Thematische Bibliographien / Art and music school

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Art and music school“

Autor: Grafiati
Veröffentlicht am 30. Juni 2021
Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Art and music school"

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Domagała, Jarosław. „Janusz Miketta – organizer and reformer of music education in Poland“. Konteksty Kształcenia Muzycznego 6, Nr. 1 (10) (30.06.2020): 11–26. http://dx.doi.org/10.5604/01.3001.0014.2310.

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Janusz Miketta (1890-1954) – Polish musicologist, pedagogue and music life organizer. He studied philosophy at the University of Warsaw. He completed his music studies at the Music Institute in Warsaw and in Leipzig, as well as at the F. Chopin Higher Music School in Warsaw. Next, he was the principal of the Music School in Warsaw and from 1919 – the director of the Music Society and the S. Moniuszko Music School in Lublin. In 1924, he started his teaching career at the F. Chopin Higher Music School in Warsaw and later at the M. Karłowicz Music School in Warsaw. In the years 1926–1931, he was a desk officer for music affairs in the Ministry of Religious Denominations and Public Enlightenment and from 1931 – the secretary of the Local Sightseeing Society in Warsaw and Stanisławów. From 1945 to 1948, he was the head of the Music Education Section of the Music Department in the Ministry of Culture and Art and the chairman of the Program Committee of Music Education in the above-mentioned Ministry. Based on Janusz Miketta’s own concept of music education, the Ministry of Culture and Art issued a directive of 7 December 1945 on a special system of music education. Music schools in Poland were divided into vocational ones (lower, middle and higher) and those providing music appreciation classes. This three-stage structure made it possible to adjust teaching program to new needs and select a specialization based on the degree of a pupil’s talent. As a result of reforms introduced in the 1949/1950 school year, schools providing music appreciation classes were liquidated, though the three-layer structure of the school system was maintained. This schooling system, with minor changes, is still in operation in Poland. In the years 1948-1954, Miketta was a professor of the State Higher Music School in Cracow.
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Fitriani, Yulianti. „Model Pembelajaran Seni Musik melalui Lesson Study: Studi Kasus di SDN Jawilan, Serang“. Resital: Jurnal Seni Pertunjukan 15, Nr. 2 (15.03.2015): 126–38. http://dx.doi.org/10.24821/resital.v15i2.847.

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Artikel ini dilatar-belakangi persoalan pembelajaran seni musik di SDN Jawilan Kab. Serang. Di SD ini penyelenggaraan pendidikan seni belum memperoleh perhatian yang cukup baik dari guru. Hal ini dapat dilihat dari pembagian alokasi waktu pembelajaran dan keterlibatan guru kelas yang tidak memiliki latar belakang pendidikan seni (musik). Dampak yang muncul, rata-rata siswa belum memiliki kemandirian dalam berkreativitas dan kurang berpartisipasi aktif dalam kegiatan musik baik di sekolah maupun di luar sekolah. Untuk memperbaiki persoalan tersebut dirasa perlu meminjam Lesson Study yang di dalamnya terdapat metode, pendekatan dan strategi pembelajaran sebagai pola untuk membelajarkan seni musik agar dapat memberikan alternatif sudut pandang terhadap persoalan metode yang tepat guna dan terencana dalam pengajaran pendidikan musik di SD, termasuk paradigma membelajarkan musik secara hakiki. Hasil yang diperoleh dapat memberikan alternatif sebagai dasar pengembangan pembelajaran seni musik. The Model of Music Learning through a Lesson Study: A Case Study in Jawilan Elementary School, Serang. The learning problems of music lessons at Jawilan Elementary School in Serang becomes the mainly source of the research background in this article. The implementation of art education in this school has not gained enough attention from teachers. It can be seen from the distribution of the allocated time of learning and the involvement of classroom teachers who do not have sufficient background in art education (music). The appearing impact shows that the average of students do not have any independence in creativity and have less-active participation in the activities of musical arts either in school or outside the school. However, solving the problem is necessary to do by using a Lesson Study as a pattern (approaches, strategies, and methods of learning) to teach music that can be used as an alternative point of view in developing methods and organizing the appropriate ones, including the paradigm of teaching music at school essentially. The results obtained from the activity may provide the alternative method as a basis for the development of learning music at school.
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Stuart, Chapman Hill. „The Art of Songwriting, Andrew West (2016)“. Journal of Popular Music Education 3, Nr. 1 (01.04.2019): 151–54. http://dx.doi.org/10.1386/jpme.3.1.151_5.

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The author reviews The Art of Songwriting, written by veteran songwriter Andrew West, who oversees a postgraduate course at Leeds College of Music. The book benefits greatly from the author’s encyclopaedic knowledge of songs and songwriters, and a rich variety of examples permeates the book. As a result, the book is not a simple ‘how-to’ volume, but rather captures the rich diversity of approaches and techniques professional songwriters employ. A different, tighter organizational scheme might help the book’s wisdom be digestible for the reader to consolidate and retain all the knowledge the book has to offer. Still, the book is a welcome contribution to an understudied field, especially as music education scholars seek to diversify the musics that define school music teaching and learning.
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Nogaj, Anna Antonina. „Locus of control and styles of coping with stress in students educated at Polish music and visual art schools – a cross-sectional study“. Polish Psychological Bulletin 48, Nr. 2 (27.06.2017): 279–87. http://dx.doi.org/10.1515/ppb-2017-0031.

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Abstract The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students (n = 354) of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that different types of difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students.
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Gajdošíková Zeleiová, Jaroslava. „INCLUSIVE MUSIC EDUCATION IN THE SLOVAK REPUBLIC“. Problems of Education in the 21st Century 48, Nr. 1 (20.11.2012): 23–33. http://dx.doi.org/10.33225/pec/12.48.23.

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The Slovak educational system went through several changes the last 20 years, and these changes affected also the structure of music education. The aim of this paper is to point out the changes in educational system, stated in different national school documents, in the context of innovations and changes in musical education. The author analyses predominantly music education in the specialized primary school system, namely in primary art schools. They are positively evaluating as favourable influence of music education on meaningful exploitation of free-time, in connection with prevention of socially unwanted phenomena, its influence on full-value exploitation of children´s free-time, observation and extension of components of regional culture in teaching and active share on cultural life of cities or villages, presentation in cultural undertakings, activity of various chamber ensembles in which pupils exploit and improve acquired abilities when practically playing in collective. Key words: educational system in Slovakia, music education, music therapy, primary art schools.
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Stankutė, Judita. „IN THE WORTEX OF NON - FORMAL ART EDUCATION“. ŠVIETIMAS: POLITIKA, VADYBA, KOKYBĖ / EDUCATION POLICY, MANAGEMENT AND QUALITY 1, Nr. 3 (10.12.2009): 39–42. http://dx.doi.org/10.48127/spvk-epmq/09.1.39b.

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Judita Stankutė, a member of the journal's editorial board, talks to Rita Urniežiene, the director of the Rietavas Art School and the leader of the Rietavas mixed choir Jūrava. The current Rietavas Art School started operating as a branch of the Plungė Children's Music School in 1967. In 1970 the Rietavas Children's Music School, which was still operating in the time of Duke Bogdan Oginskis, was restored.
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Сherkasov, Volodymyr. „FORMATION OF MUSIC AND PEDAGOGICAL EXPERIENCE OF MUSIC ART TEACHERS GENERAL EDUCATIONAL INSTITUTIONS“. Academic Notes Series Pedagogical Science 1, Nr. 190 (November 2020): 56–62. http://dx.doi.org/10.36550/2415-7988-2020-1-190-56-62.

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The article proves the possibility of forming the ability to understand music by primary school students. The influence of program works of the school program on the perception and understanding of music of different genres is proved by concrete examples. The educational influence of works of musical art on the formation of the artistic and emotional sphere of personality is proved. The formation of the ability to understand works of music by primary school students occurs in a certain sequence based on teacher-student interaction, both in music lessons and during extracurricular work on artistic and aesthetic education of primary school children. The collective type of creativity, inherent in the assimilation of the values of musical art, obliges the subjects of the educational process to comply with certain requirements for the organization of joint activities. In accordance with modern music-pedagogical technologies, which enable the effectiveness of the learning process, there are certain requirements for the perception of works of music of different genres and compositional styles provided by the school curriculum. Thus, the quality of the impact of music on primary school students depends on certain factors. Because, according to the school curriculum, music lessons are united by a common theme, which makes it possible to organize work with children in such a way as to give first-graders the opportunity to talk about their favorite music. To do this, prepare and ask the class a few questions, such as: remember what songs you sang or heard from radio and television programs that focused your attention and you liked ?; what song do you dream to sing ?; what dance music do you like Such a conversation should take place in a friendly atmosphere, and children's responses should be supported and evaluated positively. The teacher's tolerant attitude to any thoughts, feelings and expressions of students gives the child confidence in their own abilities, determination and activity in further work.
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Strange, Simon. „Cybernetic systems of music creation“. Journal of Popular Music Education 3, Nr. 2 (01.07.2019): 261–76. http://dx.doi.org/10.1386/jpme.3.2.261_1.

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Simplicity of thought and operation can help to define complex end results, with cybernetic systems being a useful means of defining this within songwriting practices. This study outlines utilization of cybernetic practices by key popular music composers, including David Byrne and Brian Eno, who benefited from an art school education which supported these practices. As postmodern creation became more evident within art colleges, systemized processes of creation, where hierarchies were delineated, supported freedom and experimentation within the creative process. The non-musician was able to express their musical creativity due to the rise of new technologies and the reduction of hierarchies, as exposed from interviews with Eno, his art school tutor Roy Ascott, and experimental composer Gavin Bryars. These elements of art school education that they discussed, helped a new generation of musicians to develop original and dynamic work in the 1970s; the results of this research suggest that these are practices that should be introduced and acknowledged within HPME.
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Vojkic, Ljiljana, und Jelena Dubljevic. „Correlation between music and art in pre-school institutions“. Sinteze, Nr. 12 (2017): 39–52. http://dx.doi.org/10.5937/sinteze6-14031.

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McPherson, Gary E., und Susan A. O'Neill. „Students’ motivation to study music as compared to other school subjects: A comparison of eight countries“. Research Studies in Music Education 32, Nr. 2 (Dezember 2010): 101–37. http://dx.doi.org/10.1177/1321103x10384202.

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This study draws on an expectancy-value theoretical framework to examine the motivation (competence beliefs, values and task difficulty) of 24,143 students (11,909 females and 10,066 males, aged 9 to 21 years) from eight countries (Brazil n = 1848; China n = 3049; Finland n = 1654; Hong Kong n = 6179; Israel n = 2257; Korea n = 2671; Mexico n = 3613; USA n = 3072). Music was studied in comparison to five other school subjects (art, mother tongue, physical education, mathematics, science) across three school grade levels that included the key transition from elementary to secondary school. Results indicated that music as a school subject was valued less and received lower task difficulty ratings than other school subjects with the exception of art. Students reported higher competence beliefs for physical education and mother tongue compared to music and lower competence beliefs for mathematics and art. There was an overall decline in students’ competence beliefs and values across the school grade levels for all countries except Brazil. Females reported higher competence beliefs and values and lower task difficulty ratings for music, art and mother tongue than males. Males reported higher competence beliefs and lower task difficulty ratings for physical education and mathematics. There were no gender differences for values in mathematics. Music learners reported higher competence beliefs and values and lower task difficulty across school subjects than non-music learners. Secondary analyses were used to further explore differences within each of the eight countries. Findings suggest that once students have experienced learning to play an instrument or voice, they become more motivated towards other school subjects. Implications of the findings suggest that advocacy aimed at increasing the values that students attach to music as a school subject may encourage more students to become music learners across a wide range of countries.
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Dissertationen zum Thema "Art and music school"

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Skevk, Therese. „Art and Music Profile School“. Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.

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Bakan, Daniel Lowell. „Folk music, songwriting, art therapy and education in non-school settings“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0015/MQ45481.pdf.

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Alban, Peris Wyn. „Fiorello H. LaGuardia High School of Music and Art and Performing Arts: a history“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/10926.

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Thesis (D.M.A.)--Boston University
The Fiorello H. LaGuardia High School of Music and Art and Performing Arts in New York City was formed through a merger of two existing arts high schools in 1961-- the High School of Music and Art and School of Performing Arts. Although the High School of Music and Art's history has been well documented, no studies have documented the histories of the School of Performing Arts and the Fiorello H. LaGuardia High School of Music and Art and Performing Arts. Therefore, this concise history of the development of the Fiorello H. LaGuardia High School of Music and Arts and Performing Arts in New York City fills a gap in current historical literature. Research questions focused on (1) the founding of the two independent performing arts high schools and their amalgamation into the Fiorello H. LaGuardia High School of Music and Art and Performing Arts; (2) key personnel and their role in facilitating the merger; (3) the shaping forces of the philosophies/missions/visions of the two independent high schools on the Fiorello H. LaGuardia High School of Music and Art and the Performing Arts; (4) how the music curriculum of the High School of Music and Art and School of Performing Arts helped shape the music curriculum of the Fiorello H. LaGuardia High School of Music and Art and Performing Arts, and (5) students' musical activities throughout the school's history. Research methodologies included consulting primary and secondary sources and interviewing former and current administrators, students, alumni, friends, and other key personnel from each of the three schools. I discuss music education challenges with implications for music educators and administrators, as well as political leaders and members of communities at large engaged in providing education at similar mis high schools. From the schools' rich independent beginnings to their turbulent transitional years, where the amalgamation and relocation took nearly a quarter century to complete, the school remains a model for subsequent specialized arts high schools in the nation.
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Hasajová, Zuzana. „ART & ARCHITECTURE - Kulturní stavba v Jižním Centru v Brně (Hudební centrum)“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-215826.

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The new project in the path of park of New South Center of Brno would by Music center. The device reacts on new regulatives in zone. There is rising the building that prevents direct contact with unpleasant waves of trfic. The fort is so urban arms, in a pleasant thought cluster charmed quality music. Enter the building is accompanied by a pleasant park with urban furniture and modifications, and richness of perspectives uncovered through the viaduct . The main task is Synfonic hall with a capacity of 1300 pax, chamber hall for 280 guests and also small chamber hall for 100 people or future new musicians. The proposal was that the space did not work only during night-life concerts, but also during the day and more so approaching the world of music. Center includes a music school, shops and cafe in the next arm background staff and musicians. Response shapes based on urban morphology continue to the interior, and almost everywhere they appear irregular arms embrace in the lines and space. Architectural design features that expresses fuel building contains. Material for rendering takes hardness and white veined travertine Spis combined with warm interior textil in colors of royal blue, the complet of interior quality complement metalic elements and details with high gloss silver. Come into the embrace of music…
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Jimenez, Francesca M. „Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Blackman, Eldon. „The status of music education in secondary schools in Trinidad and Tobago| Perspectives from educational leadership“. Thesis, Temple University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3745857.

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The purpose of this study was to investigate principals’ perceptions of the status of music education in secondary schools in Trinidad and Tobago. The guiding questions were (a) What are secondary school principals’ perceptions of music learning outcomes as they are currently being met and as they should be met under ideal conditions, (b) What are secondary school principals’ perceptions of broad educational goals as they are currently being met and as they should be met under ideal conditions, (c) Is there a difference between principals’ perceptions of current and ideal conditions for the learning outcomes and the educational goals, and (d) What are secondary school principals’ perceptions about the degree to which eleven selected variables impact music education?

A descriptive research design was used in which secondary school principals (n = 93) were provided with the survey instrument. The survey is organized into four sections based on the questions that are derived from the research purpose and questions. Cronbach’s alpha was used to test for internal consistency of the survey items. Data, related to the first two guiding questions, was fielded via Likert-type scales where the responses represented the principals’ perceptions of the level of realization of the standards for the music learning outcomes and the broad educational goals. For the third guiding question, data analyses included repeated t-tests and Cohen d value measurements to describe differences between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. A Spearman correlation was used to describe the consistency between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. Chi-squared analyses, on the two open-ended questions presented to the principals, were used to examine the differences in how principals perceive certain factors affect their ability to support music programs.

Results from the repeated t-tests showed that principals believe there is a difference between how the music learning outcomes and broad educational goals are currently being met and how they should be met, under ideal conditions. Chi-squared analyses revealed that there were moderately positive associations between the current and ideal conditions, with the music learning outcomes yielding rs = .71 and the broad educational goals yielding rs = .65.; however, results were statistically significant only for the broad educational goals.

Chi-squared analyses revealed that there were no significant differences in the ways principals perceived how 11 variables (a) Medium-Term Policy Framework 2011-2014, (b) Students, (c) Parents, (d) Budget/Finances, (e) Scheduling, (f) Standardized tests, (g) School Board, (h) Governing Office/Ministry of Education, (i) Music Teacher, (j) Classroom Teacher, and (k) Educational and Scientific Research were impacting the music programs. Results showed that the principals were mostly inclined to remain neutral about the effects of most of the variables and that they did not consider any of the variables to either strongly positively or strongly negatively affect the music program.

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Damm, Robert J. 1964. „American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Sandberg, Julia. „"Är det inte dags nu att öva litegrann?" : En studie om föräldrars delaktighet i sitt barns musicerande på tvärflöjt“. Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85296.

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Studiens syfte är att synliggöra hur föräldrar upplever sin delaktighet i sitt barns musicerande på tvärflöjt. Studien är främst kvalitativ med pragmatismen som teoretisk utgångspunkt. I studien genomfördes och användes fyra halvstrukturerade intervjuer med föräldrar vars barn spelar tvärflöjt som underlag för analys. Studien använde sig också av en kvantitativ metod då en enkät användes för en närmare undersökning av fältet och som inspiration till intervjufrågorna. Enkäten vände sig till vårdnadshavare vars barn spelar tvärflöjt och besvarades av 64 personer. Resultatet visar att föräldrar upplever sin delaktighet i sitt barns musicerande genom att på olika sätt vara delaktig i barnets musicerande bland annat genom att visa intresse och lösa barnets problem som uppkommer i samband med musicerandet på tvärflöjt. Resultatet visar också att föräldrarna upplever utmaningar i att vara delaktig i sitt barns musicerande på tvärflöjt främst på grund av föräldrarnas musikaliska kunskaper men också tid och ork. Slutsatsen är att föräldrar upplever sin delaktighet som varierande i sitt barns musicerande men att deras attityd och uppfattning kring musik och barnets musicerande är genomgående positiv.
The aim of this study is to make visible how parents experience their involvement in their kid’s flute playing. The study is a qualitative study with pragmatism as its theoretical framework. In this study four half structured interviews with parents whose kids play the flute was used as basis for the analysis. This study also used a quantitative method in the form of a survey that was used to examine the field and for inspiration for the interview questions. The survey was directed to parents whose kids play the flute and was answered by 64 parents. The result of this study shows that parents experience their involvement in their kid’s flute playing by being involved in different ways for example by showing interest and to solve their kid’s problems that arise when the kid is playing the flute. The result also shows that parents experience challenges in their involvement with their kids playing the flute mostly because of their limited musical knowledge but also because of lack of time and energy. The conclusion of this study is that parents experience their involvement in their kid’s flute playing as variated but that the parent’s attitude and perception of music and the fact that their kids are playing the flute is throughout positive.
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Bergseth, Heather A. „Music of Ghana and Tanzania: A Brief Comparison and Description of Various African Music Schools“. Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1312917493.

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Aulgur, Linda McKay. „First and second graders coming to know : the role of students and teachers in an expressive arts school /“. free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842507.

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Bücher zum Thema "Art and music school"

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The art of elementary band directing. Ft. Lauderdale, FL: Meredith Music Pub., 1997.

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The art of successful teaching: A blend of content & context. Chicago, IL: GIA Publications, 1992.

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Tenenbaum, Jeremy Eric. Flier: Philly Free School: Highwire Gallery, Philadelphia: 11-30-2004: (Literature/Music/Depravity). Manayunk, Philadelphia, Pa: Philly Free School, 2004.

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Serving a great and noble art: Howard Hanson and the Eastman School of Music. Rochester, NY: Meliora Press, 2009.

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"Bilder einer Ausstellung" von Viktor Hartmann und Modest Mussorgskij als Beispiel für eine integrative ästhetische Erziehung im Musikunterricht der Allgemeinbildenden Schule. Frankfurt am Main: P. Lang, 1993.

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Titzl, Boris. To byl český učitel: František Bakule, jeho děti a zpěváčci. Praha: Společnost Františka Bakule, 1998.

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Center for Arts in the Basic Curriculum. A fifty school arts education demonstration project: To include music, literature/creative writing, visual arts, drama and dance in the core curriculum of public elementary schools. [S.l: The Center, 1989.

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National Curriculum Council (Great Britain). Additional advice to the Secretary of State for Education and Science on: Art and music non-statutory programme of study material for Key Stage 4; Alternative optional courses in art and music at Key Stage 4; Non-statutory statements of attainment in art, music and physical education. York: National Curriculum Council, 1992.

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Bernstein, Leonard. Fanfare: (for the 25th anniversary of the High School of Music and Art, New York City). [New York?]: Jalni Publications, 1995.

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Jonathan, Savage, Hrsg. Cross-curricular teaching and learning in the secondary school-- the arts: Drama, visual art, music, and design. London: Routledge, 2011.

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Buchteile zum Thema "Art and music school"

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Simões, Carlota. „Mathematical Aspects in the Second Viennese School of Music“. In Mathematics and Art, 105–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04909-9_10.

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Strange, Simon. „What Lessons can Higher Popular Music Education Learn from Art School Pedagogy?“ In Popular Music Studies Today, 271–80. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_28.

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Hebert, David G. „The World’s Finest School Bands and Largest Music Competition“. In Landscapes: the Arts, Aesthetics, and Education, 3–10. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_1.

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Blix, Hilde Synnøve, und Live Weider Ellefsen. „On Breaking the “Citational Chains of Gender Normativity” in Norwegian Art and Music Schools“. In Gender Issues in Scandinavian Music Education, 156–79. New York: Routledge, 2021. | Series: ISME global perspectives in music education: Routledge, 2021. http://dx.doi.org/10.4324/9781003038207-8.

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Chua, Siew Ling, und Ai Wee Seow. „Enhancing Professional Knowledge and Professional Artistry of Art and Music Teachers Through Teacher Inquiry“. In Artistic Thinking in the Schools, 61–84. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8993-1_4.

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Clough, Nick, und Jane Tarr. „CM 2: ENTERING ART SPACES WITH YOUNG PEOPLE WHERE MUSIC IS PLAYING“. In Addressing Issues of Mental Health in Schools through the Arts, 247–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429032172-11b.

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Yin, Aiqing, Yajie Bo und Bo Wah Leung. „Transmission of Xibo Music Culture in Northeast China: Development of School-Based Curriculum“. In Landscapes: the Arts, Aesthetics, and Education, 117–31. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7729-3_9.

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Leung, Bo-Wah. „School Music Education in Hong Kong After Returning to China: Policy, Curriculum, and Teaching Practice“. In The Palgrave Handbook of Global Arts Education, 203–17. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55585-4_13.

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Knudsen, Jan Sverre. „To “Move, Surprise, and Thrill”: Thirty Years of Promoting Cultural Diversity in Norwegian School Concerts“. In The Politics of Diversity in Music Education, 87–101. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_7.

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AbstractThis chapter examines how a politics of cultural diversity was implemented over a 30-year period in a Norwegian school concert program run by Concerts Norway. Departing from a historical overview, the chapter outlines the shifting agendas, values, and visions of diversity that governed this ambitious cultural effort. A central aim is to examine the ideological positions that influenced the program and the political and educational debates surrounding it. The concert program is discussed with respect to cultural diversity and anti-racism, democracy, tradition, hybridity, and the tensions between educational and artwork-based paradigms. Based on theorizations of cultural difference, the chapter shows how promoting music to children has been understood as an important part of shaping societal attitudes and laying the grounds for an anti-oppressive education. Critical issues regarding representation, influence, and power in the staging of music involving immigrant performers are raised. The chapter relates the concert programs to the political frames and ideals of the nation-state by illustrating how international cooperation effectively made the concert programs a part of Norwegian foreign policy. It points out how changing government policies had a profound impact on programs promoting cultural diversity, eventually leading to their termination as a national cultural strategy.
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Koskela, Minja, Anna Kuoppamäki, Sidsel Karlsen und Heidi Westerlund. „The Paradox of Democracy in Popular Music Education: Intersectionalizing “Youth” Through Curriculum Analysis“. In The Politics of Diversity in Music Education, 135–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_10.

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AbstractIn this chapter, we unpack the complex politics of popular music education (PME) in schools through an examination of the ways in which youth and youth culture are represented in the Finnish National Core Curricula (2004 and 2014). Interrogating commonly held conceptualizations of diversity in music education, we identify a paradox in school-based PME which, on the one hand, aims toward democratic classroom practice yet, on the other, neglects diversity by approaching youth as a homogenous group. Challenging common analytical points of departure in PME research, we argue that scholars and educators need to recognize the multiple and intersecting identities of students if PME is to afford them equal opportunities for participation. Overall, we suggest that through the analytical lens of intersectionality, PME may be better positioned to take into account students’ own experiences of inequalities, providing new perspectives on diversity at the policy level. Thus, intersectionality could provide a useful analytical frame in the process of furthering further democratic practice in the classroom.
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Konferenzberichte zum Thema "Art and music school"

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Vidulin, Sabina. „MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT“. In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.

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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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Petrova, Elizaveta Vladimirovna. „Teacher's educational work at the children's art school and children's music school in classical guitar class“. In II International Scientific and Practical Conference, chair Svetlana Alekseevna Podkorytova. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-462779.

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Hartono, Hartono, Wadiyo Wadiyo, Udi Utomo und Slamet Haryono. „The Creativity of Primary School Students in Learning Music as Part of Cultural Art School Subject“. In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.30.

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Wadiyo, Wadiyo, Udi Utomo und Slamet Haryono. „The Creativity of Primary School Students in Learning Music as Part of Cultural Art School Subject“. In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.84.

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Xiong, Xiaoyu. „Assessment with Orff-Schulwerk Pedagogy in the Chinese Junior High School Music Classroom“. In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.067.

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Xiong, Xiaoyu. „The Goal of College Entrance Examinations and Its Implications for School Music Education: A Bourdieusian Perspective“. In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.063.

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Liang, Lu, Wei Zhou Yi und Qing Yang. „Comparative Analysis of School Training and Industry Demand Differences in Game Music and Sound Industry“. In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.493.

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Stramkale, Ligita, und Laila Timermane. „Primary School Students’ Self-Regulated Learning Skills in Music Lessons“. In 78th International Scientific Conference of University of Latvia. University of Latvia, 2020. http://dx.doi.org/10.22364/htqe.2020.12.

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The topicality of the study was determined by the increasing role of self-regulated learning (hereinafter SRL) in primary education. The aim of the study is to compare the teacher’s assessment with the students’ self-assessment, to identify whether there are differences in awareness of the required level of SRL skills in music learning. Previous researches on SRL have been analysed, and an empirical study involving 86 (N=86) 4th- grade students of primary school has been conducted to achieve the aim of the study. To determine the level of primary school students’ SRL skills in music learning, the SRL skills of each student during music lessons were observed by the music teacher and were recorded in the observation protocol according to four criteria: motivation, setting learning outcomes, monitoring of learning and outcomes assessment. The questionnaire provided an opportunity to reveal the self-assessment of each student’s SRL skills and compare them with the results obtained by pedagogical observation. The study found that there is no difference between the teacher’s assessment and students’ self-assessment. Both teacher and students believe that the students’ skill of setting learning outcomes in a music lesson is at a low level, while the skills of monitoring their learning and assessing the outcomes are at a medium level. The study concluded that primary school students understand their SRL skills level, which is a prerequisite of monitoring learning and outcomes assessment strategies for joint learning.
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Dang, Weibo. „Study on Protection and Inheritance of Expressive Arts of the Oroqen Nationality A Case of Music School of Heihe University“. In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.155.

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Liu, Tse. „Principles of organization and methods of patriotic education of students by means of vocal art in the People's Republic of China“. In Наука России: Цели и задачи. НЦ "LJournal", 2021. http://dx.doi.org/10.18411/sr-10-04-2021-68.

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The relevance of the topic of the article is due to the importance of patriotic education of students in modern Chinese schools. The purpose of this article is to identify and characterize the leading principles of the organization of the educational process by means of vocal art, as well as the methods used by Chinese music teachers in the process of music classes.
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Berichte der Organisationen zum Thema "Art and music school"

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Nagisetty, Vytas. Using Music-Related Concepts to Teach High School Math. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.1957.

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Galenson, David. The New York School vs. the School of Paris: Who Really Made the Most Important Art After World War II? Cambridge, MA: National Bureau of Economic Research, September 2002. http://dx.doi.org/10.3386/w9149.

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Gifford, John L. Teaching and Learning the Operational Art of War: An Appraisal of the School of Advanced Military Studies. Fort Belvoir, VA: Defense Technical Information Center, Januar 2000. http://dx.doi.org/10.21236/ada381852.

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Benski, Alice. A study of the role of acrylic paints in the secondary and junior high school art curriculum. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.623.

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Demartini-Svoboda, Jana. A study of art education in the elementary school curriculum as amplification of other academic subjects and as a promoter of creativity in the learning process. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.3159.

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Irminger, Bente. Økt interesse for kreativitet åpner for nye designerroller- men skaper også behov for rolleavklaringer. Universitetet i Bergen KMD, Januar 2018. http://dx.doi.org/10.22501/kmd-ar.1090265.

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Irminger, Bente. A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles. Universitetet i Bergen KMD, Januar 2018. http://dx.doi.org/10.22501/kmd-ar.1090256.

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Bente Irminger, ‘A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles‘, Faculty of Fine Art, Music and Design, University of Bergen
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Moore, Melissa. Phase II - Procurement of State of the Art Research Equipment to Support Faculty Members with the RNA Therapeutics Institute, a component of the Advanced Therapeutics Cluster at the University of Massachusetts Medical School. Office of Scientific and Technical Information (OSTI), Oktober 2011. http://dx.doi.org/10.2172/1037882.

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, Januar 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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