Relevant bibliographies by topics / Conservatories of music

Academic literature on the topic 'Conservatories of music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Conservatories of music"

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Dickson, Joan, Michal Hambourg, Priaulx Rainier, Joyce Rathbone, and Hugh Wood. "The Conservatories and Excellence." Musical Times 127, no. 1718 (May 1986): 254. http://dx.doi.org/10.2307/965451.

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de Reizabal, Margarita Lorenzo, and Manuel Benito Gómez. "When theory and practice meet: Avenues for entrepreneurship education in music conservatories." International Journal of Music Education 38, no. 3 (May 3, 2020): 352–69. http://dx.doi.org/10.1177/0255761420919560.

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In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.
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Craenen, Paul. "Artistiek onderzoek als een integrerende kracht: Een kritische blik op de rol van het masteronderzoek aan de Nederlandse conservatoria." Forum+ 27, no. 1 (March 1, 2020): 45–55. http://dx.doi.org/10.5117/forum2020.1.crae.

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Abstract In de nasleep van het Bolognaproces hebben de meeste conservatoria in Europa aanzienlijke inspanningen geleverd om onderzoek te integreren in opleidingen op masterniveau. In formele zin lijkt die integratie vandaag de dag een feit, ook al is in de concrete uitwerking het proces nog lang niet voltooid en zijn alle consequenties ervan nog niet uitgekristalliseerd. Toch verwacht ik dat de aandacht in de komende jaren geleidelijk zal verschuiven van de integratie van onderzoek als dusdanig naar de mogelijkheden om artistiek onderzoek aan te wenden als een kracht die binnen het curriculum zelf integrerend werkt. Om die verschuiving beter te begrijpen, moeten we onze focus richten op de veranderende perceptie van de rol en de mogelijkheden van artistiek onderzoek in kunstopleidingen. In dit artikel sta ik stil bij benaderingen van onderzoek aan Nederlandse conservatoria, waarbij ik me in het bijzonder laat inspireren door actuele curriculumhervormingen aan het Koninklijk Conservatorium Den Haag, waar ik als lector (onderzoeksprofessor) ben aangesteld. In the aftermath of the Bologna process, most conservatories in Europe spent considerable effort on the integration of research in their curricula. In this article , Paul Craenen reflects upon what has been achieved in recent years, but most of all speculate about what is yet to come. His focus will be on current approaches to research at Dutch music conservatories and is in particular inspired by recent curriculum reforms at the Royal Conservatoire The Hague, where Craenen holds a position as a research professor. However, he hopes that these reflections will have relevance for other countries as well, despite differences in educational cultures and research policies.
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Lowens, Irving, and Louis Lombard. "Louis Lombard's "Our Conservatories" (1892)." American Music 3, no. 3 (1985): 347. http://dx.doi.org/10.2307/3051476.

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López-Peláez-Casellas, Maria Paz, and Cecilio García-Herrera. "An artistic research proposal from an A/R/TOGRAPHY perspective: a study of Strauss’s oboe concerto." Revista Música Hodie 19 (July 9, 2019): 1–12. http://dx.doi.org/10.5216/mh.v19.54873.

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This article is a contribution to the debate which has been taking place for some years now around the use of artistic research methodologies in conservatories. To be precise, it supports a methodology centred on artistic activity, which is not conditioned by the dictates of science and the need to obtain results. Within this current of thought, we have developed a new methodology of artistic research, a/r/tography, which is adapted from Fine Arts, and is aimed at teachers in music conservatories and makes it possible to simultaneously research, perform and teach a piece of music.
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Giffi, Veronica, Stefania Fantinelli, and Teresa Galanti. "Adapting to Change: Investigating the Influence of Distance Learning on Performance in Italian Conservatories." Social Sciences 12, no. 12 (November 30, 2023): 664. http://dx.doi.org/10.3390/socsci12120664.

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During the COVID-19 pandemic, the sudden switch from face-to-face learning to distance learning generated many critical issues in music institutes. Specifically, conservatories found themselves using a didactic methodology that had never been considered before to ensure the continuation of students’ education. In particular, the adoption of distance learning has had a greater impact on those classes characterized by a significant practical–experiential component. This study aims to investigate the phenomenon of distance learning in Italian conservatories to explore how this experience affects students’ performance through their satisfaction with distance learning. A cross-sectional study was conducted on 328 students of 41 Italian conservatories, using an online self-report questionnaire to investigate conservatory students’ experience of distance learning and its impact on performance. To test the hypotheses, a mediation model was tested using SPSS version 26. The results show that the positive experience of distance learning has a positive impact on perceived performance and that satisfaction with distance learning, as a mediator role, further reinforces this relationship. This study is the first known one to explore the relationship between the experience of distance learning and student performance in the context of conservatories and music teaching.
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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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ÖZKIZILTAŞ, Cemal. "EDUCATION OF THE RHYTHM INSTRUMENTS IN TURKISH MUSIC CONSERVATORIES." INTERNATIONAL REFEREED JOURNAL OF MUSIC RESEARCHES 01, no. 2 (December 31, 2014): 18. http://dx.doi.org/10.17370/uhmad.201428949.

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Chesky, Kris. "Schools of music and conservatories and hearing loss prevention." International Journal of Audiology 50, sup1 (February 2, 2011): S32—S37. http://dx.doi.org/10.3109/14992027.2010.540583.

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Maslova, Anastasia I. "Counterpoint Battles in the 18th Century Naples: an Attempt of Historical Reconstruction." Contemporary Musicology, no. 2 (2021): 3–38. http://dx.doi.org/10.56620/2587-9731-2021-2-003-038.

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The article examines an underscrutinised polyphonic tradition formed in the 18th century Naples. This period is often associated with the heyday of Naples opera. Its development was driven by the opening of four conservatories, which produced highly qualified composers and singers. The 18th century opera of Italian composers stands high on the research agenda in the history of music, however, the unique counterpoint tradition formed within the Neapolitan conservatories is still in oblivion. The mid-18th century witnessed the emergence of two irreconcilable parties: the Leists (followers of Leonardo Leo) and the Durantists (followers of Francesco Durante). References to the century-long struggle of two educational schools are found in a range of Italian and European sources. However, they either say nothing about the origins of the conflict or report controversial information. The study of the origins of the conflict that evolved from simple competi- tion to theoretical controversy shows that the main reason for the discord between the Leists and the Durantists was counterpoint—the discipline that completed the course of studying composition in the Neapolitan conservatories. Two different approaches to teaching not only testify to the birth of a unique polyphonic tradition in southern Italy, but also become an expression of a stylistic change in the mid-18th century European music.
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Dissertations / Theses on the topic "Conservatories of music"

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Chen, Tsun-kit Andrew James. "School of music at Mui Wo." Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B31985671.

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Thesis (M.Arch.)--University of Hong Kong, 2001.
Includes special report study entitled : Acoustics and its relation with architecture. Includes bibliographical references. Also available in print.
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Lauer, Helena Raymond. "The role of the first five Elder professors in the development of music in the Elder Conservatorium, 1885-1985 /." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09arml372.pdf.

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Chen, Tsun-kit Andrew James, and 陳俊傑. "School of music at Mui Wo." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985671.

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Spicer, Junghee Kim. "A study of keyboard proficiency requirements for non-keyboard music majors in universities and conservatories /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11341.

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Babin, Ann. "Music conservatories in Canada and the piano examination system for the preparatory student: A historical survey and comparative analysis." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26845.

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For many 21st century Canadian music educators, students, and parents, the words conservatory and examination are inextricably linked. Generations of music students have participated in this examination process, the methods and results of which prompt ongoing debate. The lack of a comprehensive, comparative study of Canadian piano examination curriculum requirements is the problem this thesis undertakes to address. This is accomplished, first, by discussing the historical development of conservatories and their examination systems in Canada generally, and second, by analyzing nine different piano examination boards currently operating in various regions of the country. Syllabi, an important but often overlooked resource, have served as primary sources for details of past and present examination standards and practices. Details presented on charts and tables provide the basis for commentary on topics such as distribution of marks, repertoire, memory, ear, and sight-reading requirements, with emphasis on technique, a significant variable noted in each system.
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Choate, E. Terry. "Order through analogy: a music school." Thesis, Virginia Polytechnic Institute and State University, 1987. http://hdl.handle.net/10919/53119.

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This project represents a continuous search for an understanding of order and totality in architecture. Through consideration of the ideas inherent in music and in mathematics, I realized order in architecture is not only enriching to the project but critically necessary. The task then became to translate these ideas from the realms of music and mathematics to the realm of architecture. The design of this music school is a manifestation of these ideas and has been a generator for further study.
Master of Architecture
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Perkins, Rosie Louise. "The construction of 'learning cultures' : an ethnographically-informed case study of a UK conservatoire." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/265535.

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This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people learn, but as the practices through which people learn. As such, the study aims to understand the characteristic practices of the conservatoire and its members, the ways that learners participate in, construct and learn from such practices and, thus, the constructed nature of the conservatoire's learning cultures. Methodologically, the study is grounded in constructionism and draws on the thinking of Pierre Bourdieu. In particular, Bourdieu's notions of habitus, capital and field are used as 'thinking tools' through which to access and understand 'learning cultures'. The research comprised an ethnographically-informed qualitative case study of one UK conservatoire. In the quest for in-depth understandings, a family of four methods was employed: semistructured interviews, participant observation, document analysis and participant selfdocumentation. Data were analysed using a framework that moved between inductive data-driven thematic analysis and Bourdieu-informed interpretation, with emphasis given to the socially constructed nature of 'learning cultures'. The key findings of the study are divided into three interrelated parts: the organisational, curricula and spatial practices of the conservatoire, the practices of the conservatoire's students, teachers and staff and the ways in which different learners participate in, construct and learn from these practices. Drawing these parts together, the study concludes that (1) the nature of the conservatoire's learning cultures is manifested across four intertwined features: cultures privileging the development of specialised performers, cultures of social networking, cultures of musical hierarchies and cultures of vocational position taking and (2) the conservatoire's learning cultures are constructed in different ways for differently positioned learners, appearing to privilege those 'superstar' students who visibly demonstrate high levels of symbolic cultural and social capital. In a climate where the call to 'change the cultures' of conservatoires is oft heard, the learning cultures of this particular conservatoire reveal practices that do not always appear to reflect a rapidly changing musical field. Implications of the study are discussed, and recommendations made for the introduction of creative, reflective and leadership spaces for learning in the conservatoires of the future.
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Zhukov, Katie School of Music &amp Music Education UNSW. "Teaching styles and student behaviour in instrumental music lessons in Australian conservatoriums." Awarded by:University of New South Wales. School of Music and Music Education, 2004. http://handle.unsw.edu.au/1959.4/20698.

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This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.
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Malitowski, Cynthia Marie, and University of Lethbridge Faculty of Education. "The journey from instrumentalist to musician : reflections on the implementation of the conservatory method in musical performance." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 2001, 2001. http://hdl.handle.net/10133/134.

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The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, it what defined her a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodolgies, the author identified four common themes for comparison: rhythm, pitch, recognition, patterning of sounds, and literacy. Through the discourse the author bridges the gap between the instrumentalist and the musician by comparing the methodology of these music educators and that of the conservatory through her own experiences.
viii, 108 leaves ; 28 cm.
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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.

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Books on the topic "Conservatories of music"

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Wiseman, Kenneth. From park to palace: A history of the Newcastle Conservatorium of Music, 1952-1986. Australia: K. Wiseman, 1988.

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Lenzi, Paola. Quarant'anni del Conservatorio di Musica "Giacomo Puccini" della Spezia (1979-2019). La Spezia]: Edizioni Giacché, 2019.

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Vanpé, Roger. Het Conservatorium van Oostende: 150 jaar openbaar onderwijs in muziek en woord (1849-1999). Oostende: Stadsbestuur, 1999.

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Tarquini, Tarcisio. Conservatorio: Ieri, oggi, domani. Roma: Ediesse, 2012.

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Hörmann, Stefan. Zum Magisterstudium der Musikpädagogik und seinen beruflichen Perspektiven. Fernwald: Musikverlag Burkhard Muth, 2000.

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Kraus, Egon. Studying music in the Federal Republic of Germany: Music, music education, musicology : study guide. Mainz: Schott, 1991.

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Lartigot, Jean-Claude. Ecoles de musique: Un changement bien tempéré : jeux et enjeux de l'enseignement musical spécialisé. Aix-en-Provence: Edisud, 1991.

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Wagner, Richard. Bericht an seine Majestät den König Ludwig II. von Bayern über eine in München zu errichtende deutsche Musikschule. Tutzing: H. Schneider, 1998.

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1962-, Scagliola Daria, and Brakkee Stijn 1962-, eds. Conservatorium van Amsterdam: Architecture for the ear. Amsterdam: Architectura & Natura Press, 2008.

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Marina, Vaccarini Gallarani, Previdi Elena, Carlomagno Paola 1969-, and Conservatorio di musica Giuseppe Verdi (Milan, Italy), eds. Il Conservatorio di Milano secolo su secolo: 1808-2008. Milano: Skira, 2008.

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Book chapters on the topic "Conservatories of music"

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Ronsse, Lauren M., Martin Lawless, Shane J. Kanter, and David T. Carreon Bradley. "Music Conservatories, Music Rehearsal Spaces, & Community Centers." In Rooms for the Learned Musician, 247–300. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72054-4_9.

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Gibson, Sarah-Jane. "11. Experience, Understanding and Intercultural Competence." In Teaching Music Performance in Higher Education, 271–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.14.

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Ethno is JM International’s program for folk, world and traditional music. Founded in 1990, it is aimed at young musicians (up to age 30) with a mission to revive and keep alive global cultural heritage. Originating in Sweden, but now present in over 40 countries, Ethno engages young people through a series of annual international music gatherings as well as workshops, concerts and tours, working together with schools, conservatories and other groups of youth to promote peace, tolerance and understanding (https://ethno.world/about/). In this chapter, I consider the research questions to what extent should an intercultural music programme also focus on developing intercultural understanding and competency? Is it enough for participants to have an intercultural musical experience without allowing time for critical reflection to develop intercultural competencies? Further to this I consider how the nonformal approach of Ethno may support intercultural understanding and how this contrasts with intercultural programmes in formal HEI institutions. Research findings are drawn from a four-year international research project exploring the hypothesis that Ethno provides transformational socio-cultural and musical significances for participants (www.ethnoresearch.org ). Findings are based on ethnographic fieldwork at Ethno events and interviews with over 250 participants, organisers and ‘artistic mentors’ (on-site musical leaders). The research was conducted by The International Centre for Community music (ICCM) in collaboration with JM International. I also draw upon my HEI teaching with a particular focus on ‘Ethno inspired’ workshops we ran as a means of contrasting the experience of intercultural learning in a formal institution to demonstrate how this research has broadened sociological and musical understandings of other cultures for my university students. Research findings suggest that those attending Ethno gatherings are ready to have intercultural dialogues, they are curious and open toward people that are different. Our research also highlights the importance participants place on being with ‘like-minded people’. The chapter ultimately considers whether there is value in facilitated time for critical reflection during intercultural music gatherings in order to develop intercultural competencies.
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Golding, Rosemary. "F.W.H. [F.W. Horncastle], ‘Plan for the Formation of an English Conservatorio’." In Music in Nineteenth-Century Britain, 270–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-30.

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Schippers, Huib. "Communities, Curricula, and Conservatories." In Facing the Music, 89–118. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780195379754.003.0005.

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"The Neapolitan Conservatories." In Instrumental Music in Late Eighteenth-Century Naples, 27–58. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108770064.002.

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Gjerdingen, Robert O. "Introduction." In Child Composers in the Old Conservatories, 9–16. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0001.

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The chapter provides an overview of the conservatories, their curriculum, and the ways in which the different types of music lessons interacted to reinforce the development of an ability to improvise and compose music. The first conservatories were established as orphanages in Naples, Italy. As they developed, their graduates began to dominate musical life in Europe. All music conservatories today have their roots in the first Italian conservatories.
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Nagy, Csaba Zoltán. "Renewable Early Music." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/8.

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In the past few decades there have been major changes to historically informed performance practice. Early music departments have appeared in conservatories worldwide, where one can study early music on period instruments according to extant performance sources. Despite historically informed performance practice being well-known and well-acknowledged, no course has been offered thus far by Hungarian conservatories, resulting in the phenomena of young professionals with bachelor and/or master degrees but with only scarce awareness of this practice. This essay provides readers with the basic notions of early music performance, emphasizing the particular mentality shaping its theoretical foundation. Keywords: early music, historical performance, early music department
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Gjerdingen, Robert O. "Learning Old Music in a New Age of Digital Reproduction." In Child Composers in the Old Conservatories, 311–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0022.

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There are over four hundred genres of popular music known in North America, and many more if one includes the favourite musics of recent immigrants. Which of these should be singled out and taught to children? There is no good answer to that question. Classical European music is a good alternative, one that has a rich history and is known, at least a little, all over the world. But instead of teaching children just to reproduce what is written on a page of music, why don’t we teach them to make classical music—to improvise and compose it. The rediscovery of the lessons from the old conservatories shows us how improvisation and composition can be taught to ordinary children, leading to extraordinary results.
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Gjerdingen, Robert O. "A Beaux-Arts Framework for Music." In Child Composers in the Old Conservatories, 289–310. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0021.

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The methods for composing taught at the Paris Conservatory were similar to the three-stage, sketch-draft-refinement model of the School of Fine Arts. The chapter describes how four masters translated this model into music lessons. François Bazin shows how to sketch and elaborate the harmonization of a given melody. Édouard Deldevez takes an unfigured partimento bass by Fenaroli and makes an elaborate analysis of it to determine how it should be realized. André Gedalge demonstrates how to first sketch and then refine an episode of a fugue. Lastly, Maurice Ravel creates a stage-by-stage analysis of a difficult passage from his own Noble and Sentimental Walzes.
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Gjerdingen, Robert O. "Little Boys on Their Own." In Child Composers in the Old Conservatories, 19–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0002.

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The chapter traces the musical educations of Domenico Cimarosa, a contemporary of Mozart, in the 1760s and of Henri Busser, a contemporary of Claude Debussy, in the 1880s. Though born into quite different worlds, their experiences as fatherless boys taken in by conservatories were very similar. For both of them, instruction was largely nonverbal. They did not learn from reading about music. They learned by constantly imitating and creating music. That is, in modern terms, they learned predominantly “by ear,” although they also learned to read and write music.
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Conference papers on the topic "Conservatories of music"

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Li, Chen. "Development of Music Education Specialties in Conservatories of Music in China." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.266.

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Vernia-Carrasco, Ana Mercedes. "Competency-based learning: Music education, the great forgotten." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7473.

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Adapting to the European framework in education, without thinking about the approaches of UNESCO, assumed that there was no type of exclusion, neither by subjects nor by profiles, however, we find a clear void regarding the competencies that a professional of music must acquire, in their training and for their employability. Not only in the strictest areas such as the Conservatories, but also in elementary schools and at the University. Our work required the help of professionals from music schools, because current laws do not refer to work in the area of competences, except in some decrees where professional competences are mentioned, or in other cases, where reference is simply made to integrate the basic skills of primary schools. The results were a proposal of basic Competences in music, which could include both conservatories and music schools, regardless of the instrumental specialty, which is a first step to establish a criterion that unifies the criteria for this group of teachers.
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Dzhumanova, Lola. "The melodic dictation in the traditions of Russian music education." In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2576.

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In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Grecu, Vasile. "Th e value dimension of schooling through the pianoforte musical instrument in interwar Basarabia." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.23.

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At the beginning of the 19th century, new educational institutions with a musicalartistic profi le were opened, which signifi cantly increased the interest for studying the piano. At the same time, the musical life in Bessarabia is intensifying due to the artistic activity of some professional musicians with studies at conservatories in Russia and Western Europe, creating standards of music education and interpretive mastery, with a signifi cant impact on the professional training of pianists. Th e artistic activity for musical thinking involves performance communication, and the practical study of a musical instrument in its high creative manifestation is intellectually developmental and forms creative artistic consciousness in the student. Th e orientation towards the professional development of musical thinking in pianist students and their intellectual activation requires musical education in a specifi c way of teaching, such as, the penetration into the content of music through analytical interpretation, the provision of rational, priority instruction, in relation to the intuitive one.
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Sheludyakova, Oksana Evgenyevna. "Problems of Modern Spiritual Musical Education Based on the Example of Specialized Departments of Conservatories, Music Colleges and Seminaries." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.144.

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