Academic literature on the topic 'Degree Discipline: Musical Arts'
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Journal articles on the topic "Degree Discipline: Musical Arts"
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Kulapina, Olga I. "Workshops in the Higher Educational Institution Course “Methodology of Musicological Research”." ICONI, no. 1 (2020): 88–94. http://dx.doi.org/10.33779/2658-4824.2020.1.088-094.
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“Methodology of musicology research” refers to an insuffi ciently developed higher educational institution discipline studied by musicology students from the advanced courses (major fi eld of studies). The purpose of the article is to examine the relevant and largely innovative forms of practical development of the course, which corresponds to the content of the curriculum drawn up by the author. The focus of our attention is on three types of workshops held as part of seminars: 1) methodological analysis of specifi c musicological theories, 2) preparation by the students of the methodological subsection of the fi nal qualifi cation thesis, 3) the work of studying the introductory sections of monographs and abstracts of dissertations for the degree of Candidate of Arts (analysis of the methodological position). Organization of these workshops makes it possible for students to enrich their knowledge with existent and new informational sources, to develop their skills in working with scholarly texts, revealing their methodological component, to comprehend the signifi cance of the approaches and methods used in studying and writing academic works of different genres, to adapt the methodology of scholarly research for professional activities in the fi eld of scholarship, education, and enlightenment. Thereby, it becomes possible to increase the competence of future specialists in various types of activities in the fi eld of musical scholarship, art and culture.
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Bobryk, Urszula, Renata Gozdecka, and Tomasz Jasiński. "Niedokończony koncert dla Lublina. Wspomnienie o Beacie Dąbrowskiej (1960-2016)." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 11. http://dx.doi.org/10.17951/l.2016.14.2.11.
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<p>Professor Beata Dąbrowska – a conductor, teacher, and organizer of musical life, highly merited for Lublin’s musical culture and Maria Curie-Skłodowska University (UMCS) – died on 14<sup>th</sup> March 2016. She was born on 5<sup>th</sup> January 1960 in Lublin, She attended the Karol Lipiński Music School in Lublin, and then studied at the Frederic Chopin Music Academy in Warsaw, from which she graduated in 1982 and received a Master of Music Degree in Choral Conducting. From 1982 until the end of her life she worked at the Institute of Music, Maria Curie-Skłodowska University (until 2000 it was the Institute of Arts Education). In 1992 she received the first-grade qualification (today – a PhD equivalent) in the artistic discipline of <em>conducting vocal and vocal-instrumental groups</em>; in 1999 she received her second-grade qualification (now – a postdoctoral degree: Habilitated Doctor). In 2003 she was appointed Associate Professor of UMCS. In 2005 she became Head of the Institute of Music. She held this function till her death, combining it with multiple academic activities. At the same time she pursued her artistic activity. In 1987, together with her husband Dariusz Dąbrowski, she founded the Chamber Choir of the Henryk Wieniawski Music Society of Lublin, whose conductor she was for almost 30 years. She and the Choir gave several dozen vocal-instrumental concerts and over 300 concerts a cappella; they took part in many festivals and competitions in other countries and won awards and honors. Most often she performed in Lublin at religious and official state ceremonies, various jubilees, or anniversaries; many times she took part in Lublin concert series (inter alia Ars Chori, Spotkania Chórów Akademickich [Meetings of Academic Choirs]), she also gave concerts in other towns ( e.g. in Gdańsk, Grudziądz, Olsztyn, Toruń, Wrocław). She was engaged in many initiatives of Lublin’s music culture and, at the same time, she improved her skills (in 1990 she completed Podyplomowe Studium Chórmistrzowskie [Postgraduate Choirmaster Training Program at the Feliks Nowowiejski Academy of Music in Bydgoszcz]). In 1995 she initiated in Lublin Międzynarodowe Dni Muzyki Chóralnej (International Days of Choir Music). She organized concerts in Lublin for many years. She was awarded many times for her dedicated and invaluable work, the formation of Lublin’s cultural image, and for the promotion of Polish culture in Poland and abroad.</p>
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Falfushynska, Halina I., Bogdan B. Buyak, Grygoriy M. Torbin, Grygorii V. Tereshchuk, Mykhailo M. Kasianchuk, and Mikołaj Karpiński. "Enhancing digital and professional competences via implementation of virtual laboratories for future physical therapists and rehabilitologist." CTE Workshop Proceedings 9 (March 21, 2022): 355–64. http://dx.doi.org/10.55056/cte.125.
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Being popular world-wide, virtual laboratories enter into different fields of education and research and practitioners have to be responsible for choosing the most suitable and then adapt them to particular field. The aim of the present work was to assess the effectivity of the implementation of Praxilab, Labster, and LabXchange virtual laboratories as the powerful digital tool into teaching protocols of “Clinical and laboratory diagnostics” discipline for physical therapists and rehabilitologist. We have carried out the online survey for 45 students enrolled in physical rehabilitation degree program. About 70\% surveyed students reported that implementation of virtual laboratories in “Clinical and laboratory diagnostics” discipline met individual learning needs of students, helped acquired digital skills (25\%), and supported them to stay ahead of the curve. The virtual lab applications, not only assisted harness students fair against lack of practical skills, but also brought about a new dimension to the classes and helped overcome digital alienation and gain their digital skills and abilities. Indeed, a virtual lab can’t completely replace the experimental work and teacher’s explanation, but it might support teaching activities of a modern mentor and learning activities of a modern student. Almost all of surveyed students (82\%) expected that in near future the virtual laboratories would take the dominant place in the education market due to possibility of students’ pre-train the key points of practical activities before real experiments in lab and better understand their theoretical backgrounds. Thus, this study is intended to contribute to utilization of virtual labs by students enrolled in study physical therapy/physical rehabilitation with expected efficiency.
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Seiling, Jonathan R. "Canadian Contributions to Anabaptist Studies since the 1960s." Renaissance and Reformation 37, no. 4 (April 30, 2015): 19–48. http://dx.doi.org/10.33137/rr.v37i4.22638.
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Anabaptist studies in Canada have been marked by an exceptional degree of productive, inter-confessional (or non-confessional) engagement, most notably between Mennonites, Baptists, and Lutherans. The institutions making the greatest contributions have been at the University of Waterloo (including, but not exclusively, Conrad Grebel University College), Queen’s University, and Acadia Divinity College. The geographic expansion of Anabaptist studies beyond the traditional Germanic centres into eastern Europe and Italy, and the re-orientation of analysis away from primarily theological or intellectual history toward a greater focus on socio-political factors and networking, have been particular areas in which Canadian scholars have impacted Anabaptist studies. The relationship of Spiritualism (and later Pietism) to Anabaptist traditions and the nature of Biblicism within Anabaptism, including the greater attention to biblical hermeneutics with the “Marpeck renaissance,” have also been studied extensively by Canadians. International debates concerning “normative” Anabaptism and its genetic origins have also been driven by the past generations of Canadian scholars (monogenesis, polygenesis, post-polygenesis).
Les études anabaptistes ont été marquées au Canada par un degré exceptionnel de collaboration productive, interconfessionnelle et non-confessionnelle, en particulier entre les mennonites, les baptistes, et les luthériens. Les institutions qui ont le plus contribué à cette collaboration sont les établissements de Waterloo (y compris, entre autres, le Conrad Grebel University College), la Queen’s University et l’Acadia Divinity College. Les études anabaptistes ont déployé leurs intérêts au-delà des centres germaniques traditionnels vers l’Europe de l’Est et l’Italie. Les chercheurs canadiens en études anabaptistes ont contribué de façon importante aux transformations de leur discipline, qui ont amené cette dernière à s’éloigner de l’histoire théologique et intellectuelle fondamentale pour se concentrer davantage sur les facteurs et les réseaux socio-politiques du mouvement anabaptiste. Les chercheurs canadiens ont aussi approfondi les thèmes de la relation du spiritisme (et plus tard, du piétisme) avec les traditions anabaptistes, et du biblicisme propre à l’anabaptisme, incluant l’intérêt croissant pour l’herméneutique biblique dans le cadre de la Renaissance de Marpeck. Des générations de chercheurs canadiens ont également fait leur marque dans les débats internationaux au sujet de l’anabaptiste « normatif » et de sa généalogie (monogenèse, polygenèse, post-polygenèse).
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GRIGORYEVA, V. V. "ЗМІСТ ДИРИГЕНТСЬКО-ХОРОВОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА У ПЕДАГОГІЧНИХ ЗАКЛАДАХ ВИЩОЇ ОСВІТИ." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 4, 2021): 211–17. http://dx.doi.org/10.31494/2412-9208-2021-1-2-211-217.
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The article considers the problem of choral-conducting training of future music art teachers and its place in the system of professional training in pedagogical institutions of higher education. It is noted that the discipline «Choral Conducting», which is part of the Workshop of choral-conducting training is included in the professional unit of the professional system of training specialists, specialty 014 Secondary Education (Music). It includes knowledge, skills and abilities of conducting and choir organization. The effectiveness of the individual form of conducting training is substantiated, which is due to the specifics of choral conducting as a performing art and contributes to the formation of each student’s professiogram. The author highlights the interdisciplinary links of the course «Choral Conducting» with other disciplines that provide a complex professional training of the student, as well as strengthen his/her professional and pedagogical orientation. The article analyzes the theoretical views and pedagogical principles of representatives of Ukrainian conducting and choral schools, which created unique scientific and pedagogical systems of a conductor’s formation. Based on the main provisions of these systems, the author developed the content of choral-conducting training of future music art teachers in pedagogical institutions of higher education, taking into account the regional component (Zaporizhzhia region, Northern Azov), which is represented by works of relevant composers. The article presents the gradual formation of a music art teacher as a specialist choirmaster. The detailed content of choral-conducting training of bachelor's degree students is given. The basic skills that are complicated and improved in the process of conducting are highlighted. The role of the regional component in the content of educational programs and its assistance in preserving the cultural traditions of the region is determined. Key words: future music art teachers, choral-conducting training, conducting activity, choir.
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Toropova, Alla V. "Formation of a Scientific and Educational Model of Musical-Psychological Anthropology." Musical Art and Education 8, no. 3 (2020): 65–81. http://dx.doi.org/10.31862//2309-1428-2020-8-3-65-81.
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The article presents an understanding of the value attitudes and methodological approaches to the construction of the educational discipline “Musical-psychological anthropology”, developed by the author and tested in the educational process at the Faculty of Musical Arts of the Institute of Fine Arts of Moscow Pedagogical State University. The directions of development in the discipline content the ideas and aspirations by E. B. Abdullin are outlined. The connection of the actual problems of pedagogy and psychology of music education with the experience of setting tasks for the project activities of graduate students in the course of Musical-psychological anthropology is shown. Some research results of graduate students which contribute to the development of Music-Psychological Anthropology as an interdisciplinary field and academic discipline at a university, focused on current problems of music education, as well as on the development of professional reflection of music teachers are presented.
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Burnham, Brian. "Three Dimensional Visualization of Complex Environmental Data Sets of Variable Resolution." Leonardo 46, no. 3 (June 2013): 290–91. http://dx.doi.org/10.1162/leon_a_00580.
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Three dimensional visualization of complex, variable resolution data sets is an inherent problem with the increase in data retrieval and processing methods. This problem translates across many disciplines in the sciences and engineering, but also in the arts, new media and social networking. In this paper the authors report on a project to integrate terrestrial and aerial based terrain data with variable degrees of resolution. Future implications of big data set visualization and the development of transdisciplinary approaches that can be used in both the sciences and the arts are discussed.
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Aftimichuk, Olga, and Varvara Poleacova. "The Meaning of Musical-Rhythmic Education in The Training of Wellness Aerobics Coaches." GYMNASIUM XXI, no. 1 (Supplement) (June 30, 2020): 69. http://dx.doi.org/10.29081/gsjesh.2020.21.1s.07.
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The work considers the category of “rhythm” in the aspect of physiological laws, defines the place of coordination, as a psychomotor quality, for the implementation of any activity. The significance of musical rhythmic education for the process of training an aerobics coach in a university education system is substantiated. The system of classes of this discipline is aimed at developing students’ skills of complex coordination, which defines an integrated management of the coach’s actions and the actions of his students. The content of musical rhythmic education is presented from the standpoint of psychophysiological processes. Means of the discipline under discussion are referred to the areas of physical education (basic gymnastics, rhythmic gymnastics, aerobic gymnastics) and arts (music, dance, musical outdoor games). There are presented general and particular tasks of musical rhythmic education.
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Green, Owen. "The Situation of Practice-Led Research Around NIME, and Two Methodological Suggestions for Improved Communication." Leonardo 49, no. 1 (February 2016): 78–79. http://dx.doi.org/10.1162/leon_a_01119.
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The author offers a pair of proposals for possible practice-led tactics for live electronic music research, both aimed at enhancing musical communication within the sub-discipline and based on activities that the author takes to be informally present in much of the conduct of musicians. By way of background, he first explains why improving musical communication is important in terms of its potential benefit to our disciplinary coherence and our collective ability to communicate fruitfully with each other and with researchers in allied disciplines.
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Plyachenko, T. M. "PROFESSIONAL TRAINING OF THE FUTURE TEACHER MUSICIANS IN THE CONDITIONS OF CREDIT-MODULAR EDUCATION." Educational Dimension 21 (September 1, 2008): 209–14. http://dx.doi.org/10.31812/educdim.6678.
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In the article T.N. Plyachenko is exposed specific of professional preparation of future music masters in the conditions of the credit-module departmental teaching, a structure and maintenance of discipline is analysed „Introduction to speciality for the students of musical separation of faculty of arts of pedagogical university.
Dissertations / Theses on the topic "Degree Discipline: Musical Arts"
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Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.
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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Tedrick, Deborah. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2668.
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Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Smith, Felicity. "The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.
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Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).
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Lau, Kevin. "The Shores of Light." Thesis, 2012. http://hdl.handle.net/1807/32803.
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The Shores of Light is an orchestral composition which seeks to explore musical processes of coherence and evolution at a deeper level. The piece charts the journey of a single musical identity across a shifting aural landscape. This thematic idea — a strongly modal melody reminiscent of both plainchant and folksong, which serves as both the initial premise and foundation for the piece — is rooted in serene yet archaic stasis. After a brief introduction, the theme is subjected to tremendous pressure by external forces, which eventually crush it beyond recognition via a series of 'destructive' harmonic, contrapuntal, and acoustic procedures. Reduced to a shadow of its former self, the theme then undergoes a series of transformations, culminating in restoration — not to its original form, but to a new identity which functions as part of a whole, a 'master' entity whose components have been discreetly but gradually cohering throughout. This final realization is glimpsed but not necessarily fulfilled (hence the "shores of light") and the work, while striving at every register to return to its initial tonic, ends on a note that suggests (somewhat ominously) the possibility of a cyclical process.
It is the essential tension between hierarchical complexity (tonality) and disorder (perceptual dissonance generated either by highly chromatic aggregates, acoustic saturation, or both) which plays the most crucial role in this discourse. The evolution toward greater and greater cohesion is achieved, necessarily, in opposition to the chaotic undercurrent which threatens to overwhelm or shatter the 'cohering' elements at every turn. The final chorale is a triumph of the 'meek,' as the elements of noise and distortion (ie. disorder) are stripped away to reveal an image of luminous simplicity.
The use of tonal and non-tonal material as metaphors for order and chaos seems to betray an arbitrary initial condition — after all, there is no explicit logical connection between these parameters. But order, like beauty or meaning, is a perceptual phenomenon that transcends its processes. For me, the true complexity of the tonal hierarchy lies in its emergent qualities — the layers of content that emerge from a highly structured syntax. Thus, the gradual accretion of jumbled musical letters into recognizable words, then coherent sentences, then paragraphs imbued with specific meaning, carries with its own symbolism and structural significance.
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Brain, Corisha. "A social, literary and musical study of Julie Pinel's 'Nouveau recueil d'airs serieux et a boire' (Paris, 1737) : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Musicology, New Zealand School of Music." 2008. http://hdl.handle.net/10179/914.
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This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.
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Cammell, Shane. "What can I understand about children with special needs from the musical offerings that emerge in the music therapy process? : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Music Therapy at New Zealand School of Music, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/861.
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This arts-based research thesis sought to understand two children with special needs, through their musical offerings within the context of their music therapy sessions. The process of understanding the children came through firstly listening to and extracting meaningful musical data from recordings of their sessions. This data included both actual excerpts of the musical interplays between the child and music therapist (myself), and more broadly, underlying themes drawn from the recorded session material. The data was then creatively ‘melded’, resulting in two original instrumental works, herein referred to as 'songs'. Before, during and after writing the songs, rigorous analyses were undertaken utilising both a formal approach, via the use of a contextual question framework, and two creative approaches: free-form narration and data-led imagery. The contextual question framework, involving the repetitive use of two key questions - where? and why? - sought to understand the data’s context, its purpose for inclusion, and its influence on the respective song. One of the creative approaches, that of free-form narration, sought to, rather than analysing the song through formal structures, instead ‘tell the song’s story’, narratively conveying the experience of being with the child in his music. The other creative approach, that of data-led imagery, involved creating images during and after being ‘immersed’ in the musical data, employing instinctive or subconscious means to further develop the therapist’s understanding of the child’s musical offerings, and moreover, the child himself. Upon completion of the two songs, it was discovered that clinical themes present from the sessions strongly influenced the song creation process. Results also strongly supported the validity of arts-based research as a viable means of analysing music created with children with special needs.
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Johnston, Emma. "Healing Maori through song and dance? : three case studies of recent New Zealand music theatre : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Theatre and Film Studies in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20071119.093313.
Full textBooks on the topic "Degree Discipline: Musical Arts"
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Litvinova, Margarita, and Irina Kozhaeva. Musical-poetic performance. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071391.
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In the educational-methodical manual deals with basic dramaturgical and staging the principles of working with documentary and artistic material, techniques use of fact and document in a journalistic view, clearly demonstrates techniques for creating imaginative solutions and scenarios of artistic and journalistic representations.
Addressed to students of universities of arts and culture, studying under the direction of training 51.03.05 "direction of the dramatized representations and holidays", studying discipline "Directing poetry theater" and "writing"; and also workers of culture, Directors and practitioners working to create theatrical programs and mass celebrations.
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Taylor, Stephen Andrew. The Lamento motif: Metamorphosis in Ligeti's late style : a dissertation presented to the Faculty of the Graduate School of Cornell University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, May 1994. Ann Arbor, Mich: UMI Dissertation Services, 1999.
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Charoenwongse, Chindarat. Undergraduate piano pedagogy course offerings in Thai universities: A document submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. UMI, 1999.
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Mura, Anna, and Tony J. Prescott. A sketch of the education landscape in biomimetic and biohybrid systems. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199674923.003.0064.
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The Living Machines approach, which can be seen as an exemplar methodology for a wider initiative towards “convergent science,” implies and requires a transdisciplinary understanding that bridges from between science and engineering and to the social sciences, arts, and humanities. In addition, it emphasizes a mix of basic and applied approaches whilst also requiring an awareness of the societal context in which modern research and innovation activities are conducted. This chapter explores the education landscape for postgraduate programs related to the concept of Living Machines, highlighting some challenges that should be addressed and providing suggestions for future course development and policy making. The chapter also reviews some of the within-discipline and across-discipline programs that currently exist, particularly within Europe and the US, and outlines an exemplar degree program that could provide the multi-faceted training needed to pursue research and innovation in Living Machines.
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Tomoff, Kiril. Creative Union. Cornell University Press, 2006. http://dx.doi.org/10.7591/cornell/9780801444111.001.0001.
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Why did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that this book seeks to answer. The book shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to the book's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres. Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's ‘Lady Macbeth’ and Zhdanov's postwar attack on musical formalism. This book's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. The book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.
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Manieson, Victor. Accelerated Keyboard Musicianship. Noyam Publishers, 2021. http://dx.doi.org/10.38159/npub.eb20211001.
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Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”
Book chapters on the topic "Degree Discipline: Musical Arts"
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Markaki, Eirini, and Ilias Kokkalidis. "Interactive Technologies and Audiovisual Programming for the Performing Arts." In Advances in Multimedia and Interactive Technologies, 137–59. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch007.
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While many scientific fields loosely rely on coarse depiction of findings and clues, other disciplines demand exact appreciation, consideration and acknowledgement for an accurate diagnosis of scientific data. But what happens if the examined data have a depth of focus and a degree of perplexity that is beyond our analyzed scope? Such is the case of performing arts, where humans demonstrate a surplus in creative potential, intermingled with computer supported technologies that provide the substrate for advanced programming for audiovisual effects. However, human metrics diverge from computer measurements, and therefore a space of convergence needs to be established analogous to the expressive capacity of musical inventiveness in terms of rhythm, spatial movement and dancing, advanced expression of emotion through harmony and beauty of the accompanying audiovisual form. In this chapter, the new era of audiovisual effects programming will be demonstrated that leverage massive participation and emotional reaction.
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Alexander, Jonathan J. G. "The Study of Medieval Art 2: 1950–2000." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0029.
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This chapter examines the history of the study of medieval art in Great Britain during the period from 1950 to 2000. The British Academy created a separate section for History of Art and Music, but in many quarters art history was still thought of as the province of the amateur art-lover rather than an object of serious study. Only the Courtland Institute continued to be the only institution in England offering undergraduate and graduate degrees. The situation changed in the 1960s and 1970s when all branches of the discipline experienced major growth in the areas of conservation studies and art-book publishing.
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"The General Concept of Ancient Music, and of the Musical Arts Embraced under This Discipline." In Critical Reflections on Poetry and Painting (SET), 637–43. BRILL, 2021. http://dx.doi.org/10.1163/9789004465947_096.
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Pierce, Janine M., Donna M. Velliaris, and Jane Edwards. "A Living Case Study." In Advances in Media, Entertainment, and the Arts, 158–78. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch008.
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Living Case Studies (LCSs) in the discipline of business provide a bridge from knowledge acquisition to knowledge practice in a real world context. They offer the facilitator a knowledge to application methodology and the student a learning by doing experience, which are oftentimes lacking in business courses. The Eynesbury Institute of Business and Technology (EIBT) offers a Diploma of Business leading to either the University of Adelaide or University of South Australia's degree programs in business-related fields. From 2010-2013, EIBT introduced a simulated LCS in its Diploma of Business program to extend collaborative methods and understanding of how different business courses can work together to achieve heightened student engagement. This chapter provides an overview of the journey from planning to implementation, approaches adapted in different courses, reflections on what was learned, and future recommendations if the LCS were to be re-implemented at EIBT.
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Wei, Jianliang, Jianhua Chen, and Qinghua Zhu. "Service Science, Management and Engineering Education." In Technological Applications and Advancements in Service Science, Management, and Engineering, 134–51. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-1583-0.ch009.
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Service Science, Management and Engineering (SSME) is an emerging discipline which studies service industry under an integrated framework. SSME education trains scientists and skilled service workers to promote innovation and productivity in service industry. Although quite a number of universities started SSME programs years ago, most of them are still in the stage of experiment, and only address a small portion of the total subject. This paper first discusses the objectives of SSME education program—the abilities that service workers and scientists should have. Then, three types of foundation courses of the current programs are discussed in depth; the bachelor, master and PhD degree programs offered currently are analyzed, which include the course contents and teaching methods. Based on the inspirations from these practical programs, a unified model for SSME education is developed and presented, which proposes to unify bachelor, master and PhD programs, and establishes a new service science department comprising areas of service management, service engineering and design, service arts and humanities.
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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Socio Cultural Music Branding." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2266.
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All of the issues in the preceding chapter come under the heading of meaning. Although there is some acknowledgement within the marketing discipline of the notion of brand meanings, relatively little attention has been paid to an underlying theory of cultural meaning. In order to deal with this, it is helpful to turn to cultural studies and a socio-cultural approach to branding. In this chapter, a framework is proposed for how music brands are created. Branding discourse is not good at understanding the meaning of arts and entertainment offerings. Because branding terminology has been largely developed by business academics, practitioners and intermediaries, it is a very blunt instrument in the cultural arena. By framing something or someone as a brand, the speaker invokes a particular way of speaking, a discursive repertoire, or a lens, which focuses on certain features of a phenomenon and pushes others out of focus. In fact, a serious failure of mainstream branding theory as applied by commercial marketers is its failure, relatively speaking, to handle the cultural dimensions of arts brands. It is unhelpful to apply commercial branding terminology to arts and entertainment brands without carefully considering the cultural context, the social interaction between all of the stakeholders, what meanings are generated and understood around the specific musical project or scene, what art-generic conventions apply, and what ideologies and values inform production and consumption practices in the project in question.
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Keller, Morton, and Phyllis Keller. "The Professional Schools." In Making Harvard Modern. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195144574.003.0010.
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Harvard’s nine professional schools were on the cutting edge of its evolution from a Brahmin to a meritocratic university. Custom, tradition, and the evergreen memory of the alumni weighed less heavily on them than on the College. And the professions they served were more interested in their current quality than their past glory. True, major differences of size, standing, wealth, and academic clout separated Harvard’s Brobdingnagian professional faculties—the Graduate School of Arts and Sciences and the Schools of Medicine, Law, and Business— from the smaller, weaker Lilliputs—Public Health and Dentistry, Divinity, Education, Design, Public Administration. But these schools had a shared goal of professional training that ultimately gave them more in common with one another than with the College and made them the closest approximation of Conant’s meritocratic ideal. Harvard’s doctoral programs in the Graduate School of Arts and Sciences (GSAS) were a major source of its claim to academic preeminence. As the Faculty of Arts and Sciences became more research and discipline minded, so grew the importance of graduate education. A 1937 ranking of graduate programs in twenty-eight fields—the lower the total score, the higher the overall standing—provided a satisfying measure of Harvard’s place in the American university pecking order: But there were problems. Money was short, and while graduate student enrollment held up during the Depression years of the early 1930s (what else was there for a young college graduate to do?), academic jobs became rare indeed. Between 1926–27 and 1935–36, Yale appointed no Harvard Ph.D. to a junior position. The Graduate School itself was little more than a degree-granting instrument, with no power to appoint faculty, no building, no endowment, and no budget beyond one for its modest administrative costs. Graduate students identified with their departments, not the Graduate School. Needless to say, the GSAS deanship did not attract the University’s ablest men. Conant in 1941 appointed a committee to look into graduate education, and historian Arthur M. Schlesinger, Sr., “called for a thoroughgoing study without blinders.
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Willetts, David. "Vocational Higher Education." In A University Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198767268.003.0016.
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A beautiful large stained-glass window dominates the end of the Great Hall of Birmingham University. My great-grandfather was one of the glaziers who made it—my family were Birmingham artisans, craftsmen, and engineers. His son, my grandfather, remembered being taken to the opening of Birmingham University in 1902—Joe Chamberlain, the founder of the university, believed that the workers who had built it should be invited, not just the academics. From a distance it looks like the stained-glass window in an ancient cathedral with figures of saints, but close up you see the radicalism of Joe Chamberlain’s vision. It is dedicated to the arts and sciences. Instead of saints and bishops the figures represent disciplines like geometry or music, but alongside them, equally prominent, are contemporary trades: there is an electroplater, a rather Michelangelesque miner, and a demure bookkeeper too. It is a celebration of the range of trades and professions of the early twentieth century, ‘as practised in the university and in the City’, said the local paper. England’s first university in one of its great bustling industrial cities was claiming a new role for the university based on its civic commitment. This great window embodies a very different idea of the university from the Oxbridge tradition. It is a vigorous statement in an argument that was raging within Government at the very time that Chamberlain was planning his new university. The question was whether public funds should go to help pay for higher education courses outside Oxbridge on a systematic basis and if so which courses at which institutions. (At this point what would become our Redbrick universities were typically university colleges teaching for the external degree of the University of London and funded locally, though with occasional public grants.) The question came to the Chancellor of the Exchequer in 1895, who replied: ‘As an old Oxford man myself I must confess to a feeling, which you may call a prejudice, that University education, in the full sense of the term, can hardly be obtained except at our old Universities.’ The Treasury consulted Oxford and Cambridge on what they should fund.
Conference papers on the topic "Degree Discipline: Musical Arts"
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Holland, Brian. "Finding Opportunity in Complexity: A Case for Tackling More, Not Less, in Beginning Design Studio." In 2019 ACSA Fall Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.fall.19.17.
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This paper addresses the understudied educational space of what is commonly understood as the preprofessional portfolio- development studio. It describes a design pedagogy developed to serve preprofessional and non-design-major students from liberal-arts colleges pursuing admission to a first-professional graduate degree program in architecture. Starting from the premise that in complexity lies myriad opportunities for discovery and growth, this studio establishes a robust platform for this unique group of students to encounter the richness and expansiveness of the discipline, and to understand and explore architecture’s capacities as an agent of positive change in the world. It is further argued that what a complex, case study-based design project facilitates for these beginning design students is a depth and richness of engagement, and that like a great work of literature, a complex architectural problem asks students to wrestle all at once with its many layers—with its clarity and contradictions, its strengths and shortcomings—and to evaluate its evolving place in, and meaning to society. In this light each student’s efforts to define their own approach can be shown to reveal insights not only about the object of study, but also about themselves and their own nascent interests in design, architecture, and the built environment.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.
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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.