/>\n<meta property=\"og:description\" content=\"The study addresses the issue of awakening the musical aesthetic sense among middle school pupils. The goal of this process is to enhance their sense of beauty, concentration, and mental performance, which results from the processes of receiving and enjoying lyrical and musical works; thus, the interest and desire to work. Musical awakening is an important educational process, which comes through the music education class in the intermediate stage, aiming to motivate pupils and develop their creative abilities and critical thinking. To cover the topic and achieve its objectives, the study required the use of a questionnaire to collect, describe and analyze data following the requirements of the descriptive analytical approach, and to evaluate the motivations and level of musical awakening among a sample of pupils composed of two groups: first-year intermediate pupils who had not studied music before, and fourth-year pupils from the same level, because they studied music in the previous years. 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The goal of this process is to enhance their sense of beauty, concentration, and mental performance, which results from the processes of receiving and enjoying lyrical and musical works; thus, the interest and desire to work. Musical awakening is an important educational process, which comes through the music education class in the intermediate stage, aiming to motivate pupils and develop their creative abilities and critical thinking. To cover the topic and achieve its objectives, the study required the use of a questionnaire to collect, describe and analyze data following the requirements of the descriptive analytical approach, and to evaluate the motivations and level of musical awakening among a sample of pupils composed of two groups: first-year intermediate pupils who had not studied music before, and fourth-year pupils from the same level, because they studied music in the previous years. 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At last, the differences are recorded and monitored with the two groups of the sample, allowing concrete suggestions aiming to activate the roles of this artistic course.","og_url":"https:\/\/atras-univ-saida.dz\/en\/?p=2985","og_site_name":"ATRAS journal","article_publisher":"https:\/\/www.facebook.com\/p\/ATRAS-journal-100083161450894\/","article_published_time":"2025-01-15T08:00:00+00:00","article_modified_time":"2025-02-24T14:15:53+00:00","og_image":[{"width":1000,"height":278,"url":"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png","type":"image\/png"}],"author":"atras","twitter_card":"summary_large_image","twitter_title":"Aesthetic Sense among Children between 11 and 14 Years: Music Listening Tendencies for Middle School Pupils as a Case Study","twitter_description":"The study addresses the issue of awakening the musical aesthetic sense among middle school pupils. The goal of this process is to enhance their sense of beauty, concentration, and mental performance, which results from the processes of receiving and enjoying lyrical and musical works; thus, the interest and desire to work. Musical awakening is an important educational process, which comes through the music education class in the intermediate stage, aiming to motivate pupils and develop their creative abilities and critical thinking. To cover the topic and achieve its objectives, the study required the use of a questionnaire to collect, describe and analyze data following the requirements of the descriptive analytical approach, and to evaluate the motivations and level of musical awakening among a sample of pupils composed of two groups: first-year intermediate pupils who had not studied music before, and fourth-year pupils from the same level, because they studied music in the previous years. At last, the differences are recorded and monitored with the two groups of the sample, allowing concrete suggestions aiming to activate the roles of this artistic course.","twitter_misc":{"Written by":"atras","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985#article","isPartOf":{"@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985"},"author":{"name":"atras","@id":"https:\/\/atras-univ-saida.dz\/en\/#\/schema\/person\/ad5e6fcff0b37638480b00e92868cd64"},"headline":"Article 48-Issue 01 vol 6 January 2025","datePublished":"2025-01-15T08:00:00+00:00","dateModified":"2025-02-24T14:15:53+00:00","mainEntityOfPage":{"@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985"},"wordCount":558,"publisher":{"@id":"https:\/\/atras-univ-saida.dz\/en\/#organization"},"image":{"@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985#primaryimage"},"thumbnailUrl":"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png","keywords":["Adolescence","aesthetic sense","children","inclinations","music listening"],"articleSection":["Vol 06 N01 2025"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985","url":"https:\/\/atras-univ-saida.dz\/en\/?p=2985","name":"Article 48-Issue 01 vol 6 January 2025 - ATRAS journal","isPartOf":{"@id":"https:\/\/atras-univ-saida.dz\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985#primaryimage"},"image":{"@id":"https:\/\/atras-univ-saida.dz\/en\/?p=2985#primaryimage"},"thumbnailUrl":"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png","datePublished":"2025-01-15T08:00:00+00:00","dateModified":"2025-02-24T14:15:53+00:00","description":"Adolescence, aesthetic sense, children, inclinations, music listening The study addresses the issue of awakening the musical aesthetic sense among middle school pupils. The goal of this process is to enhance their sense of beauty, concentration, and mental performance, which results from the processes of receiving and enjoying lyrical and musical works; thus, the interest and desire to work. Musical awakening is an important educational process, which comes through the music education class in the intermediate stage, aiming to motivate pupils and develop their creative abilities and critical thinking. To cover the topic and achieve its objectives, the study required the use of a questionnaire to collect, describe and analyze data following the requirements of the descriptive analytical approach, and to evaluate the motivations and level of musical awakening among a sample of pupils composed of two groups: first-year intermediate pupils who had not studied music before, and fourth-year pupils from the same level, because they studied music in the previous years. 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