Academic literature on the topic 'Conservatorium training'
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Journal articles on the topic "Conservatorium training"
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Sibilio, Barbara, and Ilaria Elisa Vannini. "Development of the administrative-accounting system of the Conservatorio S. M. degli Angiolini in Florence from 1785 to 1859: Institutional changes and isomorphic pressures." Accounting History 25, no. 2 (December 5, 2019): 261–80. http://dx.doi.org/10.1177/1032373219882436.
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S. Maria degli Angiolini in Florence, founded as a monastery in 1507, became a conservatorio (a special type of girls’ school) in 1785 and thereafter carried out the education of young females. Between 1785 and 1859, it underwent various changes due to political, social, cultural, religious and economic events. These events, the result of the liberal enlightenment age, influenced the institution’s configuration, its formal organisation structure, teaching activity (pedagogic approach, methods, criteria and contents of the training offered), as well as its accounting system (system of book-keeping and method of registration). This article presents the analysis of rare documents, laws, regulations and account books to identify, in light of new institutionalism, the principal agents of transformation, in particular in accounting systems, within conservatori, with focus on S. Maria degli Angiolini.
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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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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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Serdaroglu, Emine. "Ear Training Made Easy: Using IOS Based Applications to Assist Ear Training in Children." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 202–9. http://dx.doi.org/10.2478/ejser-2018-0071.
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Abstract It is an inevitable reality that in all developed countries and in most developing countries, smart phones and tablets are an indispensable part of most children’s lives. There are many discussions and heated arguments on the negative and positive effects of digital technology on the development of children. In this paper, accepting the fact that this technology is a part of most children’s daily lives, it will be questioned whether this technology may be used to reinforce certain components of music education in general classroom and especially in private music studios. In conservatories and music schools, a considerable amount of time is dedicated to aural training of younger students. However, during music lessons in the classroom and during the instrumental lessons in private studios, lesson time is mostly dedicated to other components such as improvement of technique, musicality and sight reading. Thus, a crucial part of music education “ear training” is neglected to some extent. In this paper, several IOS based ear training applications will be evaluated considering the target group, children between ages 6-11. The possible effects and incorporation of these applications into the classroom and private studios will be discussed. Each application will be evaluated on several components; the ear training modules, user-friendliness, possibility of the evaluation of students’ progress by the teacher and probable reaction of the children to these applications.
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Prasad, Mallika, and Ram Ganesh Kamatham. "ENERGISING RASA THEORY: BREATH, EMPATHY, AND WELLBEING IN CONTEMPORARY ACTOR TRAINING." ARTS ACADEMY 2, no. 2 (June 2022): 38–45. http://dx.doi.org/10.56032/2523-4684.2022.2.2.38.
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Breath has emerged as the preferred locus of performance energy over the last two decades, presenting a pragmatic approach to questions of contemporary actor training, postStanislavskian approaches (such as psychophysical approaches) and vitalisation of traditional performance practices (such as Kutiyattam and Kalaripayattu). In this paper, we elaborate outwards from this “rediscovery” of breath, to offer a methodological base from which to engage the concept of Rasa which occupies a pre-eminent position within Indian aesthetics. We argue that the constellation of bodily practices arising from within this field of knowledge, far from esoteric traditionalisms, inform the neuro-physiological basis for empathy. Practical engagement with these neuro-physiological processes widens understanding of the importance and role of well-being in contemporary actor training. We argue that a shift towards this well-being based approach within conservatories and performance training institutes, is a necessary adaptation to meet the challenges of a postpandemic world.
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De Castro Goñi, Ana Cristina. "La importancia de adaptar las traducciones y comentarios de los Lieder al lector meta como propuesta didáctica para mejorar la formación de los alumnos de canto." mAGAzin Revista intercultural e interdisciplinar, no. 29 (2021): 17–29. http://dx.doi.org/10.12795/magazin.2021.i29.02.
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La traducción del Lied es una tarea que entraña muchas dificultades y en numerosas ocasiones se olvida la importancia del texto cuando se interpreta vocalmente. Es primordial para una correcta interpretación vocal de una obra musical que el intérprete conozca en profundidad lo que está cantando, ya que el compositor ha elegido este texto porque ha influido en su vida y ha decidido musicalizarlo. Por esta razón, es tan significativo traducir, comprender y analizar desde diferentes puntos la intencionalidad tanto del autor de la obra literaria como del compositor. La música puede transmitir, transportar palabras y convertirlas en melodía sirviéndose del texto, pero si no se comprende el texto ni se adapta al lector meta (alumnos de conservatorios o escuelas de música) al que va dirigido, no servirá para entender la intencionalidad final de los creadores, lo que ayuda a los alumnos de canto a mejorar su interpretación.
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Hornby, Richard. "Feeding the System: the Paradox of the Charismatic Acting Teacher." New Theatre Quarterly 23, no. 1 (January 16, 2007): 67–72. http://dx.doi.org/10.1017/s0266464x06000649.
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British actor training has always been linked closely with the names of particular schools or conservatories. American actor training, however, has at least until recently been associated with the names of charismatic individuals – star teachers who conceived it as their function to prepare their pupils to be star actors, whether in film or on stage. Now that generation of teachers has died, and in the following article Richard Hornby explores the legacy of their teaching, in terms both of the training methods now practised and the expectations about a future career they are framed to meet. Richard Hornby is Professor of Theatre at the University of California, Riverside, and for over twenty years has been regular theatre critic for The Hudson Review. He is the author of five books and over a hundred articles on theatre. Notable books include Script into Performance, Mad about Theatre, and The End of Acting.
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Khusainova, Gulzada A., Daulet T. Tapenov, Darkhan E. Kozhebaev, and Aigerim E. Zhumasheva. "Actualization of Areal History Competence in the Process of Training Music Pedagogues at Universities and Conservatories." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2021): 203–12. http://dx.doi.org/10.33779/2587-6341.2021.1.203-212.
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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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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.
Dissertations / Theses on the topic "Conservatorium training"
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Kirchhubel, Julie, and n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.
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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
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Regnard, Françoise A.-M. L. "La formation initiale des professeurs de musique: la construction d'une identité de musicien-enseignant." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210647.
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La thèse porte sur la construction d'une identité spécifique chez les professeurs des écoles de musique: musicien et enseignant. La recherche s'intéresse aux personnes musiciennes qui suivent un cursus de formation initiale à l'enseignement musical spécialisé et montre, par l'analyse de différents parcours, comment l'identité de musicien s'articule avec l'identité d'enseignant.In english
The thesis relates the construction of specific identity to the professors of the music schools: musicians and teachers. The research task concerns the study of musician people who follow an initial training specialized in musical teaching and shows, by the analysis of various training directions, how the identity of the musician turns around the teacher’s identity.
Doctorat en Sciences Psychologiques et de l'éducation
info:eu-repo/semantics/nonPublished
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Cashman, Penelope Veronica. "International Best Practice in the Teaching of Lyric Diction to Conservatorium-Level Singers." Thesis, 2019. http://hdl.handle.net/2440/120990.
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This doctoral thesis examines international best practice in the teaching of lyric diction to conservatorium-level singers. It provides a unique perspective on lyric diction teaching in that it focuses on pedagogical process and includes the perspectives of multiple experts across a variety of languages and working in different countries. Most of the literature regarding lyric diction at the conservatorium level focuses on pronunciation rules and descriptions of relevant articulations. As such, it can be seen to focus predominantly on the ‘what’ of lyric diction teaching, and significantly less on the ‘how’. It rarely explores the role of the lyric diction coach/teacher and his/her pedagogical approach in successful lyric diction learning. This thesis addresses the ‘how’ of lyric diction teaching by focussing on the pedagogical approaches and priorities of selected expert lyric diction coaches whose work with conservatorium level students is informed by their understanding of lyric diction at the professional level. Chapters 1 and 2 of the thesis introduce lyric diction in an historical and socio-cultural context and provide explanations of vocal acoustics, singing technique, phonology, articulatory phonetics, and foreign language phonology acquisition as they pertain to lyric diction. Chapter 3 addresses the backgrounds and experience of expert lyric diction teachers and coaches, highlighting the skills and qualities they perceive as integral to the effectiveness of their pedagogy. It also provides an insight into lyric diction coaching for professional singers. Chapter 4 presents analysis and discussion of the key themes that emerged from the primary source materials collected for this study. This encompasses broad-ranging facets of lyric diction pedagogy fundamental to the subject as a whole and applicable to all languages. The key themes emerging from the research indicate pedagogical priorities that diverge significantly from those indicated by much of the lyric diction literature. The analysis is synthesized in Chapter 5, revealing the overall picture of best practice in conservatorium-level lyric diction teaching derived from this research.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2019
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Dumlavwalla, Diana Teresa. "Approaching the Examiner's Chair: Chronicling the Experiences of Piano Examiner Apprentices for the Royal Conservatory of Music." Thesis, 2011. http://hdl.handle.net/1807/30055.
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Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students.
This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors.
These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.
Books on the topic "Conservatorium training"
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Denardi, Christiane. Professores de música: História e perspectivas. Curitiba: Juruá Editora, 2008.
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Vieira, Lia Braga. A construção do professor de música: O modelo conservatorial na formação e na atuação do professor de música em Belém do Pará. Belém, Pará: Editora Cejup, 2001.
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Plasket, Donna Jean. Training musicians and developing people: Can a music conservatory do it all? [Boston: s.n.], 1992.
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CONBEFOR: Ricerca comparata : conservatori-restauratori di beni culturali in Europa : centri ed istituti di formazione = conservator-restorers of cultural heritage in Europe : education centers and institutes. Lurano (BG) [Italy]: Associazione Giovanni Secco Suardo, 2000.
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Roberts, Brian A. A place to play: The social world of university schools of music. St. John's: Memorial University of Newfoundland, 1991.
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Creech, Robert E. Partners in music: A national conference on the role of conservatory training in Canada : organized by the Association of Colleges and Conservatories of Music for the Canadian Music Council, held at the Royal Conservatory of Music, Toronto, Ontario, June 3-6, 1989 : conference report. [Toronto?]: [s.n.], 1989.
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Creech, Robert E. Partners in music: A national conference on the role of conservatory training in Canada : organized by the Association of Colleges and Conservatories of Music for the Canadian Music Council, held at the Royal Conservatory of Music, Toronto, Ontario, June 3-6, 1989 : conference report. [Toronto?]: [s.n.], 1989.
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Macleod, Beth Abelson. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039348.003.0001.
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This book delves into the life and times of piano virtuoso Fannie Bloomfield-Zeisler. When Fannie Bloomfield embarked on her career as a pianist in 1883, she was greeted with a very different and much smaller musical world. There were fewer music conservatories. The primary path to professional eminence ran narrowly through elite European training and mastery of the German–Austrian repertoire. This book explores Bloomfield-Zeisler's life and career and how she became one of the foremost pianists of her generation. It presents anecdotes that humanize Bloomfield-Zeisler and make her more than a public figure. It also offers insights into her personality in ways that would only be possible if someone knew her well. This introduction discusses a number of historical trends that coalesced to make Bloomfield-Zeisler's career more achievable than it would have been even a few decades earlier: the most significant of these were the increasing presence of classical music in U.S. life and the rise of the “new woman.” It also provides an overview of the chapters that follow.
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Baragwanath, Nicholas. The Solfeggio Tradition. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197514085.001.0001.
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The book is the first study of the solfeggio tradition, which was fundamental to the training of European musicians c. 1680–1830. It addresses one of the last major gaps in historical research concerning eighteenth-century performance and pedagogy. The method flourished in Italian conservatories for disadvantaged children, especially at Naples. The presence of large manuscript collections in European archives (almost three hundred in Italy alone) attests to the importance of this kind of exercise. Drawing on research into more than a thousand manuscript sources, the book reconstructs the way professional musicians in Europe learned and thus conceived the fundamentals of music. It reveals an approach that differs radically from modern assumptions. Solfeggi underpinned an art of melody that allowed practitioners to improvise and compose fluently. Part I provides contextual information about apprenticeship, the church music industry, its associated schools, and the continued significance of plainchant to music education. Part II reconstructs the real lessons of an apprentice over the course of three or four years from spoken to sung solfeggio. Part III surveys the primary sources, classifying solfeggi into four main types and outlining their historical origins, characteristic features, and pedagogical purposes.
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Tkaczyk, Viktoria, Mara Mills, and Alexandra Hui, eds. Testing Hearing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.001.0001.
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Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, and other fields. Applied on a large scale, tests of seemingly small measure—of auditory acuity, of hearing range—helped redefine the modern concept of hearing as such. During the twentieth and twenty-first centuries, the epistemic function of hearing expanded. Hearing took on the dual role of test object and test instrument; in the latter case, human hearing became a gauge by which to evaluate or regulate materials, nonhuman organisms, equipment, and technological systems. This book considers both the testing of hearing and testing with hearing to explore the co-creation of modern epistemic and auditory cultures. The book’s twelve contributors trace the design of ever more specific tests for the arts, education and communication, colonial and military applications, and sociopolitical and industrial endeavors. Together, they demonstrate that testing as such became an enduring and wide-ranging cultural technique in the modern period, one that is situated between histories of scientific experimentation and many fields of application.
Book chapters on the topic "Conservatorium training"
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Gjerdingen, Robert O. "Institutionalized Apprenticeship." In Child Composers in the Old Conservatories, 59–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0005.
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Apprenticeship was the normal way to learn a trade in past centuries. A typical master might have one or two apprentices, who lived in the master’s home like members of the family. A new path for apprentices opened up with the founding in London of the Inns of Court, four institutions to train future lawyers. The combination of famous teachers, a critical mass of talented students, and the experiences of seeing law practiced in a royal city all made this new type of apprenticeship superior to what came before. The same thing happened with music training in the four conservatories of Naples. Great teachers, strong competition, and world-class music in a royal city led to conservatory students winning the best music jobs in Europe.
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Gjerdingen, Robert O. "Schemas, Exemplars, and the Treasure Trove of Memory." In Child Composers in the Old Conservatories, 83–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0007.
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One of the purposes of music training in the old conservatories was to stuff the students’ memories full of useful musical patterns. Psychologists often use the term “schema” to describe structured memories. In Naples, the masters taught dozens of schemas to the children. They taught three basic types of cadences, the so-called Rule of the Octave, the contrapuntal patterns known as suspensions, and a number of musical sequences categorized by the motions of their basses. These were explicit schemas in the sense of having names and being openly discussed. There were also implicit schemas—patterns learned through repeated similar experiences but not given specific names. Professional musicians seemed to know many patterns by name, whereas amateur musicians and concert listeners probably knew only a few names like “cadence.”
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Moore, Robin. "Rethinking the Engagement of Ethnomusicologists with Performance and Applied Music Curricula." In Voices of the Field, 219–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0013.
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Music schools and conservatories in the United States and abroad focus primarily on training performers; one of the reasons ethnomusicologists have had such difficulty expanding their employment opportunities in such institutions is because they have not given enough thought to how they can productively contribute to performance curricula. The field of ethnomusicology has engaged creatively with many subdisciplines in the humanities and social sciences, of course. But while this focus has resulted in insightful publications, it has typically held little immediate relevance for performers. A surprising number of ethnomusicology programs do not encourage applied music-making of any sort as a required part of training in the discipline. In general, ethnomusicology does not dialogue sufficiently with applied music faculty or students. This chapter begins with reflection on what aspiring performers of the twenty-first century need to know in order to be professionally successful and continues with a consideration of how coursework offerings by ethnomusicologists can be retooled so as to contribute directly to the requirements of students in BM programs: to ear training, music theory, orchestration, junior and senior recitals, and so on. Lastly, the chapter covers an approach to teaching world music courses that focuses both on applied performance and on pressing contemporary issues (community outreach, social justice, financial exploitation, etc.) that link world traditions to other repertoires and make their relevance immediately apparent.
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Deutsch, Diana. "The Mystery of Absolute Pitch." In Musical Illusions and Phantom Words, 82–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0007.
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Chapter 6. discusses absolute pitch (or “perfect pitch”)—the rare ability to name a musical note in the absence of a reference note. It is argued that acquiring absolute pitch requires exposure to certain environmental influences during a critical period early in life. This ability is associated with early musical training—and the earlier the onset of training the stronger the association. The author and her coworkers have found at music conservatories and universities in the United States and China that the earlier students had begun taking music lessons, the greater the probability that they possessed absolute pitch. We also found that the prevalence of absolute pitch is much higher among people who speak a tone language—in which the meaning of a word changes depending on the pitch or pitches in which it is spoken. It is therefore argued that when babies learn to speak a tone language, they automatically associate pitches with words, and so develop absolute pitch for the words they hear. Therefore when they begin taking music lessons, their brain circuitry for absolute pitch is already in place. Speakers of non-tone languages are therefore at a disadvantage compared with tone-language speakers for acquiring absolute pitch. Further work by the author and colleagues also point to a genetic factor in acquiring absolute pitch. Also discussed are the neurological correlates of absolute pitch, and its presence in some autistic savants, and in people who are blind. It also considers the decline of absolute pitch with aging, and distortions in absolute pitch judgment under certain medications.
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Christensen, Thomas. "Music Theory in the Nineteenth Century." In Between Chopin and Tellefsen. European Music Treatises Universality and National Identity. Narodowy Instytut Fryderyka Chopina, 2022. http://dx.doi.org/10.56693/mt.2022.01.02.
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The nineteenth century was a burgeoning time for music theory in the West. One need only peruse a bibliography of musical writings concerning music theory and pedagogy to see that the quantity and variety of works multiplied exponentially when compared to the previous century.1 The nature of these writings varied and crossed a number of disciplinary boundaries, from elementary manuals on the fundamentals of music, through practical works of harmony, form and counterpoint, to learned studies of musical acoustics, tuning, aesthetics and psychology, among many others. The quantity and diversity of these publications pressures us to reflect on what we might properly consider to be ‘music theory’ in the nineteenth century. While this is a question that has been answered in different ways over the past century,2 in this essay we will consider a more circumscribed literature and pedagogy that deals directly with questions related to the teaching and learning of compositional skills – usually in institutional settings. This is not to say that the aim of music theory in the nineteenth century was simply to teach a young student how to become a good composer (although there are pedagogies and pedagogues who promised precisely that). More accurately, compositional music theory could be a means offered to musicians from all ranks by which they would gain an ‘inside’ understanding of the ways the vocabulary, grammar and forms of music worked in practice. Along with historical knowledge of the most important composers, genres and styles of music, music theory had become in the nineteenth century a kind of practical knowledge available for a growing community of middle-class educated musicians. So how could one gain entry to such inside compositional knowledge? In the nineteenth century, it was done in two basic ways. One could begin from ‘below’, so to speak, with a student learning the rudiments and skills of music at a very basic level and gradually ascending through a pedagogy of graded study and exercise. This is the ‘practical’ or ‘propaedeutic’ tradition of music theory. The second approach was from ‘above’, whereby one would begin by studying masterpieces of musical repertoire to gain an appreciation and understanding of canonical works and thereby see their governing principles displayed, and perhaps even gain inspiration for one’s own musical compositions. Both approaches can be found in music theory texts published in the nineteenth century – often by the same author. Whether they actually led to the same place, however, is another question altogether. Still, neither the reading of music theory textbooks nor the study of scores alone would be sufficient for learning to compose. The most important transmitters of theoretical and compositional knowledge were actually the many institutions of learning that were established in the nineteenth century for the teaching of music. The founding of the French Conservatoire national de musique et de déclamation in 1795, shortly after the revolution, marks the beginning of this important chapter of musical instruction in Europe. It is important to keep in mind that during the ancien régime of the eighteenth century, musical instruction usually took place as guild knowledge passed on by a master composer to a small number of apprentices, whether in the church, the court or – somewhat uniquely – a number of orphanages in Naples. These Neapolitan orphanages that passed on a remarkable tradition of partimenti-based training were called conservatori thus inaugurating the term as a descriptor for an institution of musical instruction.3 With the establishment of the French Conservatoire, though, musical instruction began to be more institutionalised and standardised. It became the model for many other countries which soon adopted the structure – if not necessarily the specific curriculum – of the Conservatoire for their own national institutions of musical instruction (Milan – 1807, Prague – 1808, Warsaw – 1810, Vienna – 1817, London – 1822, Leipzig – 1843, Moscow – 1866). Music theory (though not under that name) was taught in the French Conservatoire by means of three basic, though overlapping, subdivisions: harmony, counterpoint and composition.4 These divisions were often porous and fungible, with individual instructors charged with teaching two or even all three of those subjects. Yet even as all of these subjects were traditional ones found in many eighteenth-century texts of musical instruction, important changes were being introduced.
Conference papers on the topic "Conservatorium training"
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.