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1
Pettegree, Jane. „Volunteer Bands and Local Identity in Caithness at the Time of the Second Reform Act“. Scottish Studies 40 (24.01.2024): 83–110. http://dx.doi.org/10.2218/ss.v40.9291.
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Caithness lay outside the national railway network in 1868, but as this article demonstrates, used the band music of its local volunteer military units, embedded within a wider contemporary British context of imperial music-making, as a means to express and shape local political identities. The second Reform Act of 1867, enacted in Scotland by the Representation of the People (Scotland) Act 1868, prompted wider reimagining about what it meant to be a citizen of Scotland and Britain. Regular references to civic bands in contemporary newspapers and carefully posed photographs in local archives provide evidence for the popularity of Silver and Brass bands connected with the Caithness Volunteer movement. As they marched around towns, villages and countryside, especially around the time of the national elections and local by-elections of 1868-9, their music created powerfully affective soundscapes that connected traditional local identities with the modern British fiscal-military state, helping people to imagine their place as citizens in a period of widening political engagement. The county’s band music provides a microhistory that allows exploration of contrasts between rural and civic patterns of political behaviour in this period.
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Rusnali, Andi Nur Aisyah, und Mujammilatul Halimah. „Self Actualization of MOSMA Participants in Maintaining Cultural Identity in Scotland, United Kingdom“. Palakka : Media and Islamic Communication 5, Nr. 1 (28.06.2024): 26–42. http://dx.doi.org/10.30863/palakka.v5i1.6174.
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The importance of preserving and maintaining cultural identity has become a major highlight amidst ever-growing globalizations. In the context of student exchange, an interesting initiative has emerged in the Mora Overseas Student Mobility Award (MOSMA) program. This research aims to abstract the contributions and experiences of MOSMA participants in efforts to maintain Indonesian cultural identity in Scotland, United Kingdom. This research uses qualitative research methods with participant observation. Data collection was carried out by conducting in-depth interviews with MOSMA participants from various backgrounds. The research results show that MOSMA is not only a program for learning in the academic field but also a place to gain in-depth cultural experiences. MOSMA participants are actively involved in various activities, such as regular international student meetings, cultural discussions, introductions to traditional music and songs, all of which play an important role in maintaining and introducing Indonesia's cultural identity abroad. Apart from that, MOSMA also provides a platform to develop social skills, independence and a sense of belonging to the nation's cultural heritage. Through MOSMA, participants can feel a sense of pride in Indonesia's cultural identity, thereby strengthening their commitment to passing it on to future generations. In conclusion, MOSMA has proven itself as an effective program initiative in maintaining and strengthening Indonesia's cultural identity amidst globalizations. By continuing to provide adequate support and attention, MOSMA has the potential to become an inspiring model in maintaining cultural diversity throughout the world.
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Martynova, V. I. „Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Risk, Laura. „Community-based Traditional Music in Scotland: A Pedagogy of Participation, Josephine L. Miller (2022)“. International Journal of Community Music 16, Nr. 3 (01.09.2023): 341–45. http://dx.doi.org/10.1386/ijcm_00092_1.
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Gelbart, Matthew. „ALLAN RAMSAY, THE IDEA OF ‘SCOTTISH MUSIC’ AND THE BEGINNINGS OF ‘NATIONAL MUSIC’ IN EUROPE“. Eighteenth Century Music 9, Nr. 1 (27.01.2012): 81–108. http://dx.doi.org/10.1017/s1478570611000352.
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ABSTRACTThis article examines the process of fashioning an idea of ‘national’ music, by considering the social and political conditions that made such an idea possible at a particular historical moment. An early example, Scotland, is the focus here, and helps to show the type of discursive and active work involved in giving meaning to the idea of ‘Scottish music’ in a cultural sense. I argue that the poet and song collector Allan Ramsay played a central role in the years beginning around 1720. Before Ramsay's generation, there was only a limited sense of ethnic identity translating into poetic or musical style. Furthermore, Ramsay himself, in attempting to harness song and music as national cultural capital, also had to contend with the fact that Scotland was ethnically, culturally and linguistically split along the Highland–Lowland divide, and in other ways as well. Through his song collectionA Tea-Table Miscellanyand his follow-up publication of tunes for that collection, as well as through his involvement with Edinburgh's elite musical community, Ramsay helped transform Scotland's musical culture from a manuscript-based milieu organized around specific musical functions and occasions to one in which national origins helped validate music, and printed collections enshrined such groupings. Lastly, in addition to its direct influence, Ramsay's work helped shape the emergent discourse about national song indirectly: an extensive outgrowth of thought rooted partly in Ramsay's own ideas led to his being used as a negative example among collectors of ‘folk’ music from the later eighteenth century onward.
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Wei, Yuanjun, und Yan Gao. „Research on the Protection Strategy of Traditional Culture of National Music in Shanxi Province from the Perspective of Intangible Cultural Heritage“. Journal of Education and Educational Research 5, Nr. 2 (01.09.2023): 36–39. http://dx.doi.org/10.54097/jeer.v5i2.12202.
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Traditional culture of national music is different from ordinary music culture. Traditional culture of national music is a music culture with strong national and regional characteristics, which grows and develops with the nation in the process of national evolution and development. Shanxi's national music is the treasure of Shanxi's artistic development, and it is also the spiritual pillar of Shanxi's artistic culture. However, at present, the development of Shanxi's national music is not satisfactory. Therefore, in the view of intangible cultural heritage, it is of great practical significance to study the protection strategy of Shanxi's national music traditional culture by using the theory and method of folk culture. In view of the dilemma of protecting the traditional culture of national music in Shanxi Province, this paper puts forward some relevant strategies from the aspects of opening up new communication channels, infiltrating the awareness of inheriting local music culture in practical education, innovating the traditional cultural content of national music, perfecting the talent training system and increasing government investment.
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MacIntyre, Peter D., Jessica Ross und Heather Sparling. „Flow Experiences and Willingness to Communicate: Connecting Scottish Gaelic Language and Traditional Music“. Journal of Language and Social Psychology 38, Nr. 4 (12.08.2019): 536–45. http://dx.doi.org/10.1177/0261927x19867364.
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This brief report examines correlations between intense, highly motivating flow experiences, perceptions of competence, and willingness to communicate in both language and music, in the context of Scottish Gaelic and traditional music. The sample of 54 persons, mostly from Canada and Scotland, was contacted via Facebook groups. The frequency of flow experiences correlated highly between language and music contexts. Correlations for willingness to communicate/play and perceived competence with language and music also are reported. Results are interpreted as reflecting a combination of social (e.g., identity) and personality-based (e.g., autotelic) processes.
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Engström, Robin. „The body politic of independent Scotland“. Metaphor and the Social World 8, Nr. 2 (23.10.2018): 184–206. http://dx.doi.org/10.1075/msw.17009.eng.
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Abstract The creation of national personifications is a political act that informs us about ideological and cognitive strategies underpinning nation-building. Many European nations are associated with national personifications, but Scotland stands out by not having a tradition of representing the nation in this way. The 2014 independence referendum began to change that, and national personifications featured, not only in the main pro-independence campaign material, but in the visual profile of many new, radical organizations. These personifications also raise questions about the use of metaphor in political discourse. By combining multimodal metaphor and metonymy analysis with interviews with artists who have designed Scottish personifications for the independence movement, this article investigates how new Scottish body politic metaphors were constructed during the campaign. This methodology increases our understanding of the wider context of the referendum, and aids the interpretation of national personifications by providing arguments for interpretation. The analysis shows that body politic metaphors used in the campaign draw on traditional Scottish symbols, but traditional body politic metaphor types are subverted, typically concerning gender roles, in order to convey messages that are relevant in a contemporary political landscape.
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Symon, Peter. „Music and national identity in Scotland: a study of Jock Tamson's Bairns“. Popular Music 16, Nr. 2 (Mai 1997): 203–16. http://dx.doi.org/10.1017/s0261143000000374.
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The subject of his article reflects what Robert Crawford has called ‘a growing wariness of notions of an essentialist Scotland’ (1994, p. 57). The article has been written partly as a contribution to the critique of ‘essentialist’ notions of national identity in gerneral and ‘Scottishness’ in particular. I share the concern of Stuart Hall (1990; 1995) and others (Massey 1991; Rose 1995) to challenge ideas which reproduce notions of the ‘boundedness’ or ‘purity’ of territorial and national identities; whilst recognising that such identities are, by definition, only likely to change slowly (Therborn 1995). My approach to the analysis of national identity is to try to follow the ‘social construction of reality’ thinking which informs much current writing on the relationships between ethnicity, place and identity (Jackson and Penrose 1993). From that point of view, regarding Scottish national cultural identity in the late twentieth century,
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Li, Jing. „The Inheritance Form of Chinese Traditional Music under College Music Education System“. Region - Educational Research and Reviews 1, Nr. 2 (02.01.2020): 6. http://dx.doi.org/10.32629/rerr.v1i2.69.
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In colleges and universities music education system, strengthen the inherit and carry forward the Chinese traditional music, from the point of view of the school, are beneficial to improve college music education quality and effectiveness, to help colleges and universities music education better and the combination of Chinese traditional music teaching, also help colleges and universities music education to fully absorb the cultural charm of Chinese traditional music and national music elements, enrich the college music education content and education resources, and further promote the college music education and the common development of the Chinese traditional music. From the perspective of students, inheriting traditional Chinese music in the music education system in colleges and universities is conducive to enhancing students' profound understanding of the theoretical knowledge of traditional Chinese music, enabling students to better feel the cultural charm and national connotation of traditional music, and solving the problem of disconnection that appeared in the process of students learning music with the development of traditional music culture.
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Yang, Huiqing. „Research on National Music Teaching Mode Based on Computer Platform“. MATEC Web of Conferences 365 (2022): 01015. http://dx.doi.org/10.1051/matecconf/202236501015.
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National music is the quintessence of Chinese traditional art. The artistic concept and humanistic aesthetics are of great significance to improve students' artistic quality and optimize the talent training system. However, in the environment of wisdom education, the traditional national music teaching model has been difficult to inspire students to understand and learn related music materials. Therefore, it is necessary to optimize the teaching ecology of national music by constructing an intelligent and three-dimensional national vocal music teaching mode based on the computer advantage platform. Based on the present situation of national music teaching, this paper puts forward a national music teaching mode based on computer platform.
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Shi, Xueqing, und Chenyu Zhao. „The Development History of Chinese Music Education in The National Vocal Music Teaching“. International Journal of Education and Humanities 8, Nr. 1 (10.04.2023): 161–63. http://dx.doi.org/10.54097/ijeh.v8i1.7256.
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In elementary school vocal music teaching, in order to be able to cultivate students good artistic sense and ability, master more rich vocal singing skills and emotional expression, into the traditional culture characteristics, development in inheritance, join the primary color, in order to fully express the traditional culture connotation at the same time, to meet the needs of times development, seek a broader space for development.
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Bae, Ihngyo. „The National Folk Art Center and the North Korean National Music“. National Gugak Center 47 (30.04.2023): 275–97. http://dx.doi.org/10.29028/jngc.2023.47.275.
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This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then National Folk Arts Theater. During this period, traditional music capabilities such as changgeuk (Korean opera derived from pansori) and instrumental performances of Korean traditional musician who crossed the border to North Korea had a great impact on the North Korean music scene.
From 1965 to 1992, the Center had been renamed as the National Folk Opera Theater, the Pyongyang Art Organization, the Moranbong Art Organization, and then the Pyongyang Art Organization; the content of activities had changed. At this time, the pibada ('Sea of Blood') style of national opera was established, and the comprehensive music and dance performances were vitalized while many folk dance and national dance works were created.
Since 1992, when the Center worked as a National Folk Art Center, it has created and performed works such as national operas, folk dance suites, and national songs and dances. Since the 2000s, the Center focused on creating large-scale art performances together collaborating with various music organizations, rather than solo performances. After the Kim Jong Un era, the Center has been pursuing activities as an independent organization.
Through the activities from the Joseon Classical Music Research Institute to the National Folk Art Center, we can get a glimpse of the way in which the modern transformations of national music were realized in North Korea, and confirm that the activities of those who crossed the border to North Korea were at the base. The activities and roles they played in North Korea serve as a point of contact for South and North Korea to confirm their traditional musical culture and national identity.
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Cui, Xiaolan. „National musical instrument; Timbre; Charm; Piano music“. Review of Educational Theory 1, Nr. 4 (04.12.2018): 105. http://dx.doi.org/10.30564/ret.v1i4.98.
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At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.
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Bao, Yueli. „Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”“. World Journal of Social Science Research 7, Nr. 3 (03.08.2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.
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Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.
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Gilbert, Lisa. „“Not just bow and string and notes”: Directors’ perspectives on community building as pedagogy in Celtic traditional music education organizations“. International Journal of Music Education 36, Nr. 4 (04.07.2018): 588–600. http://dx.doi.org/10.1177/0255761418774938.
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Celtic traditional musics, such as those originating in Ireland and Scotland, are typically transmitted outside formal avenues. Most studies regarding the learning of Celtic traditional music have focused on the experience of teachers and students, but less is known about the philosophies of organization directors who create contexts for teacher–student interactions. In an effort to fill this gap, this qualitative interview study examines the perspectives of nine directors of organizations located in Europe and North America dedicated to teaching Celtic traditional music. Analysis showed that directors perceived the aural transmission of the music as helping students connect with each other and build community. Further, directors’ beliefs about history tended to motivate their decision-making processes toward fostering community as part of their pedagogical practice. The learning goals they set for students tended to emphasize these intangible goals over and above technique- or repertoire-related aims, with social skills being included in their definitions of “musicianship.” Implications are raised regarding meaning-making and beliefs about history in Celtic traditional music communities.
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Sloggie, James, und James Ross. „Music in Scottish Secondary Schools: Towards a New Vision“. British Journal of Music Education 2, Nr. 3 (November 1985): 267–77. http://dx.doi.org/10.1017/s0265051700000632.
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This is the story of a remarkable change in approach to musical education which has taken place in Scottish secondary schools during recent years.Readers will bear in mind that the system of education in Scotland is independent of, and different from, that established in England. It is administered locally by education authorities which, together with head-teachers, are responsible for the curriculum taught within the schools. The Secretary of State for Scotland, nevertheless, retains an overall responsibility for the structure and balance of the school curriculum, which he fulfils by providing education authorities and head-teachers with general advice and guidance on curriculum matters. He is advised on these matters by HM Inspectorate of Schools (Scotland) and by the Consultative Committee on the Curriculum. The Consultative Committee on the Curriculum, in turn, is advised on musical matters by its subcommittee, the Scottish Central Committee on Music. Two external examinations, Ordinary and Higher Grades – taken at ages 16 and 17 respectively – are the responsibility of the Scottish Examination Board.Scotland has a population of some five and a half million people. It has four professional orchestras – two with international reputations – professional opera and ballet companies, national youth brass and wind bands, and orchestra. There are over four hundred secondary schools. Instruction in music has been a feature of Scottish schools for centuries.
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Yuan, Jun. „The Influence of Ethnic Music on Music Performing Arts“. Highlights in Art and Design 4, Nr. 2 (27.10.2023): 102–3. http://dx.doi.org/10.54097/hiaad.v4i2.13344.
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The performance of music is a creative, aesthetic artistic activity, in order to meet the pursuit of people's spiritual world, the development of a rich variety of music performance art content and form. Under the background of economic and cultural globalization in the new period, domestic music culture presents diversified characteristics, and a variety of modern western music culture has a great impact on traditional national culture, and the inheritance of traditional culture is a very important part of China's spiritual and cultural construction. It has also gained a lot of attention in this technologically advanced age.
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Pettan, Svanibor. „Sounds of Minorities in National Contexts:“. Musicological Annual 55, Nr. 2 (13.12.2019): 41–64. http://dx.doi.org/10.4312/mz.55.2.41-64.
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The article defines minorities in political and scholarly realms, with special emphasis to the context of the International Council for Traditional Music (ICTM). It contributes a methodological view, rooted partly in the past research and partly in the envisioned needs of the study field, and features ten thematically profiled research models.
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Bithell, Caroline. „Polyphonic voices: National identity, world music and the recording of traditional music in Corsica“. British Journal of Ethnomusicology 5, Nr. 1 (Januar 1996): 39–66. http://dx.doi.org/10.1080/09681229608567247.
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Ge, Gen, und Sungkyoo Hong. „Analysis of Lyrics of Mongolian Traditional Songs in Modern China“. Korean Society of Culture and Convergence 44, Nr. 5 (31.05.2022): 407–40. http://dx.doi.org/10.33645/cnc.2022.5.44.5.407.
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This study sorted out the trend and theme classification of the modernization of Mongolian traditional music in Inner Mongolia, China, and investigated the literary characteristics of the modernization of Mongolian traditional music through the analysis of the lyrics of the selected representative songs of each theme. For this reason, this study refers to the academic literature related to Mongolian music at home and abroad, as well as the works collection of in the modernization of Mongolian traditional music such as “Inner Mongolia folk songs and folk songs” and “grassland new songs”. Based on the classification theme, literature and popularity of songs, this study selects 12 representative songs from more than 400 songs included in the works collection, and analyzes their lyrics. The results can be summarized as follows: first, from the lyrics of modernization of Mongolian traditional music, we can see the distinctive “aesthetic characteristics of socialist realism”, namely “people’s nature”, “party spirit” and “class nature”. Second, In the songs of the modernization of Mongolian traditional music, it is found that the “beauty of artistic conception” of national aesthetics is the unity of emotion and scenery, content and form, subjective and objective, which injects emotion into things through metaphor and personification, and then turns into poetic images. Third, in the modern songs of Mongolian traditional music, we can see the “national religious consciousness” of “life and female worship” left over from the ancient national belief Shamanism. Fourth, in the songs of the modernization of Mongolian traditional music, we can feel the strong “symbolism of national culture” of national culture through the cultural symbols containing the inner world of poetic narrator and the connotation of national culture. On the other hand it can also be seen from the development process of the modernization of Mongolian traditional music for more than 70 years that the literary and artistic policies and economic policies in different periods have had a great impact on its development, which also proves the importance of a country’s social politics and economy to the development of culture and art. It is true that art in any country can not completely get rid of the influence of politics, but the Complex spiritual labor like art should not be defined and controlled by politics, and its pure spiritual world should always belong to the human individual itself.
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FLAM, Gila. „Abraham Zwi Idelsohn ve Robert Lachmann: İsrail Ulusal Ses Arşivi'nin Entelektüel ve Pratik Kurucuları“. MSGSÜ Sosyal Bilimler, Nr. 27 (30.05.2023): 148–58. http://dx.doi.org/10.56074/msgsusbd.1306805.
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The field of Jewish Music research originated at the beginning of the twentieth century, when Abraham Zwi Idelsohn came to Jerusalem and began to document oral traditions of Jewish oriental communities in music transcriptions and sound recordings. Idelsohn's pioneering work set the ground for further research and recording of Jewish music. In 1935 a German-Jewish musicologist, Robert Lachmann, continued Idelsohn's work, and recorded the traditions of Jews, Arabs, and other communities living in Jerusalem and Palestine at the time. The emphasis of both of their work was on liturgical, traditional music transmitted orally and reflected ancient Jewish music. In 1965, the National Sound Archives was established in the National Library of Israel, and researchers continue to record traditional music along with popular music and other genres of music. In this paper, I claim that, despite the developments in technology and the production of popular music, the center of the National Sound Archives’ work remained loyal to its intellectual and practical founders.
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Quye, Anita, und Hugh Cheape. „Rediscovering the Arisaid“. Costume 42, Nr. 1 (01.06.2008): 1–20. http://dx.doi.org/10.1179/174963008x285151.
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The stereotype of 'traditional' Highland dress is the kilted male figure. The National Museums Scotland (NMS) and other museums have long included a category 'Arisaids' in their collections; research reveals that this was a female version of 'traditional' Highland dress, a finely-made and high status garment which was going out of fashion in the eighteenth century, though leaving some material evidence. This essay looks at evidence within the textiles themselves, using results from dye analysis, and places the results against sparse but telling historical and literary evidence to rediscover a 'lost' fashion. In the Highlands and Islands of Scotland, this was high colour, high quality and high fashion.
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Macwhirter, Iain. „Their Own Worst Enemy: The Scottish Press since Devolution“. Scottish Affairs 27, Nr. 1 (Februar 2018): 27–35. http://dx.doi.org/10.3366/scot.2018.0220.
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This article maps the negative reaction of the Scottish press to devolution after the establishment of the Scottish Parliament in 1999, and relates this episode to its coverage of the 2014 independence referendum. The article also considers how the rising profile of social media and a shift in Scottish public opinion towards the Yes side late in the 2014 referendum campaign highlights the decline of the traditional newspaper press in Scotland. It concludes by considering the value of the national press in Scotland to the nation's wider cultural health, and the negative implications for the state of Scottish civil society if the national press disappears.
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Xie, Xiaolan. „Cultural Aesthetic Comparison of "Three Singing Methods"“. Frontiers in Business, Economics and Management 1, Nr. 2 (24.04.2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.
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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the differences between Chinese and Western vocal music art and cultural aesthetics.
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Wang, Xiaolin, und Ariunaa. „The Integration and Challenges of Traditional Folk Music and Modern Communication Technology“. International Journal of Social Sciences and Public Administration 3, Nr. 2 (26.06.2024): 273–76. http://dx.doi.org/10.62051/ijsspa.v3n2.34.
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In today's increasingly advanced science and technology, digital technology is having a profound impact on traditional folk music due to its great influence and wide application. As a pearl in China's culture, traditional folk music carries rich historical connotation and national characteristics. Moreover, under the driving force of digital technology, there are obvious changes in the dissemination method, creation method and expression form of traditional folk music. The article aims to discuss the impact of digital technology on traditional folk music, analyse the opportunities and challenges, and then put forward coping strategies to promote the inheritance and development of traditional folk music in China.
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Parkinson, Jane. „Establishing national mental health and well‐being indicators for Scotland“. Journal of Public Mental Health 5, Nr. 1 (01.03.2006): 42–48. http://dx.doi.org/10.1108/17465729200600010.
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The growing interest in the mental health and well‐being of populations raises questions about traditional measures of public mental health, which have largely focused on levels of psychiatric morbidity. This paper describes work in progress to identify a set of national mental health and well‐being indicators for Scotland that could be used to establish a summary mental health profile, as a starting point for monitoring future trends. The process in taking this work forward involves identifying a desirable set of indicators, scoping the data that are currently collected nationally in Scotland, identifying additional data needs, and ensuring existing data collection systems include mental health and well‐being. It is expected that an indicator set for adults will have been identified by 2007. The paper presents some of the conceptual and practical challenges involved in defining and measuring positive mental health and is presented here as a contribution to ongoing debates in this field.
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Kelley, Jamey, und Steven M. Demorest. „Music Programs in Charter and Traditional Schools“. Journal of Research in Music Education 64, Nr. 1 (19.02.2016): 88–107. http://dx.doi.org/10.1177/0022429416630282.
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Since the arrival of the first charter school in Minnesota in 1991, charter schools have become one of the largest movements in educational reform. In recent years, research has emerged that has compared the effectiveness of charter schools with their traditional school counterparts. The purpose of this study was to compare the extent of music offerings between charter schools and traditional public schools in the same urban district and geographic location within the city. Results indicated that while all schools in the sample offered significantly less music than national averages, significantly more charter schools offered music during the school day. Charter schools were more likely to offer traditional music (band, choir, orchestra) as electives. Schools with music programs, regardless of school type, had higher test scores and higher attendance rates even when controlling for differences in socioeconomic status between music and non music schools. Results are discussed in terms of their implications for the charter school movement, arts education policy, and suggestions for future research.
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Sun, Yiming. „Analysis of China Preschool Music Education on the Teaching of Chinese and Foreign Folk Music“. Journal of Education, Humanities and Social Sciences 23 (13.12.2023): 960–67. http://dx.doi.org/10.54097/ehss.v23i.15102.
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In the 21st century today, with the development of communication between Chinese and western culture more closely with the vast, we are learning and reference to foreign music at the same time, the inheritance of our nation's precious music heritage, cultivate children's ethnic aesthetic, strengthening national consciousness and national spirit, children learn and understand the traditional culture of our country has important significance, Folk music education has also become an important part of early childhood music education. Therefore, this article will systematically analyze the national music culture in the pre-school education present situation and existing problems, and research the importance of national music culture in pre-school education, not only for in-depth study of Chinese national music play a role, more of the development of national music culture in the preschool education of our country has a very important practical significance.
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BROPHY, KENNETH. „Half Life. NVA and National Theatre of Scotland, Kilmartin Glen, Argyll“. Scottish Archaeological Journal 28, Nr. 2 (Oktober 2006): 153–55. http://dx.doi.org/10.3366/e1471576707000083.
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For two weeks in September 2007, the valley of Kilmartin became a pilgrimage site again. Half Life was an ambitious landscape event played out across the canvas of the familiar Kilmartin Glen, an event that intermingled ideas about the prehistoric past with our engagements with it in the contemporary world - a challenging combination. Half Life is the latest in a series of ambitious large-scale public artworks by the environmental arts organisation, NVA. This acronym stands for nacionale vitae activae (‘the right to influence public affairs’). Over the past 15 years, the group have been responsible for a number of high-profile landscape art events including ‘The Storr: Unfolding Landscape on Skye’, and ‘The Path’ in Glen Lyon. Half Life seems an even more ambitious project than usual, involving the collaboration of artists in a number of fields, from landscape art to experimental music, as well as the involvement of the National Theatre of Scotland. Half Life was described in pre-publicity as a ‘journey into the Neolithic’ to ‘reveal the dark but inspiring mindset of Scotland's Neolithic inhabitants’. In reality this equated to a range of events in the Kilmartin and Crinan area, including walks and site visits, landscape art installations and a dramatic production with actors and musicians each evening.
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Holmes, N. M. McQ, Annette Carruthers, Robin Turner, Leendert P. Louwe Kooijmans und Evelyn Stell. „Lecture Summaries 2001 - 2002“. Proceedings of the Society of Antiquaries of Scotland 132 (30.11.2003): 555–60. http://dx.doi.org/10.9750/psas.132.555.560.
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Five lecture summaries:The evidence of finds for the circulation and use of coins in medieval ScotlandArchitecture, Nature and Magic: some house restoration projects in Scotland by Arts and Crafts designersThe archaeology of gardens and designed landscapes in the National Trust for ScotlandHardinxveld, 5500–4450 cal BC. Recent excavation of two hunting-fishing sites in the wetlands of the Rhine Delta, The NetherlandsScottish instrumental music 1603-1707
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Lee, Jisun, und Joonho Kim. „Ethnic Musical Elements of Andalusia, Spain, Reflected in Turina’s Piano Dance Music“. Korean Society of Culture and Convergence 44, Nr. 12 (31.12.2022): 413–25. http://dx.doi.org/10.33645/cnc.2022.12.44.12.413.
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This study investigated the ethnic musical elements of Andalusia, southern Spain, reflected in Turina’s piano dance pieces. Turina integrated the traditional music style and impressionism music technique in Paris with the national music of Andalusia, implementing it in piano music. Turina, a composer who occupies a major position in Spanish nationalist piano music, produced the most piano works of any Spanish composers of his time. The dance suite, a large portion of his piano work list, preserves the identity of flamenco as a complex art with dance, a representative music of the Andalusia, and recreates it within the framework of traditional European music. This study analyzed Andalusian national music elements in Turina’s piano dance pieces by dividing into melodic, harmonic, and rhythmic elements. Turina’s piano dance have gained musical universality by fusion with the mainstream music trends of Western Europe beyond the limits of Andalusia, Spain.
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Stubbs, Keith. „The Expressivist Future in Music Education“. British Journal of Music Education 5, Nr. 1 (März 1988): 71–91. http://dx.doi.org/10.1017/s0265051700006343.
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Against the background of current debate concerning the proposed national curriculum, a number of questions remain unanswered. This paper examines the issue of how, and indeed whether music education is practised from an expressivist point of view. The expressivist position, as evidenced for instance in the work of Herbert Read, Louis Arnard Reid and Suzanne Langer, is analysed in the more recent work of Robert Witkin and Malcolm Ross.The paper continues by questioning whether there is an expressivist future in music education, discussing the work of Keith Swanwick and John Paynter alongside recent guidelines from HMI and the DES. Official utilitarian arguments are questioned and evidence of developments in Scotland and the United States are examined. The American tradition of developmental psychology in music leads to a discussion of the work of David J. Hargreaves in this country, and finally recommendations are made concerning the relationship between music and the other arts, with particular reference to curriculum structures and programmes of learning.
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Chen, Liangyihui. „Research on the Value and Strategy of Integrating Music Education and National Music Culture“. Journal of Contemporary Educational Research 7, Nr. 9 (21.09.2023): 14–19. http://dx.doi.org/10.26689/jcer.v7i9.5395.
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China’s traditional national music is an art form formed by the working people and art pioneers to expresstheir emotions during thousands of years of productive labor. National music not only contains emotional stories that are capable of evoking praises and tears, but also has a profound understanding of the lives of sages. In summary, integrating college music education with national music culture can allow students to deeply discover music, thereby stimulating students’ enthusiasm for learning music, improving students’ learning quality, mastering the core parts of music learning, and helping students to go a long way in music. This article mainly focuses on the characteristics and educational value of national music culture, and its effective integration with music education in colleges and universities. This article can help relevant workers in college music education and promote the sustainable development of music education in colleges and universities in China.
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Yan, Rong. „IMPLEMENTATION OF NATIONAL HERITAGE IN PIANO MUSIC BY MODERN CHINESE COMPOSERS“. Arts education and science 1, Nr. 4 (2021): 141–49. http://dx.doi.org/10.36871/hon.202104018.
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The purpose of the study is to identify and scientifically substantiate the extent to which traditional national culture has influenced the creation of modern Chinese piano music. Exploring the principles of modern Chinese composers' work with folklore, the author reveals the main trends in Chinese piano music at the present time. The scientific novelty lies in the consideration of various ways of integrating traditional Chinese musical culture into the piano works of the XXth – XXIst centuries. It was found that Chinese composers show a strong orientation towards the national tradition. The main idea of developing this trend is to turn to the roots as well as the cultural origins. This enables contemporary authors to successfully combine traditional musical means with innovative creative pursuits. The works of Li Yinghai, San Tong, He Lutin, Zhao Xiaosheng and Zhu Wanhua showed that the manifestations of national colour in piano works are as diverse as entire Chinese culture. The study also established a profound relationship between the figurative, genre and compositional uniqueness of the piano music of Chinese composers with the national cultural heritage.
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Hou, Nanyu. „Application Of Chinese Folk Music Elements in The Film from The Perspective of Music Diversification“. Journal of Education, Humanities and Social Sciences 26 (02.03.2024): 161–66. http://dx.doi.org/10.54097/jx5ppt20.
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As a unique national characteristic of China, Chinese ethnic music carries the Chinese music culture for thousands of years, and is also a link for people to better understand China. With the development of the film industry, folk music has been gradually used in the film and presented in the public view, bringing more novel and attractive creative style to the film industry, and making contributions to the development and inheritance of the Chinese traditional music. This paper analyzes the existing relevant literature about the use of instrumental music, folk song and traditional opera in folk music in detail, discusses how to more perfectly integrate the Chinese traditional music in the future film industry, and how to be better accepted by the public. At the same time, under the background of music diversification, how can better carry forward and inherit the traditional music, so as to better express the unique Chinese music culture to the world. By combining traditional Chinese music with modern music, this form will be more novel, attract the public's attention, and be recognized by more people, and the film industry will be further developed.
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Mallon, Ryan. „Presbyterian dissent and the campaign for Scottish education reform, 1843-72“. Scottish Educational Review 53, Nr. 2 (27.03.2021): 54–73. http://dx.doi.org/10.1163/27730840-05302005.
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The debates surrounding the reform of national education in Britain and Ireland in the mid-nineteenth century were often framed as a binary struggle between the religious establishment, which sought to retain control of the national schools, and dissenters who viewed education reform as an important step towards dismantling the state churches’ traditional privilege and control over society. In Scotland, however, the picture was somewhat more complicated. While the 1843 Disruption, which split the Church of Scotland in two, was viewed by many within the non-established churches as a victory for dissent, the church that formed out of it – the Free Kirk – retained its belief in national and state-supported religion. This establishmentarian stance led the majority of the Free Church to oppose the creation of a non-denominational education system proposed by Scotland’s voluntary dissenters, and indeed some within their own church, and especially one which failed to secure a place for religious instruction in the national schools. This article assesses how the fractious ecclesiological context of Scottish Presbyterian dissent influenced the direction of the education debates, particularly over religious instruction, in the almost three decades between the Disruption and the eventual passing of the 1872 Education (Scotland) Act. The education debates tended to reflect broader trends within Scottish dissent after 1843, offering dissenters the opportunity to unite against the weakened establishment in the aftermath of the Disruption, while also highlighting and often exacerbating the ideological divisions which hindered the emergence of a truly unified dissenting movement in Scotland for almost thirty years.
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Kin, Olena, Tetyana Sobchenko und Maryna Yakimova. „CURRENT PROBLEMS OF MODERNIZATION OF MUSIC EDUCATION OF THE PRC IN THE CONTEXT OF MODERN CHALLENGES“. Scientific Journal of Khortytsia National Academy, Nr. 2023-9 (20.12.2023): 24–31. http://dx.doi.org/10.51706/2707-3076-2023-9-2.
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The scientific review article presents an analysis of the current problems of music education in the People's Republic of China, which are caused by the contradictions between the urgent need to preserve and multiply the national cultural potential and the requirements for the reorganization of the education system in accordance with the tasks of integration into the cultural and educational world space. The role of Chinese musical art in the historical, cultural and philosophical excursion is characterized. The main problems of music education in the People's Republic of China, which are determined by the music-pedagogical community, are presented. They are the following: orientation of Chinese music education on the training of performers, improvement of their technique; insufficient use of interdisciplinary connections with humanitarian disciplines to form a holistic view of musical art as a spiritual phenomenon; insufficient level of professional training of teachers of musical art; conservative approach in the organization and implementation of the educational process. The views of Chinese scientists, teachers, and art critics regarding the modernization of music education in the People's Republic of China are highlighted: updating and expanding the content of education by disciplines, topics of a national nature; the use of modern methods, techniques, organizational forms of training; raising the level of training of music teachers. The importance of building a national music school for the implementation of the state national cultural strategy is revealed. Among other important factors are solving the problems of national unification of the country, consolidation of the people, harmonization of relations in the society on the basis of cultural cohesion of the nation; elevation of the national identity of the Chinese nation. Prospective directions for the development of the national music school are outlined: updating the performing repertoire, supplementing the musical material studied in music lessons with examples of folk art; creating a historical and cultural context when teaching musical disciplines; promoting the spread of traditional Chinese music, its popularity and prestige in public consciousness; improvement of the process of teaching Chinese traditional music in educational institutions of all levels; defining and reconstructing the subjectivity of Chinese music, using the unique spiritual experience of national music.
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Ho, Wai-Chung, und Wing-Wah Law. „Music education and cultural and national values“. International Journal of Comparative Education and Development 22, Nr. 3 (07.07.2020): 219–32. http://dx.doi.org/10.1108/ijced-10-2019-0053.
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PurposeThe purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.Design/methodology/approachWith specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.FindingsThe findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.Research limitations/implicationsThis study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.Practical implicationsThe implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.Originality/valueThe findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.
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Mantie, Roger. „The ethics of care in community music“. International Journal of Community Music 16, Nr. 3 (01.09.2023): 233–36. http://dx.doi.org/10.1386/ijcm_00085_2.
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A common theme in the articles published in IJCM issue 16:3 is that of the ethics of care. Regardless of context, from retirement care homes to prisons, community music, as it originates in the impulse of ‘intervention’, is premised on care. Although individual instances of community music activity may be governed by rules and policies of a sponsoring organization, community music, as a field held together by its commitment to shared ideals, must grapple with the ethics of care on a voluntary basis. The articles by Clorinda Panebianco and Melani Fouche, Debra Joubert, Tarina Wilkinson and Liesl van der Merwe, Deanna Yerichuk and Cynthia Kinnunen, Iris Kennedy and Margaret S. Barrett, and Edward D. Messerschmidt all help to advance our understandings of care in community music. The issue concludes with two book reviews: Laura Risk reviews Josephine Miller’s (2022) Community-based Traditional Music in Scotland: A Pedagogy of Participation; Lee Willingham reviews Music and Social Inclusion: International Research and Practice in Complex Settings (2023), edited by Oscar Odena.
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Feng, H., und V. Zheleznyak. „Современное состояние и тенденции развития музыкального образования в Китае“. Studia Culturae, Nr. 54 (03.04.2023): 138. http://dx.doi.org/10.31312/2310-1245-2022-54-138-156.
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Music is an integral part of a culture. In China, music appeared about 8000 years ago and developed under the influence of different ethnic groups. There are 56 ethnic groups in China. Due to the geographical environment, customs and other reasons, the music of Chinese ethnic minorities has different characteristics. Ethnic music includes traditional music as well as contemporary music; it includes both Han music and ethnic music. Together with the Han people, ethnic minorities in China have created a rich and colorful musical culture; their folk songs are varied and beautiful. Throughout history, music has been very diverse and has absorbed the musical traditions of the ethnic minorities living around. At the same time, it also integrated into the musical culture of ethnic minorities, gradually forming a rich and colorful Chinese national music. However, under the influence of globalization and the unification of learning processes, traditional music is forgotten, fewer people are interested in it. The issue of the importance of preserving traditional and ethnic music, as well as the current state and development trends of music education in China, will be analyzed in this article. In modern times, however, in order to preserve all the diversity, it needs the support of the state. In the international arena, the need to preserve and develop national music in music education is of great practical importance. Music is also one of the important ways in which China enters the world stage. Therefore, the training of students, schoolchildren and even children is extremely necessary. It is especially important for music teachers themselves, as heirs of culture, to orient students to the rich and colorful folk music of China, to form in the minds of students an understanding of the need to protect the intangible heritage of national culture, and to maintain their enthusiasm for studying national musical culture. The preservation and development of ancient musical traditions is of great historical and practical importance. Secondly, for this, it is necessary to train professionals who could become worthy teachers. Thirdly, at the state level it is necessary to encourage interest in studying the music of different ethnic groups and minorities. One way to increase knowledge about music, as well as interest in it, is through integrated learning. For example, integrating children's literature into music teaching can enrich the curriculum in China, improve students' musical and literary skills, and help children participate more actively in large-capacity music classes.
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Mi, Dan, und Lu Qin. „Classification System of National Music Rhythm Spectrogram Based on Biological Neural Network“. Computational Intelligence and Neuroscience 2022 (12.10.2022): 1–10. http://dx.doi.org/10.1155/2022/2047576.
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National music is a treasure of Chinese traditional culture. It contains the cultural characteristics of various regions and reflects the core value of Chinese traditional culture. Classification technology classifies a large number of unorganized drama documents, which are not labeled, and to some extent, it helps folk music better enter the lives of ordinary people. Simulate folk music of different spectrum and record corresponding music audio under laboratory conditions Through Fourier transform and other methods, music audio is converted into spectrogram, and a total of 2608 two-dimensional spectrogram images are obtained as datasets. The sonogram dataset is imported into the deep convolution neural network GoogLeNet for music type recognition, and the test accuracy is 99.6%. In addition, the parallel GoogLeNet technology based on inverse autoregressive flow is used. The unique improvement is that acoustic features can be quickly converted into corresponding speech time-domain waveforms, reaching the real-time level, improving the efficiency of model training and loading, and outputting speech with higher naturalness. In order to further prove the reliability of the experimental results, the spectrogram datasets are imported into Resnet18 and Shufflenet for training, and the test accuracy of 99.2% is obtained. The results show that this method can effectively classify and recognize music. The experimental results show that this scheme can achieve more accurate classification. The research realizes the recognition of national music through deep learning spectrogram classification for the first time, which is an intelligent and fast new method of classification and recognition.
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Zhivitsa, A. R. „MODERN TRENDS OF ETHNIC MUSIC“. Arts education and science 1, Nr. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.
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Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movement, based on a search for new sources of inspiration for young musicians and composers, today the phenomenon of ethnic music presents a rich palette in contemporary music space. These directions, formed by merging elements of different national musical traditions, synthesizing different musical styles or combining different methods, have at their core the main component — traditional musical folklore, which is embodied in new modern forms, reinterpreted and interpreted by ethnic musicians. Thus, a rich corpus of folk music culture is preserved and actualized. Among the main directions of ethnic music, we distinguish: musical folklore; folk music; ethno-fusion; new age; ethno-jazz; ethno-electronics, including folk-rock, pop-folk, folk-house and other movements based on the synthesis of musical folklore and current musical styles.
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Qiao, Zhenghao. „Research on the Application of Ethnic Music Promotion in Primary School Music Education under the Threshold of Core Literacy“. Lecture Notes in Education Psychology and Public Media 2, Nr. 1 (01.03.2023): 528–35. http://dx.doi.org/10.54254/2753-7048/2/2022372.
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Core literacy is an important concept in the context of the reform of the new curriculum standards and the basic requirement of education reform. Primary education is an important educational stage in a person's life, which has a foundation and laying role in the cultivation of students' literacy. Primary school music is an important part of quality education. The latest music curriculum standards point out the importance of traditional ethnic music culture. Primary school music education actively promotes national music is of great significance to the promotion of traditional Chinese culture. In recent years, there are still problems in the promotion of ethnic music in primary school music education, such as primary school students' low awareness of ethnic music and preference for popular music. the limited teaching level of music teachers. the single national music teaching materials suitable for primary school students, and the lack of popularization of ethnic music in society. This article will expound on the significance of promoting ethnic music in the primary school stage, starting from the concept of core literacy. As well as analyze the problems existing in the promotion of ethnic music in the primary school stage from the three aspects of students, schools, and society, and propose corresponding solutions
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Nunes, Pedro. „Good Samaritans and oblivious cheerleaders: ideologies of Portuguese music journalists towards Portuguese music“. Popular Music 29, Nr. 1 (Januar 2010): 41–59. http://dx.doi.org/10.1017/s0261143009990377.
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AbstractThis article addresses the ideologies developed by Portuguese music journalists towards Portuguese music in the context of the global crisis in the record industry. Music journalists who were once seen as the good Samaritans in coverage of the national repertoire have to reconcile their duty to cover the national acts with the pressures of a global music industry represented by the multinational record companies. Gathering information from interviews conducted between 2001 and 2003, I trace the perceptions of music journalists on coverage of the national repertoire in a period in which a global crisis in the music sector became noticeable and low airplay of Portuguese music became a matter of concern for agents within the local industry. Two approaches emerge from such a context, one more proactive towards coverage of Portuguese music, the other less interested in allowing the influence of the origin filter to determine the journalists' agenda. I conclude that in these two approaches the traditional opposition between music journalists and the music industry needs to be revised.
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Bezborodko, Oleg. „Chinese National Piano Style in “Two Poem Classics of The Tang Dynasty” by Xu Zhenmin“. Studia Universitatis Babeş-Bolyai Musica 67, Nr. 2 (20.12.2022): 21–32. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.02.
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" “Two Poem Classics of the Tang Dynasty” by Xu Zhenmin is a bright example of the Chinese national piano style. We analyze its main features using S. Tyshko’s theory of national style and the concept of the sound image of the instrument by L. Gakkel as the theoretical and methodological basis of our research. We introduce and define the concept of the national sound image of the instrument. Chinese piano music is characterized by the purposeful activity of composers both in stylistic adaptation and in stylistic generation. The European historical and stylistic sound images of the piano are adapted and act as the “foreign” material. The “native” material is generated both from folk and traditional Chinese music, its mode, intonation, and instrumental specifics, as well as from the rich artistic, philosophical and historical heritage of China. Keywords: National music style, piano music, Chinese piano music, Chinese national piano style, sound image of the instrument, Chinese national sound image of the piano "
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Abdurrohman, Asep. „Model MODEL MODERASI BERAGAMA PADA BUKU TEKS“. MODERATIO: Jurnal Moderasi Beragama 3, Nr. 1 (03.08.2023): 54. http://dx.doi.org/10.32332/moderatio.v3i1.6551.
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This study aims to find out and analyze the extent to which the religious moderation model was developed by the author of TK B textbooks. Researchers used library research with qualitative research as a type of research. Sources of data studied, namely; Kindergarten B textbooks totaled seven books. To examine the text and images contained in TK B textbooks, researchers used Content Analysis. Content Analysis is a scientific analysis of the contents of a communication message. Technically, the scope of content analysis substance includes; classification of signs used in communication, using criteria as a basis for classification, and using certain analytical techniques as predictors. The results showed that the religious moderation model in TK B textbooks was introduced through local wisdom and national commitment. Local wisdom is represented by; relics of the past, such as; temples, statues, chariot wheels, jugs, pinisi boats, swords, temple gates, temple banners, traditional houses, traditional dances, traditional clothes, and names based on local traditions. While the national commitment is represented by the red and white flag and its pole, flag ceremonial activities, and the Garuda bird in the palace. But on the other hand, accommodating music playing as a symbol of a unifying tool for the nation and prevention of national disintegration. traditional dances, traditional clothing, and local tradition-based names. While the national commitment is represented by the red and white flag and its pole, flag ceremonial activities, and the Garuda bird in the palace. But on the other hand, accommodating music playing as a symbol of a unifying tool for the nation and prevention of national disintegration. traditional dances, traditional clothing, and local tradition-based names. While the national commitment is represented by the red and white flag and its pole, flag ceremonial activities, and the Garuda bird in the palace. But on the other hand, accommodating music playing as a symbol of a unifying tool for the nation and prevention of national disintegration.
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Xie, Linru. „Ways In Which New Media Promote Traditional Chinese Music“. Journal of Education, Humanities and Social Sciences 26 (02.03.2024): 251–56. http://dx.doi.org/10.54097/mw2e7471.
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Traditional Chinese music has unique aesthetic ideas and rich national culture, leaving brilliant artistic treasures in thousands of years of history. With the continuous advancement of globalization, the operation and development of the new media industry has a significant impact on cultural dissemination and development. Starting from the importance and significance of the development and inheritance of traditional Chinese music, this paper studies how to use the characteristics of real-time, interactive, diversified and globalized new media to inject vitality into its development and find development opportunities. Based on the analysis of existing literature, this paper explores the ways of promoting traditional Chinese music through new media, and opens up a new way for its inheritance. The development of Chinese traditional music from the perspective of new media is worth in-depth analysis, only by making good use of new media can Chinese traditional music continue to innovate and will not be forgotten by the public.
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Ribić, Vladimir, und Nataša Mladenović-Ribić. „Serbian Traditional Singing between intangible Cultural Heritage and World Music“. Issues in Ethnology and Anthropology 9, Nr. 4 (26.02.2016): 941. http://dx.doi.org/10.21301/eap.v9i4.7.
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The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) leaves the protection and identity determination of intangible cultural heritage to the nation-states. On the other hand, world music audience is interested primarily in identity self-determination of the performers. Because of this, world music phenomenon enables safeguarding and international promotion of Serbian traditional singing independently of cultural policies at the national and international level.
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Kratochvíl, Matěj. „“Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia“. Studia Musicologica 56, Nr. 4 (Dezember 2015): 397–405. http://dx.doi.org/10.1556/6.2015.56.4.7.
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In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.