*3.6. E*ff*ects of Annealing Temperature on Crystal Size*

The full width at half maximum (FWHM) values of the peaks in the XRD patterns can be derived from the following Scherrer formula [35]:

$$D = 0.9 \times \lambda / \\$\csc\theta\tag{2}$$

where *D* is the grain size, β is the XRD peak FWHM, λ is the wavelength of the incident light, and θ is the diffraction angle of the incident light. In the XRD process, λ and θ have constant values. Consequently, the grain size, *D*, and FWHM, β, are inversely related. (Cullity and Stock 2001). Figure 7 shows the FWHM and crystal grain size values of the present Ti:SnO2 films. Note that the as-deposited film has a small crystal structure, and hence the FWHM and crystal size values are also calculated carefully. However, for an annealing temperature of 300 ◦C, the Ti:SnO2 film has a crystalline structure with a grain size of around 14.89 nm. As the annealing temperature is increased, the crystalline structure becomes more pronounced. Consequently, the grain size decreases, while the FWHM increases. For the maximum annealing temperature of 500 ◦C, the grain size is equal to approximately 11.56 nm, while the FWHM increases to 0.8.

**Figure 7.** The full width at half maximum (FWHM) and grain size of as-deposited and annealed Ti:SnO2 films.


**14. Conclusion/recommendation**

The high prevalence of HIV in Sub-Saharan Africa, consumer's preferences and the cost of inpatient care depicts the shift from hospital to home care and predict the need for family caregivers, who will be directly involved with the care of PLWHA at home. This shift invoke high level of burden on family caregivers who have little knowledge and skills for HIV management. Strategies for countering caregiver's burden must be identified and addressed through providing adequate support as well as seeking measures to enhance male involvement in family caregiving. This could be accomplished by creating public awareness of negative impact of caregiving as well as encouraging equal distribution of household and caregiving responsibilities. Additionally, ensuring the health care system adherence to discharge policies by providing adequate information on practical and coping skills, as well as community resources for family caregivers of PLWHA is strongly advocated. With the high prevalence of HIV, there is need for periodic counseling sessions where caregivers of PLWHA can meet with medical professionals for advice. Creating caregiver's forum would provide avenue to vent pressure and discussed problems and challenges encountered in the course of caregiving. It is pertinent for health care professionals to recognize family caregivers as potential patient and develop comprehensive assessment format which will incorporate assessment of both PLWHA and their caregivers during hospital visits. Finally there is need for promulgation of policy that recognizes and support female caregivers of PLWHA in Africa.


*3.3. Photosynthetic Pigments*

Intrinsic difference in photosynthetic pigments profile and content were observed between the genotypes (Table 3). Among non-salinized seedlings, chlorophyll (*a*, *b*, and total) and carotenoids content was higher in melon (CM11 and CM12), while the lowest concentration was observed in CM5. Compared to non-saline seedlings, chlorophyll *a* content significantly increased under salt stress in CMM-R1 and CMM-R2 (+47% and +61%), while it decreased in CMO 51–17 (−40%) and LC1 (−49%) and it did not vary in the other genotypes (Figure 3a). On the other hand, chlorophyll *b* content increased in CMM-R1 (+38%) and CMM-R2 (+64%) seedlings grown under saline conditions, while it decreased in LC1 (−51%), and was not affected by salinity in any of the other genotypes (Figure 3b). As compared to non-saline conditions, the total chlorophyll and carotenoid content increased under 150 mM NaCl in CMM-R1 (+44% and +52%, respectively), CMM-R2 (+62% and +54%), while they decreased in LC1 (−50% and −28%) and it did not vary for the other genotypes (Figure 3c,d).

**Figure 2.** Plant biomass accumulation, after one week of NaCl treatment, in term of shoot dry weight (**a**), root dry weight (**b**), shoot dry matter content (**c**), and root dry matter content (**d**) in seedlings of sixteen *Cucumis melo* L., six *Citrullus vulgaris* Schrad., two *C. maxima* × *C. moschata*, four *Lagenaria siceraria* (Molina) Standl. different genotypes, and *Cucurbita moschata* Duch. *cv* 51–17 and *Lu*ff*a cylindrica* Mill. Mean values ± standard errors; *n* = 3 followed by different letters within each parameter are significantly different based on Duncan post hoc (*p* < 0.05).

**Table 3.** Chlorophyll *a*, *b*, total carotenoids content, and electrolyte leakage in leaves of seedlings of sixteen *Cucumis melo* L., six *Citrullus vulgaris* Schrad, two *C. maxima* × *C. moschata*, four *Lagenaria siceraria* (Molina) Standl. different genotypes, and *Cucurbita moschata* Duch. *cv* 51–17 and *Lu*ff*a cylindrica* Mill. grown at 0 or 150 mM of NaCl. (1 week after the beginning of the treatment). Non significance or significance differences at *p* ≤ 0.05 or 0.01 are indicated as: ns and \*\* respectively.

**Figure 3.** Photosynthetic pigment content, after one week of NaCl treatment, in term of chlorophyll *a* (**a**), chlorophyll *b* (**b**), total chlorophyll (**c**), and carotenoids (*x* + *n*) (**d**) in seedlings of sixteen *Cucumis melo* L., six *Citrullus vulgaris* Schrad., two *C. maxima* × *C. moschata*, four *Lagenaria siceraria* (Molina) Standl. different genotypes, and *Cucurbita moschata* Duch. *cv* 51–17 and *Lu*ff*a cylindrica* Mill. Mean values ± standard errors; *n* = 3 followed by different letters within each parameter are significantly different based on Duncan post hoc (*p* < 0.05).

#### *3.4. Electrolyte Leakage*

Electrolyte leakage was significantly different between the genotypes (Table 3). Under 0 mM NaCl, CMM-R2, LS1, and CM2 showed the highest value of electrolyte leakage, while the lowest electrolyte leakage values were observed in CV4, LC1, LS4, and CM10 (Figure 4). Electrolyte leakage values were generally increased by salinity, although significant differences from control conditions were only observed in LS2 (+184%), CV13 (+243%), CM10 (+4662%), and CM13 (+509%) (Figure 4).

**Figure 4.** Electrolyte leakage (EL) in leaves, after one week of NaCl treatment, in seedlings of sixteen *Cucumis melo* L., six *Citrullus vulgaris* Schrad., two *C. maxima* × *C. moschata*, four *Lagenaria siceraria* (Molina) Standl. different genotypes, and *Cucurbita moschata* Duch. *cv* 51–17 and *Lu*ff*a cylindrica* Mill. Mean values ± standard errors; *n* = 3 followed by different letters within each parameter are significantly different based on Duncan post hoc (*p* < 0.05).

#### *3.5. Cluster Heat Map and Principal Component Analysis*

To obtain a detailed overview and to better distinguish the morpho-physiological changes induced by salinity on the tested genotypes, a cluster heat map and a principal component analysis (PCA) were conducted considering the percentage variation between 150 and 0 mM NaCl for all the aforementioned measured parameters.

The cluster heatmap shows that the main clustering factor was the genotypes regardless of the species, highlighting common response traits to the increase of NaCl between the different genotypes (Figure 5). The genotypes formed two main clusters. The first was occupied by the watermelon genotype CV2 that clustered alone, mainly as a consequence of an increase in leaf number, root length, shoot diameter, and shoot and root dry weight, together with a decrease in electrolyte leakage and photosynthetic pigment content (Figure 5). The second main cluster is split into two sub-groups. In order of distance, the first sub-group arranges bottle gourd LS2, LS3, and LS4 with melon CM8 and the interspecific hybrids CMM-R1 and CMM-R2, together into several further sub-sets characterized by similar positive variations in photosynthetic pigment content and negative variation in electrolyte leakage and root dry matter content (Figure 5). The second sub-group contains most of the genotypes and is organized into two further subsets, one of which has two divisions. The first subset is determined by similar variation in shoot and root dry matter content and electrolyte leakage grouping melon (CM1, CM6, and CM7, CM15 and CM16) and watermelon CV3 and bottle gourd LS1 genotypes together (Figure 5). Furthermore, the CM1 genotype showed the highest positive variation in shoot diameter, while CM6 and CM7 showed the highest increase in dry root weight (Figure 5). The decrease observed under saline conditions in photosynthetic pigments, root length, and dry weight, together with shoot length and diameter and leaf number accounted for the formation of the second subset. This is further subdivided into two divisions, the first of which contains watermelon (CV1, CV4, and CV5), melon (CM4, CM5, CM11, CM12, and CM13), and luffa (LC1) genotypes. Among these genotypes, LC1, CM4, and CV5 showed the highest decrease in photosynthetic pigment contents, shoot diameter and root length, and dry weight. A decrease in root dry weight was also observed in CM11, CM13, and watermelon CV1 (Figure 5).  Among the genotypes, melon (CM2, CM3, and CM10) showed the highest decrease in shoot dry matter, while melon CM3, the highest increase in electrolyte leakage and CV6 also showed the highest increase in shoot length (Figure 5).

**Figure 5.** Cluster heat map analysis of the percentage variation to the increase of NaCl level of all the analyzed parameters in seedlings of sixteen *Cucumis melo* L, six *Citrullus vulgaris* Schrad., two *C. maxima* × *C. moschata*, four *Lagenaria siceraria* (Molina) Standl. different genotypes, and *Cucurbita moschata* Duch. *cv* 51–17 and *Lu*ff*a cylindrica* Mill. grown in a floating system in a nursery greenhouse. It was generated using the ClustVis online software [18] with Euclidean distance as the similarity measure and hierarchical clustering with complete linkage.

The PCA of the relative percentage variation of all the analyzed parameters in seedlings grown at 150 mM NaCl as compared with the control (0 mM NaCl) highlighted that the first three principal components (PCs) were related with eigenvalues higher than 1 and explained 64.5% of the total variance, with PC1, PC2, and PC3 accounting for 32.6%, 20.1%, and 11.9% respectively (data not shown). Both the species and the genotype contributed to the separation of PC1 and PC2, as highlighted in the PCA output, revealing common trait variations among genotypes regardless of the species (Figure 6). The melon genotypes CM3, CM4, CM5, CM11, CM13, and CM14, together with the watermelon genotypes CV1, CV3, and CV4, were concentrated in the upper right quadrant of the PCA output and positively correlated to an increase in electrolyte leakage (Figure 6). The watermelon genotypes CV2 and CV5, together with CMO 51–17, luffa LC1, bottle gourd genotype LS1, and melon genotypes CM2, CM10, and CM15 were concentrated in the negative lower right quadrant of PCA output and were correlated to an increase under saline conditions of shoot length and root dry matter content (Figure 6). The interspecific hybrid CMM-R1, together with melon CM8, CM9, CM12, and bottle gourd LS2 and LS3 were concentrated in the upper left quadrant of the PCA output (Figure 6) and together with the interspecific hybrid CMM-R2 (located in the lower left quadrant), were characterized with an increase in photosynthetic pigment content under saline conditions. In the left lower quadrant depicted genotypes CM1, CM6, CM7, and CM16, together with bottle gourd LS4 and watermelon CV6 and were characterized with increase in leaf number, shoot diameter, shoot dry weight, and dry biomass accumulation and root length under saline conditions (Figure 6).

**Figure 6.** Principal component (PC) loading plot and scores of principal component analysis of the percentage of variation between 150 mM and 0 mM of NaCl of all the parameter analyzed in seedlings of sixteen *Cucumis melo* L. (CM), six *Citrullus vulgaris* Schrad (CV), two *C. maxima* × *C. moschata* (CMM-R), four *Lagenaria siceraria* (Molina) Standl. (LS) different genotypes, and *Cucurbita moschata* Duch. *cv* 51–17 and *Lu*ff*a cylindrica* Mill. grown in a floating system in a nursery greenhouse.

#### **4. Discussion**

It is well known that plants' response to different NaCl concentrations differs between species and even within genotypes of the same species. In this study, high variability in various morphological and physiological traits between the tested genotypes even from the same species were observed. Furthermore, different responses to NaCl were identified, confirming the high variability within the assessed germplasm collection.

According to Munns [19], a saline environment in the root zone triggers the activation of various mechanisms in plant physiology, morphology, and metabolism. This takes place in two main phases. Firstly, the presence of NaCl in the soil creates osmotic stress in the roots due to different solute concentration, causing the activation of multiple metabolic pathways that in the short term lead to stomata closure to reduce evapotranspiration and preserve water, and net photosynthesis reduction [1,20,21]. Morphological change primarily includes the growth inhibition of aerial organs like shoots and a reduction in the number of leaves. In the current experiment, 150 mM of NaCl significantly reduced the number of leaves only in melon (CM5), though a decreasing trend was observed in most genotypes. Shoot growth was significantly inhibited by salinity in most genotypes with the exception of watermelon (CV3, CV5, CV6) and luffa (LC1), which turned out to be more salt tolerant for this trait. The root system serves as an interphase between plant and soil, and its anatomy determines root performance [21]. Generally, root growth in a saline environment is inhibited less than the aerial organs [22]. In our study, root growth was not significantly affected by salt stress as the main factor, however, our data highlight a genotypic-specific response to salt concentration since root growth was promoted in salt-treated seedlings of CMM-R1, CMM-R2, and watermelon (CV3) and decreased in watermelon (CV6) and melon (CM14).

Salinity stress leads to a decrease in plant biomass, mainly in the epigean organs and this is ascribed to a decrease in CO2 fixation by photosynthesis due a reduction in stomatal conductance, together with nutrient disorders caused by the toxic action of Na+ and Cl− ions inhibiting Ca2+ and K+ uptake [1,21–23].Under conditions of 150 mM NaCl, shoot dry weight was negatively affected only in melon (CM2, CM5, CM7, CM8, CM12, and CM13), *C. moscata* (CMO 51–17), watermelon (CV1 and CV2), and in the interspecific hybrid CMM-R1, the latter was the most salt sensitive compared with the other genotypes. In particular, watermelon (CV3), the interspecific hybrid CMM-R2, and bottle gourd (LS1) significantly increased shoot dry weight in response to salinity. On the other hand, shoot dry matter accumulation increased in saline conditions in bottle gourd (LS1, LS3, LS4) and in watermelon (CV2, CV3, and CV5) and melon (CM1) and both the interspecific hybrids CMM-R1 and CMM-R2. Many salinity tolerance traits in grafted plants are associated with the root system. A salt tolerant rootstock genotype alleviates the deleterious shoot growth inhibition, allocating more biomass to the root system, increasing the root surface able to uptake water and nutrients, resulting in a higher growth rate and biomass accumulation [24,25]. Accordingly, with 150 mM NaCl, root dry weight did not decrease in any of the genotypes except for watermelon (CV5), and root dry matter accumulation was significantly enhanced in melon (CM1, CM4, CM5, CM6, CM7, CM8, CM15, and CM16) as well as watermelon (CV1, CV2, CV3, CV4, and CV5), while it decreased in melon (CM3, CM10, and CM11) and CMM-R1 and CMM-R2. Several studies have reported the growth depressing effect of salt on melon [26–28], cucumber [3,29], mini-watermelon [30], tomato [31], and lettuce [32] grown hydroponically under greenhouse conditions. The second phase of the salt stress starts with the accumulation of sodium and chloride ions in the leaves and their degrading action on cell membranes and chloroplast membranes. This degrades the tonoplast together with chlorophyll molecules because of chlorophyllase enzyme [33] as well as the interference of salt ions with pigment-protein complexes which accelerate leaf senescence and abscission [34]. Contradictory information is available in literature on salt stress related to chlorophyll contents among the same species and to others. In fact, studies on melon *cv.* Parnon and *cv.* "Tempo F1", under saline conditions, reported a decrease in chlorophyll content [35,36] in line with studies on pumpkin [37], cucumber [38], tomato [31], canola and wheat [39,40]. Conversely, other

authors observed an increase of photosynthetic pigments in different melon genotypes [41–43] in line with studies on other species like hot pepper [44], sunflower [45], and sesame [46].

Sanoubar and collaborators in 2016 [47] indicated that chlorophyll concentration in stressed tissues can be construed as an index of tissue tolerance to NaCl. Accordingly, our results indicate a good tolerance in most of the genotypes, in particular in the interspecific hybrids CMM-R1 and CMM-R2, where photosynthetic pigments significantly increased under saline condition. Contrarily, in luffa, the decreasing chlorophyll content in response to salinity could be associated with greater sensitivity to salt stress [21]. Adaptation mechanisms induced by salt stress generally influence the light harvesting complex due to a faster decrease of chlorophyll *a* content as compared to chlorophyll *b*, which leads to an increase in the chlorophyll *a*/*b* ratio [34]. In our experiment, the chlorophyll *a*/*b* ratio was modified under saline condition only in CMO 51–17 and watermelon (CV1) where chlorophyll *a* decreased and chlorophyll *b* did not vary. Different hypotheses have been formulated to explain the increase in photosynthetic pigments in response to salinity. The first considers the morphological modifications associated with the decrease of leaf area due the smaller cell size, resulting in an enhancement of photosynthetic pigments concentration [45,46]. A second hypothesis, proposed by Garcia-Valenzuela and collaborators [48], associated the increase of photosynthetic pigments to the faster response that is generally observed in the biosynthesis of pigments as compared to the cell growth rate [48]. To date, however, most the credited hypothesis relates the increase observed in photosynthetic pigments to a short term acclimatization response to salinity and that a prolonged exposure would in any case be detrimental [49]. The ability to isolate or exclude sodium and chloride is a key factor to consider as a salt tolerance trait [27,28]. The longer the salt stress is prolonged, the higher the accumulation of sodium and chloride inside the plant is. To cope with this osmotic disorder, plants exclude uptake of these compounds primarily through root exclusion, and subsequently through compartmentation, by isolating salt in vacuoles. However, the higher the ability to isolate (salt) in the vacuole is, the less the cell membrane is damaged. Moreover, if the concentration increases inside the cytosol, plants start to synthesize different organic solutes to maintain the osmotic turgor and to reduce the deleterious effect of salt due to cell membrane degradation and the increase of reactive oxygen species (ROS) [19,21,50]. In our experiment, electrolyte leakage increased dramatically only in LS2, CV4, CM10, and CM13, revealing a high index of internal damage due to the presence of sodium and chloride inside the leaf cells of these genotypes which must be considered a sensitive response to salt stress.

#### **5. Conclusions**

Salinity stress leads to a decrease in plant growth with more pronounced deleterious effect in the shoot rather than the roots. Similar physiological and morphological salt adaptation traits were observed in different genotypes from different species. In light of the above consideration, we identified *C. maxima* × *C. moscata* interspecific hybrid CMM-R2, melon genotypes (CM6, CM7, CM10, and CM16), together with watermelon (CV2 and CV6) and bottle gourd (LS4) as salt tolerant genotypes and possible candidates as salt resistant rootstock to be introduced in grafting programs. Contrarily, luffa and melon (CM1, CM2, CM3, CM4, CM5 CM8, CM9, CM11, CM12, CM13, CM14, and CM15), watermelon (CV1, CV3, CV4, and CV5), together with CMO 51–17 and bottle gourd LS1 proved salt sensitive. In conclusion, this study provides information to growers, scientists, extension specialists, and breeders on the behavior of the tested genotypes. Further research on these genotypes is needed to clarify their performance in saline environments in the long term and their compatibility with commercial grafted varieties.

**Author Contributions:** Conceptualization, G.C.M., F.O., Y.T., G.B.Ö., G.G.; methodology, G.C.M., G.B.Ö., Y.T., F.O.; validation, G.C.M., Y.R., F.O.; formal analysis, G.C.M.; investigation, G.C.M., Y.R., F.O.; resources, F.O., G.B.Ö., Y.T.; data curation, G.C.M., Y.R., F.O.; writing—original draft preparation, G.C.M.; writing—review and editing, F.O., Y.R., S.D.P.; visualization, G.C.M., Y.R., F.O.; supervision, S.D.P., Y.R., Y.T., G.B.Ö., G.G.; project administration, G.B.Ö.; funding acquisition, Y.R., G.G., S.D.P. All authors have read and agreed to the published version of the manuscript.

**Funding:** This work was carried out during an internship mobility agreement between the University of Bologna and the Ege University financed by the LLP Erasmus Placement Program (2014) and supported by Ege University Scientific Research Projects Coordination Unit with project number 2013-ZRF-001.

**Acknowledgments:** The authors are thankful to Sofia Siepi, Elyar Saeedi and Gamze Çılgın for their help collecting data and technical assistance during the experiment.

**Conflicts of Interest:** The authors declare no conflict of interest.


**3. Findings**

According to the data, regarding the Kolb learning styles, 30 of the 77-people students' group were converging, 21 were assimilating, 16 were diverging, and 10 were accommodating. As understood from the data, 51 students had abstract conceptualization skills and 26 students had concrete experiencing skills. While 41 students were observed to learn through active experimentation, 36 students learned through reflective observation (**Figure 1**).

**P37:** I have a converging learning style, according to Kolb. I can learn with abstract conceptualization and active experience. That's why I first put the actions that we learn in the course into perspective then I put them into practice. With the practices and experiments that we do in class, I try to acquire the right information. Since everyone in the classroom offers different ideas and we put these ideas into practice, I can approach the subject with different perspectives. I can participate actively in the course. **P30:** During our practices, we performed listening rhythm and harmonizing studies. We started from a specific topic in certain practices;

**Figure 1.**

*Learning styles of students participating in the study.*

it is sort of my area of expertise to concentrate on one thing, as in my learning style. In my learning style, it is essential to organize information and to focus on specific problems. **P22:** Converging individuals are defined as people who use abstract conceptualization and active experience learning stages and practical applier of ideas. They were expressed as deductive people with problem-solving skills, interested in technical matters. During class practices, generally, I observe first, and then give my opinions, if I have any. Since I think learning by doing is more permanent, I care about practice. So I participate in the practices and activities in class. So, I partially fit in with the converging style in the Kolb inventory. **P55:** I do not act without thinking. I am cautious. I'm more inclined towards objects and symbols. I learn best with projects, practical assignments, small group discussions. My learning style helped me in class. I am learning through problem solving, decision making, logical and systematic planning of ideas so in the course so I have always asked myself the question of "How." "How will I do it? How will it happen?" I received the answers to these questions by participating in the applications. I'm good at organizing information, focusing on specific problems. I am successful in problem solving and technical issues rather than social and interpersonal issues. However, in the course, I participated in activities as a part of the group. I have expressed my ideas and voiced my opinions about things that concerned me. I learn by doing, experiencing. That's why I have always been actively involved in the course. Again, it was me who found the mistakes one by one on the board. I constantly questioned the points that I found problematic and expressed my opinions, then we reflected on them together (**Figure 2**).

**P72:** While practicing in the course, I always asked myself questions such as; Why will I learn? How will I learn? and I found the answers in practice. I like to work individually, which is a characteristic of my learning style. However, thanks to the practices we do in the course, I've warmed towards group work and I have observed to be more efficient than when I worked on my own. My learning style made me ask more questions during practice. This allowed me to gain a more inquisitive identity and more awareness. **P10:** In fact, since observing and applying is important in most of the practices we do in class, this learning style helped me a little about learning. The fact that thinking is at the forefront in this learning style has enabled me to benefit from it in this regard since the practices we perform are related to thinking, researching, exploring. I prefer observation as it is in my learning style. I think I have developed myself in terms of learning through group work along with the course. **P70:** I learn by observing as in the assimilating learning style. I first examine, see then I start to practice it myself. Being preoccupied with details, I ask questions in class such as "Why are we doing these movements?" or "How and

**229**

**Figure 3.**

**Figure 2.**

*Is Experiential Learning Possible with Active Music Education?*

*The comments of the participants on the* converging *learning style.*

*The comments of the participants on the* assimilating *learning style.*

where are we going to use them?." **P61:** I think the result of this test is right for me because to learn something in my life, first I would like to have information about that thing and to observe, to see how it is done. Before active participation, I like observing. If I were to interpret the Music and Movement course, which we took during the semester, in this context, I think that I have been forced to participate actively as an individual who prefers to do observation and that this has helped me improve to a certain degree in active participation. Because, in our lessons, I saw a process more appropriate for the active participation structure, rather than obser-

Sample expressions selected from several participants at the end of the study are as follows: **P14:** According to Kolb's learning style questionnaire, I was in a converging style, but I see myself in the accommodating learning style. The reason for this is that I take action without thinking; I reach the truth through trial and error. I prefer active participation and learn things by doing-experiencing while learning. This is how I learned music through the music lesson we were taught. **P48:** To be honest, I can hardly understand the narrow definitions of visual intelligence,

*DOI: http://dx.doi.org/10.5772/intechopen.93754*

vation (**Figure 3**).

#### *Is Experiential Learning Possible with Active Music Education? DOI: http://dx.doi.org/10.5772/intechopen.93754*

where are we going to use them?." **P61:** I think the result of this test is right for me because to learn something in my life, first I would like to have information about that thing and to observe, to see how it is done. Before active participation, I like observing. If I were to interpret the Music and Movement course, which we took during the semester, in this context, I think that I have been forced to participate actively as an individual who prefers to do observation and that this has helped me improve to a certain degree in active participation. Because, in our lessons, I saw a process more appropriate for the active participation structure, rather than observation (**Figure 3**).

Sample expressions selected from several participants at the end of the study are as follows: **P14:** According to Kolb's learning style questionnaire, I was in a converging style, but I see myself in the accommodating learning style. The reason for this is that I take action without thinking; I reach the truth through trial and error. I prefer active participation and learn things by doing-experiencing while learning. This is how I learned music through the music lesson we were taught. **P48:** To be honest, I can hardly understand the narrow definitions of visual intelligence,

**Figure 2.**

*Education at the Intersection of Globalization and Technology*

*Learning styles of students participating in the study.*

it is sort of my area of expertise to concentrate on one thing, as in my learning style. In my learning style, it is essential to organize information and to focus on specific problems. **P22:** Converging individuals are defined as people who use abstract conceptualization and active experience learning stages and practical applier of ideas. They were expressed as deductive people with problem-solving skills, interested in technical matters. During class practices, generally, I observe first, and then give my opinions, if I have any. Since I think learning by doing is more permanent, I care about practice. So I participate in the practices and activities in class. So, I partially fit in with the converging style in the Kolb inventory. **P55:** I do not act without thinking. I am cautious. I'm more inclined towards objects and symbols. I learn best with projects, practical assignments, small group discussions. My learning style helped me in class. I am learning through problem solving, decision making, logical and systematic planning of ideas so in the course so I have always asked myself the question of "How." "How will I do it? How will it happen?" I received the answers to these questions by participating in the applications. I'm good at organizing information, focusing on specific problems. I am successful in problem solving and technical issues rather than social and interpersonal issues. However, in the course, I participated in activities as a part of the group. I have expressed my ideas and voiced my opinions about things that concerned me. I learn by doing, experiencing. That's why I have always been actively involved in the course. Again, it was me who found the mistakes one by one on the board. I constantly questioned the points that I found problematic and expressed my opinions, then we reflected on them

**P72:** While practicing in the course, I always asked myself questions such as; Why will I learn? How will I learn? and I found the answers in practice. I like to work individually, which is a characteristic of my learning style. However, thanks to the practices we do in the course, I've warmed towards group work and I have observed to be more efficient than when I worked on my own. My learning style made me ask more questions during practice. This allowed me to gain a more inquisitive identity and more awareness. **P10:** In fact, since observing and applying is important in most of the practices we do in class, this learning style helped me a little about learning. The fact that thinking is at the forefront in this learning style has enabled me to benefit from it in this regard since the practices we perform are related to thinking, researching, exploring. I prefer observation as it is in my learning style. I think I have developed myself in terms of learning through group work along with the course. **P70:** I learn by observing as in the assimilating learning style. I first examine, see then I start to practice it myself. Being preoccupied with details, I ask questions in class such as "Why are we doing these movements?" or "How and

**228**

together (**Figure 2**).

**Figure 1.**

*The comments of the participants on the* converging *learning style.*

**Figure 3.**

*The comments of the participants on the* assimilating *learning style.*

auditory intelligence so it was very useful to do this test and find out my learning style. The diverging learning style summarizes me very well. I'm a serious observer. Even if I understand things, I refrain from action, think and judge within myself, ask questions of why and how but participating or sharing my ideas is not for me. That's why I never mentioned my ideas during practice. Things come to my mind because I pay attention to the course, it is my favorite lesson, but I always have trouble in participating in the class. After discovering my style of learning, nothing has changed. I still observe in the same way but I either participate because I have to, or I participate without sharing my ideas and thoughts. By watching, I learn in a calm, patient, elaborative, very detailed and objective way. However, I like working individually. **P43:** I think this lesson fits my learning style. It is because diverging learning needs sensory organs while learning. We are actively using our sensory organs in our course. Diverging learning mostly uses sight. In the course, we apply the movements by looking at our teacher. This means that we use our vision. I find the applications in the course parallel to my one-to-one learning style. **P56:** When shaping my ideas, I consider my feelings and thoughts. The reason why this learning style is called diverging learning is that individuals with this style show better performance when they are asked to create alternative ideas in concepts such as brainstorming. Thanks to our practices in the course, I warmed up more to group work and observed that I had more efficiency than individual study. My learning style made me ask more questions during practice. This allowed me to gain a more inquisitive identity and more awareness (**Figure 4**).

**P42:** I think I fit the accommodating learning style. I can easily relate to people, adapt to change, I like change. I always plan before doing anything. Planning is important to me. I trust my intuition. I prefer active participation in the lessons. Because as I mentioned above, I think a student learns best through doing and experiencing. When studying, I think that the more the subject appeals to the senses, the better the student understands. **P47:** I have an accommodating learning style. And according to this style, I have a character that can establish easy relationships with people, and sometimes I am very impatient. I'm open-minded and when I see that something we're doing is lacking, wrong or unusual, I speak my mind directly. However, individuals with this style are said to be able to adapt easily to changes, but I am a little stubborn and I can't easily adapt to changes (**Figure 5**).

**P75:** Elementary means simplification of complex education. The concept of elementary that facilitates learning has an important place especially in terms of the education of children. **P15:** The elementary concept of Orff-Schulwerk refers

**231**

**Figure 5.**

*Is Experiential Learning Possible with Active Music Education?*

*The comments of the participants on the* accommodating *learning style.*

to making education basic, easy and simple. Originating from the Latin word "elemetarius" means belonging to the oldest, beginning and basic elements, firsthand. We can say that it means transforming a complex structure into a structure that is easier and more solvable. **P61:** Breathing, tapping out the rhythm with the heartbeat, making sounds with tongue movements and giving music meaning with various body movements are the things we can frequently see in this concept. It is also possible to participate in this structure with simple instruments and simple dances that express the structure of music. In short, it is an area that individuals can use to express music by simplifying and transforming the complex theoretical teachings of music. It is expressing music by using the sounds in nature and sounds,

rhythms and movements that are present in the human body (**Figure 6**).

**P48:** Orff Schulwerk and movement education is the expression of emotions that come from inside of the individual. It teaches children to move together, and the harmony that occurs when they adapt. It allows productivity through cooperation. The outputs provide enormous benefits in the cognitive, social and emotional areas of children during the process, they provide an aesthetic sense. **P39:** In Orff 's exercises, the student-centered course type is taken as a basis. In these studies, the teacher determines the principle, purpose, method, and content, informs about "What?" to do, however "How?" it will be carried out is determined together with the students. Each work process is divided into stages in itself. The main methods of this practice are improvisation, gameplay, discovery, re-finding, experiencing, transforming and discussing. Among them, especially improvisation and gameplay are predominant. Also, various social forms such as group work, circle form, U form are frequently used. **P7:** In the Orff system, students discover and acquire knowledge. This makes the information permanent. Lessons become more fun and enjoyable. Music teachers' learning and using these methods well makes the lesson more enjoyable and ensures that the knowledge taught will be permanent. It will be useful to apply it to all schools. **P27:** Music is the means through which people express themselves. What's special about Orff teaching is that it enables the individual to move freely, improvise, express himself or herself with music. This art does not belong to a single culture in the world and is universal. Children need to develop their imagination. The formation of music is

*DOI: http://dx.doi.org/10.5772/intechopen.93754*

**Figure 4.** *The comments of the participants on the* diverging *learning style.*

*Is Experiential Learning Possible with Active Music Education? DOI: http://dx.doi.org/10.5772/intechopen.93754*

*Education at the Intersection of Globalization and Technology*

inquisitive identity and more awareness (**Figure 4**).

*The comments of the participants on the* diverging *learning style.*

auditory intelligence so it was very useful to do this test and find out my learning style. The diverging learning style summarizes me very well. I'm a serious observer. Even if I understand things, I refrain from action, think and judge within myself, ask questions of why and how but participating or sharing my ideas is not for me. That's why I never mentioned my ideas during practice. Things come to my mind because I pay attention to the course, it is my favorite lesson, but I always have trouble in participating in the class. After discovering my style of learning, nothing has changed. I still observe in the same way but I either participate because I have to, or I participate without sharing my ideas and thoughts. By watching, I learn in a calm, patient, elaborative, very detailed and objective way. However, I like working individually. **P43:** I think this lesson fits my learning style. It is because diverging learning needs sensory organs while learning. We are actively using our sensory organs in our course. Diverging learning mostly uses sight. In the course, we apply the movements by looking at our teacher. This means that we use our vision. I find the applications in the course parallel to my one-to-one learning style. **P56:** When shaping my ideas, I consider my feelings and thoughts. The reason why this learning style is called diverging learning is that individuals with this style show better performance when they are asked to create alternative ideas in concepts such as brainstorming. Thanks to our practices in the course, I warmed up more to group work and observed that I had more efficiency than individual study. My learning style made me ask more questions during practice. This allowed me to gain a more

**P42:** I think I fit the accommodating learning style. I can easily relate to people, adapt to change, I like change. I always plan before doing anything. Planning is important to me. I trust my intuition. I prefer active participation in the lessons. Because as I mentioned above, I think a student learns best through doing and experiencing. When studying, I think that the more the subject appeals to the senses, the better the student understands. **P47:** I have an accommodating learning style. And according to this style, I have a character that can establish easy relationships with people, and sometimes I am very impatient. I'm open-minded and when I see that something we're doing is lacking, wrong or unusual, I speak my mind directly. However, individuals with this style are said to be able to adapt easily to changes,

but I am a little stubborn and I can't easily adapt to changes (**Figure 5**).

**P75:** Elementary means simplification of complex education. The concept of elementary that facilitates learning has an important place especially in terms of the education of children. **P15:** The elementary concept of Orff-Schulwerk refers

**230**

**Figure 4.**

to making education basic, easy and simple. Originating from the Latin word "elemetarius" means belonging to the oldest, beginning and basic elements, firsthand. We can say that it means transforming a complex structure into a structure that is easier and more solvable. **P61:** Breathing, tapping out the rhythm with the heartbeat, making sounds with tongue movements and giving music meaning with various body movements are the things we can frequently see in this concept. It is also possible to participate in this structure with simple instruments and simple dances that express the structure of music. In short, it is an area that individuals can use to express music by simplifying and transforming the complex theoretical teachings of music. It is expressing music by using the sounds in nature and sounds, rhythms and movements that are present in the human body (**Figure 6**).

**P48:** Orff Schulwerk and movement education is the expression of emotions that come from inside of the individual. It teaches children to move together, and the harmony that occurs when they adapt. It allows productivity through cooperation. The outputs provide enormous benefits in the cognitive, social and emotional areas of children during the process, they provide an aesthetic sense. **P39:** In Orff 's exercises, the student-centered course type is taken as a basis. In these studies, the teacher determines the principle, purpose, method, and content, informs about "What?" to do, however "How?" it will be carried out is determined together with the students. Each work process is divided into stages in itself. The main methods of this practice are improvisation, gameplay, discovery, re-finding, experiencing, transforming and discussing. Among them, especially improvisation and gameplay are predominant. Also, various social forms such as group work, circle form, U form are frequently used. **P7:** In the Orff system, students discover and acquire knowledge. This makes the information permanent. Lessons become more fun and enjoyable. Music teachers' learning and using these methods well makes the lesson more enjoyable and ensures that the knowledge taught will be permanent. It will be useful to apply it to all schools. **P27:** Music is the means through which people express themselves. What's special about Orff teaching is that it enables the individual to move freely, improvise, express himself or herself with music. This art does not belong to a single culture in the world and is universal. Children need to develop their imagination. The formation of music is

**Figure 6.** *The comments of the participants on the concept of elementary.*

a result of movements. Music and movement constitute a whole. Even the generation of our voice occurs as a result of the movement of our vocal cords. Children's creativity improves. There are no single set of straight rules, and everyone is free to make the music they want. It is out-of-the-box music education. Children engage in creative activities by singing and playing. Music and movement arise as a result of children's free movement in an environment where they can think freely (**Figure 7**).

**P7:** In music lessons in our public schools, students sit at their desks without moving and the teacher talks. There is not much participation in class. In this traditional teaching, there is information and music is taught from the information. However, in the Orff method, the student is active, interacts with other children and the teacher guides. The student is the one who thinks, puts effort, researches. Improvisation encourages students to think in different ways. It is also a useful method for mental improvement. In the Orff system, the student explores and learns the information. This makes the information permanent. Lessons are more fun and enjoyable. Music teachers' learning and using these methods well make lessons more enjoyable and ensures that the information is permanent. It will be useful to apply it to all schools. What I do in the course will enable me to spend a lot of fun and active time with children when I start my profession. The student is completely active. With confidence, they will express themselves and their thoughts better. Even we find this lesson very different and have fun, I think children will love it. It will have an illuminating effect on their future. It is amazing… **P10:** Another one of its effects on learning is that what is to be learned becomes a game with music and dance. In this way, especially kids who like to play games will enjoy learning more quickly without realizing it by taking pleasure. Such learning will also last longer and be permanent. Also, since this education style is aimed at all individual s of all ages, everyone becomes active within the learning process. In other words, not only those who are skillful on that subject, but everyone gets involved. In addition to developing creativity develops, the social and mental states of individuals will also improve. Through the development of creativity, it contributes to individuals' gaining certain skills in art. Also, since this training is carried out in free environments, through music, meaning through factors such as movement, rhythm and dance, individuals get the opportunity to express themselves. That is because music allows people to express themselves better. This type of education will improve the self-confidence of individuals since they can express

**233**

**Figure 8.**

**Figure 7.**

*Positive aspects of experiential music and movement practices according to the participants.*

*The comments of the participants on elementary music and movement education.*

*Is Experiential Learning Possible with Active Music Education?*

it will arouse curiosity and interest in individuals (**Figure 8**).

themselves better. Since this style provides learning by experience through music,

About 20.8% of the participants stated that compared to previous experiences in music education, it may be difficult to implement music and movement practices due to crowded classes and material problems. While 11.5% of the participants have stated that long practices have a negative effect, 7.3% stated that the fact that Orff-Schulwerk or elementary music and movement practices in Turkey are not common and the classes where the practices are to be carried out are small are also preventative factors. About 10.4% of the participants stated that the division of the class into small groups of 20–25 people would reduce the factors that would adversely affect the practices. **P11:** The elementary system can be applied to courses with suitable lessons and fewer people. It is not a system that can be applied in the classes where the number of people is high. Because for the movements to be carried out as a group and effectively, there should be fewer people. It is not a suitable system for every course. It is a system that must be implemented in classes since it is a system where the children express their thoughts, present their ideas, and the teacher is a guide and the students are in the center, as opposed to the memorization system. In our

*DOI: http://dx.doi.org/10.5772/intechopen.93754*

#### *Is Experiential Learning Possible with Active Music Education? DOI: http://dx.doi.org/10.5772/intechopen.93754*

themselves better. Since this style provides learning by experience through music, it will arouse curiosity and interest in individuals (**Figure 8**).

About 20.8% of the participants stated that compared to previous experiences in music education, it may be difficult to implement music and movement practices due to crowded classes and material problems. While 11.5% of the participants have stated that long practices have a negative effect, 7.3% stated that the fact that Orff-Schulwerk or elementary music and movement practices in Turkey are not common and the classes where the practices are to be carried out are small are also preventative factors. About 10.4% of the participants stated that the division of the class into small groups of 20–25 people would reduce the factors that would adversely affect the practices.

**P11:** The elementary system can be applied to courses with suitable lessons and fewer people. It is not a system that can be applied in the classes where the number of people is high. Because for the movements to be carried out as a group and effectively, there should be fewer people. It is not a suitable system for every course. It is a system that must be implemented in classes since it is a system where the children express their thoughts, present their ideas, and the teacher is a guide and the students are in the center, as opposed to the memorization system. In our

#### **Figure 7.**

*Education at the Intersection of Globalization and Technology*

*The comments of the participants on the concept of elementary.*

a result of movements. Music and movement constitute a whole. Even the generation of our voice occurs as a result of the movement of our vocal cords. Children's creativity improves. There are no single set of straight rules, and everyone is free to make the music they want. It is out-of-the-box music education. Children engage in creative activities by singing and playing. Music and movement arise as a result of children's free movement in an environment where they can think

**P7:** In music lessons in our public schools, students sit at their desks without moving and the teacher talks. There is not much participation in class. In this traditional teaching, there is information and music is taught from the information. However, in the Orff method, the student is active, interacts with other children and the teacher guides. The student is the one who thinks, puts effort, researches. Improvisation encourages students to think in different ways. It is also a useful method for mental improvement. In the Orff system, the student explores and learns the information. This makes the information permanent. Lessons are more fun and enjoyable. Music teachers' learning and using these methods well make lessons more enjoyable and ensures that the information is permanent. It will be useful to apply it to all schools. What I do in the course will enable me to spend a lot of fun and active time with children when I start my profession. The student is completely active. With confidence, they will express themselves and their thoughts better. Even we find this lesson very different and have fun, I think children will love it. It will have an illuminating effect on their future. It is amazing… **P10:** Another one of its effects on learning is that what is to be learned becomes a game with music and dance. In this way, especially kids who like to play games will enjoy learning more quickly without realizing it by taking pleasure. Such learning will also last longer and be permanent. Also, since this education style is aimed at all individual s of all ages, everyone becomes active within the learning process. In other words, not only those who are skillful on that subject, but everyone gets involved. In addition to developing creativity develops, the social and mental states of individuals will also improve. Through the development of creativity, it contributes to individuals' gaining certain skills in art. Also, since this training is carried out in free environments, through music, meaning through factors such as movement, rhythm and dance, individuals get the opportunity to express themselves. That is because music allows people to express themselves better. This type of education will improve the self-confidence of individuals since they can express

**232**

freely (**Figure 7**).

**Figure 6.**

*The comments of the participants on elementary music and movement education.*

#### **Figure 8.**

*Positive aspects of experiential music and movement practices according to the participants.*

#### **Figure 9.**

*Factors preventing experiential music and movement practices according to participants.*

country, many academics and teachers are working on this subject. However, there is no institutionalization in this regard. **P50:** This education style is unfamiliar to me. Because I did not receive this education from the moment I started school at a young age and I got used to another style. And one of the things that are hard for people is to give up their habits. However, if this education is given to new generations, it will be easier for them than it is for us. **P32:** Applications with too many people in a small class sometimes lead a few students to get disconnected from the course, fail to establish one-on-one communication and to generate enough productivity. Therefore, the course environment and the class number should be taken into consideration. For that purpose, splitting into four different groups and changing the lesson times at the beginning of the semester have been much more useful. Consequently, for music and movement education, a special classroom and a limited number of students are required. **P60:** Since I have not had a proper music lesson until now, my skills and interest in music had become rusty. Because, since elementary school, we generally had free time during music lessons. **P45:** The state in particular should provide the necessary instruments for the universities and primary schools. And finally, our practices could be more energetic. The reasons why it could not be more energetic were due to both the size of the class and the unwillingness of students. Maybe a little bit of technology could have been utilized to make it more energetic; for example, a projection device could have been used to reflect on the board, we could have watched videos about Orff education, and our teacher might have wanted us to recreate what we saw similarly. Our teacher could have made an observation and joined when necessary, more fun activities could have been done in the classroom altogether. Songs could have been faster and played on the computer; we could have accompanied the song with our bodies and voices (**Figure 9**).