Journal articles on the topic 'Conductor training'
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Xize, Chen. "ON THE CONDUCTOR TRAINING SYSTEM IN CHINA (methodological observations)." Arts education and science 1, no. 1 (2021): 24–29. http://dx.doi.org/10.36871/hon.202101003.
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The article, which has a historical and methodological orientation, focuses on issues that are indicative both for the development of orchestral music in China and for the training of students in conducting. This work reveals the typology of expressive possibilities of mono-timbre and poly-timbre folk orchestras, as well as certain provisions concerning the mutual influence of folk instrument orchestras and symphony ensembles. The conductor's curriculum adopted at The Central Conservatory of China is presented and its specific features are reviewed. It is noted that due to the intensive development of symphony orchestras and symphonic genres, as well as compositions for musical theater, the process of training conductors and composers in conservatories and music faculties of universities in China is being improved. The cumulative world pedagogical experience was selected to develop the conductor training programs in Chinese conservatories, taking into account the positions most important for national pedagogical adaptation. The educational program for conducting was created in China considering the practice of the Saint Petersburg and Moscow conservatories.
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Deliana, Frida, and Suprayitno. "Training of Moria choir conductor members and conductors in efforts to improve quality in Medan city." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 1 (May 30, 2020): 1–6. http://dx.doi.org/10.32734/abdimastalenta.v5i1.4017.
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In ecclesiastical worship activities in the Christian community, singing activities both in the format of 'choir', congregational singing and others are integrated in a series of worship services in the church. It is also found among members of the Runggun Benameriah Protestant Karo Batak Church (GBKP) congregation who also use the choir format in activities to praise and glorify God. For Christians singing is a spiritual need. In both churches there are several types of choirs, both the choir moria (mothers), mamre choirs (fathers) gem choirs or youth / youth and elderly choirs. Each choir has a trainer (amateur) who also acts as choir leader, referred to as Dirigen. The problem is that often the quality of the choir that is displayed is low. This means that there are always a lot of technical errors and un-melodious voices from the choir members during the choir presentation. If this condition continues and occurs continuously, the presence of the choir can eventually interfere with the implementation of worship. Another condition is that almost all Dirigens in the GBKP choir are people who have limited musical abilities, and have no background in formal music education. His managerial ability and technical ability to teach choir is very weak. Dirigen's lack of musical knowledge and technical ability will certainly have a profound impact on the quality of the choir he leads. Therefore this dedication team will improve the choir management ability in vocal material and the ability of conducting to all participants so as to minimize the technical difficulties found in the preparation and presentation of the choir. This community service activity is expected that members and conductors / choir leaders can utilize their knowledge and experience as professionals in the field of choir training among community members in general.
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Andriy, Strilets. "The theoretical fundamentals of the training the folk instruments orchestra conductor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 26–49. http://dx.doi.org/10.34064/khnum1-61.02.
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Statement of the problem. The relevance of the topic is due to the current state of the training of the folk instruments orchestra conductors in the system of higher art education. High achievements of the modern Ukraine folk-academic musical art have significantly increased the requirements for a conductor as for a creative personality. However, currently the scientific sources devoted to the training of the folk instruments orchestra conductors are focused on certain professional components and presented in a small number (Murza, 2021; Gorbal, 2019, Biasutti, 2013; Adenot, 2015, and some others), and theoretical foundations of such training are barely presented in modern domestic scientific literature. The objective of the study is the theoretical recognizing and conceptualizing of the training process of the folk instruments orchestra conductor. The development of the topic required an interdisciplinary synthesis, including an appeal to the psychology of creativity, and the use of methods of activity, interpretive, communicative analysis. For the first time the methodic fundamentals of scientific and professional training of a young conductor is systematized in the study. Results. The article contains thematic blocks devoted to the conductor’s activity in the higher art education system (“Organizational principles”, “Content of conductor’s training”) and to the components of conducting activity (“Technology. Psychology. Conductor’s interpretation. Conductor’s thinking”). It was found that the content of the conductor’s training is revealed through the algorithm of conductor’s practical activity. The definition of the term “conducting” is given. It is proved that the specifics of the conductor’s activity at all its levels are revealed through interpretation as a way of thinking, ensuring the conceptualization of the latter in all participants in the creative process. Conclusions. The theoretical principles of the training of the folk instruments orchestra conductors are conceptualized as a system of three obligatory components: “conducting technology – psychology of a creative process – conducting interpretation”; its functioning ensured by organizational work. The qualitative result of the action of the specified system is the final insight leading to the fact of a concert performance revealing a high-level professional complex. All the aspects of the conductor’s practice are related to the processes of, on the one hand, performing thinking, on the other hand, communication. Conductor’s work as a guarantee of the success functioning of the orchestra provides a communicative connection between the music being represented and the listener. Quality sound and positive communication brings the training orchestra a different, higher status. In such conditions the creative maturity of each of the participants and especially the conductor’s one is being acquired. It must be mentioned that the proposed algorithm for the analysis of the conductor’s profession and the triangle “technology – psychology of a creative process – interpretation”, in our opinion, is versatile for musicians of any specialization. However, its projection on another field requires further research.
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Sverliuk, Yaroslav, Olga Oleksiuk, Dmytro Mazur, Olga Fabryka-Protska, Olena Rebrova, and Liliia Sverliuk. "Actualization of the professional self-concept in the future orchestra conductors training." LAPLAGE EM REVISTA 7, Extra-E (July 27, 2021): 1–12. http://dx.doi.org/10.24115/s2446-622020217extra-e1155p.1-12.
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Professional training of orchestra conductors is traditionally aimed at performing primarily educational and creative tasks. At the same time, the inner world of a conductor as a leader of the ensemble still needs deeper study. In particular, formation of the conductor’s professional competence will not be effective without necessary personal qualities, self-awareness, self-concept, which involves a total reflection of his activities. The phenomenon of the orchestra conductor’s self-concept is presented not only as a set of ideas and attitudes towards oneself, which has certain characteristics, but also as a subject, which is entrusted with cultural and aesthetic professional responsibilities. The study of the self-concept will facilitate understanding the regulation and management of the internal process in the professional activities of the orchestra conductor. The study relevant because it can reorient the purpose of the educational process from the formation of knowledge, skills and abilities to a broad understanding of the multifunctionality of future conducting and orchestral activities.
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Hilpert, Hermann R. "The Place of the Training Group Analyst and the Problem of Personal Group Analysis in Block Training." Group Analysis 28, no. 3 (September 1995): 301–11. http://dx.doi.org/10.1177/0533316495283006.
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This article describes the place of the training group analyst in a block training scheme. It stresses that the training institute is an outstanding and inestimable transference object, which thrusts itself into the relationship between training group and group conductor. The article discusses the dynamics of the system `group-conductor-institute' with its effects on the transference/countertransference field, the boundaries and the principle of abstinence.
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Shevchenko, Inha. "PECULIARITIES OF ORGANIZATION OF DISTANCE LEARNING IN THE STUDY OF EDUCATIONAL DISCIPLINE “CHORAL CONDUCTING”." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 281–84. http://dx.doi.org/10.36550/2415-7988-2022-1-204-281-284.
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Information technologies play a main role in realizing the needs of the modern person in self-improvement. Modern scholars believe that informatization is a significant resource for improving the quality of education. Hence the problem of information technologies and their implementation in the educational process of all parts of the Ukrainian education system is relevant. Solving the problem of integrated information and technological re-equipment of higher education is connected with the creation of a single information and technological space of higher education. The professional development of a future teacher-musician involves not only the acquisition of knowledge, skills and abilities, but also personal self-improvement. The formation of a new type of teacher is possible only if the higher education approaches to real professional and pedagogical activities. The fundamental changes in all aspects of society make high demands to the individual of the manager of the choral collective. Upgrade of higher musical-pedagogical education involves the education of specialists who could freely operate knowledge, possess the ability to skillfully conduct the music lessons. In this context acquires relevance the problem of preparing students for productive activities, especially in the field of conducting choral training. The core subjects of conducting cycle include the choral conducting, staging the voice, choir class. The conductor's profession has several features that are the basis of the psychological and musical impact of the conductor for the collective. The levels of the formation of professional orientation and self-conductor thinking, emotions and will affect on the creative formation and development of personality of the conductor. An important place in the development of professional pedagogical orientation and professional self-esteem takes conductor’s practice, conductor student contests, rehearsal work. These forms of the activity make it possible to check of professional abilities, conductor skills, professionally important qualities and to adequately assess the level of professional self-esteem. Given many-components activity of the choirmaster, the prominence it has independence training. To enhance the professional skills of special importance is the participation of students in competitive tests. Contests of conductors promote to the opening of new names of young conductors choirmaster. The purpose and the main task of the contest in Volodymyr Vynnychenko Central Ukrainian State Teacher Training University are education of the student's conducting culture, promote of the choral works of Ukrainian composers, identifying talented young choral conductors, the exchange of experiences for professional training. In 2022 the competition is devoted to the 20th anniversary of memory to Ivan Karabyts.
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Kovalenko, Inna. "3. The Particuliarities of Choir Conductor Training of the Chinese Student at Musical and Pedagogical Institutions in Ukraine." Review of Artistic Education 21, no. 1 (June 1, 2021): 20–25. http://dx.doi.org/10.2478/rae-2021-0003.
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Abstract This article deals with the problem of choir conductor training of the Chinese students. It discloses the peculiarities and the difficulties in their training at higher musical and pedagogical institutions in Ukraine.
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Kachurynets, Lilia. "TO THE QUESTION OF CHOICE OF REPERTURE IN PROFESSIONAL TRAINING OF THE CONDUCTOR." Research Notes, no. 1 (June 28, 2020): 91–98. http://dx.doi.org/10.31654/2663-4902-2020-pp-1-91-98.
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Horozhankina, Oksana, and Nadiia Ryzhenko. "Future Music Teachers’ Associative Thinking in the Course of Conductor and Choral Training." Research Notes, no. 1 (March 30, 2017): 76–82. http://dx.doi.org/10.31654/2663-4902-2017-pp-1-76-82.
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PEREVERZEVA, Elena. "STAGES OF CONDUCTOR AND CHORAL TRAINING OF THE FUTURE TEACHER OF MUSICAL ART." Humanities science current issues 2, no. 55 (2022): 277–82. http://dx.doi.org/10.24919/2308-4863/55-2-44.
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Shumska, Liudmyla. "Pedagogical coaching as a technology of bachelor training intended for choir conductors." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2022, no. 3 (140) (October 27, 2022): 25–33. http://dx.doi.org/10.24195/2617-6688-2022-3-3.
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The article examines pedagogical coaching as a technology for undergraduate training of choral conductors. It analyses the meaning of the concept “coaching”, which involves optimising the means of influencing an individual or a team in order to effectively perform professional tasks. It is noted that coaching is a technology for revealing individual potential in order to maximise personal productivity and effective work. The studies show that coaching creates a personal dimension of education, which is based on increasing independence both in thinking and in actions. It has been proved that coaching is defined as a pedagogical technology of the subject-subject partnership, which enables the productivity of professional goal-setting, and is a model of joint pedagogical activity in designing, organising and conducting the educational process by creating a comfortable environment for students and a teacher. It has been substantiated that pedagogical coaching is defined as an organisational and functional technology aimed at organising a personal and confidential learning process; successful solution of current and strategic educational tasks; increasing the effectiveness of educational activities, personal development of each student; development of business project development skills; high effectiveness of the educational process as a whole. The key determinants of the development of willpower qualities of a choir conductor have been determined. The article also analyses technologies and methods of pedagogical coaching. On the basis of the conducted research, we have come to the conclusion that the training of the future choral conductor should be oriented towards the constant acquisition of knowledge with essential access to practice. It was found that pedagogical coaching as a leading factor in the personal and professional development of choral conductors, a toolkit of intellectual and managing activity, an indicator of human thinking is a strategically important resource necessary for the further development and constant improvement of human capital assets.
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Grandhi, Manasa, and A. Sailaja A. Sailaja. "A Review on Effectiveness of Training Methods of Trainings Conducted by Different Training Institutes." International Journal of Scientific Research 2, no. 4 (June 1, 2012): 1–2. http://dx.doi.org/10.15373/22778179/apr2013/1.
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Chinyakova, Nadezhda I., Inna S. Kobozeva, and Tamara A. Kozlova. "Ethno-cultural orientation of Bachelors’ conductor and choir training in pedagogical education (profile «Music»)." Humanities and Education 13, no. 2 (2022): 81–86. http://dx.doi.org/10.51609/2079-3499_2022_13_02_81.
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Dem’yanko, Nataliya. "Choral-conductor training of future teachers in the Poltava institute of national education (1921–1941)." ScienceRise: Pedagogical Education, no. 5 (13) (May 31, 2017): 27–31. http://dx.doi.org/10.15587/2519-4984.2017.102803.
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Miroshnichenko, S. V. "I. G. AGAFONNIKOV — PORTRAIT OF A CONDUCTOR AND TEACHER." Arts education and science 1, no. 2 (2021): 107–12. http://dx.doi.org/10.36871/hon.202102013.
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The article presents a portrait of the outstanding choral conductor and teacher Igor Germanovich Agafonnikov (1932–2005) and highlights his pedagogical principles and methodological guidelines. The main feature of Agafonnikov's pedagogical style is the ability to create an atmosphere of special trust and respect towards students. It is pointed out the continuity of his pedagogical work with the historic traditions of Russian choral school represented by his mentors: Evstolia Nikolaevna Zvereva in the School at the Moscow State Conservatory named after P. I. Tchaikovsky and Vasily Petrovich Mukhin at the Moscow Conservatory. The author considers the main provisions of I. G. Agafonnikov's methodological work "Reflections on Choirmaster Training in the Middle Level of Musical Education", which fully reflects the fundamental principles of the teacher-conductor. Characteristic features of his individual pedagogical style, based on the liberal-democratic and tolerant methods of students' education under constant activity of all participants of the pedagogical process, are summarized. The professor's methodological approach to the work with students and the choir is analyzed. Particular attention is paid to the rehearsal process, in which the conductor encourages the singers to perform consciously and meaningfully.
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Ajkina, Lyubov, and Tatyana Skomorohova. "To the Problem of the Embodiment of the Artistic Image of a Musical Work in the Training of Conductors." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2022): 79–85. http://dx.doi.org/10.32340/2414-9101-2022-3-79-85.
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The objective of this paper is to analyze the views of a number of specialists studying the problem of the embodiment of an artistic image in the training of future conductors. On how fully the conductor's skills of transmitting the artistic image of the work will be formed, communicative abilities are developed, the ability to convey information not only verbally, but also, which is very important for the conductor, by non-verbal means, the understanding of the performers of the author's idea will depend. However, as practice shows, in the process of teaching conducting, the development of purely technical techniques comes to the fore, which is insufficient for the education of a professional.
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Martyanova, H. M. "VOCAL-CHORAL PREPARATION OF THE STUDENT FOR WORK FROM A MANSION IN SYSTEM OF CREDIT-MODULAR TRAINING." Educational Dimension 18, no. 1 (May 10, 2007): 267–71. http://dx.doi.org/10.31812/educdim.5938.
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In article questions of conditions of formation of the creative person of the singer, the conductor, the teacher of music are considered during singing-choral preparation on system of credit-modular training; a parity of the contents, the organization of vocational training to work from a mansion.
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Varvarigou, Maria, and Colin Durrant. "Theoretical perspectives on the education of choral conductors: A suggested framework." British Journal of Music Education 28, no. 3 (October 14, 2011): 325–38. http://dx.doi.org/10.1017/s0265051711000325.
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This paper presents theoretical perspectives for choral conducting education. A wide range of related literature on choral practice and education in higher education contexts, as well as training in the workplace is reviewed. Whilst various attributes for effective choral conducting practice have been identified by research studies, there has been no systematic research on the process of choral conductor education and the contexts in which it occurs, particularly in the UK. The proposed framework consists of six interconnected parameters: (i) the tutor(s), (ii) the learner(s), (iii) the music repertoire and the singers, (iv) the sequence and amount of training, (v) the learning outcomes and (vi) the socio-cultural context(s), including teaching context(s) where practice takes place. The framework itself offers insights and related approaches for the development of choral conducting education.
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PEREVERZEVA, Elena. "Formation of professional consciousness of the future teacher-musician in the process of conductor-choir training." Humanities science current issues 3, no. 47 (2022): 290–94. http://dx.doi.org/10.24919/2308-4863/47-3-47.
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Keilin, V. E., I. A. Kovalev, and S. L. Kruglov. "Training and degradation of a model superconducting winding depending on cooling conditions and conductor cross-section." Cryogenics 25, no. 5 (May 1985): 257–60. http://dx.doi.org/10.1016/0011-2275(85)90206-1.
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Vavryk, Ruslana. "Role of piano training in a future military conductor’s professional development." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 217–22. http://dx.doi.org/10.32461/2226-3209.2.2021.240068.
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The purpose of the article is to reveal some aspects of the importance of the role of piano training in a future military conductor’s professional development while studying piano works. The research methodology consists of a comparative approach, as well as, empirical and general scientific (analysis, synthesis) methods. Scientific novelty. For the first time, this paper shows the organic relationship between piano training and a future military conductor’s professional development. The poly-functional capabilities of the piano instrument and their influence on the formation of the musical-performing experience of the future conductor are revealed. Conclusions. In the context of a military conductor’s professional development, the author considers the essence and significance of a military conductor’s piano training as an integral part of improving various aspects of performing skills. The specificity and expediency of the didactic repertoire is substantiated, taking into account the functional capabilities of the piano instrument for the development of a future conductor’s musical performance experience, the formation and use of sound extraction techniques, the mastery of the expressive capabilities of the instrument using the entire set of methods and means necessary for the implementation of figurative and artistic intentions and the musical thinking upbringing.
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Shumska, Liudmyla. "Technology of development of future choir conductors’ professional competences: system-integrative approach." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 4 (133) (December 24, 2020): 22–29. http://dx.doi.org/10.24195/2617-6688-2020-4-3.
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The article highlights the technology aimed at developing future choir conductors’ professional competences from the standpoint of the system-integrative approach in accordance with the requirements of new standards of higher education for bachelor students majoring in 025 "Musical Arts" in higher educational establishments. It determines the essence of the concepts "system" and "integration" in the context of higher school musical pedagogy as well as characterises the essence of implementation of the system-integrative approach in the process of conductorial-choral training by introducing into the educational process a specific pedagogical model which contains the components as follows: interdisciplinary-cognitive integration, methodical-operational integration, profession- and competence-based integration. It is established that the interdisciplinary-cognitive integration is a synthesis of knowledge units comprehended within special disciplines during the conductorial-choral training which form a new structural and substantive level of each separate discipline in the process of synthesis. It is noted that the methodological-operational integration acts at the intersection of a number of specific field methods dealing with the conductorial-choral disciplines and, as a result of polymodal accumulation of techniques, appears in the form of established professional methodological competences to be generalised, analysed and evaluated; they are based on their methodological knowledge and understanding of their further usage in the process of professional creativity. It is determined that the professional-competence integration is a strategic goal and the final result of the process of conductorial-choral training of the future bachelors: separate professional competences of the future choral conductors are integrated subsystems that jointly form a higher order system − the professional image of a choir conductor. The article systematises and organises professional competences of a future choir conductor, which are formed as a result of the proposed technology of their development on the basis of the system-integrative approach, and are considered as unconditional priorities of choral conductor's professionalism in the course of the polymorphic choir managerial and conductorial-pedagogical activities.
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Nazarenko, Maryna. "THE INDEPENDENT WORK OF A FUTURE MUSIC ART TEACHER ON THE SUBJECTS OF CONDUCTOR AND CHOIR CYCLE AS A PEDAGOGICAL PROBLEM." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 210–13. http://dx.doi.org/10.36550/2415-7988-2022-1-204-210-213.
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The article considers topical issues of independent work of students of art faculties of pedagogical universities on the subjects of conducting and choral cycle, and outlines the ways to improve professional training of future music teachers for practical activities in educational institutions. The development of higher pedagogical education in Ukraine in the European context requires the increasing of public attention to quality of teachers training. Higher education is gradually but steadily transitioning from the transfer of information to the management of educational and cognitive activities, to making students develop their skills for independent work. The pedagogical scientific literature considers students' independent work as a set of various teaching techniques and actions through which the independent consolidation and deepening of acquired theoretical knowledge, practical skills and abilities, as well as mastering of the new ones, is performed. It is an organic component of all stages of the learning process, as well as an effective means of future music teachers training, and it is extremely important in the process of forming and improving knowledge, developing students thought and personal qualities. The content of student's independent work is determined by the working curriculum of the discipline, methodological recommendations, tasks and instructions of a teacher. In the context of conducting and choral training, independent work is one of the means for students to acquire deep knowledge, skills and abilities in conducting. Independent work has a positive effect on the development of mental, creative, intellectual abilities. Therefore, independent work is greatly important not only for development of personal qualities, but also for introduction of didactic principles of teaching in the practice of conducting training, among which activity and awareness plays a particularly important role. Thanks to independent work, favorable conditions are created for mastering conducting techniques and analytical assimilation of choral score. Independent work opens up great opportunities for successful development of a student's creative personality. Only in vigorous learning activities a future music teacher can learn to use the acquired skills and abilities in independent work.
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Lysenko, Mariia. "METHODOLOGICAL PROVISION OF DEVELOPING THE ABILITY OF STUDENTS' SELF-REGULATION IN THE PROCESS OF CONDUCTOR AND CHOIR TRAINING." Aesthetics and Ethics of Pedagogical Action, no. 19 (June 7, 2019): 126–35. http://dx.doi.org/10.33989/2226-4051.2019.19.169779.
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BAGRIY, T. "CYCLE OF CONDUCTORS AND CHOIR DISCIPLINES IN THE SYSTEM OF PROFESSIONAL TRAINING OF THE FUTURE TEACHER-MUSICIAN." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 29 (September 10, 2022): 9–13. http://dx.doi.org/10.33989/2075-146x.2022.29.264202.
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The problem of training a future music teacher in the field of conducting and choral art is considered and the role of the cycle of conducting and choral disciplines in this process is highlighted. The views of scientists on the tasks in various aspects of music teacher training are analyzed: organizational, methodological, theoretical, practical.The components of conducting and choral training are indicated. The criteria are highlighted and the essence of the indicators of the state of conducting and choral training of higher education students is characterized. The key provisions of the theory and practice of professional activity of the future music teacher are highlighted. It was found that the conducting and choral training of the future music teacher at the present stage is the unity and complex relationship of pedagogical, organizational and artistic and creative processes.Structuring the content of conducting and choral disciplines is proposed in order to identify and eliminate shortcomings in the study of disciplines. It is noted that the main purpose of conducting and choral disciplines is to form qualities that provide the opportunity for professional and pedagogical activities (vocal and choral, performing) and in preparation for the most common type of children's art - singing.The teacher-musician must be able to operate with a certain baggage of theoretical knowledge, the basics of practical training to work with the choir, performing culture, conducting technique and pedagogical skills in future professional musical activities.The role of the disciplines of the conductor-choir cycle in the acquisition of knowledge and practical skills in professional activities is determined and the relationship between the disciplines of this cycle is indicated. The main tasks of each component and its significance in mastering the conducting and choral skills are highlighted. The priority of practical activity in comparison with mastering the theoretical material is emphasized. It was found that conducting and choral training is one of the important areas in the structure of professional training of future music teachers in music and pedagogical institutions.
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Ball, John, and Shane Vosberg. "A Survey of United States Tree Care Companies: Part I - Safety Training and Fatal Accidents." Arboriculture & Urban Forestry 36, no. 5 (September 1, 2010): 224–29. http://dx.doi.org/10.48044/jauf.2010.030.
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Tree work has a high accident rate compared to many other occupations. News accounts of recent accidents can be easily accessed through the internet, though this may not provide a true picture of the number and types of accidents occurring. U.S. government bureaus and agencies have produced reports citing the number and circumstances of fatal accidents in the profession. The government’s information is obtained from many sources and may not accurately identify types or frequency of these accidents. A survey of the accidents and safety training among tree care companies was conducted using a mail questionnaire based on the Tailored Design Method. The company managers responding to the survey overwhelming identified having trained field workers as very important yet only about two-thirds of their companies conducted any training. The training most often conducted was on aerial lifts, chain saws, and chipper, which was provided by company employees in a field setting. Driver’s training was not part of a formal safety program for most of the companies. Aerial rescue was practiced by about one-fourth of the surveyed companies. The most common fatal accidents involved contact with an electrical conductor followed by being struck by a falling limb. The relative number of fatal accidents by event or exposure in this survey was similar to that identified by two federal government reports on fatal accident in the field.
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Lifeng, Xie. "Content and structure of the future music teachers’ performing will in the context of choirmaster training." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 2 (131) (June 25, 2020): 131–38. http://dx.doi.org/10.24195/2617-6688-2020-2-17.
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The article is devoted to the study of the essence of the phenomenon “performing will” as an important professional quality of future specialists in the field of art education. The purpose of the article is to substantiate the essence, content and component structure of the performing will generated by future Music teachers, in the context of choirmaster (choral) training in particular. These methods are used in the article: analysis, synthesis and generalization (in order to substantiate the key provisions of the study); the method of shifting from the abstract entities to the concrete ones (in order to study the essence of the complex concept "performing will of a Music teacher in the context of choral training"); the methods of modelling and systematisation (in order to study the structural components of the phenomenon under study). Based on the study, it was determined that the choirmaster training aimed at the future Music teachers involves mastering the competence in specific activities with pupils’ non-amateur and amateur choirs, as well as mastering the forms and methods of organising pupils’ group choral performance. The performing will of the future Music teacher in the context of choirmaster training is considered as individual basic personal and professional properties which provide mental and emotional influence of the conductor on the members of the choir to unite them on the basis of emotional and spiritual resonance. The will of the conductor-choirmaster acts as a mechanism of energy impact on each member of the team in order to achieve the necessary, highly artistic and convincing level of implementation of the performance conception as an intonation-auditory and emotional image of the musical work envisioned by the conductor. Based on the definition of the content-oriented and attributive characteristics of the performing executive will, the component structure of the studied phenomenon is substantiated, it consists of four interconnected components: motivational-incentive, intonation- and image-centred, manual-expressive and reflexive-corrective
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Shumska, L. "SOFT SKILLS DEVELOPMENT TECHNOLOGIES IN THE SYSTEM OF PROFESSIONAL BACHELOR TRAINING OF CHOIR CONDUCTORS." Research Notes, no. 2 (December 13, 2022): 121–30. http://dx.doi.org/10.31654/2663-4902-2022-pp-2-121-130.
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The paper studies the soft skills development technologies in the system of professional bachelor’s training of choral conductors, which are an important factor in ensuring future successful professional activity. The essence of the «soft skills» category was interpreted and the main characteristics of soft skills were investigated. It was found that there are three categories of soft skills: cognitive (critical thinking, innovative thinking, problemsolving skills, time management, etc.), social-communicative (communicative skills, communication ethics, group work skills, interpersonal skills, work ethics, etc.), personality attributes and components of emotional intelligence (emotional intelligence, flexibility, optimism, creativity, honesty, motivation, empathy, etc.). The analysis of the Higher Education Standard for the specialty 025 «Musical Art» for the first (bachelor’s level) of higher education was carried out, which defines the entire range of special professional competencies and learning outcomes of future choral conductors. An analysis of the process of formation and development of soft skills in future choral conductors was carried out through the analysis of the educational standard of their specialty. A general overview of the educational components for the «Conducting and choral art» profiling was conducted from the standpoint of ensuring the formation and development of soft skills. An analysis of the educational disciplines of the «Conducting and Choral Art» specialization was carried out, was carried out, which are aimed at the formation and development of differentiated soft skills in future choral conductors. The discipline «Professional music and performance training» was analyzed from the perspective of its opportunities to directly form soft skills of the future choir conductor, which contributes to the formation of communicative competences. It was determined that the most significant in the formation of communicative competences are personal indicators in several plans: creative-executive, social-psychological, communicative, individual-personal, moralpolitical. It was found that the communicative culture of choral conductors during the study of the educational discipline «Professional music and performance training» as an integrative personal education distinguishes the following indicators: according to the conducting-performing criterion, according to the emotional-value criterion, according to the cognitive criterion, according to the behavioral criterion. It was determined that after completing bachelor’s training, future choral conductors should develop soft skills based on the competence approach.
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Torres-Ronda, Lorena, and Xavi Schelling i del Alcázar. "The Properties of Water and their Applications for Training." Journal of Human Kinetics 44, no. 1 (December 1, 2014): 237–48. http://dx.doi.org/10.2478/hukin-2014-0129.
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Abstract The biological effects of immersion in water, which are related to the fundamental principles of hydrodynamics, may be beneficial in certain training contexts. The effects and physical properties of water, such as density, hydrostatic pressure and buoyancy are highly useful resources for training, when used as a counterbalance to gravity, resistance, a compressor and a thermal conductor. Not only does the aquatic medium enable a wider range of activities to be used in a context of low joint impact, but it also constitutes a useful tool in relation to sports rehabilitation, since it allows the athlete to return to training earlier or to continue with high-intensity exercise while ensuring both low joint impact and greater comfort for the individual concerned. Moreover, this medium enables the stimulation of metabolic and neuromuscular systems, followed by their corresponding physiological adaptations allowing both to maintain and improve athletic performance. Hydrotherapy can also play a beneficial role in an athlete’s recovery, helping to prevent as well as treat muscle damage and soreness following exercise.
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Li, Dong Bo, and Dong Ping Xu. "A Survey on the Intelligence Radar Automation System Application." Applied Mechanics and Materials 602-605 (August 2014): 1011–14. http://dx.doi.org/10.4028/www.scientific.net/amm.602-605.1011.
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This paper can introduce the general automation and conductor automate situation of training the terrace in radar intelligence report, training plat supervise and control the design of mold piece and carry out process in the terrace .It relates to the structure and workflow of radar intelligence report automation and analyze workflow, internal structure and function of design mold piece. With the development tool, the model realizes control the mold piece establishment and function. Through the demand to all improvement, this paper is also studying the command of automation to train terrace, supervision mold piece of realization and development function.
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PEREVERZIEVA, Olena. "The formation of a self-education culture of a musical art future teacher in the process of conductor-choir training." Humanities science current issues 4, no. 35 (2021): 274–79. http://dx.doi.org/10.24919/2308-4863/35-4-41.
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Ashykhmina, Nataliia. "The essence of interpersonal creative interaction of prospective teachers of music art in the process of conductor and choral training." Academic Notes Series Pedagogical Science 1, no. 186 (2020): 73–77. http://dx.doi.org/10.36550/2415-7988-2020-1-186-73-77.
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Wang, Li, Zhengduo Wang, Yingtao Li, Yu Luo, Bingheng Lu, Yiyang Gao, Wei Yu, Guoxin Gao, and Shujiang Ding. "An Ionically Conductive, Self-Powered and Stable Organogel for Pressure Sensing." Nanomaterials 12, no. 4 (February 21, 2022): 714. http://dx.doi.org/10.3390/nano12040714.
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Gel-based ionic conductors are promising candidates for flexible electronics, serving as stretchable sensors or electrodes. However, most of them suffer from a short operating life, low conductivity and rely on an external power supply, limiting their practical application. Herein, we report a stable organogel ionic conductor with high conductivity and self-powering ability. Briefly, lithium trifluoromethanesulfonate, as a conductive salt, provides high conductivity and the poly(1,1-difluoroethylene) layers, as a self-powering system, supply stable energy output under the influence of pressure. Moreover, the proposed conductors withstand long-term and multi-cycle durability tests. The prepared auxiliary training device can withstand the impact of a basketball and detect the impact force, showing potential in passive sensing during practical applications.
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SUGANTHI, S., K. MURUGESAN, and S. RAGHAVAN. "OPTIMIZED MECHANICAL DESIGN OF CAPACITIVE MICROMACHINED SWITCH: A CAD-BASED NEURAL MODEL." Journal of Circuits, Systems and Computers 23, no. 03 (March 2014): 1450037. http://dx.doi.org/10.1142/s0218126614500376.
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In this paper, the authors propose the neural modeling of optimized design for pull-in instability reduction of micromachined capacitive shunt radio frequency (RF) micro electro mechanical system (MEMS) switch. Prediction of effective dielectric constant and hence the critical collapse voltage that represents the bridge position instability for two typical bridge geometrics have been derived using artificial neural network (ANN). The effects of residual stress, length of center conductor and the gap between the bridge and center conductor of switch in lowering the driving voltage have been studied. Based on the neural model results, we have observed the reduction of 3 V in critical collapse voltage for an increase of 10 μm in length of center conductor. We have also noted the strong variation in voltage (reduction of 0.8 V for 1 MPa residual stress reduction) with respect to residual stress change. We achieved the reduction of 1.5 V in collapse voltage by reducing the gap between the bridge and the center conductor by 0.1 μm. Among the two structures considered, the structure with lower width of the center conductor proved as an optimum in achieving low critical collapse voltage. Further, the performance of trained neural network with the training datasets derived from MATLAB simulation has been evaluated in terms of convergence speed and mean square error.
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Okuyama, Junko, Hiroyuki Sasaki, Shuji Seto, Yu Fukuda, Toshiki Iwasaki, Toru Matsuzawa, Kiyoshi Ito, et al. "WBF-2019 Core Research Cluster of Disaster Science Planning Session as Disaster Preparedness: Participation in a Training Program for Conductor-Type Disaster Healthcare Personnel." Journal of Disaster Research 15, no. 7 (December 1, 2020): 900–912. http://dx.doi.org/10.20965/jdr.2020.p0900.
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Introduction: Health professionals and support staff need to be prepared for disasters and know how to respond. This study aimed to examine a one-day “Conductor-type disaster healthcare management personnel” training course and its effect among healthcare professionals. Tohoku University and Fukushima Medical University are experienced in disaster response preparedness and they conducted the one-day course comprising multiple sessions at the World Bosai Forum-2019 (WBF-2019). Method: The course introduced the recent activities of four groups: the Practical Disaster Risk Reduction Research Group; the Natural Science Research Group; the Disaster Humanities Research Group; and the Disaster Medicine Research Group. Unifying four scientific areas based on the theory of the disaster cycle, the research field “disaster science” has been created through interdisciplinary cooperation. The participants completed reports, which were then analyzed using the KJ method. Discussion: The program participants wanted to gain practical knowledge about disasters and have a multifaceted perspective on disaster response. Participants who attended other sessions had an interest in comparing their training with the training provided by other sessions on disaster preparedness. Comparisons included determining the effectiveness of high-level disaster medical preparations from a multilateral viewpoint and involving an interdisciplinary research team in disaster medical preparations to prepare for future disaster events. Conclusion: The participants identified that interdisciplinary activities lead to an improvement in knowledge, skills, or attitudes toward disaster preparedness. There needs to be a greater focus on disaster medicine care teams, including research on both past and future disasters.
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Dem’yanko, Natalija. "ACTIVITY OF THE ART STUDIES DEPARTMENT IN POLTAVA INSTITUTE OF PUBLIC EDUCATION IN THE PERIOD FROM 1921 TO 1933 YEAR." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 128–39. http://dx.doi.org/10.33989/2226-4051.2018.17.176291.
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The article outlines the essence of the activity of the Department of Art Studies in Poltava Institute of Public Education (INO) for the training of pedagogical staff in the period from 1921 to 1933. The material and organizational-methodical conditions of its creation and functioning under direction of the famous Ukrainian musicologist, teacher, ethnographer, choreographer, conductor and composer V. M. Verkhovinets are revealed. The main directions of department's activity are described: musical- theoretical, conductor-choir, instrumental-performing, methodical training of future teachers; organization of research work and pedagogical practice of students in various educational institutions; preparation of concert programs and performances of student choir and other amateur art groups; conducting active public and cultural- mass work within the educational institution, city and region. The forms of educational process organization, including lecture classes, laboratory and scientific workshops, scientific observations and experiments, practice of teaching, studying of techniques, textbooks, scientific and educational and popular literature of corresponding specialties, labor practices, holding of student conferences for discussion of practical results are determined. The features of organization and diverse activities (educational, rehearsal, concert) of student choir in Poltava INO are revealed. Methods and principles (scientific, systematic, consistency, accessibility, visibility, unity of theory and practice of teaching educational disciplines are revealed).
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Ryan, Charlene, and Nicholle Andrews. "An Investigation Into the Choral Singer's Experience of Music Performance Anxiety." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 108–26. http://dx.doi.org/10.1177/0022429409336132.
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The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs ( N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their use of coping mechanisms. Results indicated that performance anxiety was a common experience for these choral singers. Solo performances were reported to be more anxiety inducing than ensemble experiences, but performing in instrumental ensembles induced greater anxiety than choral ensembles. Participants with college music training reported less frequent, although not less severe, episodes of performance anxiety than those without. The conductor emerged as one of the primary factors in choral singers' experience of performance anxiety.
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Valencia, Fausto, Hugo Arcos, and Franklin Quilumba. "Prediction of Stress in Power Transformer Winding Conductors Using Artificial Neural Networks: Hyperparameter Analysis." Energies 14, no. 14 (July 14, 2021): 4242. http://dx.doi.org/10.3390/en14144242.
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The purpose of this research is the evaluation of artificial neural network models in the prediction of stresses in a 400 MVA power transformer winding conductor caused by the circulation of fault currents. The models were compared considering the training, validation, and test data errors’ behavior. Different combinations of hyperparameters were analyzed based on the variation of architectures, optimizers, and activation functions. The data for the process was created from finite element simulations performed in the FEMM software. The design of the Artificial Neural Network was performed using the Keras framework. As a result, a model with one hidden layer was the best suited architecture for the problem at hand, with the optimizer Adam and the activation function ReLU. The final Artificial Neural Network model predictions were compared with the Finite Element Method results, showing good agreement but with a much shorter solution time.
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Chen, Yi-Shin, Leng-Wee Toh, and Yi-Lan Liu. "Music Control in an Interactive Conducting System Using Kinect." International Journal of Multimedia Data Engineering and Management 4, no. 4 (October 2013): 35–57. http://dx.doi.org/10.4018/ijmdem.2013100103.
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Music conducting is the art of directing musical ensembles with hand gestures to personalize and diversify a piece of music. Although the ability to successfully perform a musical piece demands intense training and coordination for the conductor and the orchestra, preparing a practice session is expensive and time-consuming. Hence, there is a genuine need for alternatives capable of providing adequate training for conductors at all skill levels. The potential use of virtual and augmented reality technology holds particular promise. The goal of this research is to examine the mechanics of music conducting and to develop a system capable of closely simulating the experience of conducting a piece of music. After extensive discussions with professional and nonprofessional conductors, in addition to wide-ranging research regarding music conducting materials, several key features of conducting were identified. A set of lightweight algorithms exploring these features was developed to enable tempo control, volume adjustment, and instrument emphasis, which are core components of conducting. Such a system would be a helpful training tool for students, an experiential tool allowing professional conductors and composers to shape music at a low cost, or an entertainment tool for nonprofessional music lovers. In this paper, we propose a real-time interactive conducting system using Microsoft Kinect. The proposed system overcomes the limitation of Kinect's design, which is generally designed for large body movements. In this system, delicate conducting signals can be correctly recognized without referencing any prior knowledge. Evaluation of the algorithms in real-world scenarios reveals promising results. The system was evaluated by conductors of all skill levels and provided a high level of accuracy and a low latency. Users of the final system expressed satisfaction with the virtual experience.
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Sulaieva, N. "FUTURE EDUCATOR TRAINING TO ACQUAINT PRESCHOOL CHILDREN WITH MUSICAL PROFESSIONS." Aesthetics and Ethics of Pedagogical Action, no. 24 (December 26, 2021): 133–42. http://dx.doi.org/10.33989/2226-4051.2021.24.255913.
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The article highlights the theoretical and methodological principles of future educators of preschool education institutions training to acquaint children with music professions. Emphasis is placed on the sensitivity of preschool age for the development of children's musicality and interest in professions. It is emphasized that the formation of competence to acquaint preschoolers with musical professions takes place in the process of professional training of students majoring in Preschool Education in higher educational institutions and involves the implementation of three components. The cognitive component covers the system of formation of students’ knowledge about the psychological and pedagogical features of preschool children’s development, musical professions, purpose, tasks, content, methods, and forms of organization of preschoolers’ musical education. The activity component is characterized by the process of formation of competencies to plan and implement musical and didactic games to acquaint preschool children with the professions of a singer, an instrumentalist, a conductor, a composer, a DJ, a sound director, etc. The article presents the characteristics of one of the effective methods of their formation, namely the introduction of game technologies in the educational process of preschool educational institutions. The reflective component involves checking future educators’ readiness to acquaint preschool children with music professions on the basis of their competencies in the organization of play activities with students, the implementation of musical and didactic games in preschool educational institutions during teaching practice, participation in various informal extracurricular activities.
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Srinivas A, Srinivas A., and A. Sailaja A. Sailaja. "A Review on Impact of Training Programmes Conducted by Different Training Institutes." Paripex - Indian Journal Of Research 2, no. 2 (January 15, 2012): 266–67. http://dx.doi.org/10.15373/22501991/feb2013/96.
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Lokareva, Yuliya. "METHODICAL ASPECTS OF MUSIC AND THEORETICAL TRAINING IN HIGHER ART EDUCATIONAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 102–6. http://dx.doi.org/10.36550/2415-7988-2021-1-192-102-106.
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The article actualizes the problem of music-theoretical training in higher educational institutions, reveals the pedagogical potential of music-theoretical disciplines, explores the methodological aspects of optimizing the process of music-theoretical training on the basis of an integrated approach. research analysis revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted opportunities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its focus on music -creative activity, which consists of various types (instrumental-performing, conductor-choral, improvisational-creative, research, lecture-educational, compositional and others) and affects the comprehensive disclosure and practical implementation of the creative potential of students of higher art educational institutions. The current stage of development of national education is characterized by the actualization of the role of art disciplines during the professional development of the personality of the future teacher of music art. Music-theoretical training is the basis of the process of formation of professional competencies of future music teachers. The problem of raising the level of professionalism of future music teachers largely depends on music-theoretical training aimed at various types of music-creative activities that are important for the training of students of higher art schools. Thus, the analysis of research revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted possibilities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its direction on musical and creative activity, which consists of different types (instrumental-performing, conducting-choral, improvisational-creative, research, lecture-educational, compositional and others) and influences the comprehensive disclosure and practical implementation of the creative potential of students of higher art education institutions.
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Kucher, Liudmyla. "“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 108–24. http://dx.doi.org/10.34064/khnum2-23.07.
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Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.
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Noack, Amélie. "Working with psychotic anxieties in the group." Group Analysis 53, no. 3 (May 18, 2020): 309–26. http://dx.doi.org/10.1177/0533316420922644.
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The training of group analysts teaches the conductor mainly how to work with neurotic symptoms and anxieties. This article attempts to widen this frame by considering how to work with psychotic anxieties stemming from experiences in early infancy when the environment failed the patient in providing secure holding and a facilitating environment for growth. Using insights by Jung based on his association experiments and his complex theory, as well as Winnicott’s view of psychotic illness as a defence and his understanding of working with primitive agonies, this article describes how to work with psychotic anxieties in the group.
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Widiantari, Maria Magdalena, and Fikri Hasan. "PELATIHAN KETERAMPILAN MC DAN DIRIGEN IBU-IBU PKK DESA KINCANG KECAMATAN JIWAN KABUPATEN MADIUN." JURNAL DAYA-MAS 6, no. 1 (April 24, 2021): 6–9. http://dx.doi.org/10.33319/dymas.v6i1.51.
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Public communication skills are an unavoidable demand in an organization. Being an MC or being a speaker is a skill that must be possessed, and for that it needs to be learned. The MC and Dirigen Training for PKK’s member of Kincang will be divided into several sections, namely general communication skills, public speaking, overcoming nervousness, and practice being MC and conductor. The purpose of this training is that PKK’s members have good skills in public speaking so that they can carry out PKK's internal events well and smoothly. In addition to being useful in terms of hosting events as MCs, this public speaking skill is also useful so that PKK members are accustomed to speaking in public, including delivering socialization materials in other task. By having good communication skills, PKK’s member can play a role in bringing official events in the village government so that they no longer need to hire or pay for a professional MC.
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Ryabinko, S. M. "Theoretical and methodological foundations of work with student chorus group in the context of modernization of art education." Musical art in the educological discourse, no. 2 (2017): 145–49. http://dx.doi.org/10.28925/2518-766x.20172.14549.
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The article investigates the actual problems of modern pedagogical science — students training in arrangement of students’ vocal and choral work at school. It examines basic theoretical and methodological approaches to the solution of contemporary problems of vocal and choral works and future music teacher training in the context of modern requirements for higher art education. It determines the complex of functions, methods and means of students training in arrangement of students’ vocal and choral work. The main approaches to organization of vocal and choral musical activity that are considered by us are the following: humanistic, aesthetic, culture studying, communicative, reflexive, creative, and projectoriented. Implementation of communicative and creative approaches to music teacher training encourage him to implement wide creative types of work and collective art in the process of education, which contributes to development of spiritual needs in performance and other types of musical and performance activity. Theoretical and methodical instruments mentioned above has become the basis of creative activities of the student choir “Gaudeamus” of the Institute of Art of Kyiv Borys Grinchenko University (conductor — Svitlana Ryabinko, accompanist — Oksana Bichkova). Pedagogical conditions for future music teachers training are developed for effective management of students’ vocal and choral activity, as follows: orientation of methods and forms of organization of informative and practical activity of students to understanding the specifics of vocal and choral work with students, motivation for personal creative self-realization in vocal and choral activity, integration of received knowledge, skills and abilities from different areas of art to pedagogical choral and vocal work at school.
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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.
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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.
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Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.
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Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.
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Kucher, L. I. "Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
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Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.