Journal articles on the topic 'Degree Name: Master of Music'
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Anderson, Martin. "Leif Solberg, Master Craftsman." Tempo, no. 208 (April 1999): 24–28. http://dx.doi.org/10.1017/s0040298200006999.
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Don't blame yourself if you don't recognize the name of the Norwegian composer Leif Solberg – when he turned up at the Christmas party of the Norwegian Composers' Union a couple of years ago, they didn't know who he was either. Solberg has been at best a marginal figure in Norwegian musical life, cut off from the Oslo committees which decide who gets heard. His isolation has been both stylistic – his traditionalist craft sitting ill with the modernism that ruled Nordic roosts until recently – and literal, since he has been content with the low-profile rewards of galvanising musical activity in Lillehammer, two hours' train ride north of Oslo.
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Albert, Daniel J. "Online Versus Traditional Master of Music in Music Education Degree Programs." Journal of Music Teacher Education 25, no. 1 (October 3, 2014): 52–64. http://dx.doi.org/10.1177/1057083714548588.
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Havrilova, Liudmyla, and Nadiia Voronova. "ONLINE TRAINING COURSE FOR TEACHING MASTER-DEGREE MUSIC STUDENTS." Science and Education 26, no. 6 (June 2017): 100–105. http://dx.doi.org/10.24195/2414-4665-2017-6-16.
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Nzewi, O'dyke. "The Technology and Music of the Nigerian Igbo Ogene Anuka Bell Orchestra." Leonardo Music Journal 10 (December 2000): 25–31. http://dx.doi.org/10.1162/096112100570576.
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The author discusses the Nigerian Igbo Ogene Anuka music style, a complex form using iron bells of the same name. The article addresses the form and content of the music as developed and modified by its master practitioners. The author then investigates the technical processes involved in achieving the distinctive sound quality of the bells-processes in which musical considerations interact significantly.
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Zech, John, Gregg Husk, Thomas Moore, and Jason Shapiro. "Measuring the Degree of Unmatched Patient Records in a Health Information Exchange Using Exact Matching." Applied Clinical Informatics 07, no. 02 (April 2016): 330–40. http://dx.doi.org/10.4338/aci-2015-11-ra-0158.
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SummaryHealth information exchange (HIE) facilitates the exchange of patient information across different healthcare organizations. To match patient records across sites, HIEs usually rely on a master patient index (MPI), a database responsible for determining which medical records at different healthcare facilities belong to the same patient. A single patient’s records may be improperly split across multiple profiles in the MPI.We investigated the how often two individuals shared the same first name, last name, and date of birth in the Social Security Death Master File (SSDMF), a US government database containing over 85 million individuals, to determine the feasibility of using exact matching as a split record detection tool. We demonstrated how a method based on exact record matching could be used to partially measure the degree of probable split patient records in the MPI of an HIE.We calculated the percentage of individuals who were uniquely identified in the SSDMF using first name, last name, and date of birth. We defined a measure consisting of the average number of unique identifiers associated with a given first name, last name, and date of birth. We calculated a reference value for this measure on a subsample of SSDMF data. We compared this measure value to data from a functioning HIE.We found that it was unlikely for two individuals to share the same first name, last name, and date of birth in a large US database including over 85 million individuals. 98.81% of individuals were uniquely identified in this dataset using only these three items. We compared the value of our measure on a subsample of Social Security data (1.00089) to that of HIE data (1.1238) and found a significant difference (t-test p-value < 0.001).This method may assist HIEs in detecting split patient records.
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Hidayatullah, Panakajaya. "GLUNDHÂNGAN AND PIGEON IN SOCIOCULTURAL PRACTICES OF MADURESE PEOPLE." Journal of Urban Society's Arts 6, no. 1 (August 9, 2019): 39–55. http://dx.doi.org/10.24821/jousa.v6i1.2575.
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Glundhangan is an ensemble of wooden gamelan played by Madurese people. Glundhangan music is believed as archaic music of Madurese people. It even existed before era of metallophone gamelan. In Jember, glundhângan is closely related to pigeon and usually used for nyata and totta’an dhârâ events. Nyata is an event when a pigeon master succeeds to get his opponent’s pigeon. While totta’an dhârâ is a match of releasing pigeons together and then they, pigeons, come back to pajhudhun (pigeon house) of their masters. Glundhângan is a music which becomes winning signifier of pigeon’s master when he gets his opponent’s pigeon, and it is an accompanying music for pigeons release and return to home. Glundhângan consists of some wooden musical instruments like glundhâng, dhung-dhung, tong-tong, tek-tek, nèng-nèng and ghâghâmbhâng, and they are accompanied by vocal of tembhâng mamaca (ancient version) and kèjhungan (modern version). Every pajhudhun and pigeon master must have musical instruments dhung-dhung or tong-tong in a form of various kentongan made by wood. The music instrument is used by a master as means of communication to pigeons and people. Dhung-dhung instrument of the pigeon master is commonly sacred as other relics like keris. Commonly, the master supplies himself and pigeons with mythical power. It is dhung-dhung itself which becomes identity of glundângan music. For Madurese people, pigeon is treated as special animal. Pigeon is also a manifestation of supernatural power of its master. Glundhângan music and pigeons are articulations of Madurese people that represent social degree, pride at stake, symbol of masculinity and productive distribution of conflict desire among people.
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Conway, Colleen, Christopher Marra, and Jessica Vaughan Marra. "Perceptions of Program Directors Concerning Design and Implementation of the Master of Music Degree in Music Education." Journal of Music Teacher Education 29, no. 3 (June 2020): 91–105. http://dx.doi.org/10.1177/1057083720926740.
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The key research question for this qualitative study was as follows: How do program directors in selected schools describe the successes and challenges related to the design of their Master of Music degree in music education? Data sources included website content for 21 NASM-accredited programs and individual interviews with program directors from seven institutions. Program directors outlined several challenges associated with program development, including how to address the practical needs of music teachers in a flexible, accommodating, and efficient manner while maintaining the highest standards for coursework so as to prepare some masters students for the possibility of doctoral work. We discuss major themes in relation to past studies of graduate education in music.
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Conway, Colleen, John Eros, and Ann Marie Stanley. "Summers-Only versus the Academic Year Master of Music in Music Education Degree: Perceptions of Program Graduates." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 21–34. http://dx.doi.org/10.2307/40319336.
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Abstract The purpose of this study was to compare the perceptions of summers-only MM (SO) graduates to academic year (AY) graduates. Research questions included: (a) How do program graduates describe their experiences in the SO or AY program, (b) What are the similarities and differences in the perceptions of the two groups (SO and AY), and (c) What suggestions do participants have regarding the advantages and disadvantages of various MM program designs? This study used a qualitative formative program evaluation design. Data included an online survey, email journals, and individual interviews with nine program graduates. Findings include descriptive participant profiles as well as themes organized by the following categories: (a) motivations for and reflections on the degree, (b) issues of time, and (c) experiences within a community.
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Barrett, Michael, Roy Page-Shipp, Caroline van Niekerk, and Johan Ferreira. "Learning music theory en passant: a study in an internationally recognised South African University student choir." British Journal of Music Education 37, no. 2 (July 12, 2019): 155–68. http://dx.doi.org/10.1017/s0265051719000238.
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AbstractWhile mastery of aspects of music theory is relevant to rapid learning and understanding of a new choral part, many choirs comprise members with no formal education in music theory. Also, the language of music theory is not intuitive, with many terms having meanings different from those in common use, which can present obstacles for mature learners. The authors hypothesised that students joining an internationally recognised university choir might master aspects of music theory as a by-product of rehearsals. This was tested by having new admissions to such a choir complete a music theory test at the commencement and at the end of a year. The test evaluated the ability to name and write intervals and name notes and the duration of notes. Overall results did not reject the hypothesis. Subjects with no formal music training also showed most, and statistically significant, improvement in the questions related to intervals, which are arguably the most useful skills for choristers who do not sight-read. This appears to be a new finding: the literature shows occasional references to music theory skills, but their acquisition in a learning-by-doing style is not reported. Some insights into ways of enhancing choral performance are a by-product of the principal focus of the study.
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Silveira, Jason M., Julie Beauregard, and Tina Bull. "Development of the Processfolio: Promoting Preservice Music Teacher Reflection Through Authentic Assessment." Journal of Music Teacher Education 27, no. 1 (March 14, 2017): 11–23. http://dx.doi.org/10.1177/1057083717697632.
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The purpose of this study was to determine what impact an authentic assessment tool (i.e., a processfolio) would have on our music education Master of Arts in Teaching degree program. We conducted a case study at our university with the music education Master of Arts in Teaching student cohort to detail the development and initial implementation of the processfolio as a means of reflection in preservice music teachers. Data included participant observation, individual and collaborative note taking, written artifacts from students and faculty, audio/video recordings, and semistructured interviews. Findings indicated (a) processfolios became a lens through which students focused their growth as reflective teachers; (b) a lack of examples and confusion over specific processfolio requirements was stress inducing; (c) the collaborative nature of working within a peer/faculty cohort was socially, emotionally, and academically valuable; (d) students effectively used the processfolio to demonstrate synthesis of the multiple facets of the graduate music education program.
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Howard, Dori. "Learning and teaching the Beatles." Journal of Beatles Studies: Volume 2022, Issue Autumn 2022, Autumn (September 1, 2022): 11–38. http://dx.doi.org/10.3828/jbs.2022.3.
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This article considers Liverpool Hope University’s Master of Arts degree in The Beatles, Popular Music and Society — which was the world’s first academic degree specifically related to the study of the Beatles — through reflective investigation into its structure, pedagogy and foundation in popular music studies. Using the writer’s own experiences as a both a graduate of and lecturer for the programme, the article considers the validity of academic study of the Beatles, the appropriateness of the MA’s approaches to this study and the usefulness of these for current and future Beatles scholarship. This article was published open access under a CC BY licence: https://creativecommons.org/licences/by/4.0.
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Lasauskienė, Jolanta, Xiangou Wang, and Yiwei Zhang. "Intercultural Competence as a Premise for Professional and Personal Teacher Development: the Case of Master Degree Studies in Music Education." Pedagogika 125, no. 1 (April 13, 2017): 81–96. http://dx.doi.org/10.15823/p.2017.06.
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The aim of the article is to analyse intercultural experience of foreign students enrolled in Master study programmes of Music Education, revealing tendencies in expression of intercultural competence and possibilities of its development in the university. The sample of the research included 27 foreign Master’s degree students (Chinese) of the Department of Music of the Faculty of Education at Lithuanian University of Educational Sciences.
The research problem is determined by the question how intercultural competence of foreign Master students – future music educators – is expressed and what possibilities of its development at university are observed.
Research methods. The data was collected in accordance with the method of written student reflections. The analysis of qualitative data was done through qualitative content analysis.
The following conclusions are drawn in the article:
Contemporary music educators have to be ready to conduct research, to critically evaluate and creatively improve current educational environment in terms of cultural, artistic and educational needs. Intercultural competence of music educators is determined as a person’s quality, an aggregate of knowledge, skills and attitudes that are necessary for successful activity of music educators in the context of interaction among different cultures.
The results of the qualitative content analysis revealed that the foreign Master’s degree students in Lithuanian University of Educational Sciences relate music educator’s intercultural competence with knowledge and understanding of cultural phenomena, foreign language skills, involvement in musical cultural activities, ability to communicate with representatives of other cultures as well as with attitudes and personal qualities that facilitate music educator’s activities. Foreign students envisage a significant importance of intercultural knowledge, cultural identity and learning from other cultures to intercultural competence of music educators.
Studies abroad are considered to be a priority factor in music educator’s intercultural competence, which encourages learning of other cultures, confirms importance of foreign language skills and opens a path towards personal and professional improvement. The results of the qualitative content analysis highlighted that the academic environment (study content and methods, relations between university teachers and students) has the most considerable impact on intercultural competence development.
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Damisch, Hubert. "Sign/or/Sigm: Freud and the Name of Signorelli." October 167 (February 2019): 130–48. http://dx.doi.org/10.1162/octo_a_00339.
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In December 1972, French art-historian/philosopher Hubert Damisch, who was a senior fellow of the Society of the Humanities at Cornell, gave a public lecture on the Freud-Signorelli case, which is published here for the first time. Damisch discusses the theoretical montage proposed by Freud and attempts to evaluate the impact of the language games analyzed by the psychoanalyst for the study of visual objects. Moreover, the case allowed Damisch to reflect on how a work of art involves the spectator-analyst and how this relationship affects interpretation. This essay was Damisch's first to address the Freud-Signorelli case, and it can be considered as the nucleus of his article “Le maître, c'est lui (He is the master),” published in Savoir et Clinique in 2010, and more generally of a book that was to remain in manuscript, La machine d'Orvieto.
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Grannis, Shaun J., Huiping Xu, Joshua R. Vest, Suranga Kasthurirathne, Na Bo, Ben Moscovitch, Rita Torkzadeh, and Josh Rising. "Evaluating the effect of data standardization and validation on patient matching accuracy." Journal of the American Medical Informatics Association 26, no. 5 (March 8, 2019): 447–56. http://dx.doi.org/10.1093/jamia/ocy191.
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Abstract Objective This study evaluated the degree to which recommendations for demographic data standardization improve patient matching accuracy using real-world datasets. Materials and Methods We used 4 manually reviewed datasets, containing a random selection of matches and nonmatches. Matching datasets included health information exchange (HIE) records, public health registry records, Social Security Death Master File records, and newborn screening records. Standardized fields including last name, telephone number, social security number, date of birth, and address. Matching performance was evaluated using 4 metrics: sensitivity, specificity, positive predictive value, and accuracy. Results Standardizing address was independently associated with improved matching sensitivities for both the public health and HIE datasets of approximately 0.6% and 4.5%. Overall accuracy was unchanged for both datasets due to reduced match specificity. We observed no similar impact for address standardization in the death master file dataset. Standardizing last name yielded improved matching sensitivity of 0.6% for the HIE dataset, while overall accuracy remained the same due to a decrease in match specificity. We noted no similar impact for other datasets. Standardizing other individual fields (telephone, date of birth, or social security number) showed no matching improvements. As standardizing address and last name improved matching sensitivity, we examined the combined effect of address and last name standardization, which showed that standardization improved sensitivity from 81.3% to 91.6% for the HIE dataset. Conclusions Data standardization can improve match rates, thus ensuring that patients and clinicians have better data on which to make decisions to enhance care quality and safety.
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Dudina, Oksana. "PECULIARITIES OF TRAINING MASTERS IN MEDICINE IN CHINISE UNIVERSITIES." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 63–66. http://dx.doi.org/10.36550/2415-7988-2021-1-192-63-66.
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The article investigates and theoretically summarizes the peculiarities of training doctors at the master's level at the universities of ROC. Higher education in China is characterized by numerous changes due to the accumulation and adaptation of advanced successful experience in training specialists in different countries of the world. In this context, the property of scientists and educators of ROC concerning the organization of professional training of masters in medicine is of particular interest for Ukraine. Scientists are constantly searching for solutions and improving higher medical education in ROC. In the universities of the Republic of China, according to the field of study, the degree of master in medicine can be obtained as a professional degree and scientific degree. As a result, after completing the master's program in professional field, the master may work in positions such as senior physician, senior physician in health care, senior dentist, senior pharmaceutical, and the master in research field may work as the doctor-scientist, who carries out medical research as the main professional activity. The name of medical degrees is also different, for the professional field – clinical medicine, for the research field – preclinical medicine. Clinical medicine includes such areas of master's programs in medicine as health care, dentistry, pharmacological science; preclinical medicine includes clinical medicine, preventive medicine, dentistry, the science of human progress, the history of science and technology, biomedical engineering, social medicine and health management. The article examines the experience of implementing master's programs in medicine at higher educational institutions in China. The competence-based approach, forms and specialization of training in the organization of training and practicing students due to master's programs in medicine in ROC were determined.
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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.
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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.
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Lack, Graham. "AT FEVER PITCH: THE MUSIC OF JÖRG WIDMANN." Tempo 59, no. 231 (January 2005): 29–35. http://dx.doi.org/10.1017/s0040298205000045.
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Just as a young grand master chooses, with a degree of self-acknowledgement, an opening that creates space for key playing strengths at a later stage, Jörg Widmann seems with every new work to alight on an initial strategy (usually in the form of just a single sound or a complex but discrete sonic entity) which not only occasions further related ideas in the composer's imagination but also reveals feasible compositional paths through the new material. In performance, this simultaneity of creation – in which the primary gesture is clearly a microcosm of the piece itself – may be perceived too in real time by the audience. Any closer analogy with the game of chess breaks down at this point: Widmann's openings remain ambiguous, marked by both a tentative approach and moved by a desire for more telling blows to render a score complete. Music – or the calling to write it, at least – remains nonetheless a considerable opponent. And the sense of the composer finding his bearings at the outset (one might say the onset) of a piece is palpable. A febrile tension is created.
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Michelson, Annette. "From Magician to Epistemologist: Vertov's The Man with a Movie Camera." October 162 (December 2017): 112–32. http://dx.doi.org/10.1162/octo_a_00312.
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In this essay from 1972, first published in Artforum, Annette Michelson explores Dziga Vertov's masterpiece The Man with a Movie Camera (1929) at a moment when the name of the master of Soviet documentary style was gaining traction but his work was under-analyzed. Rigorously inventorying the many techniques Vertov uses to disrupt cinematic illusionism, Michelson argues that the film marks a significant transition in Vertov's practice—from the “world of naked truth” of the Kino-Eye to the more complex “exploration of the terrain of consciousness itself” that structures The Man with a Movie Camera.
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Mutumba, Abbey. "Readiness to franchise a teaching and examination event: the evolving case of the annual MUBS hospitality day." Emerald Emerging Markets Case Studies 10, no. 2 (June 20, 2020): 1–20. http://dx.doi.org/10.1108/eemcs-12-2018-0272.
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Learning outcomes After reading and discussing this short case, the instructor should do the following: to enable the students to select and evaluate the main strength (sustainable competitive advantage) of an evolving brand whose leading manager needs to appreciate how it can be used to achieve the strategic objective of franchising it despite its challenges; to guide the students in choosing the most appropriate brand name that will sustainably reflect the parent organization’s identity and also retain its growing attractiveness to more event sponsors and other key partners in an environment of conflicting interests; to facilitate the students in choosing the appropriate strategy for strengthening the readiness to franchise and adapt a similar teaching and examining (annual event’s) model in a related course unit from among any of the target audience’s master and bachelor degree at another university elsewhere. Case overview/synopsis This short case shows how the annual Makerere University Business School (MUBS) hospitality day has evolved into a potential event franchise, which is attracting more VIPs, the media and demand to also be held in the country’s Vision 2040 cities where the respective campuses are located. Complexity academic level Bachelor (BA, BBA, BSc) and MBA/master degree level. Supplementary materials Teaching Notes are available for educators only. Subject code CSS 12: Tourism and hospitality.
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Annibaldi, Claudio, and Laura Callegari Hill. "Musical Autographs of Frescobaldi and His Entourage in Roman Sources." Journal of the American Musicological Society 43, no. 3 (1990): 393–425. http://dx.doi.org/10.2307/831741.
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This article reconstructs the circumstances through which the keyboard tablatures Q iv 24-9 and Q viii 205-6, now conserved among the manuscripts of the Chigi family in the Vatican Library, were acquired by this papal family. The point of departure for this reconstruction is the author's earlier studies on several of these tablatures and other Roman sources, studies that have allowed him to identify a series of autographs stemming from the entourage of Frescobaldi; among these are the first musical autographs attributable with certainty to the master himself. Following this path, it is possible to identify the principal scribe of the Chigi tablatures as Leonardo Castellani, one of Frescobaldi's favorite pupils; one can thus relate these sources to several documents from the Chigi administrative archive that name Castellani, even though they do not mention him as a professional musician. The resulting reconstruction of the transfer of Castellani's tablatures to Prince Mario Chigi has two notable results. On the one hand, it throws new light (and new shadows) on music patronage in Baroque Rome; on the other, it points toward further research possibilities in the Chigi musical archive, since other manuscripts belonging to Castellani are probably to be found there. Moreover, Castellani, a previously little-known musician, is now shown to be the link between Frescobaldi and the new stylistic tendencies that grew up in Rome in the second half of the seventeenth century.
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Maksymowicz, Virginia, and Blaise Tobia. "An Alternative Approach to Establishing a Studio Doctorate in Fine Art." Leonardo 50, no. 5 (October 2017): 520–25. http://dx.doi.org/10.1162/leon_a_01189.
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As soon as the creative arts migrated from academies into colleges and universities, questions about accreditation and evaluation arose. From its inception, the master of fine arts (MFA) degree has been problematic. Although the College Art Association published standards for the MFA in 1977, confusion remains between this terminal degree and the nonterminal master’s degree (MA) in fine arts. Some believe that the solution to this problem is to establish the PhD as the terminal degree in fine arts; however, this solution is problematic in other ways: Standard approaches to research and publication in PhD programs do not mesh with the reality of studio-based creative inquiry and production. A better solution might be the development of a doctor of fine arts (DFA) degree.
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Symes, Colin. "Beating up the classics: aspects of a compact discourse." Popular Music 16, no. 1 (January 1997): 81–95. http://dx.doi.org/10.1017/s0261143000000702.
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Although much has been written about the changes wrought to art in the age of mechanical reproduction, these same changes as they have impacted on music through the phenomenon of the phonograph have not received equivalent attention or, if they have, then their discussion has been restricted to particular sectors of the music industry. This failure to address an important facet of contemporary music practice derives from a continuing tendency to abstract musical questions from their context and to obscure the material contributions that technology makes to such practice (Shepherd 1977, 1991; Scott 1990). With some musics this is more apparent than others. For instance, while there has been an extensive analysis of the degree to which the recording industry has influenced and been an integral element in the development of popular music, there has not been an equivalent analysis of its influence on classical music. This is because in the case of the former the links between the two have been somewhat more dramatic. The recording industry, particularly through its links with radio and television stations, has in large measure facilitated the spread of popular music across the world as a dominant element of a globalised culture, as one of its master codes.
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Shwan, Sebastian, and Stela Drăgulin. ""Significant Personalities as Turning Points in the Life and Music of Johannes Brahms "." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 57–70. http://dx.doi.org/10.24193/subbmusica.2022.1.05.
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"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Robert Schumann, Brahms contributed to the composition of the FAE Sonata for piano and violin, Julius Otto Grimm is the witness of Brahms’ love for Agathe von Siebold, while Julius Stockhausen emerges as the master of the Brahms lieder), the conductors who became the composer’s close friends and promoted his symphonies (Hermann Levi, Hans Richter, Hans von Bülow, the latter a genuine emissary of Brahms’s works, the author of the Three B syntagm – Bach, Beethoven, Brahms), the Viennese friends (the critic Eduard Hanslick, who characterized the works in Opp. 117-119 as genuine monologues and Joseph Hellmesberger, founder of the quartet name after him, with whom Brahms performed gems of the chamber music repertoire), and the confidants of Brahms, permanent figures in the life of the composer (the surgeon Theodor Billroth and Joseph Viktor Widmann, the author of the memoirs that revealed significant aspects of the composer’s life and works). Keywords: Johannes Brahms, works, life, significant personalities, friends "
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Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (November 1, 2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.
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When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enthusiastically adopted and adapted the terminology, methods and structures of ancient rhetoric. In his Musica Poetica, the German musicologist Dietrich Bartel explains the rise of musical rhetoric in Germany as a consequence of Martin Luther`s view of music being embraced by the Christian believers. Over the sixteenth to eighteenth centuries, musical rhetoric was continuously enriched and perfected, generating an extremely elaborate art whose focus was to find equivalences between rhetorical figures and musical intervals. Thus, music acquired a higher degree of accuracy of expression.
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Sorokina, Ekaterina Aleksandrovna. "The study of the creative directions of the art of the twentieth century in the classes of the theoretical cycle of disciplines in music universities and colleges." PHILHARMONICA. International Music Journal, no. 1 (January 2022): 30–40. http://dx.doi.org/10.7256/2453-613x.2022.1.37473.
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The music of the twentieth century is characterized by multidimensional concepts, a variety of composing techniques, a complex content context, which makes it difficult to master the studied material in the lessons of theoretical disciplines of music educational institutions. The purpose of the article is to substantiate the specifics of studying the musical art of the twentieth century within the disciplines of the theoretical cycle of the modern multilevel system of music education. The main method of research was a complex, requiring an interdisciplinary approach (art history, musicology, cultural studies, pedagogy, music pedagogy). The scientific novelty of the study consists in identifying optimal approaches to mastering one of the most difficult periods of composer creativity for students to perceive. As a result, a thesis formulation of the categorical and conceptual apparatus of the studied creative trends, trends and compositional styles with an accompanying illustrative series, both auditory and visual, is proposed. The practical significance of the research lies in the fact that the methodological approaches presented in the work in the study of musical art of the twentieth century will be in demand within the framework of theoretical disciplines at different levels of musical education. The materials are addressed primarily to top-level teachers (bachelor's degree, within the framework of studying the disciplines "History of Foreign Music" and "Music of the twentieth century"), however, they may be in demand, including fragmentary, and in college, and with some adaptation in high schools of music and art schools when studying the composition of the twentieth century centuries.
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Hutchison, Barbara, Eleanor K. Covan, and Janet C. Bogus. "Presbycusis, Part 1: Can You Hear the Music Of Life?" Care Management Journals 13, no. 3 (September 2012): 148–72. http://dx.doi.org/10.1891/1521-0987.13.3.148.
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We used a novel approach allowing participants in this study to self-monitor their hearing sensitivity to familiar sounds in the environment. The objective of this approach was to establish whether participants in the 80–89 and 90–99 age groups would recognize the degree of their hearing impairment. It was our hope that participants would value audiology treatment and that it would improve their quality of life over a short period. The pilot study took place in a clinical environment where participants answered survey questions before and after audiology treatment, which pertained to their hearing impairment, morale, social support, and life satisfaction. Caregivers were included in the research to rate and record participants’ problem behaviors (e.g., shouting, anger, agitation, repetitive speech dialog, and depression) before, during, and after treatment. This research validates other scientists’ findings that annoying problem behaviors may actually be the result of hearing loss because of a person’s inability to recognize speech. The pilot study shows that participants with mild dementia adapted well to speech and sounds in the natural environment without agitation as well as to management of hearing aids within a 30-day period. The participants with moderate dementia were slower to adapt. All participants with dementia required the cooperation of their caregivers to maintain hygiene of ear canals and hearing aids and insertion. This study suggests that the sooner people receive treatment for hearing loss, the quicker they are to recognize speech and to master hearing aid technology.
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WRIGHT, PETER. "Early 15th-Century Pairings of the Sanctus and Agnus Dei, and the Case of the Composer ““Bloym””." Journal of Musicology 22, no. 4 (2005): 604–43. http://dx.doi.org/10.1525/jm.2005.22.4.604.
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ABSTRACT Self-contained pairings of the polyphonic Sanctus and Agnus Dei (as distinct from the Gloria and Credo) appear to have been something of a rarity in the early 15th century, both on the Continent and in England. In their catalogue of 15th-century English liturgical music, Gareth Curtis and Andrew Wathey list just five firm Sanctus-Agnus pairs for the period ca. 1400––ca. 1440. Yet examination of these alleged pairs suggests that the status of all but one of them is in some degree open to question. Curtis and Wathey's catalogue also includes a number of movements that have been paired either by 15th-century scribes or by modern commentators but that have so far failed to convince. Among them is a group of eight closely related movements contained in a layer of the two oldest Trent Codices (MSS 87 and 92), which comprises four possible pairs. Investigation suggests that all eight movements are probably the work of the same composer, ““Bloym,”” whose name heads one of the Sanctus settings; that in the process of transmission a number of the movements became wrongly associated; and that by realigning them new and more plausible pairings can be established. The establishment of connections between one of these pairings and a Credo attributed to Bloym in the same Trent layer raises the possibility that all three movements may have been conceived in conjunction with one another, and may therefore form a partial or incomplete cycle.
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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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Westerlund, Heidi, and Lauri Väkevä. "Who needs theory anyway? The relationship between theory and practice of music education in a philosophical outlook." British Journal of Music Education 28, no. 01 (January 14, 2011): 37–49. http://dx.doi.org/10.1017/s0265051710000409.
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For a practicing arts educator, the relationship between theory and practice is often unproblematic: theory is considered to be irrelevant for the good practice. Considering the matter from an academic standpoint, one faces the distinction between poietic, or productive, and contemplative, or responsive, mindsets stemming from the classical philosophical tradition. Still more confusing is the question of the relationship between theory and philosophy; one's theory seems to follow one's chosen philosophical commitment, even to a degree that advocates of different philosophical stances do not necessarily understand each others' conceptions of theory.In this article,1 we examine the complex relationships between philosophy, theory and practice in music education. We shall begin with analysing different approaches to philosophy of music education. Proceeding towards more general conceptions of the relationship between theory and practice, we will examine the work of some of the well-known authors within the field of music education in order to pave way to a philosophical outlook that conceives the role of philosophy of music education as a form of cultural critique. The suggested alternative approach mediates between contemplative and poietic fields in pedagogical praxis. This guides us towards an understanding that considers theoretical concepts as philosophically loaded pragmatic tools that serve critical rationality embedded in practical action. From this standpoint there is indeed no need to cut theory apart from a good practice: both can be taken to serve the same master, philosophically informed way of living meaningfully.
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KONGYRATBAY, T. "TOPICAL PROBLEMS OF RESEARCH OF MUSICAL INSTRUMENTS OF THE KAZAKH PEOPLE." Turkology 110, no. 2 (June 15, 2022): 121–40. http://dx.doi.org/10.47526/2022-2/2664-3162.05.
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The article is based on the essence of folk musical instruments that have survived for centuries. Its introduction analyzes the research written in different years on the nature of multi-stringed musical instruments, which is reflected in Kazakh national culture. And it also analyzes their scientific degree and cognitive nature. The polyphonic nature of musical instruments, such as the three-stringed dombyra, the sherter, the seven-stringed zhetigen and their ability to combine with the monodic system of Kazakh music which have not yet been studied in depth are critically discussed. The etymology of the name "chartar" in the context of the origin of these instruments in Kazakh music, its connection with the instrument "sherter" is considered. Opinions on the etymology and semantics of the word "Zhetigen" are also critically analyzed. Further, it is shown that the opinions about the instruments "sherter", "zhetigen" do not correspond to the requirements of instrumental science. The article notes that the opinions published in the periodical press about our national musical instruments are limited in scope, mostly compilation.
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Yelyzaveta, Chorna. "G. Cziffra in Beethovenian context of the twentieth century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 98–110. http://dx.doi.org/10.34064/khnum1-61.05.
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The celebration of L.VanBeethoven’s 250th anniversary stimulated an already sustained interest in his creative heritage. Musicological thought has not stayed away from the figure of the outstanding Viennese classicist. Therefore, the question of the interpretation of his works again becomes relevant in this context. The name of György Cziffra, the famous twentieth-century Hungarian pianist, is closely linked in the history of European pianism with the element of virtuosity, at first, with F. List’s music presentation. The difference opinions about Cziffra’s interpretations of other composers and Beethoven among them, as well as unexplored peculiarities of the pianist’s interpretation of Beethoven’s music actualize the choice of our theme and determine the scientific novelty of the research results. The purpose of the article is to reveal the parameters of G. Cziffra’s individual performing style in historical context of the twentieth-century Beethovenian. For the first time in Ukrainian musicology, the creative principles of the Hungarian pianist as an interpreter of Beethoven’s works on the example of the composer’s “32 Variations” in C minor are analyzed; some parallels between the performance principles of Hungarian master and the composer himself are outlined. The methods of a stylistic analysis in projection to the performance art, as well as on a comparative approach, which allows to reveal the uniqueness of Cziffra’s interpretation of Beethoven’s music text, were applied. Analyzing the Hungarian pianist’s performance of the “32Variations” cycle, we heard a new interpretation of Beethoven’s ‘heroic’ character, but we did not observe any emphasis on virtuosity for the sake of itself, but rather a musical intellectuality took place. It is the subtle nuances, strokes, tempo, character and the rich palette of articulations that determine the Hungarian pianist’s performance style. Summarizing, we can observe, on the one hand, Cziffra’s own ‘romantic’ individualized interpretation of Beethoven’s music in the 20th century, and, on the other hand, some parallels, although less evident, with the specific features of Beethoven’s own performance style.
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Brown, Andy R. "Heavy metal justice? Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone 1980–91: Part one 1980–851." Metal Music Studies 7, no. 1 (March 1, 2021): 61–84. http://dx.doi.org/10.1386/mms_00032_1.
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Given the genre name heavy metal can be traced to a negative adjective that emerges out of 70s rock journalism and which reflects a widespread dissensus among rock critics about its value and impact on North American rock music, how are we to explain the gradual or cumulative shift away from this majority aesthetic disapprobation, in the 1980–85 period, towards a widespread economic accreditation, particularly in the pages of leading rock magazine, Rolling Stone? Is it simply a belated recognition of the longevity of the genre and its resurgent popularity with majority audiences? If so, how are we to explain the subsequent shift, clearly evident in the Rolling Stone coverage in the 1986–91 period, from economic to aesthetic approbation of selective bands, particularly those identified with a thrash metal underground, which is nevertheless seen to emerge from within the genre or to be an aesthetic development of some of its key musical features, while rejecting others? Drawing on a comprehensive survey, composed of album reviews, lead or feature articles and interviews, drawn from the Rolling Stone archive, my research reports, in Part One of this article, a definite shift in the critical reception of heavy metal to economic accreditation in the 1980–85 period, based not only on the genre’s persistence and sustained economic success but also its ability to appeal beyond its core metal audience and therefore challenge the dominant rock and pop aesthetic. For some critics this means that a selective set of popular bands, such as AC/DC, the Scorpions and Def Leppard, can be afforded a degree of aesthetic approbation, even the status of ‘artists’. But this praise also leads to the Great Metal Question: can they now seek to move beyond the musical and lyrical conventions of heavy metal in order to appeal to a wider audience beyond their core fanbase?
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Ghani, Kashshaf. "Sound of Sama: The Use of Poetical Imagery in South Asian Sufi Music." Comparative Islamic Studies 5, no. 2 (November 3, 2011): 273–96. http://dx.doi.org/10.1558/cis.v5i2.273.
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In the cultural space of the subcontinent Sufi rituals constitute an important area of research, stirring academic and non-academic inquisitiveness. And in this regard no aspect of Sufi ritualism has been more contentious than the practice of Sama (Sufi musical assemblies). Frowned upon by orders such as the Qadiris and Naqshbandis; regulated by the State in the name of Shariah (Islamic Law), Sama assemblies have been, for centuries, the defining spiritual exercise of many a leading Sufi silsila. But what constitutes the sama? How does the content(s) of such a ritual arouse spiritual sensibilities? Is there any definite structure for conducting such assemblies? These are some of the questions this paper will try to answer. While analyzing the ritual content of Sufi music the vast range of mystical poetry of both classical and south Asian Sufism needs to be taken into consideration. Indeed the music of sama is not normally conceived as apart from Sufi poetry that constitute the text. These texts create a poetic idiom, rich in image and metaphor together with a discernable degree of symbolic interpretation. What sort of an image, and of whom, do these texts portray? Who constitutes the central focus of these poetical imageries? Is there any dominant ideology working behind these textual interpretations? Such questions tend to arise, an answer to which will be sought in the course of my discussion.
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Chyzhenko, M. "Anatoliy Vasylyovych Kalabukhin: the phenomenon of a creative personality." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 76–91. http://dx.doi.org/10.34064/khnum1-55.06.
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Background. Among the music-performing professions, the conductor is perhaps the most difficult. It requires not only special musical abilities, temperament, fantasy and artistic thinking, erudition and technique, but also the ability to lead a large creative team. All these features are characteristic of Anatoliy Vasylyovych Kalabukhin. In the context of the contemporary music art of Ukraine, his name is famous, first, as a symphonic and opera conductor, and later – as the founder of one of the first opera studios at Kharkiv National University of Arts named after I. P. Kotlyarevsky. Therefore, the resonance of the 80-year history of the leading music institution of Slobozhanshchyna region, which is inseparably linked with the biography of this amazing man, an outstanding conductor and a leader who has brought up several generations of opera singers, is getting its actual sounding. The subject of the study is the life-and-work of Anatoliy Vasylyovych Kalabukhin as a prominent representative of Ukrainian musical art of the second half of the 20th–21st centuries. The purpose of the article is to give an estimation of A. V. Kalabukhin’s multi-vector activity in the aspect of the phenomenon of his personality. Analysis of recent publications on the topic. Based on the interview with A. V. Kalabukhin, other sources and information about the famous musician [research made by O. Volovnyk, T. Volovnyk, A. Mizitova, L. Kucher] the author develops a phenomenological approach to studying the master’s life-and-work in the light of his multi-vector activity, and this approach has not been used by the previous researchers. Methods. In order to understand the phenomenon of this creative personality we have involved historical-biographical (revealing the stages of the becoming and of the creative maturity of the master) and cultural (explaining the contexts of artistic life in Kharkiv and the cultural settings with which he was associated). Results. Anatoliy Vasylyovych Kalabukhin was born on June 21, 1930 in the city of Lugansk, in the family of a worker. The grandfather and father worked in the boiler department of the steam-generating plant, the mother Clavdiya Leontiyivna – in the bakery. The grandfather’s name, Kalabukha (it is the name of the boat that was turned upside down, a Cossack-scout went under it and sailed, looking for the enemy on the shore) was changed when his father served in the Red Army. Emphasizing the role of the biographical method in the study of the phenomenon of the personality of the master, it is necessary to point out the circumstances of the professional education. Anatoliy Vasylyovych had good teachers, so he not only inherited the high criteria of classical art, but also developed its foundations in the new socio-cultural realities (from the 70’s to the present days). And already on the basis of the continuity of the conducting profession, as a kind of a tradition, innovative searches were carried out in the conditions of certain challenges of the time (music theatre, educational audience or opera studio at Kharkiv Institute of Arts). The stages of A. V. Kalabukhin’s creative biography as the conductor and organizer of the artistic life of Kharkiv, in particular, the opera studio, have been revealed. The conductor’s memoirs highlight the most iconic figures and performances that reveal his professional principle and qualities. His conductor style is distinguished by the perfect sense of style and form, rhythmic harmony, sound balance of the orchestra groups, and the skilful distribution of orchestral colours. A. V. Kalabukhin is a conductor of a wide profile; he is rightly called a universalist: the activity of the maestro was large-scale and distinguished, both in the symphonic genre and the opera-symphonic one. This synthesis, in his opinion, helps to expand the artistic range of the creator, and enriches his thinking. The conclusions formulate those qualities that have ensured Kalabukhin’s leadership status and success in all areas of activity. First, the enormous inner life force – charisma. All those who spoke with A. V. Kalabukhin during the rehearsal on stage or in the classroom, note that he seems to radiate enormous energy to the creative process in the team. Secondly, his credo – the individual approach to each performer – always remains the same. During his lifetime this credo allowed him to give birth to various creative ideas, to embody his projects, to uphold his own vision of the concept of a piece of music or a play. The third factor in the creative mind is the understanding of the organics of the vocal and stage image. A. V. Kalabukhin knows the laws of human psychology, feels exactly the psycho-type of the musician. With his experience, he helps the singer to increase consciousness, to improve vocal and stage skills. Thus, the “three whales” of the master’s professional activity – conductor, teacher, and organizer – make up the phenomenon of the personality. The figure of the master is a valuable guideline for the young generation of Ukrainian musical culture. The phenomenon of Kalabukhin lies in the vital force and ability to creatively and steadily extend the traditions of classical art on the basis of the education of its carriers here, in Ukraine. The relationship with performers and the professional vision of how to open up their talent on stage are the key to the success of the educator of the young generation of the Ukrainian vocal art.
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Rudi, Jøran. "Unpacking the Musical and Technical Innovation of Knut Wiggen." Organised Sound 23, no. 2 (July 31, 2018): 195–207. http://dx.doi.org/10.1017/s1355771818000079.
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Knut Wiggen (1927–2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts,1 but the links between Knut Wiggen’s technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen’s personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus.Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen’s achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used,2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer.The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.
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Mateer, David. "Oxford, Christ Church Music MSS 984–8: An Index and Commentary." Royal Musical Association Research Chronicle 20 (1987): 1–18. http://dx.doi.org/10.1080/14723808.1987.10540916.
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Robert Dow, the original owner of Oxford, Christ Church (Och) MSS 984–8, was the eldest son of Robert Dow (1517–1612), citizen and Merchant Taylor of London. According to the 1568 Heraldic Visitation of London, Robert junior was fifteen at that time, and so was born in 1553; he had four brothers, John, Henry, Thomas and Richard, aged twelve, ten, five and two and a half years respectively. Since both John and Henry attended Merchant Taylors’ School, it is probable that Robert did likewise, though we cannot be certain of this since no accurate register of pupils was kept until Robert Dow senior instituted the School's Probation Books in 1607. Another not unreasonable expectation would be that the young Robert went up to St John's College, Oxford, given his father's munificience towards that College and its strong links with the Merchant Taylors’ Company. However, such an assumption would be unwarranted, and indeed, no Oxford college has any official record of him as an undergraduate. Fortunately in the British Library there are three holograph letters in Latin from Dow to Lord Burghley, dated 20 September, 4 October and 8 November 1573, written ‘Oxoniae (Oxonij), in Collegio Corporis Christi’. Since he does not sign himself ‘discipulus’ or ‘alumnus’, it is hardly surprising that there is no mention of his name in the College's Registers, and therefore the most likely explanation for his presence at Corpus Christi is that he was a gentleman-commoner, though this cannot be verified. Whatever his status, we know that Robert Dow definitely proceeded B.A., for the Oxford University Register of Congregation and Convocation 1564–82 has the following entry for 12 October 1573 recording his supplication for that degree: Supplicat etc. Robertus Dowe scholaris facultatis artium quatenus in studio dialectices quatuor annos posuerit generalis creatus fuerit bacchalaurio xlma respondent ceteraque omnia perfecerit quae per nova statuta requiruntur ut haec ei sufficiant ut admittatur ad aliquem librum logices legendum. Concessa [est] modo determinet proxima xlma 7.
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Klieshch, Alina. "PSYCHOLOGICAL COMPONENTS OF DOMINANT ATTENTION AS THE LEADING PROFESSIONAL QUALITY OF THE ENSEMBLER." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 182–85. http://dx.doi.org/10.36550/2415-7988-2021-1-195-182-185.
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The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.
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Kosinskaya, Natalia. "METHODOLOGICAL BASES Natalia Kosinskaya OF FORMATION OF SCENIC-SHAPED CULTURE OF FUTURE TEACHERS OF MUSICAL ART." Aesthetics and Ethics of Pedagogical Action, no. 16 (September 9, 2017): 45–55. http://dx.doi.org/10.33989/2226-4051.2017.16.175972.
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In the article it has been proved that a range of competences are established at the present stage of the development of artistic pedagogical education the traditional principles of its development, oriented on the acquisition of knowledge, formation of skills and competencies. It has been determined that in the context of innovative approaches, new requirements are set for a teacher: modern society needs specialists who are capable of solving professional functions, endowed with readiness from the beginning of professional activity, to identify professionalism, competence in forming a generation with a high degree of aesthetic culture, value orientations, ethical settings.The methodological aspects of formation of the scenic-image culture of future music teachers are highlighted. The article discusses the position of methodological approaches in the context of the problem of formation of the scenic-image culture of future music teachers. It has been determined that the leading methodological approaches that determine the essence of the scenic-image culture of a music teacher are cultural, axiological, competence, hermeneutic; it allows determining the corresponding professional-significant qualities, professional competences, which allow a specialist to master the content of a musical work as a special phenomenon of culture, consider it as a synthesis of spiritual, emotional, aesthetic experience of a person, on the basis of interpretation of his artistic and semantic measure to build a scenic image and retransmit it in pedagogical, performing, vocal activities. This quality is manifested in the focus on the interpretation of artistic images through a scenic image based on the experience of universal and national culture, their own life and professional experience, value orientations, possession of interpretive skills, vocal and acting skills, pedagogical talent in decoding the figurative system of musical work through the mediation of scenic image, a multifaceted quality; structural components are motivational-empathic, cognitive, creative and actional.
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Bezemchuk, Larisa, and Volodymyr Fomin. "THE FORMATION OF FUTURE MUSIC ART TEACHER`S METHODOLOGICAL COMPETENCE IN THE PROCESS OF PEDAGOGICAL PRACTICE." 1 1, no. 1 (September 2020): 43–49. http://dx.doi.org/10.34142/27091805.2020.1.01.07.
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Object. The article`s aim is to study formation of the methodological competence of a music teacher`s potential in practical work as well as to determine the effective forms and methods of professional training of the bachelor students during their pedagogical practice at schools. Methods. Conventional pedagogical research methods were applied: theoretical analysis of scientific and pedagogical literature, comparative analysis, empirical and modeling methods. Results. In the course of the research, the essence of methodological competence in the context of solving the issues of a potential music teacher’s professional training was theoretically substantiated. It is determined that the content of the curriculum for higher education 014 Secondary Education (Music) focuses the applicant of the first bachelor’s degree on the formation of «polyphonic» methodological and pedagogical thinking. It is proved that this type of thinking is a priority one for mastering the methodological constructions of the updated subjects «musical art» and «art». It is covered the conceptual core for structuring of the main professionally oriented academic disciplines: «Methods of music education» and «Pedagogical practice». The basis of such a structuring is a didactic matrix of art lessons of poly-artistic direction. It is proposed to use the principle of interdisciplinary integration for the development of students’ methodological skills in three dimensions of musical art mastering: improvement-transformation-modeling. Modeling of professional situations in the process of pedagogical practice by means of creation of individual methodological maps of students is carried out. A special place in the methodological and practical work of students was taken by various forms of individual creative tasks on music pedagogy. This significantly affected the level of professional training, and separately – the practical and creative component of the formation of the students’ methodological base. Among the methods that aroused the greatest interest of students during pedagogical practice it should be point out the holding of master classes, music-pedagogical trainings, discussions the issues of pupils’ teaching by art means. A wide range of practical issues was solved due to introduction of interactive teaching forms, like «music aquarium», «art cafe», «brainstorming», «facilitation discussion» as well as imitating music and game technologies. Conclusions. Summarizing the results of the study, it can be pointed out that the practical training of a modern music teacher should be carried out in the plane of integration processes affected the renewal of a music lesson as a lesson of poly-artistic content. It is proposed to consider the formation of methodological competence from the standpoint of the systematic approach to teaching. It is carried out modeling of professional situations based on the principles of interdisciplinary integration. It was found that the most effective form of students’ work during school practice is the creation of individual methodological maps.
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Green, R. N., R. L. Trowbridge, and K. Klinka. "Towards a Taxonomic Classification of Humus Forms." Forest Science 39, suppl_1 (February 1, 1993): a0001—z0002. http://dx.doi.org/10.1093/forestscience/39.s1.a0001.
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Abstract A two-category taxonomic classification and a methodology for field description are proposed to aid in consistent identification and interpretation of humus forms for ecosystem research, surveys, and management. The classification uses the nomenclature principles of the U.S. soil taxonomy and the master organic horizon designations of the Canadian system of soil classification. It includes humus form taxa that have been recognized in Europe and North America. Recognized taxa are defined on the basis of observable and easily measurable morphological properties. Three taxa, Mor, Moder, and Mull, are recognized at the order level and are differentiated according to the type of F horizon and the relative prominence of organic-enriched A horizons. These reflect principal differences in the nature and rate of decomposition processes. Names of the 16 taxa at the lower, group level are created by adding formative elements to the name of the order. For example, groups of the Mor order are differentiated according to the relative thickness of F and H horizons (Hemimors and Humimors); degree of humification in the H horizon (Resimors); content of decaying wood (Lignomors); and moisture regime (Hydromors, Fibrimors, and Mesimors). Phases can be formed for any taxon to recognize important morphological properties that deviate from the taxonomic differentiae. Keys to the recognized taxa and descriptions of representative humus form profiles for each group are provided to assist in identification. Methods for describing, sampling, and surveying humus forms are presented to facilitate field examinations and subsequent studies.
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Rath, Badal B. "Maruti Ertiga launch in India by new category creation." Emerald Emerging Markets Case Studies 3, no. 6 (November 14, 2013): 1–8. http://dx.doi.org/10.1108/eemcs-08-2012-0147.
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Subject area Marketing. Sub subjects: customer segmentation, targeting, positioning and new product launch strategies. Study level/applicability This case can be taught at degree and master level management programmes including distance education mode in business schools having marketing management as one of the subjects. Case overview Maruti Suzuki a leading global Japanese car manufacturer recently launched a new multi utility passenger car with the brand name Ertiga. Ertiga was launched by Maruti Suzuki as life utility vehicle (LUV) using lifestyle categorization instead of using car categorization to position Ertiga using LUV theme. This new category created called LUV is in car categorization between high end hatchbacks and multi utility vehicles/sedans. This case highlights how Maruti Suzuki through effective market research was able to identify a new category and also create and offer a car to the Indian market. This case covers some of the innovative promotional strategies like in film promotions and brand placements which was used to promote Ertiga in India. Expected learning outcomes The case is designed to enable students to understand the concept of segmentation, targeting, and positioning about the various products launch strategies companies adopt in the emerging markets. Also this case covers the marketing mix concepts and how it was adopted during the Ertiga launch in India. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email: support@emeraldinsight.com to request teaching notes.
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Fomin, Victor P. "Psychological and Pedagogical Resources of Warrior Yoga as a Tool for Musician’s Psychophysical Self-Regulation." Musical Art and Education 8, no. 1 (2020): 41–58. http://dx.doi.org/10.31862/2309-1428-2020-8-1-41-58.
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The article discusses actual problem of musician’s psychophysical self-regulation in the modern world. The increase in the “degree of extreme” in musician’s profession puts forward increased requirements to his health and psychophysical stability, which is comparable to the requirements in combat sports and martial arts. The answer to these challenges is a “body-oriented” system of psychophysical self-regulation based on warrior yoga adapted for musicians. This system is being developped in the Problem laboratory of the Moscow Conservatory by the author professionally educated in music, sports and martial arts. The essence of the approach is described in the sections of the article, where yogic origins of modern bodyoriented systems, phenomenon and resources of warrior yoga are considered and conceptual guidelines are given, providing “navigation” in the content of adapted “warrior” methods and practices of psychophysical self-regulation.The latter are specified through links to the author’s publications and other sources. In conclusion, we touched upon the conduct of pilot master classes on the adapted complex of warrior yoga in the regions of Russia. It shows the relevance of such practices of psychophysical self-regulation in the musical and pedagogical community. It opens up prospects for their use in targeted consulting programs for teachers and students.
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Martyniuk, Tetiana. "Implementation of Artistic and Pedagogical Interpretation Technologies in the Content of Professional Training of Future Music Teachers in the Study of Artistic Innovations in Educational Institutions." Professional Education: Methodology, Theory and Technologies, no. 15 (November 4, 2022): 164–87. http://dx.doi.org/10.31470/2415-3729-2022-15-164-187.
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The article is devoted to the issue of the implementation of artistic and pedagogical interpretation technologies in the content of professional training of future music teachers in the study of artistic innovations in educational institutions. The purpose of the article is to consider the advantages of introducing pedagogical, artistic and pedagogical interpretation technologies into the content of professional training of future musical art teachers and to present examples of their use in the educational process of those obtaining a master's degree in the specialty «Secondary education (Musical art)». In the process of experimental work, the following research methods were used: theoretical: analysis, synthesis, comparison, systematization; empirical: observations, surveys, presentation of an artistic and pedagogical interpretation of a musical work. The results. The following methods are considered by the author to be the leading methods of interpretive music-pedagogical technologies: artistic-pedagogical analysis of a work, artistic-pedagogical narrative, pedagogical interpretive cognition, perceptive immersion into the meaningful sphere of a musical work, individual critical understanding of interpretive versions of works, artistic-interpretive activity, presentation of a psychological portrait of the composer, comprehension and modeling the musical meaning of the work. In the author’s opinion the above methods reflect the general process of interpretation activity and are related to the phenomenon of musical interpretation. To characterize the musical and pedagogical interpretation technologies and their pedagogical tools, the author has given twenty one examples of recommended creative tasks for the training of future music teachers on the practical lesson topic «Methods of training applicants for the artistic and pedagogical interpretation of vocal, choral and instrumental musical works of various genres and eras for teaching musical art in 5th grade of general secondary education establishment». Conclusions. The author has defined that the introduction of artistic and pedagogical interpretation technologies into the content of the professional training of future music teachers in the study of artistic innovations in educational institutions contributes to the development of the students' motivation to master musical and pedagogical innovations, allows to activate the development of aesthetic sense, taste, perceptive abilities, critical thinking, and the formation of the skills of creating one's own artistic and pedagogical interpretations, their substantiation from the point of view of understanding the author's idea, artistic cognitive and communicative activity. Prospects for the development of the raised problem are the study of the interrelationships of artistic-pedagogical interpretive and hermeneutic technologies in the content of professional training of future music teachers.
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Koçak, Funda, and Oğuz Özbek. "Views of postgraduate students regarding research ethics in Turkey." Journal of Human Sciences 13, no. 2 (August 22, 2016): 3560. http://dx.doi.org/10.14687/jhs.v13i2.3780.
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This research aimed to examine the level of knowledge of master and doctorate students regarding scientific research ethics and the frequency of scientific deception identification in scientific publications. The research was conducted using descriptive methods. The group under examination consisted of 112 randomly chosen students who pursued their postgraduate degree in physical education and sports fields. The validity and reliability were determined in the framework of this study. Item total correlation and factor analyses were conducted for the construct validity of the assessment tool. The Alpha Coefficient, which was calculated for the scale reliability as .96, indicated the scale is valid and reliable. The Shapiro-Wilks test was also conducted to determine whether the data were normally distributed. Because the data did not exhibit a normal distribution, a non-parametric Mann-Whitney U test was utilised. “Writing more than one article using the same data”, “citing without providing a reference”, “reporting findings that are only consistent with expectations”, “publishing someone else’s ideas without providing references as if they are one’s own”, “presenting the same research in more than one conference or symposium”, and “publishing the same research in more than one journal” are the most non-ethical behaviours perceived in scientific research. All of the participants indicated that “presenting falsified findings of research and publishing someone else’s research with own name” represent non-ethical behaviours. According to the research results, “citing without providing a reference” and “writing more than one article using the same data” were the most unethical behaviours identified in scientific studies.
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Chunjie, Wang. "Value of musical noise instruments for modern art education." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 3 (132) (September 24, 2020): 190–97. http://dx.doi.org/10.24195/2617-6688-2020-3-22.
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The article raises the issue regarding the possibilities of using musical noise instruments in the process of mass art education. The relevance of the topic is predetermined by these facts: a) insufficient attention of representatives of musical education to the use of musical noise instruments; b) the growing importance of this type of instrument in academic and popular music; c) increasing interest of modern youth in instrumental music making; b) the low degree of development of the theory and methodology of playing musical noise instruments. The goal of the work is to consider the phenomenon of musical noise instruments from the education viewpoint as well as to determine their pedagogical potential. The content of the article. Based on the analysis of special literature, the classification concept “musical noise instruments” has been specified. Their mechanical, acoustic, plastic, cultural and educational properties have been characterised. The features of musical noise instruments that determine the possibility and expediency of their use in the practice of musical education have been determined. The results of the study. It is proposed to understand “musical noise instruments” as acoustic mechanical devices that allow creating more or less plastic broadband and colour noises. It has been established that musical noise instruments have an important educational value, which can be explained by a number of factors: a) these instruments belong to the oldest sound generation devices in the history of mankind, familiarity with them serves to expand cultural knowledge and gnostic motivation for art education; b) mastery of them opens the way for developing traditions of the native national art and the wealth of other national cultures; c) musical noise instruments primarily serve to reproduce the musical rhythm in all its expressiveness and structural complexity; involvement of schoolchildren in playing music with musical noise instruments promotes the development of their musical and rhythmic abilities, perceptions and skills; d) since the role of musical noise instruments today has significantly increased in the practice of classical, jazz and popular music, the acquaintance of students with these instruments should be considered as one of the ways to master the poetics and artistic language of modern music in its various style and genre manifestations; e) musical noise instruments have a high potential in attracting preschool children and primary school pupils to active ensemble music playing. Modern pedagogy of higher education should study and develop the didactic capabilities of musical noise instruments in training future teachers of musical art: the formation of their sense of rhythm, texture, architectonics, timbre palette, intonational expressiveness; arranging skills, expanding musical and cultural experience. These tasks require an appropriate technique, the development of which is the author’s further task.
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Gelbier, Stanley. "Dentistry and the University of London." Medical History 49, no. 4 (October 1, 2005): 445–62. http://dx.doi.org/10.1017/s0025727300009157.
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The lack of professional qualifications was felt keenly by some nineteenth-century medical and dental practitioners. In 1860, the Lancet highlighted a scheme “to avoid the operation of the Medical Act, and to enable uneducated and unprincipled men to defraud the public”. It quoted an advertisement from a daily newspaper. Mr T Vary had announced that “Doctors, Druggists, Chemists, or Dentists, who have no Medical Diploma, can hear of an easy method of obtaining one” by writing to him at Jones's Coffee House in London's Tottenham Court Road. In response to an enquiry, Vary told the Lancet that he had just come from America where a friend “had graduated … in 1857, with all the honours”. However, the latter “had to leave America without his diploma” because of a lack of money for his graduation fees, and so had asked him to pay off the debt and bring back the diploma to Europe. Vary said: “I have done so; but have been detained longer than was anticipated, and now find my friend dead”. Indicating that he did not want to lose the money which he had paid on behalf of his friend, Vary continued: “Fortunately, as is common in America, the space for the name is left blank, to allow the graduate to have it filled up to suit his fancy by some writing master”. He proposed to sell the diploma and supporting papers for £23, which, he pointed out, was “as good as if five years' labour and 1500 dollars had been given to obtain it”. Later in the same year, the Lancet stressed that the practice of buying a Continental degree of MD, without examination or residence, was clearly a “fraud upon the public … repugnant to professional honour and destructive of professional character”. It published details of a proposition sent to Mr Pound, a surgeon in Odiham, to obtain a degree “by simple purchase”. Enclosed was a printed circular: “If you wish to become a M.D. without absenting yourself from your professional duties, I can procure you the degree from a Continental University of the highest reputation, on terms more moderate than any hitherto known in this country”. The circular was accompanied by a letter addressed personally to Pound by a Dr H A Caesar, MD, FRCSI. There is no way of knowing how many doctors or dentists actually bought copies of that or similar false diplomas.
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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.
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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Aji, Arif Sabta, Yusrawati Yusrawati, Safarina G. Malik, and Nur Indrawaty Lipoeto. "Pre-Pregnancy Maternal Nutritional Status and Physical Activity Levels During Pregnancy Associated with Birth Size Outcomes in Minangkabau Women, Indonesia." Current Developments in Nutrition 4, Supplement_2 (May 29, 2020): 931. http://dx.doi.org/10.1093/cdn/nzaa054_003.
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Abstract Objectives To analyse the association between maternal physical activity status and birth size outcomes and whether other determinants of confounding variable such as pre-pregnancy BMI (PP BMI) and gestational weight gain (GWG) during pregnancy affect birth size outcomes. Methods A prospective birth cohort study. Subject's PAL was measured at the first trimester (T1) and third trimester (T3) during pregnancy. Birth size outcomes were measured immediately after birth. Results The analyses included 183 mother and infant pairs with a mean newborn birth weight of 3211.75 ± 434.70 g. Pregnant women at T3 had two times lower physical activity than T1 of pregnancy (OR, 2.18; CI, 1.044–4.57; P = 0.045). Maternal PAL at T1 and T3 were in sedentary level (74.30% and 77%, respectively). There was no association between PP BMI and physical activity level during pregnancy. We found no significant association between PAL during pregnancy and birth size outcomes (P > 0.05 for all comparisons). However, we had a significant association with birth weight after our confounder adjustment (P = 0.032). There was a significant interaction between maternal PAL and PP BMI on birth weight and head circumference (Pinteraction < 0.05). Conclusions Our study provides evidence that neither maternal physical activity status nor pre-pregnancy BMI in the prenatal period are associated with birth size outcomes (birthweight, birth length, and head circumference). Funding Sources This research was supported by the Ministry of Research, Technology and Higher Education of the Republic of Indonesia (Menristekdikti) with project name The Research of Master Program Leading to Doctoral Degree for Excellent Students (PMDSU Batch-2) in the year of 2018 (Grant No: 050/SP2HL/LT/DRPM/2018) and Indonesian Danone Institute Foundation (Grant No: 007/ROG-D/IDIF/X2016). The views expressed herein are those of the individual authors and do not necessarily reflect those of Indonesia's Danone Institute Foundation (IDIF).
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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.
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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.
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Et.al, Y. H. Ch’ng. "Psychology Software Tool (PST) For Specific Language Impairment Person." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 1969–74. http://dx.doi.org/10.17762/turcomat.v12i3.1032.
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Specific Language Impairment (SLI) is a disorder categorized by the inability of an individual to master spoken and written language, despite the absence of any apparent handicapping conditions. Many tools have been developed to diagnose or treat SLI, but these tools are largely made up of standalone components which must be utilized separately to obtain sufficient data for the diagnosis and treatment of SLI. Furthermore, some of these components are either very expensive or not widely available. As a result, therapists have faced many inconveniences when trying to treat individuals suffering from SLI. Hence, the development of an integrated, cost-effective Psychology Software Tool (PST) to diagnose and treat SLI is being developed as a solution to counter the inconveniences currently faced by SLI therapists. As a tool by SLI therapists to diagnose and treat SLI within children, the Psychology Software Tool offers standardized questionnaires with a special method to diagnose SLI will be presented in both text and audio, while a webcam will be used to deduce the amount of focus which is given by the patient to comprehend a particular element displayed on the screen. The diagnosis shall take into account the accuracy of answers provided within the questionnaires, the time taken to provide those answers and the aforementioned degree of focus. In terms of SLI treatment, the tool will also provide music therapy for SLI patients to work towards better speech production and comprehension. In short, PST will simplify and enhance the process of diagnosing and treating SLI patients.