Journal articles on the topic 'Conservatorium training'
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1
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.
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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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Riveiro-Villodres, Laura Erundina, Francisco Javier Blanco-Encomienda, and María José Latorre-Medina. "An empirical examination of the role of emotional knowledge in the teaching profession." South African Journal of Education 40, Supplement 2 (December 31, 2020): S1—S11. http://dx.doi.org/10.15700/saje.v40ns2a1739.
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Modern society has plunged us into a maelstrom of telematics information with little control. Teachers from any field must be trained in order to pass on the confidence and values to withstand this media pressure to their students. To this end, one of the areas of knowledge on which greater emphasis should be placed is that related to emotional intelligence. The study reported on here focused on this type of knowledge among professional music studies teachers in conservatories, asking what the perception of this group on the aforementioned area of knowledge is and to what extent it has been received during their initial training. For this investigation we used a quantitative methodological approach, and via descriptive analysis, a non-parametric Wilcoxon signed-rank test, and inferential analysis, we found significant differences regarding the two scales considered: level of agreement and emotional intelligence training received. Furthermore, regarding the descriptive variables, significant differences were also found through the application of the Mann-Whitney U and Kruskal-Wallis test.
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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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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.
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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 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.
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Buryakova, Lyubov A., and Lyudmila V. Varavina. "The Organization and Content of Musical Performance Training in the Higher National Conservatories of Music and Dance in Paris and Lyon." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2021): 213–22. http://dx.doi.org/10.33779/2587-6341.2021.1.213-222.
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Chaves-Cordero, Carlos Fernando, and Catalina Escamilla-Fonseca. "La formación académica del director coral y sus herramientas para el desarrollo de coros infantiles. Situación actual en Costa Rica y España." Revista Electrónica Educare 21, no. 1 (December 5, 2016): 1. http://dx.doi.org/10.15359/ree.21-1.5.
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This qualitative research seeks to understand the current situation of choral conducting studies in Costa Rica and Spain, emphasizing on the tools required to work with children´s choirs. The curriculum of choral conducting careers at the Universidad Nacional de Costa Rica and the Real Conservatorio Superior de Música de Madrid was studied by means of an analysis of documents and an analytic comparison with the SWOT method. The study of plans primarily focused on subjects related to pedagogy and singing as essential foundations in the specific area of children’s choirs. Additionally, an analysis of interviews to choral directors from both countries visualized the experiences of directors in their performance with children´s choirs, what skills were acquired in their undergraduate education, as well their perception of what should change or adjust in the curriculum. Significant shortcomings were perceived in teacher’s training in relation with the subjects of the career. A strengthening with more contents in teaching methodologies and pedagogical resources was suggested.
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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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Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.
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Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national musicology has been conducted.
The purpose of the article is to analyze the historical process of the formation of traditions of professional training of members of military musical bands at the turn of the XIX–XX centuries in the Ukrainian lands, as well as ceremonial and social functions of their concert activity.
Research methodology. The overview is based on historical, structural and systemic methods.
Results. Traditions of military orchestral training in Ukraine have deep historical roots and are based on multicultural principles. Traditions of performance and training in military musical bands of the Armed Forces of the independent Ukraine were formed on the basis of the three lines of continuation: princely and Cossack musicartistic formations and bands of the time of liberation movements (LUSR — Legion of Ukrainian Sich Riflemen, UIA — Ukrainian Insurgent Army), which represent their direct national line; Russian military orchestras with the participation of Ukrainian specialists; and multinational Austrian and Polish military music bands in Ukrainian territories. All of them together formed the basis on which the Ukrainian military and musical tradition was based, absorbing all the most relevant and productive aspects of the experience gained.
Novelty. The activity of centers in which members were trained for existing military orchestral groups in the Ukrainian lands, as well as ways in which such training was performed, and the development of professional training of musicians were considered.
Practical significance lies in the consideration of prospects for further detailed study of the functioning of separate bands, their repertoire, instruments, ceremonial and social functions, achievements of particular individuals in the field of performance, pedagogy and conducting.
Conclusions. In the activity of military orchestras in the Ukrainian lands at the turn of the XIX–XX centuries we can see a combination of militaryceremonial and social palaceconcert functions, wide involvement of all segments of the society in concert touring, which completely dictates the rich repertoire. From LUSR schools and guilds, professional training of musicians was gradually transformed into the activities of specialized training units at the military formations, cadet schools and trumpet schools, institutions at music societies and professional music training in conservatories.
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Zhang, Jing-Wen, Tian Gao, and Ming-Ming Liu. "Music Therapy in China." Music and Medicine 8, no. 1 (January 31, 2016): 67. http://dx.doi.org/10.47513/mmd.v8i1.456.
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Music therapy in China has a 30- year history. The pioneers strove to build the training programs and to advocate for the profession. There are music therapy organizations and groups that were established for a variety of different needs and in response to the populations representing the most significant of those needs. The first graduate program of music therapy was started by Prof. Tian Gao at the Central Conservatory of Music in 1997. Currently, 13 music therapy programs in universities have been founded. In recent years, China’s public understanding of music therapy has improved as more trained music therapists have starting work here. Key words: Music Therapy, China Spanish:La musicoterapia en China tiene una historia de más de 30 años. Los pioneros se esforzaron para construir programas de formación y abogaron por la profesión. Hoy en día se cuentan con organizaciones de musicoterapia y diversos grupos que han sido establecidos en base a una variedad de necesidades diferentes y en respuesta a las poblaciones que representan la mayor parte de ellas. El primer programa de musicoterapia fue iniciado por el Prof. Tian Gao en el Conservatorio Central de Música en 1997. Actualmente se han fundado 13 programas de musicoterapia en diversas universidades. En años recientes, la comprensión del público en general con respecto a la musicoterapia ha mejorado a medida en que más musicoterapeutas capacitados han empezado a trabajar aquí.
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Suetin, Ilya N., and Rashit A. Mukhamedov. "URBANIZATION AS A FACTOR OF THE FORMATION OF THE SYSTEM OF MUSIC PROFENCIONAL EDUCATION IN RUSSIA." Economic History 15, no. 2 (June 29, 2019): 136–46. http://dx.doi.org/10.15507/2409-630x.045.015.201902.136-146.
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Introduction. The development of domestic music vocational education is currently influenced by various factors: political, economic, demographic, etc. One of the socio-economic factors can be attributed to the processes of urbanization. Studying and using the historical experience of forming a system of musical vocational education in Russia in the context of urbanization can contribute to the development of an effective state strategy for the development of a training system for a musician-practitioner at the present stage. Materials and Methods. The study made an attempt to provide more complete coverage of the work of domestic scientists on the history of domestic urbanization and the history of domestic musical vocational education. In the study and synthesis of scientific sources used methods of theoretical interdisciplinary analysis and synthesis, methods of comparative historiographical analysis. The study used comparative historical, historical and typological methods, as well as general scientific methods of system and structural-functional analysis. Results. The paper presents evidence that as a result of administrative and territorial reforms, an increase in population, the development of education, culture and education, there is a need for qualified specialists (including a music profile). Conclusion. The study showed that as a result of a legitimate public request for professional musicians, educators and performing musicians, and thanks to the activities of the Imperial Russian Musical Society in the second half of the XIX century, a network of musical educational institutions (music classes, music colleges, conservatories) was formed vocational education.
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Lisakova, I. "FORMATION OF A CREATIVE CLASS AS AN INTENTION FOR HIGHER EDUCATION DEVELOPMENT." Aesthetics and Ethics of Pedagogical Action, no. 22 (December 27, 2020): 42–54. http://dx.doi.org/10.33989/2226-4051.2020.22.221989.
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More and more cultural and government leaders are recognizing the scope and impact of the creative industries on the economy. Commercial enterprises (such as publishing, design, advertising, music, and theater), and nonprofit organizations (such as museums, concert halls, folk life centers, art schools and conservatories), – all of them are gaining recognition as an important engine of the 21st-century economy. The main manpower of creative industries is the creative class. The guiding principles of the creative class include freedom of imagination, inquiry, and expression, as well as freedom of opportunity for all to participate in a vital and diverse culture. It is fundamentally different from the industrial age workforce. And it provokes important issues about training and workforce development, preservation of culture, and access to knowledge. The policies affecting the creative economy are being formed at a global level within international and multilateral institutions. This makes tracing their ramifications particularly complex. The article highlights modern approaches to the definition of "creative industries", "creative class". The transformational processes taking place on the world labor market and influencing the national socio-cultural space are analyzed. It is determined that the gap in the economic growth of countries is based on the disproportion of intellectual capital, technology, accumulated knowledge, and ways to use them. The means of eliminating such a disproportion is the development of a special creative class, the formation of which will contribute to a number of state, political, legal decisions, and, in particular, restructuring the education system, its reorientation to overcome standardization and stimulate creativity, diversity of cultural events, science, art, technology.
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Glushkova, Olga R. "Features of Formation and Development of the Educational System Activities of the Moscow Conservatory from the Time of Its Foundation to the Turn of the XIX and XX Centuries." Musical Art and Education 8, no. 1 (2020): 131–48. http://dx.doi.org/10.31862/2309-1428-2020-8-1-131-148.
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The article presents the results of studies of some aspects of the process of formation of educational activities of a non-state educational institution created by the Moscow Department of the Russian Musical Society – the Moscow Conservatory (1866). The organization of its educational process was based on the Charter of the Russian musical society of 1859 and the Charter of its first educational institution – the Music school (Conservatoire), opened in St. Petersburg in 1862. However, in the presence of a common concept of education for both conservatories, there were differences in its implementation, in particular, regarding the formation of the curriculum. In the Moscow Conservatory, the formation of the course was more slow and gradual than in St. Petersburg, in addition, the Moscow Conservatory originally had a subject that was not taught in the capital institution. This is the “History of Church singing” – the only discipline that covered the history of Russian sacred music from a scientific point of view. In connection with this course, the article deals with the topic of interaction between the Moscow Conservatory and the Synodal School of Church singing. The issue of the implementation of the curriculum is also highlighted and the peculiarities of its passage, which consisted in the assumption of a free order in the study and passing of exams in musical and non-musical disciplines, are revealed. It was revealed that such a practice was an effective way to solve the problem of training professional musicians from students of different ages who had different abilities for music. The article demonstrates the first experience of addressing this issue in the aspect of the formation of the educational work of the Moscow Conservatory of the Russian Musical Society.
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Мurtozova, S. B. "From the history of music education in Uzbekistan." International Journal on Integrated Education 2, no. 4 (October 3, 2019): 32–38. http://dx.doi.org/10.31149/ijie.v2i4.108.
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This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music.
Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education.
Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century.
The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources.
At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions.
The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.
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Naumenko, Tatiana I. "Soviet Musicology: Pro et Contra. Work on Archival Materials from the Soviet Era." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 22–37. http://dx.doi.org/10.56620/2782-3598.2022.4.022-037.
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The article describes the process of work on researching Soviet musicology of the time period from the 1920s to the 1940s. The study was carried out under the RFBR project “The Phenomenon of Soviet Musicology and Its Influence on the Formation of Russian Musical Culture.” The history of Soviet musicology is studied on the basis of archival documents that make it possible to reconstruct little-known historical events, and also to characterize the peculiarities of musicology in the context of each decade. The first post-revolutionary decade passed under the sign of the search for its own academic scholarly institutions, which were alternately made available and then closed down, in accordance with the state policy. However, it was during this period that the fundamental foundations of 20th century Russian musicological thought were laid. Of special interest is the work on creating a complex of tutorial literature. Starting from 1936 (since the time of the creation of the All-Union Committee for the Affairs of Art), work on creating textbooks has become one of the main forms of scholarly activity of the musicological departments of the Moscow and Leningrad Conservatories, later the Gnesins’ State Musical Pedagogical Institute and the Institute of Art History of the USSR Academy of Sciences (presently, the State Institute of Art Studies), both established in 1944. Discussions of issues of paramount importance – such as the historical periodization of Russian music history, the content and methodology of training courses, – frequently took place for many days in a row, with the results of the discussion reflected in the central newspapers and magazines. The transcripts of these sessions, in certain cases, exceed 1,500 pages. An important direction of this research was also the study of the main directions in the development of musicology. Along with the creation of textbooks, monographs and other academic works, dissertation work began in the 1930s–1940s. This contributed to a great extent to the integration of musicology into the general scholarly humanitarian field. In the same period, numerous discussions of new Soviet compositions began – primarily, operas and symphonies.
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BARBOZA, Vanessa Maria Gomes, and Ana Paula Abrahamian de SOUZA. "Mulheres Negras Evangélicas e o Processo de Autoformação." INTERRITÓRIOS 6, no. 10 (April 14, 2020): 131. http://dx.doi.org/10.33052/inter.v6i10.244898.
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RESUMOO presente artigo é parte das análises da pesquisa autobiográfica em educação, movimentos sociais e práticas coletivas, sobre o processo de autoformação das mulheres negras evangélicas ativistas sociais no Brasil. O lócus da investigação é o movimento progressista evangélico, especificamente da recém-criada Rede de Mulheres Negras Evangélicas (2018) das quais fazem parte a pesquisadora as interlocutoras da pesquisa. Por meio do método autobiográfico e das epistemologias feministas construiu-se o caminho metodológico de aproximação e sistematização da realidade, e da analise interpretativa as reflexões das categorias: Experiência, Diálogo e Prática Política sobre as quais se buscou conhecer a importância do movimento social no processo de autoformação das sujeitas da pesquisa. Os resultados indicam uma autoformação comprometida com a mudança social, com a luta antirracista e antissexista, e com a construção de identidades dissidentes em meio ao conservadorismo e fundamentalismo religioso fortemente presente na sociedade brasileira.Autoformação. Negras Evangélicas. Movimento Social. Evangelical Black Women and the Self-Training Process ABSTRACT This article is part of the analysis of autobiographical research on education, social movements and collective practices, about the self-formation process of black evangelical social activists in Brazil. The locus of the investigation is the progressive evangelical movement, specifically the newly created Evangelical Black Women Network (2018) of which the researcher is the interlocutor of the research. Through the autobiographical method and feminist epistemologies, the methodological way of approaching and systematizing reality was constructed, and the interpretative analysis the reflections of the categories: Experience, Dialogue and Political Practice, which sought to know the importance of social movement in the process. self-training of the research subjects. The results indicate a self-formation committed to social change, anti-racist and antisexist struggle, and the construction of dissident identities amidst conservatism and religious fundamentalism strongly present in Brazilian society.Self-training. Black Evangelicals. Social Movement. Mujeres evangélicas negras y el proceso de Auto-FormaciónRESUMENEste artículo es parte del análisis de la investigación autobiográfica en educación, movimientos sociales y prácticas colectivas, sobre el proceso de auto formación de mujeres negras evangélicas activistas sociales en Brasil. El centro de la investigación es el movimiento progresista evangélico, específicamente la Red de Mujeres Negras Evangélicas (2018) recientemente creada, de la cual la investigadora y los interlocutores de investigación forman parte. A través del método autobiográfico y las epistemologías feministas, se construyó el camino metodológico de aproximación y sistematización de la realidad, y se construyeron las interpretaciones de las reflexiones de las categorías: Experiencia, Diálogo y Práctica Política sobre las cuales buscamos conocer la importancia del movimiento social en el proceso de auto-formación de las sujetas de investigación. Los resultados indican una auto-formación comprometida con el cambio social, con la lucha antirracista y antisexualista, y con la construcción de identidades disidentes en medio del conservadurismo y fundamentalismo religioso fuertemente presente en la sociedad brasileña.Autoformación. Negras evangélicas. Movimiento social. Donne evangeliche nere e processo di auto-formazione SINTESEQuesto articolo fa parte dell'analisi della ricerca autobiografica in educazione, movimenti sociali e pratiche collettive, sul processo di auto-formazione delle attiviste sociali delle donne di colore evangeliche in Brasile. Il focus della ricerca è il movimento evangelico progressivo, in particolare la nuova Evangelical Black Women Network (2018), di cui fanno parte il ricercatore e i partner di ricerca. Attraverso il metodo autobiografico e le epistemologie femministe, è stato costruito il percorso metodologico di approssimazione e sistematizzazione della realtà e sono state costruite le interpretazioni delle riflessioni delle categorie: esperienza, dialogo e pratica politica su cui cerchiamo di conoscere l'importanza del movimento sociale nel processo di auto-formazione delle materie di ricerca. I risultati indicano un'auto-formazione impegnata nel cambiamento sociale, con la lotta antirazzista e antisessualista e con la costruzione di identità dissidenti tra conservatorismo e fondamentalismo religioso fortemente presenti nella società brasiliana.Auto-allenamento. Neri evangelici. Movimento sociale.
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Rudyakova, Alla E. "On the First Graduation of Vocalists of the Saratov Alekseyev Conservatory." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 71–79. http://dx.doi.org/10.36340/2071-6818-2022-18-2-71-79.
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A picture of the initial period of the activity of the Saratov Alekseyev Conservatory, formed in 1912, is recreated based on rare unpublished works from the Central State Historical Archive of St. Petersburg, the State Archive of the Saratov Region, the Archive of the Saratov Sobinov Conservatory, as well as its library’s fund of manuscripts. It is revealed that the first final exams, which took place in 1915, were held in accordance with the Charter of the conservatories of the Imperial Russian Musical Society (IRMS), in which all the conditions for the implementation of final tests were included in detail. The Directorate of the IRMS in St. Petersburg appointed the outstanding musicologist and theorist, B.Yavorsky, who had considerable authority in musical circles. A written report by Yavorsky to the Chairman of the IRMS, Princess Elena of Saxe-Altenburg, (the document is introduced into scientific circulation for the first time) contains valuable information that makes it possible to assess the level of vocal training of singers graduating from a higher educational institution. Analysis of the report showed: the presence of all types of singing voices among the students of the conservatory - soprano (coloratura, light lyric, spinto), mezzo-soprano, tenor, baritone, bass; the presence of problems in the technical aspect of the performance (lack of a full range and basic vocalisation skills) and performing skills (freedom of behaviour on stage, artistry, charisma, charm, temperament); problems in the repertoire (vocal programs had different complexity for all graduates, although there were all the traditional vocal genres for academic singers: arias and romances by Russian and foreign composers), shortcomings in sound science (presence of tremolation, voice clamp, unrevealed timbre, lack of even sound science, which consists in the heterogeneity of timbre colouring and the non-smoothness of the transitional registers of the singing voice), as well as insufficient musical development for some graduates of a higher educational institution. At the same time, it should be noted that the chairman of the graduation committee, Yavorsky, attached great significance to emotional fullness in revealing the figurative content of the works performed by the vocalists. This criterion was often more important to him than the technical side of the performance. Based on the content of the report, it can be concluded that the level of vocal graduates was generally sufficient for professional activities (although Yavorsky did not always share the opinions of the teachers of the Saratov Conservatory - members of the commission), which indicates effective teaching of solo singing at the initial stage of the activities of the Saratov Alekseyev Conservatory.
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Strilets, Andriy. "Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 141–56. http://dx.doi.org/10.34064/khnum2-49.10.
Full textAbstract:
Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.
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Strilets, Andriy. "Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 141–56. http://dx.doi.org/10.34064/khnum1-49.10.
Full textAbstract:
Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.
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Bernabé Villodre, María del Mar. "El lenguaje musical y las nuevas tecnologías en las enseñanzas profesionales de Música / The Musical Language and New Technologies in the Professional Music Education." Revista Internacional de Tecnologías en la Educación 2, no. 2 (June 8, 2015). http://dx.doi.org/10.37467/gka-revedutech.v2.966.
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ABSTRACTThe Ministry of Education of the Generalitat Valenciana has long been investing in digital renewing their classrooms; this has led to teachers having to amortize the investment without enough training to harness these resources. This communication includes an educational experience in the classroom Musical Language of Professional Music Education in a conservatory of Valencia. The process of adapting a more traditional institution (Conservatories of Music) in their pedagogy that compulsory education centers, is more complex than in these other institutions. In this communication the adaptation of teaching is shown to apply this new technology should facilitate both their work and learning this subject students Musical Language conservatory. The problems that led to the use of the whiteboard in this subject, in escasísima (if not null) tradition also show that all experiences are limited to Kindergarten, Primary and Secondary; as well as the training needs of teachers in the specialty of Musical Language to use this resource in their classes.RESUMENLa Consejería de Educación de la Generalidad Valenciana lleva muchos años invirtiendo en la renovación digital de sus aulas; lo que ha llevado a que el profesorado tenga que amortizar dicha inversión sin formación suficiente para aprovechar dichos recursos. Esta comunicación recoge una experiencia educativa en el aula de Lenguaje Musical de las Enseñanzas Profesionales de Música, en un conservatorio de la Comunidad Valenciana. El proceso de adaptación de una institución más tradicionalista (conservatorios de Música) en cuanto a su pedagogía que los centros de educación obligato-ria, es más complejo que en estas otras instituciones. En esta comunicación se muestra el proceso de adaptación del docente para poder aplicar esta nueva tecnología que debía facilitar tanto su labor como el aprendizaje de esta materia a los estu-diantes de Lenguaje Musical del conservatorio. También, se muestran los problemas que supuso el uso de la pizarra digital en esta asignatura, de escasísima (cuando no nula) tradición porque todas las experiencias se limitan a Infantil, Primaria y Secundaria; así como las necesidades formativas de los docentes de la especialidad de Lenguaje Musical para poder utilizar este recurso en sus clases. Contacto principal: elchesociologia2@gmail.com
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Hernández-Dionis, Paula, David Pérez-Jorge, Vicenta Gisbert-Caudeli, and Olga María Alegre de la Rosa. "The teaching of the cello in Spain: An analysis of the planning frameworks used for teaching in conservatories." Humanities and Social Sciences Communications 9, no. 1 (April 14, 2022). http://dx.doi.org/10.1057/s41599-022-01162-z.
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AbstractOne might think that the elementary teachings of an instrument should follow uniform planning patterns. The present study shows discrepancies between the models developed by different Spanish conservatories, mainly attributable to the guidelines established by each autonomous community concerning the order of the curriculum markedly influenced by each community’s circumstances. This article analyzes and compares first-year didactic programs in the elementary music teachings of 40 Spanish conservatories within the cello specialty. This work shows significant heterogeneity in planning, marked mainly by the variety of content in planning. The lack of unified criteria and standards for teaching planning is evident in teachers’ freedom to establish the contents and evaluation criteria within the framework of regulations in each autonomous community, whose generality prevents the establishment of standard criteria. It is urgent and necessary to design training plans and standard content that consider improved learning practices and strategies to offer quality training based on common standards.
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Pang, Zhenguo. "Peculiarities of Music Performance in the Flow State." Revista Música Hodie 22 (May 17, 2022). http://dx.doi.org/10.5216/mh.v22.70537.
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The study purpose is to conduct a comparative analysis of the level of performance and psychophysiological indicators of violinists playing musical compositions in the flow state and according to the standard methodology. The study was conducted in 2019 at Minzu University of China (PRC) among 92 students who studied violin in the conservatory. The experimental group was also better at musicality (p≤0.05) and intonation (p≤0.05). The results obtained can be recommended as a method for improving musicians' skills while training in conservatories and other music universities in different countries.
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Johansson, Karin, and Eva Georgii-Hemming. "Processes of academisation in higher music education: the case of Sweden." British Journal of Music Education, December 21, 2020, 1–14. http://dx.doi.org/10.1017/s0265051720000339.
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Abstract Higher music education (HME) in Europe is multifaceted due to the great variety of legal frameworks, conservatory histories and practices. However, following the Bologna declaration in 1999, traditional conservatories are gradually transforming into research-based institutions, which means combining advanced performer training with artistic research. After a background on academisation in the higher education of classical, professional musicians, this article reports on a Swedish case study of meanings assigned to academisation in HME. Findings show that it is defined and justified as a quality development project, which requires adaptation and also gives opportunities for further development. Issues of agency in HME are discussed.
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ELGÜN, Özgür, and Serpil UMUZDAŞ. "COMPARISON OF THE VIOLONCELLO CURRICULUMS OF STATE CONSERVATORIES MUSIC AND BALLET MIDDLE SCHOOLS AND HIGH SCHOOLS OF MUSIC AND PERFORMING ARTS." Yegah Müzikoloji Dergisi, September 15, 2022. http://dx.doi.org/10.51576/ymd.1161278.
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Every conservatory management does not start instrument training in the same class, and therefore, the age and class level of starting instrument training may differ. The level of students in conservatories also varies depending on the age of starting the instrument. This study includes the comparison and evaluation of the similarities and differences between the curricula of the music and ballet departments of the state conservatory, which provides education in Turkey, at the secondary school level, and the high school level of the music and performing arts departments of the string instruments main art branch and cello art branch. Research; The curriculum of Ankara Hacettepe University, İzmir Dokuz Eylül University, Adana Çukurova University, Bursa Uludağ University, Aydın Adnan Menderes University State Conservatory, and Ankara Bilkent University Faculty of Music and Performing Arts, which are among the main institutions providing conservatory education, is limited. The data for this research, which was carried out with the general scanning model, were obtained from the websites of the institutions that were confirmed to be up-to-date through interviews with the relevant institutions. Missing information was obtained during the interview. As a result of the research; It is seen that the contents that have been planned by making preliminary preparations and put into practice in accordance with the current situation have been created. Conservatory's field and auxiliary field courses are offered the conservatory. After being accepted by the relevant university senate, it is approved by the Ministry, published in the Official Gazette, and applied. These contents, which have been put into practice in the findings of this research, are presented. The report presented; It is a resource for students planning to transfer between conservatories, their families, and educators to prepare for transfer exams. In addition, it is considered valuable in terms of the accreditation of universities and units.
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Lupiáñez, Mariola, Francisco de Paula Ortiz, Jaime Vila, and Miguel A. Muñoz. "Predictors of music performance anxiety in conservatory students." Psychology of Music, August 13, 2021, 030573562110322. http://dx.doi.org/10.1177/03057356211032290.
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Music performance anxiety (MPA) is one of the main problems experienced by music students. It manifests in affective, cognitive, somatic, and behavioral symptoms that can occur regardless of the quality of the musical performance. The aim of this study was to perform a regression analysis to determine the variables that contribute to the prediction of MPA in conservatory students. A total of 295 Spanish music students aged 15–68 years enrolled in Spanish conservatories completed a battery of questionnaires selected to collect information about demographic characteristics, musical training, learning processes, and health and psychological variables. Pearson’s correlations and ANOVA were calculated, and a regression analysis was done to predict the development of MPA. The results showed that MPA is largely predicted by health and psychological variables, including depression, fear of negative evaluation, social avoidance, poor achievement motivation, and use of substances to alleviate MPA. Age at first musical performance with an audience was the only musical training variable with sufficient strength to predict MPA (the older the participant, the greater the MPA). The article concludes with a discussion of the need to implement psychological and educational counseling in music education centers as well as specific training to increase the quality of the musical career and personal wellbeing of the students.
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Wang, Di. "Sensibility and Rationality in Vocal Music: The Issue of Intonation." Revista Música Hodie 21 (November 14, 2021). http://dx.doi.org/10.5216/mh.v21.66429.
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The purpose of this article was to assess the effectiveness of intonation control among first-year students majoring in vocal music. The study was performed during the 2018-2019 in on one of Beijing conservatories (China). Research sample comprised of 300 first-year students, 100 of which made up the control group, another 100 – the experimental group 1, and the last 100 – experimental group 2. Higher results of students from EGs than those of CG participants resulted from systematic and constant work on intonation improvement. The total number of individuals with poor educational achievements decreased in view of the innovative training methodology introduction that provoked the overall enhancement of academic outcomes. An inverse correlation was found between intonation control and health vocal apparatus: -0.89 for CG, 0.78 for EG1, and 0.81 for EG2. The application of the developed methodology allowed students to preserve vocal cords’ health and improve singing abilities.
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Sattar, Zeibeda (Zeb), Stephanie Wilkie, and Jonathan Ling. "The impact of a refurbishment programme on older people living in sheltered housing." Housing, Care and Support ahead-of-print, ahead-of-print (August 19, 2021). http://dx.doi.org/10.1108/hcs-02-2021-0004.
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Purpose This paper aims to explore residents' perceptions of a refurbishment programme to sheltered housing schemes and its impact on their well-being. Design/methodology/approach The methodology draws upon a realist evaluation framework. Four participatory appraisals (PAs) and 19 interviews with residents were conducted in the sheltered housing schemes. Ages of participants ranged from 50 to 99 years. Findings Two categories of residents were identified: healthy active older adults and older frail adults (or over 85+). Residents said their social and emotional well-being improved from the provision of indoor and outdoor communal areas. Older frail residents only accessed the new communal spaces when staff took them in their wheelchairs. The physical changes increased opportunities for social connections for residents. Conservatories and sensory gardens were most popular. Residents felt that structured activities in the new spaces and digital training would improve their social activities. Research limitations/implications The participatory methods spanned over an hour, and some residents felt too tired to complete the full session. Practical implications A practical limitation was that some sensory rooms were not fully completed at the time of the evaluation. Originality/value This paper adds the following: Perceptions of residents of a refurbishment programme in sheltered housing and the impact on their well-being. Perceptions of residents about social activities after a refurbishment programme. Perceptions of residents about the impact of physical changes to their sheltered housing schemes and impact on their internal accessibility to the improvements.