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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Rice, Timothy, and Dave Wilson. "Creating a Global Music History." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 1–6. http://dx.doi.org/10.30819/aemr.10-1.
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The authors use the mission statement of the ICTM Study Group on Global Music History to present issues they faced in writing a global music history intended for use in schools of music (conservatories) in the United States. They argue that all global music histories will of necessity be written from some position on the globe, not from “outer space”; explain how they constructed a chronology going back thousands of years from sound recordings all made in the twentieth century; and outline their pedagogical goal of introducing music students to the full range of human music making today.
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Rodríguez, Oswaldo. "Music education and social development." Innovare: Revista de ciencia y tecnología 8, no. 2 (December 31, 2019): 124–27. http://dx.doi.org/10.5377/innovare.v8i2.9089.
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Art education practices could strategically target those political, social and cultural disparities that negatively affects children and youth. Targeted practices are becoming more concurrent, and such is the case with music education. Historically, music education has directed its efforts mainly to the development of the so-called vocation or talent to play an instrument or to sing. It has been mostly focused to disciplinary training. Consequently, institutionality has governed the music teaching-learning processes since medieval times, prolonging the classical idea of trívium (grammar, dialect, rhetoric) and quadrivium (arithmetic, geometry, astronomy, music) with political mediation of the so-called conservatories or music schools.
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Xenofontov, Ion. "Chișinău: City of the THree Conservatories." Dialogica. Revistă de studii culturale și literatură, no. 3 (November 2023): 75–81. http://dx.doi.org/10.59295/dia.2023.3.10.
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The study deals with the subject of the establishment and activity of the three musical institutions (Conservatory) in the interwar period in Chișinău. The idea of opening a musical institution belonged to the Romanian composer and conductor George Enescu, after his first visit to Chișinău. The capital of Bessarabia was assessed by the inspectors in Bucharest as having a high musical potential. The teaching staff of these musical education institutions was made up of representatives of national minorities, which meant a special approach to their knowledge of the Romanian language. The conservatories faced material difficulties, logistical difficulties and difficulties in gaining recognition from the institutional state, which is why they did not have a large-scale effervescence. The institutions of musical education were a platform for the launch into the artistic world of established personalities. It was created departments of singing, piano, violin, cello, fanfare theory, dramatic art, orchestral classes, ensembles, choir, accompanist and chamber, opera. Symphonic and opera concerts from the repertoire of classical composers were presented in the institutions, but Romanian compositions had priority. The educational and cultural institutions responded to the identity imperative of the time, launching established names of Romanian music.
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Koldau, Linda Maria. "Musik und Politik Über die gesellschaftliche Relevanz von Musik und Musikwissenschaft." Zeitschrift für Religions- und Geistesgeschichte 59, no. 4 (2007): 331–50. http://dx.doi.org/10.1163/157007307781787589.
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AbstractThough often stylized as the most transcendent of the arts, music is inseparably linked to politics and society. The essay offers several examples of how even the technical and aesthetic aspects of music have been determined by political factors through the ages. In conclusion, the author turns to the political role of musicology and the current tendency in Germany to transfer academic institutes of musicology to conservatories.
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Chang, Chialun. "The Design and Implementation of the Curriculum for the Collegiate Group Piano Course at the Comprehensive Universities in China." Journal of Higher Education Research 3, no. 4 (August 5, 2022): 356. http://dx.doi.org/10.32629/jher.v3i4.956.
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The music education in China is unevenly distributed. Well known music conservatories in cosmopolitan cities offers high quality training both in theory and performance. On the other hand, general comprehensive universities, especially in the rural areas have limited resources and qualified teachers, and often require students a minimum of music training prior to college admission. Piano is the most versatile instrument to train music fundamentals, consequently, piano become mandatory course for a music degree in a comprehensive university. Many music departments offer group piano course to accommodate as many students. This essay will evaluate the course design of the collegiate group piano in China, and offer suggestions for implementation.
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Sternberg, Robert J., Linda Jarvin, and Ophélie Allyssa Desmet. "Lessons from the Conservatory Model as a Basis for Undergraduate Education and the Development of Intelligence." Journal of Intelligence 10, no. 2 (June 15, 2022): 34. http://dx.doi.org/10.3390/jintelligence10020034.
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We review the musical conservatory as a model for educators to learn how to enhance admissions, instruction, and assessment in liberal arts collegiate settings. Although conservatories serve primarily students wishing to enter musical careers of various kinds, the model on which they are based can, in many ways, serve any student and any school. We review some of the history of conservatories and describe how they work. Next, we explore how they develop a wide range of technical, cognitive, affective, and conative skills. Finally, we show how the skills they develop are important not just for music students but also for all students who will enter the world of work and face difficult and unexpected adaptive challenges.
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Etxeberria Montoya, Arantza. "Biblioteca de la Ciudad de la Música." Las bibliotecas de Navarra: acceso a la información y el conocimiento / Nafarroako liburutegiak: informazioa eta ezagutza eskuratzeko bidea, no. 275 (May 29, 2020): 1289–306. http://dx.doi.org/10.35462/pv.275.13.
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RESUMEN Se trata de dar a conocer la Biblioteca de la Ciudad de la Música. Hacer un recorrido en el tiempo y mostrar cómo pasó de ser una sala en el conservatorio sin posibilidad de búsqueda, acceso, ni consulta, con un simple Excel como punto de partida, a tener un espacio digno con un catálogo informatizado de consulta pública. Cambio y avance propiciado por la gran decisión que se tomó en su día de darle vida y sentido, dotando de personal y recursos a una colección de sus características, especializada en música. Hecho producido gracias al trabajo e insistencia, durante largo tiempo, de muchas personas dentro de ambos conservatorios. Lo que ha derivado que hoy día sea lo que es, una biblioteca especializada en música, la única de Navarra. LABURPENA Helburua, Musikaren Hiriko Liburutegia ezagutaraztea da, denboran zehar ibilbide bat eginez, Excel xume bat besterik ez zuen kontserbatorioko gela bat izatetik, katalogo informatizatua duen kontsulta publikoko gune duina izatera nola pasatu den azalduz. Musikan espezializatutako bilduma honi zentzua eta bizitza eman eta langile zein errekurtsoez hornitzeko hartutako erabakiak, aldaketa eta aurrerapauso hori erraztu zuten. Hau guztia, bi kontserbatorioetako pertsona askok luzaroan egindako lanari esker gauzatu da, egun Nafarroan dagoen musikan espezializatutako liburutegi bakarra sortuz. ABSTRACT The aim of this work is to promote the Library of the City of Music. Look back in time and show how it went from being a room in the conservatory without the possibility of searching, accessing or consulting, with a simple Excel sheet as a starting point, to have a decent space with a computerised catalogue for public consultation. Change and progression came about by the big decision that was taken back in the day to bring to life and give meaning, provide staff and resources, to a collection of these characteristics, specialised in music. This happened thanks to the work and persistence for a long time of many within both conservatories. Which has resulted in what it is today, a library specialised in music, the only one in Navarra.
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McLean, Don, and Dean Jobin-Bevans. "Survey of University-Based Music Programs in Canada." Notes from the Discipline 29, no. 1 (February 3, 2010): 86–104. http://dx.doi.org/10.7202/039112ar.
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Abstract This study provides a compact overview of university-based music programs in Canada based on information gleaned from surveys of institutional members of the Canadian University Music Society (CUMS)—universities, colleges, and conservatories. The surveys took place between 2005 and 2009. The current report focuses on the metrics of enrolment and staffing, and goes on to provide basic data on graduate and undergraduate programs. It is a first step in sharing information that can facilitate informed advocacy in support of music in higher education both within and beyond individual institutions.
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Marisi, Rossella. "MUSIC AS AN AGENT OF SOCIAL CHANGE: AN INSPIRING WORK BY LUIGI NONO." Review of Artistic Education 27 (April 1, 2024): 7–14. http://dx.doi.org/10.35218/rae-2024-0002.
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While in the 19th century conservatories were seen as ivory towers, distant from social and economic matters, today the theory termed Socially Engaged Music (SEM), analogous to the already established theory of Socially Engaged Art (SEA), proposes to modernize the mission of these institutions to serve the aspirations and needs of the society in which they operate. This article outlines the key aspects of SEA and SEM and identifies Luigi Nono’s work La fabbrica illuminata as an enlightening example of music focused on social issues.
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Schneider, Erin, and Kris Chesky. "Social Support and Performance Anxiety of College Music Students." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 157–63. http://dx.doi.org/10.21091/mppa.2011.3025.
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This study characterized perceived social support and performance anxiety of college music students, compared characteristics to those of non-music majors, and explored the relationships between social support and performance anxiety. Subjects (n = 609) completed a questionnaire that included demographics, the Multidimensional Scale of Perceived Social Support (MSPSS), and visual analog scale measures of performance anxiety. Results showed that music majors perceived significantly lower levels of social support from significant others when compared to non-music majors. Perceived social support was significantly correlated with measures of performance anxiety. Students with greater perceived social support reported less frequent anxiety and lower levels of impact of anxiety on ability to perform. These findings may have practical implications for schools of music and conservatories.
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Peng, Rui. "China’s conservatories are the highest national level piano education: historiography of the issue." Aspects of Historical Musicology 29, no. 29 (December 29, 2022): 217–36. http://dx.doi.org/10.34064/khnum2-29.12.
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Background. The spread of piano music in China at the beginning of the century, the formation of the foundations of piano teaching methods, the creative international exchange of experience with representatives of performing schools of different countries – these are the stages at which Chinese pianism was formed. The article examines the process of formation of Chinese professional piano pedagogy on the example of the activities of the most significant higher educational institutions and the network of music schools in China. The performing, pedagogical, methodical and organizational activities of representatives of the Chinese piano school are analyzed. The peculiarities of various piano schools in the personalities of leading Chinese pianists are specified in terms of their education, concert-tour activities and participation in international competitions, performance manner and repertoire selection, pedagogical activities, and their contribution to the modern world piano school is determined. Objectives. The purpose of the article is a scientific generalization of the historical experience of the formation and dynamics of the development of the highest degree of the Chinese piano school – conservatory, which led to an unprecedented rise of piano art in the country. Methods. The main methods used in the article were: analytical, theoretical, historical, historical-typological comparative analysis. Results. The historical dynamics of Chinese piano art is related to the professionalization of performance and composer creativity. This process is provided by the largest higher music educational institutions in China – Sichuan, Harbin, Shenyang, and Xinhai Conservatories. Many Chinese pianists, who returned to China after studying abroad and gained performance experience, joined the teaching staff of higher music educational institutions in China. Some of the musicians, returning from abroad, started new musical educational institutions. Such enthusiasts opened the Shanghai, Tianjin, and Beijing conservatories, as well as music departments at several universities. The most significant contribution to the development of piano art in China belongs to the Beijing Piano School, represented by the Beijing Central Conservatory of Music (CCMP). Many pianists, having left China, continued their activities on concert stages and in educational institutions of other countries – the USA, Canada, England, France, Italy. Each of them, with their concert performance and pedagogical successes, confirmed the high professionalism and high-quality level of musical education obtained in international educational institutions, the talent, experience and pedagogical talent of their mentors. Conclusions. Thus, the rapid rate of growth of the level of piano performance in China was ensured by activities aimed at the country’s exit from a thousandyear isolation, and a strict consistent orientation towards the achievement of world piano culture. A decisive factor in the achievements of Chinese piano performance in the 21st century is the focus on high results in mastering mastery.
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Sánchez-Bonilla, Angélica María. "Methodological proposal for piano learning through Ecuadorian music in the conservatories of music of Ecuador, 2022." International journal of health sciences 6, no. 3 (November 9, 2022): 1623–36. http://dx.doi.org/10.53730/ijhs.v6n3.13615.
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The research aims to develop a pedagogical proposal that incorporates strategies for learning of traditional Ecuadorian music by learning the piano. This study is of a non-experimental design of the proactive, quantitative and cross-sectional descriptive type, with a sample of twenty students from the educational institution, two questionnaires prepared and validated by expert judgment have been used, applied through the survey technique. The results obtained indicate that 75% of the students have a high command of the piano, and 55% of the students have an average knowledge of the musical themes corresponding to Ecuadorian music. A proposal was achieved that was developed from the adaptation of ten Ecuadorian works that include Ecuadorian musical rhythms such as the corridor, passacaglia and San Juanito. The proposal displays methodological strategies that mark different moments of the learning process: Introduction, Development, Conclusion, Evaluation and Reinforcement. Each one presents specific activities to develop while learning the piano through Ecuadorian music.
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Castanon-Rodríguez, Rosario. "Teaching with LEEMUSICA/READMUSIC in Higher Education: Perception and Improve in Music Education." Proceedings 2, no. 21 (December 12, 2018): 1353. http://dx.doi.org/10.3390/proceedings2211353.
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The present work tries to reflect the student perception about their music education through the application of two tests in the classroom with university students at 3rd and 4th year of the Grade of Teacher at the Faculty of Education in the University of Valladolid. They have been realized at the beginning of the year the first one and at the end of the first semester of the academic year 2017/18. The first one concerns their previous formation in music (school and High school as well as formal/unformal music education—conservatories and schools of music - included their perception about the acquisition of basic music skins. The second test ask them specifically about their perception of improve of those skills (music language, tuning, playing instruments, aural education, didactic of music and use of ICT) after their formation in Higher Education with Leemúsica/Readmusic methodology.
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Gushee, Marion S., and Nancy Uscher. "The Schirmer Guide to Schools of Music and Conservatories throughout the World." Notes 46, no. 1 (September 1989): 85. http://dx.doi.org/10.2307/940762.
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Jenkins, Chris. "Assimilation and Integration in Classical Music Education." Action, Criticism, and Theory for Music Education 21, no. 2 (September 2022): 156–81. http://dx.doi.org/10.22176/act21.2.156.
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Conservatories and orchestras based in the US have attempted to become more diverse by increasing their recruitment of students of color. This approach, however, fails to acknowledge that the aesthetic environments of these institutions, having been designed by and for a White majority, require these students to assimilate into environments that may be aesthetically foreign. This article argues that culturally situated aesthetic differences are key to understanding the lack of diversity within classical music. Because the aesthetics of western classical music do not broadly appeal to communities of color, the demographic diversification of classical music would be greatly aided by a corresponding diversification of performance aesthetics. I provide a contrast between African American and European musical aesthetics to specify racially delimited aspects of classical music performance and to suggest possible solutions.
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RUBINOFF, KAILAN R. "Cracking the Dutch Early Music Movement: the Repercussions of the 1969 Notenkrakersactie." Twentieth-Century Music 6, no. 1 (March 2009): 3–22. http://dx.doi.org/10.1017/s1478572210000034.
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AbstractThe Notenkrakersactie of 17 November 1969 was a landmark event for Dutch musical life: a group of composers disrupted a concert of the Concertgebouw Orchestra, protesting against the orchestra's lack of contemporary music programming. Scholars have tended to interpret this protest as a watershed for the avant-garde, but historical performance – not just contemporary music – proved to be a significant beneficiary. Early Musicians, like New Musicians, had common political goals and appealed to the youth counterculture. Ensuing reforms to the federal arts subsidy system, state-funded music schools, and conservatories in the 1970s were also advantageous for the Dutch Early Music movement. During the welfare retrenchment of the 1980s and the subsidy restructuring of the 1990s, Early Music ensembles economized and had greater success with mainstream recording companies and audiences than new music groups. Nearly forty years after the Notenkrakersactie, traditional symphony orchestras have less influence on Dutch musical life, but recent cutbacks to arts subsidies threaten contemporary music and historical performance alike.
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Campayo-Muñoz, Emilia, Alberto Cabedo-Mas, and David Hargreaves. "Intrapersonal skills and music performance in elementary piano students in Spanish conservatories: Three case studies." International Journal of Music Education 38, no. 1 (October 17, 2019): 93–112. http://dx.doi.org/10.1177/0255761419873782.
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This study is based on the premise that emotional skills—comprised of an intrapersonal dimension and an interpersonal dimension—help to achieve personal balance, which in turn can enhance performance. Following from this premise, the improvement of music students’ emotional skills might have a positive effect on their musical performance. The recognized relationship between music and emotion therefore suggests that music education is a suitable context for developing emotional skills. The article examines the relationship between intrapersonal skills and the musical performance of elementary students studying the piano in a Spanish conservatory. The research was developed as an action research process and involved the study of three 10-year-old students. A set of activities were designed specifically for students attending the third course of piano studies; these activities were intended to develop students’ intrapersonal skills throughout the school year and were implemented in the subjects of piano and ensemble playing in parallel with the musical tasks. The relationship between intrapersonal skills and musical performance is investigated and discussed for each of the three cases.
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Pressley, Margaret, and Rebecca Henry. "A Personal Journey toward Teaching Success." American String Teacher 44, no. 2 (May 1994): 69–72. http://dx.doi.org/10.1177/000313139404400227.
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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the faculty of the Indiana University Summer String Academy, a member of the advisory board of the Seattle Young Artist Music Festival and the National Music Teachers Association Competition String Repertoire Committee, and string chair for the Washington State Music Teachers Association. She was named ASTA's 1994 Washington State Studio Teacher of the Year.
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Ямамото, Акихиса. "Music Enlightenment of the Proletkult: Ideological Programs and Daily Practices." Музыкальная академия, no. 2(778) (June 30, 2022): 202–17. http://dx.doi.org/10.34690/244.
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Статья посвящена деятельности Пролеткульта, в частности просвещению пролетарских масс как определяющему направлению работы его музыкального отдела. Значение Пролеткульта в истории русской культуры недооценено. С помощью архивных источников автор пытается реконструировать картину музыкальной жизни Пролеткульта. В статье анализируются программа и манифесты идеологов этого движения, а также их реализация в образовательных и исполнительских практиках музыкальных отделов Центрального, Московского и Петроградского пролеткультов. Делается вывод о том, что главным направлением работы было внедрение в педагогический и концертный репертуар классической и народной музыки. Этот вывод противоречит исторически сложившейся репутации Пролеткульта как нигилистического по отношению к прошлому движения. Более того, Пролеткульт стал преемником дореволюционных народных консерваторий: лишь суженный социальный состав учащихся (но не педагогов) и идеологическая программа отличали его просветительскую деятельность от формата и практик народных консерваторий. The article is devoted to the activities of the Proletkult in the field of music, in particular the programs of “music enlightenment” of the masses as the defining activity of the Musical Department (MUZO) of this organization. The importance of the Proletkult in the history of Russian and Soviet music is underestimated. We attempt to reconstruct a picture of its musical life with archival sources. The article analyses the ideological programs, manifestos of ideologues of the Proletkult, and their refraction in the educational and performing practices of MUZOs of the Central, Moscow, and Petrograd Proletkult. We conclude that both emphasized the introduction of classical and folk music into the pedagogical and concert repertoires to educate the broad proletarian masses, which contradicts the generally accepted historical reputation of the Proletkult as a nihilistic movement concerning the past. Moreover, Proletkult became the successor of the pre-revolutionary People's Conservatories: only the narrowed social composition of students (but not the pedagogical staff) and the ideological program distinguished its educational activities from those forms and practices which had been adopted by the People's Conservatories in their activities aimed at enlightening the broad mass.
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Yakoupov, A. N. "SOCIAL AND MUSICAL COMMUNICATION: STAGES OF FORMATION IN RUSSIA." Arts education and science 1, no. 3 (2020): 35–46. http://dx.doi.org/10.36871/hon.202003005.
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The article analyzes the process of social and musical communication formation in Russia from the historical perspective. In practical and theoretical aspects the first attempts to manage social and musical life of the country are considered. Since 30s–40s of the XIXth century, concert societies of a communicative orientation are created in Russia. The first years of the second half of the XIXth century, associated with the development of democratic principles, are marked by a surge in the attention of professional musicians to social and communication processes in music and art in general. The formation of more mature public tastes and the emergence of new trends in the concert life of Russian cities stimulated the renewal of forms of social and musical communication, which required the training of specialists in the field of music education and enlightenment. The opening of conservatories in Saint Petersburg and Moscow created the necessary prerequisites for building a unified system providing not only the formation, but also the subsequent self-regulation of musical communication processes in society. At the beginning of the XXth century Russian National Conservatories played their role in the overall process as one of the effective models of the educational movement and as an example of practical implementation of the tasks of purposeful socio-cultural design in the sphere of functioning of musical art of high spiritual tradition.
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Calderón-Garrido, Diego, Josep Gustems-Carnicer, and Adrien Faure-Carvallo. "Adaptations in Conservatories and Music Schools in Spain during the COVID-19 Pandemic." International Journal of Instruction 14, no. 4 (October 1, 2021): 451–62. http://dx.doi.org/10.29333/iji.2021.14427a.
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Vargas-Serrano, Alejandro, Antonio Luque de la Rosa, Patrizia Sandri, and María Belén Morales-Cevallos. "Music in Spanish schools, high schools and conservatories: educational response strategies against the COVID-19 pandemic." IJERI: International Journal of Educational Research and Innovation, no. 19 (May 12, 2023): 123–34. http://dx.doi.org/10.46661/ijeri.7001.
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The COVID-19 pandemic has meant that practically all Spanish educational centers have had to adapt the teaching they provide. The case of the musical field in general and that of instrumental practice in particular has had to organize an effective educational response with which to ensure the well-being and learning of students. That is why we have carried out a systematic review based on research questions and a main objective related to the strategies that conservatories and general education centers have adopted in the musical field. Initially we selected a series of databases of recognized international and Hispanic prestige in which to carry out searches with the defined key terms. The different phases of study of the documents were limited by the inclusion criteria and the search formulas, giving rise to the final selection once those documents that appeared duplicates in the databases had been eliminated. The results show how the main strategies in the primary stages are related to collaborative and cooperative work, even in the phase of suppression of educational attendance. In addition, in music conservatories, group instrumental practice has had certain peculiarities during the different phases of the pandemic, with the main strategy carried out by teachers being teacher coordination.
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Schippers, Huib. "Teaching world music in the Netherlands: Towards a model for cultural diversity in music education." International Journal of Music Education os-27, no. 1 (May 1996): 16–23. http://dx.doi.org/10.1177/025576149602700103.
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In the Netherlands today almost one million out of the population of fifteen million are of non-Dutch origin. Large concentrations of people from Turkey, Morocco and Surinam in particular, live in and around the cities. In Amsterdam, more than half the children in primary schools are of non-Dutch background. Similar situations exist in most other European countries. European culture has become multicultural by definition, and music education has to find answers to deal with the situation. The system of music education in the Netherlands can basically be divided into three levels: the conservatories of music, where students are trained to become professional musicians; the music schools, for people who want to learn music but have no professional aspirations; and music teaching in schools, where children are introduced to the general principles of music and music-making. Over the last fifteen years, national and local governments have devoted a great deal of money and effort towards integrating ‘minority arts’ into these institutions to very little effect at first. But since 1990 a new wave of activity has led to encouraging results and possible sources of inspiration for efforts on a European scale.
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BURGESS, GEOFFREY. "EDITORIAL." Eighteenth Century Music 12, no. 2 (August 24, 2015): 151–55. http://dx.doi.org/10.1017/s1478570615000342.
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The passing of pioneering figures – musicians Christopher Hogwood, Frans Brüggen, Gustav Leonhardt and Bruce Haynes, as well as harpsichord builder Martin Skowroneck and flute maker and recording engineer Andreas Glatt – all in the short space of the past couple of years might suggest that early music has reached its end, or at least entered a new phase. As we look back over the past forty-five years since the term ‘early music’ was trademarked in England by Early Music Shop founder Richard Wood, we may well ask if the movement's function and goals remain the same. Early music, which initially rode on the tailcoats of counterculture and actively disparaged the mainstream, has reached a high level of professionalism, and more than anything has become institutionalized. It now forms part of music training in conservatories around the world, as early-instrument orchestras proliferate and opera companies are increasingly turning to pre-romantic opera. For some, the professionalization of early music is an indication of its far-reaching impact, but to others the price paid is only too evident.
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Botella Nicolás, Ana María, and Guillem Escorihuela Carbonell. "La Educación Artística del estudiante superior de Música: Diagnóstico mediante un estudio de revisión." revistamultidisciplinar.com 4, no. 1 (2022): 49–70. http://dx.doi.org/10.23882/rmd.22074.
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The understanding of the cultural and social dimension of the work of art is indispensable in a music professional, artistic disciplines coexist and create synergies throughout history. The aim is to determine the current situation of the Spanish centers of higher artistic education in music and the student's contact with the arts that surround him, knowing that in his professional future he will have to coexist and participate in them. The research methodology is based on a systematic review of the curricula of the higher conservatories of music in Spain. In the entire system of higher institutions analyzed, only 44 subjects related to art are offered, of which 63.6% are optional. The study concludes that we are facing a compartmentalization of knowledge, where instrumental practice is the center of the curriculum, leaving aside the spaces of confluence between the arts.
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Grigson, Lionel. "Harmony + Improvisation = Jazz." British Journal of Music Education 2, no. 2 (July 1985): 187–94. http://dx.doi.org/10.1017/s0265051700004800.
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In the past, jazz musicians such as Miles Davis have had negative experiences of ‘straight’ academies and conservatories, and these institutions have been negative towards jazz. This may represent a conflict between creativity and recreativity. But as a teacher of jazz at the Guildhall School of Music the author is finding that this conflict disappears when students from jazz and classical backgrounds learn to improvise by the same approach. This approach works upwards from the harmonic basis of jazz, which in fact is the same as that of classical music. As, at the outset, both jazz and classical students often seem to lack a precise concept of underlying harmonic form, the author concludes that more needs to be done with harmony at an earlier stage in music education, and that jazz may be the best context in which for this to happen.
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Utne-Reitan, Bjørnar. "Music Theory Pedagogy in the Nineteenth Century." Journal of Music Theory 66, no. 1 (April 1, 2022): 63–91. http://dx.doi.org/10.1215/00222909-9534139.
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Abstract What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.
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Lian, Jue. "A Study on Thinking about Career Cognitive Planning Education for College Music Students." European Journal of Education and Pedagogy 4, no. 2 (March 2, 2023): 1–6. http://dx.doi.org/10.24018/ejedu.2023.4.2.584.
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Music major college students are a unique group in both general universities and conservatories. They have strong personalities, rich feelings, and have the youth and vitality of art students. Therefore, it is of great relevance to develop career education based on the main characteristics of music major college students. For music majors, there are relatively various career paths, such as music education, performance, broadcasting, media, and other industries. Therefore, the “employment issue” for most music majors has become one of the more popular topics at present. This paper explores the current career planning as well as career awareness of music college students by using 259 college students enrolled in the Department of Music of Inner Mongolia Normal University in 2017 and 2018 as the main research subjects. The results show that only 6% of music major college students know a lot about employment policies, and still 38% of music major college students know less about employment policies as well as career awareness. The results show that the overall status of career planning development of music majors is at an intermediate level and still needs to be improved. Therefore, it is very meaningful and important for universities to strengthen the career planning education for music majors’ career awareness.
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Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.
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“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.
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Lee, William R. "Book Review: Child Composers in the Old Conservatories: How Orphans Became Elite Musicians." Journal of Historical Research in Music Education 44, no. 1 (September 22, 2022): 124–28. http://dx.doi.org/10.1177/15366006221126857.
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Orejudo, Santos, Francisco Javier Zarza-Alzugaray, Oscar Casanova, César Rodríguez-Ledo, and Beatriz Mazas. "The relation of music performance anxiety (MPA) to optimism, self-efficacy, and sensitivity to reward and punishment: Testing Barlow’s theory of personal vulnerability on a sample of Spanish music students." Psychology of Music 45, no. 4 (November 12, 2016): 570–83. http://dx.doi.org/10.1177/0305735616674791.
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Music performance anxiety (MPA) is a phenomenon often encountered among professionals and students who make public appearances. This article presents the results of a study carried out on a sample of music students in superior music conservatories in Spain ( N = 434). Our goal was to analyze MPA on the basis of Barlow’s (2000) anxiety theory, supplementing it with further personality constructs such as dispositional optimism, general auto-efficacy, and sensitivity to reward and punishment. Our structural equation modeling (SEM) results reveal that several of those constructs exert their effect via the helplessness factor – the central construct in Barlow’s theory – and that they likewise exert a further series of direct effects on MPA. All in all, the variables taken into consideration account for 45.6% of variance in MPA in males and of 52.1% thereof in females. This study thus upholds Barlow’s theory of anxiety, while broadening it with further explanatory mechanisms.
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Wong, Hoi-Yan. "Bartók's influence on Chinese new music in the post-cultural revolution era." Studia Musicologica 48, no. 1-2 (March 1, 2007): 237–43. http://dx.doi.org/10.1556/smus.48.2007.1-2.16.
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Abstract In the wake of the Cultural Revolution (1966–76) and with China's new “Open Door” policy towards Western culture and Western new music, we have witnessed the exuberant growth of a new generation of Chinese composers. Tan Dun, Chen Yi and Bright Sheng have expressed in various ways their indebtedness to the heritage of Béla Bartók's music. Chen Yi, a fellow student of Tan Dun during her time at Central Conservatory of Music and Columbia University, recalled studying all of Bartók's six string quartets in the composition classes. Bright Sheng also openly admits that his use of the “primitiveness and savageness” of folk elements is directly modelled on the music of Bartók. The dissemination of Bartók's music in China is signified by the extent to which the journals published by China's top two music conservatories — the Central Conservatory of Music and the Shanghai Conservatory of Music — focus on discussion of this repertoire. Frank Kouwenhoven's studies of contemporary Chinese composers also point out that Bartók's influence overshadows most other major composers from the West. In this paper the reception of Bartók's music by Chinese composers in the post-Cultural Revolution era will be explored with reference to the musical as well as socio-cultural factors that fostered the influence.
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Demchenko, Alexander I. "The Musical Legacy of Igor Stravinsky." ICONI, no. 2 (2019): 137–48. http://dx.doi.org/10.33779/2658-4824.2019.2.137-148.
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The lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a concise way the evolution of the music of the outstanding composer, the main stages of which correspond with the three sections of this text: “Igor Stravinsky of the Russian period,” “Igor Stravinsky’s Neoclassicism” and “The Late Works of Igor Stravinsky.” The exposition of the topics includes listening to a number of musical fragments meant to give a general perception of the range of the composer’s artistic endeavors. The publication is addressed to students of conservatories and artistic institutions of higher education.
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Hunter, Desmond. "Developing peer-learning programmes in music: group presentations and peer assessment." British Journal of Music Education 16, no. 1 (March 1999): 51–63. http://dx.doi.org/10.1017/s0265051799000145.
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The purpose of this paper is to provide an interim report on one aspect of a major project based in the Department of Music at the University of Ulster. The project, ‘Peer Learning in Music’, builds on the programme of peer assessment which was piloted in a module in performance studies on the BMus course during the academic year 1992–3 and has since become an established feature of the course. The project started in October 1996 and since then peer-learning techniques have been introduced in a range of modules throughout the course, impacting on the teaching and learning methods and the conduct of assessment. Dissemination of the nature of the work and the operation of the programmes is being actively pursued in universities, colleges and conservatories in England and Northern Ireland.
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Önal, M. Ayça. "A Research on the Content of the Flute Education Course Carried out in Faculty of Education Music Teacher Education Departments and Faculty of Fine Arts Music Departments in Turkey." International Education Studies 15, no. 5 (September 22, 2022): 59. http://dx.doi.org/10.5539/ies.v15n5p59.
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One of the most important areas of music education is instrument education. Vocational music education, which is within the scope of music education in Turkey, is carried out in Education Faculties, Fine Arts Faculties, and State Conservatories in order to provide individuals with music as a profession. In these institutions, flute education is also included within the scope of “Individual Instrument” courses, where many instruments are available. In the research, the opinions of the lecturers working in different institutions were taken regarding the content of the flute education courses conducted in the Department of Music Education of Fine Arts Education Department and the Music Department of the Faculty of Fine Arts in Turkey. The research is important in order to show whether the students studying flute have achieved the goals of the flute education program, which they must earn in the four-year period, and that the students’ success in this regard can be increased. In this context, interview questions developed by the researcher and receiving expert opinions were applied to the study group, and the data obtained were tabulated and presented using the content analysis method, one of the qualitative research methods.
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Лян, Л. "HISTORICAL OVERVIEW OF THE FORMATION OF MUSIC EDUCATION IN RUSSIA: A SYSTEMATIC APPROACH." Человеческий капитал 1, no. 11(179) (November 16, 2023): 149–55. http://dx.doi.org/10.25629/hc.2023.11.15.
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Становлению музыкального образования в России посвящено множество серьезных исследований, однако в свете значительных преобразований в области музыкальной педагогики и воспитания становится актуальной проблема формирования системы музыкального образования, его дифференциации на общее и специальное, особенностей профессиональной подготовки педагогов-музыкантов в разных учебных заведениях, субъективных и объективных причин, повлиявших на достижение отечественным музыкальным образованием высокого международного уровня, наконец, событий в культурной жизни, приведших к открытию первых российских консерваторий, а также становлению творческой направленности деятельности педагогов-музыкантов, характерной именно для отечественного образования в области искусства. Целью исследования стало рассмотрение процесса становления российского музыкального образования в контексте системно-исторического подхода, позволяющего выявить причинно-следственные связи между национальными культурными традициями и спецификой отечественного музыкального образования. Задачами исследования стали: обзор системы музыкального образования, складывавшейся на протяжении веков; анализ условий дифференциации образования на общее и специальное; выявление особенностей формирования российского музыкального образования; определение условий, позволивших занять образованию высокий уровень; обнаружение событий и культурно-исторических факторов, приведших к открытию первых консерваторий в нашей стране. Many serious studies are devoted to the formation of music education in Russia, however, in the light of significant changes in the field of music pedagogy and education, the problem of the formation of a system of music education becomes relevant, its differentiation into general and special, peculiarities of professional training of teacher-musicians in various educational institutions, subjective and objective reasons that influenced the achievement of a high international level by domestic music education, finally, the events in cultural life that led to the opening of the first Russian conservatories, as well as the formation of the creative orientation of the activities of teacher-musicians, characteristic of domestic education in the field of art. The purpose of the study was to consider the process of formation of Russian music education in the context of a systemic-historical approach, which allows to identify causal links between national cultural traditions and the specifics of domestic music education. The tasks of the study were: a review of the system of musical education, which has developed over the centuries; analysis of the conditions for differentiating education into general and special; identification of features of formation of Russian music education; Determining the conditions that allowed education to reach a high level; the discovery of events and cultural and historical factors that led to the opening of the first conservatories in our country.
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Jifeng, Jia. "The specifics of the influence of the russian method of teaching piano on the professional training of pianists in China." LAPLAGE EM REVISTA 7, Extra-D (July 22, 2021): 499–505. http://dx.doi.org/10.24115/s2446-622020217extra-d1130p.499-505.
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The object of the research is the process of the formation of the piano performing school and the methods of teaching pianists in colleges and conservatories in China during the 20th century in the context of the influence of the Russian method of music education. The study reveals the reasons that led to the spread of the high finger technique and the corresponding teaching methodology, which determine the specifics of the formation of piano technique among piano students in China, as well as the obstacles that prevent the more active implementation of the technique of playing using the arm weight for more expressive interpretation of the compositions. The results of the study can be applied in assessing the prospects for the development of music education in China and finding ways to further improve it.
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Polotskaya, Elena E. "Concerning the History of Education of Music Theorists and Composers in the First Russian Conservatories." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 100–107. http://dx.doi.org/10.17674/1997-0854.2017.4.100-107.
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Yakoupov, A. N. "SOCIAL AND MUSICAL COMMUNICATION: STAGES OF FORMATION IN RUSSIA." Arts education and science 1, no. 4 (2020): 20–31. http://dx.doi.org/10.36871/hon.202004003.
Full textAbstract:
The article analyzes the process of social and musical communication formation in Russia from the historical perspective. In practical and theoretical aspects the first attempts to manage social and musical life of the country are considered. Since 30s–40s of the XIXth century, concert societies of a communicative orientation are created in Russia. The first years of the second half of the XIXth century, associated with the development of democratic principles, are marked by a surge in the attention of professional musicians to social and communication processes in music and art in general. The emergence of new trends in the concert life of Russian cities stimulated the renewal of forms of social and musical communication, which required the training of specialists in the field of music education and enlightenment. The opening of conservatories in Saint Petersburg and Moscow created the necessary prerequisites for the formation of a unified musical communication system in society. At the beginning of the XXth century Russian National Conservatories played their role in the overall process as one of the effective models of the educational movement and as an example of practical implementation of the tasks of purposeful socio-cultural design in the sphere of functioning of musical art of high spiritual tradition. In parallel with the empirical search for effective ways and methods of managing the musical life of society, the creation of its theoretical basis was intensively pursued. At the late 60s – early 70s musicology was enriched by the first fundamental works on this subject.