Journal articles on the topic 'Degree Discipline: Musical Arts'
To see the other types of publications on this topic, follow the link: Degree Discipline: Musical Arts.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Degree Discipline: Musical Arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
“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.
2
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.
Full textAbstract:
<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>
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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).
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Koryakin, Olexiy. "ТHE METHODOLOGICAL SUPPORT OF SOUND ENGINEERING TRAINING OF FUTURE MASTERS OF MUSICAL ART." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 26–33. http://dx.doi.org/10.28925/2414-0325.2020.8.4.
Full textAbstract:
The article is devoted to specifying the basics of methodological support of sound processing training of future masters of musical art of performing specializations in the specialty «Musical Art». The article analyzes the general direction of professional training in the specialty «Musical Art» and defines the main content of sound processing training of future masters of musical art of performing specializations; outlines the conditions for incorporating computer information technology into the content of professional training of future masters of musical art of performing specializations. This article provides few examples of the use of multimedia computer technology and software for content of sound processing training for future masters of musical art in the specialty «Musical Art». The article contains general characteristics of the educational discipline of the cycle of professional training of the future masters of musical art «Sound processing and musical acoustics», as well as few examples of its use in the teaching of various multimedia technologies and computer programs. The article also defines the main stages of the technique of preparation of training session with the future masters of musical arts of performing specializations with the use of information multimedia computer technologies and software, as well as the basic conditions for the inclusion in the content of professional training of masters of musical arts of performing specializations of computer technology. The emphasis is placed on the use in the process of sound processing training of future masters of musical arts of performing specializations in the specialty «Musical Art» of multimedia technologies and software, which is an important component of ensuring the competitiveness of graduates in today's labor market
12
ASPDEN, SUZANNE, and STEVEN HUEBNER. "Twenty Years." Cambridge Opera Journal 21, no. 2 (July 2009): 101–3. http://dx.doi.org/10.1017/s0954586710000017.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
13
McCLARY, SUSAN. "Cambridge Opera Journal at Twenty." Cambridge Opera Journal 21, no. 2 (July 2009): 105–9. http://dx.doi.org/10.1017/s0954586710000029.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
14
GOSSETT, PHILIP. "Source Studies and Opera History." Cambridge Opera Journal 21, no. 2 (July 2009): 111–18. http://dx.doi.org/10.1017/s0954586710000030.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
15
ROSAND, ELLEN. "Il ritorno a Seneca." Cambridge Opera Journal 21, no. 2 (July 2009): 119–37. http://dx.doi.org/10.1017/s0954586710000042.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
16
KRAMER, LAWRENCE. "Wagner's Gold Standard: Tannhäuser and the General Equivalent." Cambridge Opera Journal 21, no. 2 (July 2009): 139–58. http://dx.doi.org/10.1017/s0954586710000054.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
17
PARLY, NILA. "Flying a Wagner Kite: Subjunctive Performances of a Rheingold Scene Based on a Dramaturgical Sketch by Carolyn Abbate." Cambridge Opera Journal 21, no. 2 (July 2009): 159–80. http://dx.doi.org/10.1017/s0954586710000066.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
18
WHITTALL, ARNOLD. "New Opera, Old Opera: Perspectives on Critical Interpretation." Cambridge Opera Journal 21, no. 2 (July 2009): 181–98. http://dx.doi.org/10.1017/s0954586710000078.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
19
ABBATE, CAROLYN. "… And in Response." Cambridge Opera Journal 21, no. 2 (July 2009): 199–201. http://dx.doi.org/10.1017/s095458671000008x.
Full textAbstract:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
20
Racolţa, Andrei, and Diana Giurea. "The study of form structuring through musical rhythm analogies for architecture students." SHS Web of Conferences 48 (2018): 01070. http://dx.doi.org/10.1051/shsconf/20184801070.
Full textAbstract:
The aim of the study is to facilitate the rhythmic management of shape by understanding the basics of the sonorous rhythm. The method used is based on an examplification using musical instruments, audio tools and a specific/ intuitive rhythmical semiography. This theoretical part is applied in the discipline called “The study of form”, conducted at the Faculty of Architecture in Timisoara, in the 2nd year of the bachelor programme using an exercise entitled rhytmical volumetric frieze. The method and results are presented in the illustrative part of the paper. Understanding musical rhythm is a fertile base for those working in the field of architecture, design and visual arts in general. The formal diversity obtained exhibites the polyrhythmics and the variation specific to musical rhythm, contrary to monorhythm and isorhythm.
21
Villanueva Serrano, Francesc. "El tractadista Guillermus de Podio: bases per a la construcció d’una biografia." Anuario Musical, no. 65 (December 30, 2010): 3. http://dx.doi.org/10.3989/anuariomusical.2010.65.110.
Full textAbstract:
Bajo el nombre de autor de Guillermus de Podio se conservan dos obras de teoría musical de finales del siglo XV: la impresa Ars musicorum (Valencia, Hagenbach y Hutz, 1495) y el manuscrito Enchiridion de principiis musice discipline contra negantes illa et destruentes. A pesar de la gran influencia que este músico ejerció sobre los teóricos españoles del siglo XVI, son mínimos los datos biográficos generalmente aceptados por la comunidad investigadora. El presente artículo pretende ofrecer unos cimientos sólidos sobre los cuales poder construir su biografía. Con esta finalidad, se distinguen primeramente los datos contrastados de los que forman parte de la especulación en la historiografía del músico. Finalmente se aportan nuevos documentos que resuelven las dudas sobre su identidad y desvelan su magisterio en la catedral de Valencia.
[ct] Sota el nom d’autor de Guillermus de Podio es conserven dues obres de teoria musical de finals del segle XV: l’impresa Ars musicorum (València, Hagenbach i Hutz, 1495) i el manuscrit Enchiridion de principiis musice discipline contra negantes illa et destruentes. Malgrat la gran influència que aquest músic va exercir sobre els teòrics espanyols del segle XVI, són mínimes les seues dades biogràfiques generalment acceptades per la comunitat investigadora. El present article pretén oferir uns fonaments sòlids sobre els quals poder construir la seua biografia. Amb aquesta fi nalitat, es distingeixen primerament les dades contrastades de les que formen part de l’especulació en la historiografia del músic. Finalment s’aporten nous documents que resolen els dubtes sobre la seua identitat i desvelen el seu magisteri en la seu de València.
22
Karas, Hanna. "USE OF INTERDISCIPLINARITY AS AN INNOVATIVE APPROACH IN THE EDUCATIONAL PROCESS OF ART INSTITUTIONS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 18–22. http://dx.doi.org/10.36550/2415-7988-2021-1-195-18-22.
Full textAbstract:
The article is devoted to the use of interdisciplinarity as an innovative approach in the educational process of art institutions of higher education on the example of studying the discipline «Evolution of artistic styles in art» included in educational master's programs. This discipline is based on the theory and practice of professional development of a teacher-musician, who provides the Master of Arts education process, shapes their professional development necessary for their future musical and pedagogical creativity, skills, and pedagogical culture. The content of the discipline consists of the introduction of artistic styles’ scientific and theoretical fundamentals to the future specialists. The objectives of the course are 1) the theoretical generalization of the historical experience of the evolution of artistic styles, 2) acquaintance with the best examples of artistic culture, representing different styles and directions, 3) mastering complex problems of stylistic analysis. The aim of the course is the establishment of a strategy for a professional growth as part of the vocational training of masters in the following educational areas «Secondary education. Musical Art» and «Musical Art»; mastering the scientific and theoretical foundations of the artistic styles’ analysis as a formative student course of the music and pedagogical education in higher education. The interdisciplinary approach can be implemented in two main formats. A. Kolot believes that with the help of the first format he builds bridges between different sciences, brings them together on an informal basis without violating their individuality and uniqueness. In this format, the discipline «Evolution of artistic styles in art» «builds bridges» with such disciplines as: philosophy, history, foreign languages, general psychology, culturology, sociology, art culture, aesthetics. In the second format, interdisciplinarity is presented as a real tool for unifying sciences, and the emergence of integrative products. In this format the course «Evolution of Artistic Styles in Art» involves an organic combination of such disciplines as history and theory of music, theater, ballet, art history, philosophy, art culture and literature, analysis of musical form, choral class, music psychology, and others. Therefore, we propose to define the student course «Evolution of artistic styles in art» as a complex, interdisciplinary field of knowledge and consider the application of an interdisciplinary approach in the practice of a teacher of artistic institutions.
23
Grond, Florian, and Thomas Hermann. "Interactive Sonification for Data Exploration: How listening modes and display purposes define design guidelines." Organised Sound 19, no. 1 (February 26, 2014): 41–51. http://dx.doi.org/10.1017/s1355771813000393.
Full textAbstract:
The desire to make data accessible through the sense of listening has led to ongoing research in the fields of sonification and auditory display since the early 1990s. Coming from the disciplines of computer sciences and human computer interface (HCI), the conceptualisation of sonification has been mostly driven by application areas and methods. On the other hand, the sonic arts, which have always participated in the auditory display community, have a genuine focus on sound. Despite these close interdisciplinary relationships between communities of sound practitioners, a rich and sound- or listening-centred concept of sonification is still missing for design guidelines. Complementary to the useful organisation by fields of application, a proper conceptual framework for sound needs to be abstracted from applications and also to some degree from tasks, as both are not directly related to sound. As an initial approach to recasting the thinking about sonification, we propose a conceptualisation of sonifications along two poles in which sound serves either anormativeor adescriptivepurpose. According to these two poles, design guidelines can be developed proper to display purposes and listening modes.
24
Barnard, Andrew, and Daniel A. Russell. "The graduate program in acoustics at Penn State." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A124. http://dx.doi.org/10.1121/10.0015762.
Full textAbstract:
The Graduate Program in Acoustics at Penn State offers graduate degrees (M.Eng., M.S., Ph.D.) in Acoustics, with courses and research opportunities in a wide variety of subfields. Our 820 alumni are employed around the world in a wide variety of military and government labs, academic institutions, consulting firms, and consumer audio and related industries. Our 40+ faculty from several disciplines conduct research and teach courses in structural acoustics, nonlinear acoustics, architectural acoustics, signal processing, aeroacoustics, biomedical ultrasound, transducers, computational acoustics, noise and vibration control, acoustic metamaterials, psychoacoustics, and underwater acoustics. Course offerings include fundamentals of acoustics and vibration, electroacoustic transducers, signal processing, acoustics in fluid media, sound and structure interaction, digital signal processing, experimental techniques, acoustic measurements and data analysis, ocean acoustics, architectural acoustics, noise control engineering, nonlinear acoustics, outdoor sound propagation, computational acoustics, biomedical ultrasound, flow induced noise, spatial sound and three-dimensional audio, and the acoustics of musical instruments. This poster highlights faculty research areas, laboratory facilities, student demographics, successful graduates, and recent enrollment and employment trends for the Graduate Program in Acoustics at Penn State.
25
Sarkisyan, S. K. "The Musical Phenomenon in the Films of Sergey Parajanov." Critique and Semiotics 37, no. 2 (2019): 64–77. http://dx.doi.org/10.25205/2307-1737-2019-2-64-77.
Full textAbstract:
Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.
26
Valberg, Tony. "Musikkteateret mellom drømmen og hendelsene." Peripeti 10, no. 20 (December 2, 2021): 11–28. http://dx.doi.org/10.7146/peri.v10i20.109394.
Full textAbstract:
Den norske musiker og forsker Tony Valberg har mange års erfaring med koncerter og musikdramatik for børn. Med udgangspunkt i forestillingen Draumkvedet, som blev spillet langt over 200 gange i Norge og Sverige, præsenterer han en lang række (musik)dramaturgiske overvejelser og fører læseren ind i den relationelle æstetik og dens forudsætninger i avantgardemusikken og -teatret siden 1950erne. Her tematiseres det interaktive aspekt, børnenes aktive performative medvirken, som et afgørende nyt element i det 21. århundredes musikteater Under modern conditions, art music has shown a particular need to establish itself as a discipline independent of the other arts, as “pure” instrumental music. However, musical entrepreneurs such as John Cage have delved into aesthetics and performative practices that exceed the boundaries between music and the other arts. A production like the Norwegianchildrens’ music theatre play Draumkvedet (he Dream Song) exemplifies music’s function in music theatre when it 1) unfolds like a traditionally formed narrative and 2) unfolds likea non-linear event that establishes a relational presence. As such, Draumkvedet suggests how music may play a specific role in the musical theatre whether approached as a “work of art” or an “event”.
27
Sierzputowski, Konrad. "Ciała dyscyplinowane czy podmioty transgresywne? Somatoestetyka fikcyjnych zespołów death- i blackmetalowych." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 34–46. http://dx.doi.org/10.24917/20837275.10.3.3.
Full textAbstract:
Disciplined bodies or transgressive subjects. Somatoesthetics of fictional death and black metal bands The performances of metal music gropus kind be described as a spectacles of a high degree of symbolic convention, which is paradoxically intended to cause the effect of constant authenticity among spectators and listeners. However, it is diffucult to find any kind of material that shows behind-the-scenes existance of those gropus, we can find critical reflection on the phenomenon of behind-the-scenes discipline in meta-music texts, such as comics and animations devoted to the biographies of fictional music groups. These texts transgress the problem of the masochistic spectacle of the body fictional authenticity of the musical groups. Examples of such texts are the Japanese animation Detroit Metal City (2008) and the Polish comic Będziesz smażyć się w Piekle by Krzysztof “Prosiak” Owedyk (2016).
28
Seta, Fabrizio Della. "Some difficulties in the historiography of Italian opera." Cambridge Opera Journal 10, no. 1 (March 1998): 3–13. http://dx.doi.org/10.1017/s0954586700005309.
Full textAbstract:
The historiography of Italian opera is particularly well suited to illustrate some problems in the general field of music history and musicology. On the one hand, there is little doubt that Italian opera belongs to the canon, not to say the museum, of learned western music; indeed, today's opera houses surpass concert halls in projecting the ‘museum character’ in which musical tradition seems ‘frozen’. On the other hand, it is also true that only in recent years has international musicology accepted Italian opera as unquestionably deserving of attention. The reasons for this delay are clear enough. Some were easily overcome, connected to the very history of our discipline: since the beginning of the nineteenth century, the musical language of Italian operatic composers diverged from the mainstream Austro-German tradition; the dramaturgy of Italian opera was difficult to understand in a cultural context moulded by Wagnerian theory and practice (in part also by Shakespeare, Schiller, etc.). Other factors, however, are more deeply embedded, and continue to have an effect even in intellectual conditions very different from those of traditional musicology. These include: the manner in which extra-artistic factors determine the operatic work; the various creative competencies that take part in operatic production; the considerable importance accorded to performers, particularly singers; the possibility that parts of an opera may be moved from one work to another, or from one author to another; the fact that in die history of Italian operatic conventions, shared codes and repetition of formulas often prevailed over the search for novelty.
29
Semyonova, Nina V. "Review on the book: Shuldishova A.A. Alexander Blok: The Musicality of the Lyrical Image: monograph. Kyiv: Publisnig House of Dmitry Burago, 2018." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 572–77. http://dx.doi.org/10.22363/2312-9220-2019-24-3-572-577.
Full textAbstract:
The interdisciplinary approach adopted by scholars in recent decades has required the adaptation of well-known methodologies used in literary studies, art studies, musicology, to the changing nature of the object of study. The productivity of the approach used in the monograph by A.A. Shuldishova is determined by the combination of philological and musicological methods. The article verifi the author's hypothesis of diff ways by which the text acquires some qualities of music, the latter including such techniques as musical quotations and allusions, verbal music and “zero degree of verbal music”. The lexical and stylistic means of creating a poetic image are considered, while the reference to the musical pretext, which helps to recreate its literary analogue, corresponds to various levels: motivational, thematic, genre. Instead of the concept of synthesis of arts we are talking about the creation of musical images and images of music through the introduction of elements that actualize the associative component of musical memory.
30
Aquila, Dominic A. "Music as a Liberal Art: The Poetry of the Universe." Religions 13, no. 9 (August 29, 2022): 792. http://dx.doi.org/10.3390/rel13090792.
Full textAbstract:
This article explores the place of music in the classical liberal arts curriculum, which consists of the trivium (the arts of language) and the quadrivium (the arts of number). Music is part of the quadrivial disciplines and studied as applied arithmetic. However, as argued in this article, it is also a bridge to the discipline of rhetoric, which is part of the trivium. The article begins with a brief review of St. Augustine’s De Musica, the first in a planned (but unrealized) series of dialogs on the value of the classical liberal arts to the emerging Christian culture of Antiquity. It proceeds to a discussion of music and its relation to the contemporary American liberal arts curriculum. Two case studies follow that address the ontological reality of music as a time-bound medium, and attempts to mute this reality in the service of creating a sense of timelessness. Thus subsuming the temporal into the Divine–what Augustine called “a poem of the universe”. The first case study is Dante Alighieri’s Paradiso, which is a journey through the heavens with each planet representing one of the seven liberal arts as preparatory to the Beatific Vision. The second case study focuses on J.S. Bach’s attempts to create a sense of timelessness in the St. Matthew Passion by the use of musical forms and musical rhetorical devices that tend to abolish time. The article concludes with suggestions on how teachers can use 20th and 21st-century movements in Western art music as pathways to appreciate music’s pivotal role in the Catholic liberal arts tradition.
31
Duchesneau, Michel. "La Revue musicale ou le phoenix musical." Revue musicale OICRM 4, no. 2 (February 8, 2018): 19–34. http://dx.doi.org/10.7202/1043218ar.
Full textAbstract:
Lorsque le directeur de La Revue musicale sim, Jules Écorcheville, part pour le front en 1914, il écrit à son ami Émile Vuillermoz : Malgré le souhait d’Écorcheville, La Revue sim disparaîtra, mais pas pour longtemps puisqu’elle donnera naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de La Revue sim dont Lionel de La Laurencie, vont créer la Société française de musicologie (sfm) sur les ruines de la Société internationale de musique et publieront un Bulletin qui deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte sociopolitique et culturel, la sfm et son Bulletin favoriseront une approche très « scientifique » et relativement nouvelle en France, de la musicologie, bien qu’encore teintée par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un temps toute la musicologie germanique. En parallèle, sous les auspices du musicologue Henry Prunières qui s’écarte résolument de la sfm, est créée La Revue musicale. C’est à partir d’un réseau international qui place la musicologie française au coeur de l’action musicale contemporaine que Prunières établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale sur les cendres de la Revue sim entre 1915 et 1919. Nous verrons ainsi comment les hasards de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue conçoit le projet international de la revue dans un contexte de guerre qui contribue à une redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir de La Revue musicale sim si la guerre n’avait pas eu lieu. Il est par contre possible de documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura des conséquences à long terme sur l’échiquier international de la discipline.
32
Kolev, Vasil, and Asya Ivanova. "ART MANAGEMENT: A NEW DISCIPLINE ENTERING THE CULTURAL AND ACADEMIC LIFE IN PLOVDIV." CBU International Conference Proceedings 5 (September 23, 2017): 666–68. http://dx.doi.org/10.12955/cbup.v5.1004.
Full textAbstract:
This paper presents the conditions of economic and political changes within the 90s in Bulgaria and the necessity of a new way of thinking at managing cultural institutions in the conditions of the market economy. As a response to that problem it was created the first of its kind in Bulgaria master’s degree program „Art management.“For that purpose a brief overview of the formal models of funding the arts worldwide are presented along with the characteristics at regional levels which led to the creation of the new educational programme.The main disciplines studied in the educational module aiming to develop a new set of skills among artists are listed with a brief introduction of their scope. A local survey conducted at the Academy of Music, Dance and Fine Arts – Plovdiv, analyzing the interest of the first of its kind in Bulgaria master’s degree program „Art management“ is presented. The initial result of the evolution of the educational programme based on the number of students enrolled per year are the motivation for the start of a lager research project “ÄRT” funded by the SRF, Ministry of Education and Science.
33
Mok, Denise K. "Transcending Categories, Staging Autonomy: Marion Davies’s Transitions from Showgirl to Screen Star and Producer-Manager." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 121–40. http://dx.doi.org/10.1177/1748372718796498.
Full textAbstract:
Marion Davies (1897–1961) transitioned from showgirl and musical theatre performer in the 1910s to silent screen star and actress-producer in the 1920s. In addition to her comedic talents, she multitasked as producer-manager of her production unit, ‘Marion Davies Productions’ at Cosmopolitan Productions. She used her professional collaborations with screenwriter-friend Frances Marion and strong directors such as King Vidor to make appealing pictures that also transformed her star image. This paper argues that her years of discipline and professionalism on the stage and in show business contributed to her subsequent screen successes and as actress-producer of the films in which she starred. Her career complicates the notions of stardom and creative agency in the ‘lively arts’ of the late 1910s–1930s.
34
Yoo, Ahjung, and Hyunwoo Nam. "Effects of Musical Instrument Ensemble Music Therapy on the Self-Expression and Sociality of Adolescents with Neurodevelopmental Disabilities: Focusing on Intellectual and Autism Spectrum Disorders." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 593–622. http://dx.doi.org/10.33645/cnc.2022.5.44.5.593.
Full textAbstract:
The purpose of this study was to investigate the influence of musical and non-musical activities of traditional music, which consisted of various types of musical instruments, on the selfexpression and sociality of adolescents diagnosed with neurodevelopmental disorder. To find out this, the 00 School of Culture and Arts in Cheongju operated a program for five disabled people registered under the Welfare of Persons with Disabilities Act (two high school students with autism or intellectual disabilities and three middle school students). In the first and last sessions of the program, self-expression and social technology evaluation scales were measured, and video filming and activity records were made for each session. It was revealed by the nonparametric statistical method Wilcoxon test that Korean traditional music therapy using musical instrument ensemble improved self-expression and social skills of adolescents with developmental disabilities, and the degree of improvement by sub-variable of self-expression and social skills was graphically shown. The relationship between Korean traditional music treatment and self-expression and social performance of adolescents with developmental disabilities was discussed based on previous studies, and subsequent research tasks were presented.
35
North, Adrian C., Amanda E. Krause, Lorraine P. Sheridan, and David Ritchie. "Energy, Typicality, and Music Sales." Empirical Studies of the Arts 35, no. 2 (January 22, 2017): 214–29. http://dx.doi.org/10.1177/0276237416688063.
Full textAbstract:
Research on musical preference has been dominated by two approaches emphasizing, respectively, the arousal-evoking qualities of a piece or its typicality of the individual’s overall musical experience. There is a dearth of evidence concerning whether either can explain preference in conditions of high ecological validity. To address this, the present research investigated the association between sales of 143,353 pieces of music, representing all the music that has enjoyed any degree of commercial success in the United Kingdom, and measures of both the energy of each piece (as a proxy for arousal) and the extent to which each piece was typical of the corpus. The relationship concerning popularity and energy was U-shaped, which can be reconciled with earlier findings, and there was a positive relationship between the typicality of the pieces and the amount of time they featured on sales charts. The population-level popularity of an entire corpus of music across several decades can be predicted by existing aesthetic theories, albeit with modifications to account for market conditions.
36
VELIKOVA, MILENA STEFANOWA. "Musical interests and activities in children’s leisure time in Hungary and Bulgaria." Journal of Education Culture and Society 6, no. 2 (January 2, 2020): 196–209. http://dx.doi.org/10.15503/jecs20152.196.209.
Full textAbstract:
Beneficial use of leisure time is extremely important as it helps to expand the horizons for intellectual growth, emotional experiences, and personal enrichment. The aim of this study is to establish the interests and needs for music in children’s leisure time. Music is very close to the emotional nature of children and therefore could stimulate and develop their mental and physical abilities. This report focuses on the place of music and art in students’ life and discusses how much of their free time is taken up with these pursuits. It also analyses the needs of such activities. Here the results from a study in which children between 9 to 17 years of age from Bulgaria and Hungary took part are presented. The type of musical activities preferred by the children in their leisure time and the correlation between the activities of choice and cultural differences are also studied. Understanding what music activities children favour in their leisure time is important because learning combined with the arts builds long lasting social skills and educates on tolerance, creativity and discipline. This combination when used in work with children, helps children to develop ability for better self-expression, building up confidence, concentration, integration in the group, developing imagination, recognizing the good and beautiful, and increases their chances for success in life.
37
Deng, Ya. "The Design and Application of Comprehensive Evaluation Data Mode into Professional Musical Performance." Applied Mechanics and Materials 687-691 (November 2014): 1584–87. http://dx.doi.org/10.4028/www.scientific.net/amm.687-691.1584.
Full textAbstract:
With the development of economy, people lay much more emphasis on their spiritual demands such instrument. Therefore to learn a kind of instrument has become a crazy phenomenon in our society. Consequently the evaluation on the playing of professional instrument is of great significance. Currently comprehensive evaluation method is popular and widely applied into the evaluation of the people’s degree of professional instrument playing, which can on the one hand test the real strength of a performer and it can also be employed as a means to propel the performers to improve their strength in arts.
38
BARBASHOVA, I. "THE QUALITY DYNAMICS OF YOUNGER STUDENTS’ MUSICAL SENSORY SKILLS: RESULTS OF THE FORMATIVE EXPERIMENT." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 39–54. http://dx.doi.org/10.31494/2412-9208-2022-1-1-39-54.
Full textAbstract:
The importance of forming primary school children’s musical perception is justified by the introduction of the new version of the educational standard and educational programs as well as by teaching Arts on the basis of an integrative methodological approach. The purpose of the article is to scientifically ground the system of didactic influences on musical perceptual processes of younger school children focusing on the following research tasks: a) to define sensory ability as a unit of functioning of musical perception; b) to characterize the levels of pupils’ musical sensory skills formed in the mass experience of primary education; c) to disclose the specifics of variable experimental effects which differ in the degree of intensity of intermodal connections of sensory channels; d) to compare the quality dynamics of musical sensory skills formation in different versions of the pedagogical experiment. Musical sensory ability is defined as the performance of a system of auditory interiorized perceptual familiarizing and cognitive actions based on the mastered standards of music sounds and skills of applying these standards in the examination of musical phenomena. It has been found that in the mass experience of primary education pupils master musical sensory skills at elementary, intermediate and sufficient quality levels where the intermediate one prevails. The system of exercises and game tasks has been developed on the basis of intermodality with coordination of musical and phonemic auditory, musical auditory and color visual, musical auditory and spatial visual sensory processes. The system is aimed at expanding and systematizing pupils' reference ideas about music sounds as well as forming rational ways of their examining musical phenomena. The effectiveness of the introduced didactic influences has been proved: in comparison with the control group the participants of experimental groups, especially the first one, have demonstrated both the highest efficiency of distinguishing and systematizing music sounds and a variety of skills to reproduce them in singing, spatial modelling and instrumental game. The following changes have taken place in the structure of experimental groups: the respondents with an elementary level of musical perception development have not been identified, but a level gradation with intermediate, sufficient, high and consistently high levels of mastery of musical sensory processes. Key words: musical sensory ability, standards of musical sounds, methods of examination of musical sounds, game tasks, exercises, younger students.
39
Tkachenko, Olena. "Arts Education in the Development of the Personality of the Next Generation of Future Music Teachers: History and Modernity." Professional Education: Methodology, Theory and Technologies, no. 15 (November 4, 2022): 225–45. http://dx.doi.org/10.31470/2415-3729-2022-15-225-245.
Full textAbstract:
The article focuses on the problem of the future music teacher’s comprehensive personal development, which is the basis of their professional competence, pedagogical skill and spiritual culture, relevant to modern education. The purpose of the study is a retrospective and comparative analysis of the problem of comprehensive personal development of the future music art teacher of a new generation, based on the historical and pedagogical experience of the organization of art education in the collegiums of Left-bank Ukraine (18th-the early 19th centuries), as they laid the groundwork for the formation and development of general and professional art education; to illustrate the practical implementation of the historical and pedagogical experience of art education organization in the collegiums of Left-bank Ukraine (18th-the early 19th centuries) on the comprehensive development of the future music teacher personality in higher educational institutions. Methods. The research methods used by the author were analysis, synthesis, systematisation, comparison and generalisation. Results. Modernization of art education in Ukraine aims to improve the spiritual and creative development of personality, humanization and humanitarization of educational process in educational institutions of different types. Consequently, this requires searching for optimal approaches to the organization of art education in higher educational establishments, which would focus on the comprehensive development and professional training of future music teachers as carriers and transmitters of national culture. Conclusions. The author has noted that the analysis and creative insight into the historical and pedagogical experience of art education organization in the collegiums of the Left Bank Ukraine (18th-the early 19th centuries) determines the possibility of its use in modern higher educational institutions for comprehensive individual development of future music art teachers, which is the basis of their professional competence, teaching skills and spiritual culture. The author has presented the transformation of progressive ideas of historical and pedagogical experience of the organization of art education in the collegiums of Left-bank Ukraine (18th-the early 19th centuries). Moreover, the author has defined the forms of organizing educational and extracurricular cultural and artistic activities of future music teachers at higher pedagogical educational institutions, namely: 1) individual classes in «Additional musical instrument», «Voice production», «Choir conducting», «Main musical instrument» and group (practical) classes in artistic disciplines, which are the part of the educational program «Secondary education (Musical art)» on the training of future music teachers; 2) staging and theatricalization, which is implemented in the course of the educational discipline «Staging a children's musical performance» and organizing creative student theater groups to perform theatrical actions: 3) vocal and choral groups in an educational institution: 4) extracurricular cultural and artistic activities.
40
Firmansah, Firmansah. "Musical Parody of Acapella Mataraman: A Creativity Compromise for the Performing Arts Market in Yogyakarta." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 59. http://dx.doi.org/10.24821/ijcas.v4i1.1955.
Full textAbstract:
This study aims to identify and understand the creative process of artists in the performing arts market. The concept of creativity is often the response of the high degree of creativity. Basically an assumption appears if the artist is able to survive in the market is the result of creativity in the performing arts is a form of alternative or compromise. This phenomenon occurred in the group Acapella Mataraman. This case study is based on the concept of Jennifer Lindsay and Umar Kayam about the existence of performing arts groups. The primary data are gained from the interview process with Pardiman Djoyonegoro, then, it is completed with the secondary data through a focus group discussion to explore deeper about creativity process on Acapella Mataraman. The results show that the repertoire of pangkur jenggleng and emperan Nuswantara is a form of compromise. Musical sounds and rhythms of modern music elaborated and presented through acapella techniques. Supplemented by the concept of parody that has appeal and value to the consumer tastes of the performing arts. This form is an effective medium for the delivery of criticism and moral content on each of the repertoire.
41
Levack Drever, John. "Soundscape composition: the convergence of ethnography and acousmatic music." Organised Sound 7, no. 1 (April 2002): 21–27. http://dx.doi.org/10.1017/s1355771802001048.
Full textAbstract:
Despite roots in acoustic ecology and soundscape studies, the practice and study of soundscape composition is often grouped with, or has grown out of the acousmatic music tradition. This can be observed in the positioning of soundscape compositions juxtaposed with acousmatic music compositions in concert programmes, CD compilations and university syllabuses. Not only does this positioning inform how soundscape composition is listened to, but also how it is produced, sonically and philosophically. If the making and presenting of representations of environmental sound is of fundamental concern to the soundscape artist, then it must be addressed. As this methodological issue is outside of previous musical concerns, to this degree, we must look to other disciplines that are primarily engaged with the making of representation, and that have thoroughly questioned what it is to make and present representations in the world today. One such discipline is ethnography. After briefly charting the genesis of soundscape composition and its underlying principles and motivations, the rest of the paper will present and develop one perspective, that of considering soundscape composition as ethnography.
42
Lebaka, Morakeng Edward Kenneth. "Informal Learning of Indigenous Music and Dance Through Observation and Imitation: The Case of Bapedi Children’s Musical Arts." European Journal of Language and Literature 8, no. 1 (May 26, 2022): 56. http://dx.doi.org/10.26417/658qju31.
Full textAbstract:
In Greater Sekhukhune District Municipality, Limpopo Province in South Africa, learning indigenous music and dance through observation and imitation seems to be a dominant and prominent practice of situational learning. Bapedi people tend to have their own distinctive music genres and purposes for their social events. Bapedi children’s musical arts reveal much about Bapedi people and their way of life. This paper sets out to discuss the transmission process of indigenous music and dance through observation and imitation; and musico-artistic skills acquired by children with at least a partial degree of independence during social and cultural events. In the Bapedi culture, music is a natural phenomenon. Dance too, is not excluded. It is a significant aspect of Bapedi people’s music tradition and a ubiquitous medium of communication or expression. Informal interviews, direct observations and video recordings were employed to collect data. The following research questions therefore guided this study: 1) How is social interaction in the Bapedi society viewed as a critical component of situational learning involving the transmission of children’s musical arts? and 2) Do children in the Bapedi society have the ability to recognize and interpret what musical activity/event is taking place and to participate in ways sensitive to the context? The investigation has revealed that in the Bapedi culture, informal learning of indigenous music and dance; and social processes are indissolubly linked and take place within contexts in which members of the society relate to each other and their environment. The results of this study have further shown that the spectrum of learning experiences can range from accidental, unintentional, or reluctant forms of learning to active, intentional, involved, and highly valued forms of learning. It was concluded that in early childhood, it is play that underlies almost all informal learning and holism is a dominant principle in music and dance enculturation process of Bapedi children’s musical arts.
43
Belanger, Elizabeth. "Using US Tuning to effect: The American Historical Association’s Tuning Project and the first year research paper." Arts and Humanities in Higher Education 16, no. 4 (July 24, 2016): 385–402. http://dx.doi.org/10.1177/1474022216628379.
Full textAbstract:
While research has long been recognized as a high impact practice in undergraduate education, much of the scholarship on undergraduate research has focused on students in the final years of their degree. This article describes a study of the ability of first year students to undertake historical research in an introductory level course at a small liberal arts college. It discusses the challenges that first year student’s face in interpreting primary sources, working with multiple sources and crafting arguments based narratives about their findings. It also documents how a research paper assignment advances students’ historical thinking skills and contribute to the development of what the American Historical Association has termed the “core competencies” in the discipline.
44
Fleischmann, Katja. "Online design education: Searching for a middle ground." Arts and Humanities in Higher Education 19, no. 1 (March 1, 2018): 36–57. http://dx.doi.org/10.1177/1474022218758231.
Full textAbstract:
At its heart, design is a studio-based discipline, which makes it difficult for design educators to adopt technology-driven changes into an online teaching and learning environment. Globally, few universities offer online undergraduate degree design courses, despite an overall growth in online higher degree curricula. Anecdotal evidence and limited research studies exploring the design educators’ view lament the potential loss of direct interactions between educator and design students in an online learning environment making it impossible to offer design education online. However, the attitude of design students towards online learning is largely underexplored. Given that today’s design students are considered tech-savvy, and there is a growing student demand for flexible study options, it would seem that design students would embrace online delivery options. The aim of this study is to explore the perception of undergraduate design students towards the idea of studying design online and whether or not blended learning could provide a transitional middle ground to a fully online design course. This study also touches on any student reservations about online delivery and identifies the barriers to study design online.
45
Gurdek, Magdalena. "THE NUMBER OF SCIENTIFIC OR ARTISTIC ACHIEVEMENTS THAT MAKE A SIGNIFICANT CONTRIBUTION TO THE DEVELOPMENT OF A SPECIFIC DISCIPLINE, NECESSARY TO BE DEMONSTRATED IN THE HABILITATION APPLICATION." Roczniki Administracji i Prawa 2, no. XXII (June 30, 2022): 153–72. http://dx.doi.org/10.5604/01.3001.0016.0955.
Full textAbstract:
The new, currently in force, rules for awarding academic degrees and titles as well as in the field of arts are set out in the Act of July 20, 2018, Law on Higher Education and Science. In this study, I would like to analyze in depth one of the prerequisites for awarding the degree of habilitated doctor, as defined in Art. 219 paragraph. 1 point 2 of the Act. In this provision, the legislator indicated that the degree of habilitated doctor is awarded to a person who has scientific or artistic achievements that constitute a significant contribution to the development of a specific discipline, including at least: 1 monograph or 1 cycle or 1 project achievement (...). The use of the phrase ‘scientific or artistic achievements’ (plural) and ‘including at least’ raises numerous doubts as to how much the postdoctoral researcher should have in his / her scientific or artistic achievements that make a significant contribution to the development of a given discipline and thus demonstrate them in the habilitation application, to meet the premise of Art. 219 paragraph. 1 point 2 of the Act.
46
SOLDATENKO, Oleksandr. "Use of synthesis of philosophy, history and music during integrated lessons in the discipline “The history of musical arts” in higher education institutions." Humanities science current issues 3, no. 39 (2021): 15–21. http://dx.doi.org/10.24919/2308-4863/39-3-3.
Full text
47
Cho, Yong. "Analysis and Discussion of Changes in Students' Core Competency on the Implementation of Middle School Art Education in Preparation for the Future Society: Focusing on Class Musical Projects." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 21 (November 15, 2022): 811–30. http://dx.doi.org/10.22251/jlcci.2022.22.21.811.
Full textAbstract:
Objectives The purpose of this study is to analyze the perception of students participating in the class musical project and the degree of pre-post changes in core competency, and to draw implications for realizing competency-based middle school art education. Methods For this, four schools were sampled through consultation with researchers after receiving recommendations from the Seoul Metropolitan Office of Education for excellent schools in operating the class musical project. First, a preliminary survey was conducted from August 26 (Mon) to August 30 (Fri), 2019, before the 2nd semester collaboration class musical project was implemented, and November 28 (Thurs) after the class musical project was implemented. A post-mortem investigation was conducted on December 20 (Fri). Next, an expert council was held on December 6, 2019 for teachers in charge of operation. For opinion survey questions, pre- and post-reliability tests were performed with Cronbach α, and statistical analysis was performed for the processing of opinion survey results using SPSS Statistics 22.0 program. Results First, it can be judged that the educational effect has been achieved as a high percentage of respondents answered that their artistic sensibility and creativity were increased through the Hyeopjong's class musical project, and that school life was enjoyable as a result. Second, it was confirmed that meaningful contributions were made in ‘communication competence’ and ‘community competence’, which are future-oriented personality competencies. Third, in spite of the positive purpose of Hyeopjong's class musical project, it was confirmed that the work load was increased from the point of view of the teacher in charge, and supplementation was necessary for this. Conclusions First, there is a need for a systematic and comprehensive arts education project to revitalize arts and culture education linked to the curriculum and convergence education between subjects. Second, it is necessary to secure sufficient number of hours and budget for the effective and efficient operation of the curriculum. Through this, it is necessary to make continuous efforts to expand the scope of art education in public education by making good use of the characteristics of the class musical project in collaboration and to revive interest in education in the art field.
48
Brewer, Thomas M. "Developing a Bundled Visual Arts Assessment Model." Visual Arts Research 34, no. 1 (July 1, 2008): 63–74. http://dx.doi.org/10.2307/20715462.
Full textAbstract:
Abstract As art educators, we should be past the point of being afraid of or threatened by assessment. As a discipline we need it, but two persistent questions remain: What should assessment look like, and how do we go about creditably assessing it? This paper addresses these questions with a focused inquiry of visual art assessment literature. The results strengthen the conceptual foundation for the "bundled" assessment model, confirm that authentic and performance-based visual arts assessment is greatly needed, and make clear that new tests should measure cognitive contributions found specifically in visual arts learning. The results also lead to the development and construction of sample items that can be "bundled" together by their type and kind, featuring a degree of item selection flexibility, using varied separate and aggregated scoring options, and employing a number of contemporary and folk art exemplars. This paper and the sample test items will significantly contribute to the body of knowledge about visual art assessment and give us a glimpse into what students learn specifically when they make, respond to, and think about visual art.
49
BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.
Full textAbstract:
AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.
50
Kelly, Steven N. "Public School Supervising Teachers’ Perceptions of Skills and Behaviors Necessary in the Development of Effective Music Student Teachers." Bulletin of the Council for Research in Music Education, no. 185 (July 1, 2010): 21–32. http://dx.doi.org/10.2307/41110363.
Full textAbstract:
Abstract The purpose of this study was to investigate (a) What specific skills and behaviors are considered most important by public school supervising teachers in the development of effective music student teachers?; and (b) Are there differences between instrumental (band/strings) and choral/elementary music supervising teachers on those skills and behaviors? A survey was constructed, consisting of thirty-five items and representing a variety of teacher skills and behaviors. The respondents, public school music teachers who were experienced in supervising student teachers (N = 112), rated each survey item from 1 (not very important) to 5 (very important) regarding the degree each skill and behavior was considered important in the development of music student teachers. The findings showed the highest rated traits may be considered more social in nature and are frequently associated with an individuals personality or personal belief (e.g., honest and ethical). Traits receiving the lowest ratings did not require direct use of musical skills or knowledge (e.g., playing the piano; provide accompaniment), or instructional techniques (e.g., dealing effectively with student discipline). The findings suggest that music student teachers should be aware of high expectations placed on personal characteristics by supervising teachers during the student teaching experience.