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Journal articles on the topic 'Instrumental ensembles'
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Larikova, Liudmyla. "Women’s Bandura Ensembles. Aspects of Working with Small Vocal Ensembles." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 37–42. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260413.
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The paper describes the specific features in the functioning of women’s bandura ensembles. In particular, it gives a historiographical picture of vocal-instrumental bandura performance, describes the stages of academisation of women’ssinging in bandura ensembles, and overviews the main methodological approaches of work with women’s vocal-instrumental bandura ensembles. Women’s bandura ensembles as an academic genre trend of Ukrainian musical culture have three fields of study: vocal and instrumental (performers), genre and stylistic (composers), and social and educational (cultural). Also, it is important to pay due attention to the widening of theoretical knowledge and practical skills, and to serious work on the methods of improving the performing and expressing components of singing and playing bandura in the ensemble.
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Pratt, George. "Music for instrumental ensembles." British Journal of Music Education 5, no. 3 (November 1988): 320–22. http://dx.doi.org/10.1017/s0265051700006732.
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Kysliak, Bohdan. "Ukrainian folk instrumental ensemble music-making in the historical process." Aspects of Historical Musicology 28, no. 28 (December 28, 2022): 24–37. http://dx.doi.org/10.34064/khnum2-28.02.
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Statement of the problem. The ensemble is a type of collective musicmaking that dates back to ancient times and is an integral factor in the spiritual life of any nation. For Ukrainian culture, the traditions of the folk-instrumental ensemble have always been important, because they were associated with labor and ceremonial-ritual functions in society, people’s daily life, and secular forms of musical art. The article singles out significant elements of the process of academicization and chamberization of accordion ensembles in order to determine the characteristic features of Ukrainian folk-instrumental professionalism in ensemble music-making. In this context, the phenomenon of creative activity of “triple musicians” is highlighted, as a significant type of Ukrainian ensembleinstrumental performance. Special attention is paid to the crystallization of ensemble functions, and to the definition of the characteristic features of the Ukrainian harmonica and bayan culture. The bayan began to be introduced into European chamber-ensemble instrumental music only in the last decades of the 20th century; hence, the phenomenon of academization and chamberization of bayan ensembles is understudied, which determines the relevance of the research topic, prompting to make sense of their place in the general historical and stylistic process of ensemble music-making. The purpose of the article is to determine the characteristic features of Ukrainian folk-instrumental professionalism in the field of ensemble musicmaking, in order to popularize this type of performance in the Ukrainian national tradition. Recent research and publications. Relevant to the topic of the article is Yu. Loshkov’s work “Harmonica in Ukraine”, where “the specifics of harmonica performance in various spheres of domestic musical culture of the second half of the 19th and early 20th centuries” are determined (Loshkov, 2014: 238), and Igor and Liudmila Sniedkov’s article devoted to the Kharkiv bayan school (Sniedkov & Sniedkova, 2021), which contains information about the features of ensembles with the participation of the bayan. In M. Pliushchenko’s dissertation (2021) on timbretextural specificity of bayan and accordion transcriptions by Kharkiv composers of the late 20th – early 21st century, the parameters of Ukrainian instrumental and folklore professionalism are singled out. The scientific novelty of the presented study lies in emphasizing the role of folk-instrumental ensemble music-making in the historical-stylistic process and its peculiarities in Ukraine. Research results. The evolution of harmonica-bayan ensembles took place at first outside the traditions of classical chamber ensembles. The genesis of harmonica-bayan ensembles is closely related to the folk-instrumental tradition. In the aspect of the further movement of accordion ensembles towards academicization, as historically the first, such genetic and stylistic folklore features should be defined: the professionalism of instrumental ensembles since ancient times, which contributed to the further improvement of organological qualities and the development of ensemble playing; tendency towards individualization / differentiation of performers’ personalities (ensemble voices, in particular, in “triple musicians”); improvisational presentation of themes and theatricalization of musical communication. Conclusion. Collective musical performance has its roots in the ancient instrumental folk tradition. In the historical-stylistic process, genetically the first forms of collective music-making related closely to folklore instrumentalism were developed. With the obvious difference between folklore and academic types of music-making, there are also linked, tangential functions and properties of instruments. In the second half of the 20th century the bayan quickly assumed the position of both solo and ensemble status due to academicization and subsequent chamberization. These processes were related not only to folk instruments (bayan, domra, balalaika, bandura, whose classification as “folk” today does not correspond to the essence of their socio-cultural existence), but also to historically established accomplices of chamber-ensemble genres – violins, pianos, brass, percussions. And therefore, each new generation of musicians-performers on folk instruments has a need to research the mentioned tradition with the aim of further implementation of individual instrumental-folkloric segments into modern author’s compositions.
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Davis, Virginia Wayman, Laura Singletary, and Kimberly VanWeelden. "General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles." General Music Today 33, no. 1 (March 29, 2019): 6–14. http://dx.doi.org/10.1177/1048371319839112.
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In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.
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Ray, James, and Karin S. Hendricks. "Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles." Journal of Research in Music Education 66, no. 4 (October 19, 2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.
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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that was rated by a panel of four string specialists. Analyses revealed moderately strong levels of collective efficacy belief and uniformly high within-group agreement. There was a significant, moderately strong correlation between collective efficacy belief and within-group agreement ( rs = .67, p < .01). We found no relationship between collective efficacy belief and performance quality across the total sample, but those factors correlated significantly for festival-based ensembles ( rs = .82, p < .05). Reliability estimates suggest that our collective efficacy survey may be suitable for use with string chamber ensembles. Correlational findings provide partial support for the theorized link between efficacy belief and performance quality in chamber music settings, suggesting the importance for music educators to ensure that positive efficacy beliefs become well founded through quality instruction.
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Danyliuk, M., and Ya Danyliuk. "Creative guidelines of folkinstrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries." Culture of Ukraine, no. 81 (September 21, 2023): 69–76. http://dx.doi.org/10.31516/2410-5325.081.09.
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The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method.
The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as “Korobeinyky”, “Rozmai”, “Yarmarok”, “Stozhary”, “TsymBanDo”, “3+2”, “Hrotesk”, “Grey Folk”, “Vesela Banda”, “Koloryt”, duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio “Kupava” and “Zoredana”, Kharkiv Guitar Quartet.
The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives.
Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and synchrony, the bearer of the mission of raising folk-instrumental traditions and finding innovative ways of their embodiment.
The practical significance of the article is outlined by the heuristic application of its results in pedagogical-methodical, theoretical-practical and performance activities.
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Mokrohuz, Inna. "Modern instrumental and orchestral art of the Bukovyna region." Aspects of Historical Musicology 31, no. 31 (July 27, 2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.
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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is thanks to their creative restlessness that today Bukovyna is proud of a significant number of highly professional ensembles and orchestras of instrumental music. Objectives, scientific novelty, and methods of the research. The purpose of the study is to highlight the process of developing the instrumental collectives, whose activities contributed to the shaping of the modern Bukovyna musical culture. The special task of the research and its innovative component is to consider the role of outstanding figures of the leaders of these collectives in the cultural development of Bukovina. Historical, biographical, musicological and cultural approaches were chosen to reveal the stated topic, analytical and generalizing methods were used in the processing of reference sources and scientific literature. Results of the research. Bukovyna is historically multinational region, where the Ukrainian, in particular Hutsul, Romanian, Polish, Hungarian influences is felt. So, the creative activity and repertoire of the folk groups and academic instrumental ensembles are very diverse. The music art of instrumental ensembles has been always gaining interest and respect from the listeners, due to its distinguished professionalism and ease of perception. The artistic and educational activities of such instrumental ensembles as «Triple musicians», «Plai», Chamber and Academic Symphonic orchestra of the Chernivtsi Regional Philharmonic hall, folk music ensemble «Bukovyna» and the Brass Orchestra «Dixie-Band» of the Central Palace of Culture, the orchestra group of the Honoured Academic Bukovynyan song and dance ensemble named after A. Kushnirenko was highlighted. The active educational position of the leaders of these groups as an outstanding extraordinary personalities, their importance in the formation and development of cultural and educational processes in Bukovyna, popularization of the folk music of the Bukovyna region were emphasized. Such leaders are: People’s Artists of Ukraine – Andrii Kushnirenko, Yurii Gina, Pavlo Chebotov; Honored Artists of Ukraine – Mykola Hakman, Yuriy Bleshchuk, Yevhen Tarnavskyi, Oleksandr Zhukov; Honored Art Workers of Ukraine – Viktor Kostryzh, Yosyp Sozanskyi; Honored Cultural Workers of Ukraine – Illia Miskyi, Heorhii Novakovskyi. A significant number of famous vocalists from Bukovyna have worked with the orchestras at different times, such as Honoured Artists of Ukraine Mariia Melnychuk, Nina Kapliienko, Vasyl Pyndyk, Oksana Savchuk, Iryna Styts-Kulikovska, Honoured Worker of Culture of Ukraine Vasyl Fedoriuk, a poet-songwriter Mykola Bakai and others. Instrumental ensembles are regular participants of regional art festivals “Bukovynska vesna” (“Bukovyna Spring”), “Vizerunky Bukovyny” (“Patterns of Bukovyna”), “Bukovynski zustritchi” (“Bukovyna meetings”), “Chervona Ruta” (“Red rue”), “Bukovyna Suvenir”, and others. In the best traditions of brass music, brass band marches and brass concerts are constantly held in Chernivtsi, which turn into real festivals of folk music art. Conclusion. In this context, we consider the active concerts and competition activities of these groups to be important, because the instrumental art of the Bukovyna musicians are known far beyond the borders of Ukraine. The orchestras are multiple time participants of AllUkrainian and International competitions, and showcased their art to the audience of Europe, Canada, Australia and other parts of the world contributing in the constant growth of authority and world recognition of Ukrainian music.
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Imran, Sheik, and Pradeep N. "A Review on Ensemble Machine and Deep Learning Techniques Used in the Classification of Computed Tomography Medical Images." International Journal of Health Sciences and Research 14, no. 1 (January 19, 2024): 201–13. http://dx.doi.org/10.52403/ijhsr.20240124.
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Ensemble learning combines multiple base models to enhance predictive performance and generalize better on unseen data. In the context of Computed Tomography (CT) image processing, ensemble techniques often leverage diverse machine learning or deep learning architectures to achieve the best results. Ensemble machine learning and deep learning techniques have revolutionized the field of CT image processing by significantly improving accuracy, robustness, and efficiency in various medical imaging tasks. These methods have been instrumental in tasks such as image reconstruction, segmentation, classification, and disease diagnosis. The ensemble models can be divided into those based on decision fusion strategies, bagging, boosting, stacking, negative correlation, explicit/implicit ensembles, homogeneous/heterogeneous ensembles, and explicit/implicit ensembles. In comparison to shallow or traditional, machine learning models and deep learning architectures are currently performing better. Also, a brief discussion of the various ensemble models used in CT images is provided. We wrap up this work by outlining a few possible avenues for further investigation. Key words: Computed Tomography, Ensemble, Deep learning, Machine Learning.
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Roseth, Nicholas E. "A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana." Journal of Research in Music Education 68, no. 3 (September 1, 2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.
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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at higher rates than males. The majority of teachers reported using “closed” ensemble setups (i.e., setups that limit teacher movement among students) and remained in these setups for the majority of the school year. Teachers of young ensembles reported greater use of “opened” setups (i.e., setups that help facilitate teacher movement among students). Although teachers reported spending the majority of rehearsal time on the podium, female teachers, teachers of young ensembles, and teachers who used opened setups reported less time on the podium and more time moving among students. Implications for immediacy, ensemble setup, and teacher use of space in music education are discussed.
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Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles." Music Educators Journal 109, no. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.
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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.
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McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (December 2004): 343–56. http://dx.doi.org/10.1177/002242940405200406.
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This study is an examination of the relationship between gender and participation in high school and college instrumental jazz ensembles. Student demographic and attitudinal information was collected using the researcher-designed Instrumental Jazz Participation Survey (IJPS). Undergraduate college band students ( N=628) representing 15 programs offering degrees in music education were surveyed. Gender and jazz ensemble participation were found to be related at both levels; 52% of women and 80% of men surveyed reported playing jazz in high school, and 14% of women and 50% of men played in college. The results indicated that attitudes toward participation are influenced by both gender and jazz experience. Women and men were found to differ in their stated reasons for quitting jazz. Women's decisions to discontinue were affected by primary instrument selection, institutional obstacles that narrow participation options, feeling more comfortable in traditional ensembles, and an inability to connect jazz participation to career aspirations. April 21, 2004 October 1, 2004.
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Lygina, Elena Vladimirovna. "The principle of modeling as a means of classification of instrumental ensembles with a domra." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 11–19. http://dx.doi.org/10.7256/2453-613x.2021.2.35117.
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The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and style peculiarities of the repertoire of instrumental ensembles with a domra and their cooperation with composers. This classification method helps to comprehensively cover the work of a large number of musicians, both the members of ensembles and composers. The modeling of various systems of the creation of methods of classification of instrumental ensembles helps to study the peculiarities of the existence of such groups in modern music culture. The author arrives at the conclusion that at present, the music performance spectrum of Russia contains a vast range of ensembles with various instrumental contents and different numbers of members. The diversity of genre and style models of such groups is reflected in their repertoire - from folklore, classical music and modern composers schools to jazz, rock, pop-music and performance.
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Tucker, Olivia. "Mastery Goals and Intrinsic Motivation in Instrumental Ensembles." Music Educators Journal 106, no. 4 (June 2020): 30–35. http://dx.doi.org/10.1177/0027432120901767.
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How do we motivate students to practice and persist when facing challenges inherent in learning to play an instrument? In this article, I synthesize research findings into strategies to encourage students’ mastery goal orientations and intrinsic motivation. Educators can use these strategies in the classroom or as inspiration to create innovative ways of supporting student motivation in instrumental music.
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Plescan, Irina. "Piano trio in the composers’ creation of the Republic of Moldova: historical and theoretical aspects." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 78–83. http://dx.doi.org/10.55383/amtap.2022.2.13.
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The chamber- instrumental ensemble is one of the oldest types of instrumental ensembles in music art, having a rich history. It is vividly represented in the composers’ creative work of different epochs, national schools and styles, ranging from European baroque to modern music. Regarding the whole variety of instrumental compositions in chamber music, the piano chamber-instrumental ensemble occupies the first place, thus, one of the most popular genres of chamber-instrumental ensemble can be considered the piano trio genre. In the present article, the evolution of Moldovan chamber instrumental music in the context of the formation of the Moldovan school of composition is studied. Also is given a brief review of musicological, methodological and reference literature, to some extent affecting the investigating issues of musical art. The methodological basis of the present article was the works written by the Moldovan musicologists of the Soviet period (A. Abramovici, S. Lobel, L. Axionova, I. Miliutina, E. Cletinici, etc.), works that appeared during the last three decades (E. Mironenco, I.Ciobanu-Suhomlin, S.Ţircunova, N. Cozlova, A.Lapicus, Iu. Mahovici, N. Chiciuc), as well as the works of young scientists who study the performance aspects of the piano trio written by the Moldovan composers (N. Costicova, N. Djalilova).
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Palamara, Jason. "Diverse instrument symphonic ensembles: Making sustainable music amid unsustainable situations." Journal of Popular Music Education 7, no. 2 (June 1, 2023): 195–203. http://dx.doi.org/10.1386/jpme_00113_1.
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Music technology-focused ensembles such laptop orchestras have become mainstays at higher education institutions. Nevertheless, the perpetual innovation inherent in the mandate of such a group presents some unique challenges in the post-pandemic academic landscape. In the post-COVID period of supply chain breakdowns and budget-obsessed administrations, building an ensemble focused on technology may become prohibitively expensive. As traditional music departments struggle with lower enrolment, expanding large ensembles to include a more diverse corpus of instruments would solve multiple problems. Assuming the challenges inherent in starting such groups could be overcome, ensembles that expand their instrumental diversity could allow for innovative study, increase enrolment and even save the host institution much-needed funds. The author groups extant technology-focused musical ensembles into categories by their focus and then proposes a novel category featuring intentionally diverse instrumentation, which may solve many of the problems associated with funding such groups while increasing and diversifying enrolment.
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STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (January 11, 2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.
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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of playing in an instrumental ensemble among students, as well as the management of a children's musical group based on mastering the methods of working with a homogeneous and mixed composition of folk traditional instruments of a children's instrumental ensemble, didactic principles and knowledge of performance, are analyzed on such instruments. The process of preparing a future music teacher for the organization and implementation of collective performance instrumental and creative activity of schoolchildren in the conditions of classroom, extracurricular and extracurricular work, the form of conducting rehearsal work with an ensemble of folk instruments in extracurricular time, which involve the student writing a score for the instrumental accompaniment of a vocal work from children's music, is characterized School repertoire and its gradual voicing by the instrumental composition of the academic group. Examples of the use of rhythmic improvisation, the technology of mastering percussion instruments without a specific pitch, the chromatic soprano flute in C major in musical art lessons, and playing music on other traditional folk instruments during classes in an instrumental ensemble are given.
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Moore, Thomas R. "This is My Instrument: An Approach Towards Performance Practice for Integrated Concerts." INSAM Journal of Contemporary Music, Art and Technology, no. 10 (July 15, 2023): 90–108. http://dx.doi.org/10.51191/issn.2637-1898.2023.6.10.90.
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The Belgium-based Nadar Ensemble is a new music ensemble that specializes in performing curated and integrated concerts. In this case ‘integrated’ infers that all aspects of the concert are taken into consideration. Questioning, developing, and instrumentalizing video, light and sound design (including live electronics), costuming, decor, and even personnel such as a conductor and other roles typically inherent to an ensembles’ tradition, have become an integral part of Nadar’s and other similar ensembles’ concert programming. In this paper I will specifically lay out the manners in which the musicians of Nadar Ensemble approach what they have grown to see as their broadened instruments, including the use of live electronics, game controllers and newly made instruments. I will also discuss ideas surrounding the so-called ‘attacca concert’ and post-instrumental practice by delving into two cases, the event Dead Serious (2014) and the concert program Extensions (2015).
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Stronko, Borislav. "Local Assembly in the Orchestral Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 70–84. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296798.
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The artistically important phenomenon of the temporary separation of ensembles from the orchestral whole, which lasts for a certain structural unit of the composition, is considered. This phenomenon is called "local ensemble". The principles of distinguishing in the existing literature between orchestral solos and soloist ensembles as mainly a group sound effect are defined. The scientific novelty of the study, which stems from a special view of the orchestra as a field of intersection and emergence of instrumental ensembles, is substantiated. A comparative analysis of scores from different eras was carried out in the context of the dynamic opposition "completeness - incompleteness". The additive and subtractive principles of correlation of orchestral integrity with instrument samples are revealed, where the first is formed by adding ensembles that collectively form the orchestra as a result, and the second — by selecting individual ensembles in the orchestra as its temporarily autonomous parts. It was found that despite the presence of orchestral patterns (groups of timbres) and the mention of ensembles of orchestral soloists in previous studies, group ensemble as a structurally separate phenomenon has not yet been sufficiently considered. The effectiveness of using local ensembles to emphasize the architecture of works, to provide an impetus for the active development of drama (introduction to the opera "Parsifal" by R. Wagner) is shown. The simultaneous division of the orchestra into subgroups with different textural and thematic content in the second part of Bach's Brandenburg Concerto No. 2 is analyzed. The phenomenon of "an ensemble outside the general orchestral development" in Gia Kancheli's Sixth Symphony has been revealed. A peculiar phenomenon of the accompanied sequence of local ensembles in the second part of Bartok's Concerto for Orchestra is described. The indirect consequence of local ensemble in scores for a large orchestra is highlighted on the basis of a comparison of orchestral compositions in the works of I. Stravinsky, E. Varese and A. von Webern. It is proven that the local ensemble is a phenomenon of dialectical interaction of the orchestral integrity and its parts, which contributes to the enrichment of orchestral thinking, the demarcation of musical structures, gives impetus to musical-dramatic collisions and the search for new types of orchestra and its functioning.
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Polk, Keith. "Instrumental music in the urban centres of Renaissance Germany." Early Music History 7 (October 1987): 159–86. http://dx.doi.org/10.1017/s0261127900000577.
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Modern scholarship about Renaissance instrumental music has suffered from a scarcity of musical sources. Consequently current research efforts often seem to operate in the manner of archaeological excavations; at times it is only as one layer is painstakingly uncovered that the configurations of another are revealed. This was certainly the experience of this contribution, which began as an investigation into late fifteenth-century Italian instrumental practices. The early phases of the Italian study involved sifting through many archival documents, and one initial miscellaneous impression was that German players frequently appeared in Italian ensembles. Pursuit of this almost casual observation led first to an awareness that German presence in Italy was substantial, then, further, to the fact that the oltramontani dominated aspects of instrumental music. This knowledge of the German contribution led, in turn, to a substantial reappraisal of the formative stages of ensemble performance practices.
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Jiang, Yiqun. "Development of modern folk and instrumental ensembles in China." Interactive science, no. 8 (October 20, 2016): 27–29. http://dx.doi.org/10.21661/r-113232.
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Ryan, Charlene, and Nicholle Andrews. "An Investigation Into the Choral Singer's Experience of Music Performance Anxiety." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 108–26. http://dx.doi.org/10.1177/0022429409336132.
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The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs ( N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their use of coping mechanisms. Results indicated that performance anxiety was a common experience for these choral singers. Solo performances were reported to be more anxiety inducing than ensemble experiences, but performing in instrumental ensembles induced greater anxiety than choral ensembles. Participants with college music training reported less frequent, although not less severe, episodes of performance anxiety than those without. The conductor emerged as one of the primary factors in choral singers' experience of performance anxiety.
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Jankovic-Begus, Jelena. "Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic." Muzikologija, no. 19 (2015): 83–117. http://dx.doi.org/10.2298/muz1519083j.
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The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special attention is placed on different procedures used by Marinkovic to accomplish wholeness and integration of the musical tissue. This paper observes these pieces as examples of religious music, having in mind the composer?s own understanding of the notion. Among common characteristics of the observed works that justify this point of view are specific single movement forms and the prominent role of main thematic materials, a cyclic principle, and programmatic elements. References to Serbian church chant observed in Marinkovic?s instrumental works are also discussed, especially in parallel with the analogue procedures used by Ljubica Maric (1909- 2003), one of the composer?s role models. Although Marinkovic?s works for instrumental ensembles do not fall into the category of spiritual music in its narrow sense (as defined by the composer himself), in this paper they are nevertheless considered as ?spiritual? in a broader sense, as an expression of the composer?s desire to spiritualize his entire artistic output.
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Sacks, Jonah, and Benjamin E. Markham. "Modifying a recital hall to extend its range of use: A case study." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A236. http://dx.doi.org/10.1121/10.0011177.
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Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble, and some amplified forms. A 2017 study included acoustical measurements in the hall, listening sessions with eight different ensembles in the hall, and discussions with faculty and staff. These resulted in detailed recommendations for acoustical improvements and new audiovisual equipment. The school has completed two recommended acoustical improvements, with positive results: hinged absorptive wall panels surrounding the platform, and extended reflective canopy. Users report improved on-platform clarity for louder ensembles, and better self-hearing and presence of sound for downstage performance locations.
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Jiang, Yiqun. "Basic Rules for the Formation of Chinese Folk Instrumental Ensembles." Университетский научный журнал, no. 62 (2021): 173–78. http://dx.doi.org/10.25807/22225064_2021_62_173.
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Tan, Leonard. "Concept Teaching in Instrumental Music Education." Update: Applications of Research in Music Education 35, no. 2 (August 1, 2016): 38–45. http://dx.doi.org/10.1177/8755123315604455.
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This article is a review of research literature on the teaching of concepts in instrumental music education. It is organized in four parts (a) the value of concept teaching in large instrumental ensembles, (b) time spent teaching concepts during rehearsals, (c) approaches to concept teaching, and (d) implications for music education. Research has indicated that there is value to teaching conceptually. Time invested in teaching concepts has not been found to detract from performance goals; on the contrary, performance may be enhanced. Musical concepts may be taught via positive and negative instances of concepts, music terms and descriptions, modeling, and music literature. More research on concept teaching in instrumental music is warranted.
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Stephanie Prichard. "Music Practice Instruction in Middle School Instrumental Ensembles: An Exploratory Analysis." Bulletin of the Council for Research in Music Education, no. 213 (2017): 73. http://dx.doi.org/10.5406/bulcouresmusedu.213.0073.
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McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (2004): 343. http://dx.doi.org/10.2307/3345387.
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Shaymukhametova, Liudmila N. "Contrapuntal Compositions in the Form of Historical Dances in the Conditions of Ensemble Music-Making." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 166–77. http://dx.doi.org/10.56620/2782-3598.2024.2.166-177.
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The musical culture of the baroque period in distinguished for its interest in dances and in ensemble performance, which found its reflection in works for clavier in various genres. The dances presumed a manifold repeated expounding of the initial musical idea initially for clavier by various instrumental ensembles corresponding to two “storylines”: the dancing and presenting the scenes of musical performance. The revival of the ensemble forms of vernacular musical performance intrinsic to the baroque period has become topical in the present-day instruction of piano ensemble. This kind of practice adequately reflects the performing tradition of the culture of musical ensembles. The article provides examples of adaptation of the technology of unfolding the musical text written for clavier into a quasi-orchestral score on the basis of the repertoire of beginning pianists from the section of the program titled Contrapuntal Compositions in the Forms of Early Dances. The musical score features are realized in the forms of unfolding for four-, six- and eight-hand piano, or for two pianos, including those in which the keyboard synthesizer is used. During the process of fulfilling the assignments a number of unique skills of mastering the creative forms of work with the initial authorial text useful for beginning musicians.
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Palubinskienė, Vida. "Some Aspects of Schoolchild’s and Students’ Ethnic Identity Development Though Ethnic Instrumental Music." Pedagogika 117, no. 1 (March 5, 2015): 98–109. http://dx.doi.org/10.15823/p.2015.070.
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One of the basic objectives of contemporary pedagogy is developing youth’s national musical culture. In the course of history, when the idea of Lithuanian independence used to become realistic and tangible, special attention was paid to identity issues. The efforts to sustain and to thoroughly foster our traditions, customs, language and ethnical music had the greatest impact on the development of Lithuanian people’s national awareness. The essential categories characterizing the Lithuanian national identity have been and remained self-awareness, language, customs, folk art, and ethnical instruments. Playing instrumental music in ensembles using ethnical instruments has also greatly contributed to preserving of Lithuanian traditions and national identity, as a way of national awareness.
Object of research: Some aspects of schoolchild’s and students ethnic identity development through ethnic instrumental music.
Aim of research: investigate of the meaning of teaching ethnic instrumental music in the process of developing the knowledge of the ethnical identity.
Methods of research: questionnaire scientific methodological literature review, questionnaire and a summary of comparison.
The traditions of playing instrumental music in ensembles are quite old and deep-rooted in Lithuania. Ethnical instruments (the kanklės, reed-pipes, pan flutes, etc.) have been always regarded as a symbol of national awareness. Therefore, continuity and dissemination of related traditions and their application in various aspects contributes, at least partially, to the possibility of preserving national values and developing national identity.
Playing instruments in ensembles helps young people develop their musical listening skills and memory, get more matured spiritually, as well as form aesthetic feelings and artistic understanding of music.
For educators, the ability to play different ethnical instruments is helpful in the respect of having more variety in their classes, involving the learners in extracurricular activities, and making closer acquaintances with the pupils and their parents.
The possibility to develop the national identity of young people by means of playing in ensembles is exploited not only in Lithuania. This kind of experience has been used quite long in the practices of other countries. Therefore, in the rapid course of globalisation processes, it is of great importance to educate the young generation in the spirit of national traditions.
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May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.
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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
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Cabacov, Dmitrii. "The main problems of modern research on chamber instrumental music in Russia, Ukraine and Belarus." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 67–73. http://dx.doi.org/10.55383/amtap.2022.2.11.
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In the center of the author’s attention are the problems of chamber instrumental music in the Eastern European countries: the renewal of the musical language, the genre and stylistic searches, the significant compositional achievements in the field of chamber music. Young musicologists rely in their research on the works of L. Raaben, a recognized authority in the field. They consider the role of the chamber instrumental genres in the artistic space of the Silver Age, present the evolution of the genre of a large ensemble with the participation of the piano, analyze the problems of the history and theory of the piano duet of the 20th century, of the piano sonata, string ensembles. A special area of research is devoted to the chamber music of some composers (A. Dvořák, S. Prokofiev, V. Platonov, etc.), of some regions (Udmurtia), countries (Ukraine, Belarus). The analysis of the presented theses demonstrates the rich prospects for the further study of this field of composition creation, which is considered by many musicians as an area of experimentation and search.
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Lanina, T. O. "Theoretical Basis of Vocal Ensemble Performance." Musical art in the educological discourse, no. 2 (2017): 46–50. http://dx.doi.org/10.28925/2518-766x.20172.4650.
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The article covers scientific bases of contemporary vocal performing as a specific genre of music culture. The ontological, culturological, communicative and esthetical aspects of ensemble vocal performing are exhaustively presented. The literary works on history and theory of ensemble performing have been analysed. The focus has been placed on ensemble forms of vocal performing and vocal instrumental ensembles. The term ‘ensemble’ has been defined and genre characteristics of contemporary vocal ensemble have been singled out with further analysis of their distinctive structural features and functions. There have been studied the research works dedicated to the organizing methods as one of the professional training forms for students of classical and pedagogical universities. There have been defined the tasks of educational student vocal ensemble as a creative laboratory for the development of skills and vocal ensemble management techniques. The author outlines the prospect of the use of accumulated scientific and practical experience of the vocal ensemble performance in the system of university education in the training of students in vocal performing and musical and pedagogical professions.
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Hebert, David G. "The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission." Journal of Research in Music Education 49, no. 3 (October 2001): 212–26. http://dx.doi.org/10.2307/3345707.
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Instrumental music education in Japan has long emphasized wind bands, and in recent decades, Japanese bands have achieved a level of performing excellence that arguably rivals all other nations. This case study of Japan s premier wind ensemble provides insights applicable to bands throughout the nation. The study explores the influence of the ensembles repertoire and educational activities, traces its religious origins, and examines Frederick Fennell's role as musical ambassador. The findings suggest that Japan has not only assimilated and mastered the band genre, but it has transformed the tradition. Moreover, the subculture of wind bands is argued to be a domain of internationalization that challenges Japanese notions of gender roles and ethnic identity.
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Iniutochkina, Nina. "Algorithms of interpretation of poly-timber vocal and instrumental ensembles in the concertmaster class." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 27–46. http://dx.doi.org/10.34064/khnum1-70.02.
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Statement of the problem. A significant part of the repertoire in the concertmaster class is chamber vocal works that engage the synthesis of Word and Music, that is, the inseparable trinity of the poetic text, its vocal embodiment, and instrumental accompaniment, which calls for the need for accurate correlation of the efforts of the singer and concertmaster, the performers’ synergy. And although chamber vocal works mostly have purely piano accompaniment, in some cases a part of a string or wind instrument is added to it, and then the mentioned trinity of musical and poetic synthesis is complicated by the appearance of a new, “performance” trinity unit of vocal and two instrumental parts, which requires especially high-quality ensemble, and therefore a special study of algorithms for its achievement, because the teacher from the concertmaster class has to be a kind of director in coordinating all the layers of the musical texture of such a poly-timbre ensemble. Objectives, methods, and novelty of the research. The purpose of this article is to designate a certain algorithm for the interpretation of a chamber vocal-instrumental ensemble in the concertmaster class as a poly-timbre structure represented by the performance trinity of vocal and instrumental parts. Until now, the interpretative issues of a musical and poetic work have not yet been thoroughly considered in scientific publications under such angle. Imagery and dramatic, intonation, timbre and textural, structural and functional, and performance analysis of the musical and poetic text of a number of chamber vocal compositions of different times and styles (by J. Brahms, V. Barvynsky, V. Sylvestrov), carried out in the study, reveals the specifics of the formimg the ensemble vocal and instrumental texture of works as an artistic integrity. Research results and conclusion. Given the specifics of vocal and instrumental compositions with the involvement of an additional string or wind instrument in the piano accompaniment, we state the advisability of using a certain algorithm for learning them in the concertmaster class. First, it is an in-depth analysis of the poetic original source of the work, if necessary, its complete translation from a foreign language, in order to reveal its leading idea and circle of images. Secondly, it is necessary to determine the main factors influencing the style and quality of the performance of the piece, namely: – the type of relationship between Words and Music, as well as the syntactic features of the verbal text, which determine the character of vocal and instrumental intonation; – genre orientation of the composition; – the functions of the instruments in the ensemble, according to the figurative dramaturgy and structure of the composition, both purely textural (solo, accompaniment, subvoice), and figurative-semantic (“Author’s voice”, “adding”, “finishing” of the vocal part, “leit-timbre”, etc.). Therefore, the poly-timbre quality of the accompaniment of the vocal part becomes an important “starting point” of the interpretive work on the vocal piece in the class of concertmaster skill. The performance “trinity unit” obliges to a particularly coordinated ensemble, in particular, between the instrumental parts, when they together realize the artistic idea of the vocal work as the embodiment of the “correlation of the author’s systems (Poet – Composer)” (Buchok, 2022: 44). Regarding the latter, according to our observation, the considered type of chamber vocal instrumental ensemble is connected with the involvement of poetic sources with special semantics – those that appeal to images and ideas of a “higher plane”, are aimed at spiritual contemplation, or convey personal “movements of the soul”, the adequate perception of which is impossible outside the context (in the examined compositions by J. Brahms, V. Barvinsky and V. Sylvestrov – spiritual and religious ones), which implies the presence of poly-semantic figurative structures in such works. So, the use by composers of the timbre of an additional solo instrument in chamber vocal compositions can be connected with the artistic embodiment of a “higher principle”: the inclusion of a segment of “pure” (instrumental) music best conveys the sublimity and spiritual pathos of the images of the poetic Word, reveals its semantic connotations, “personifying” the higher ideological level of the work or the actual “voice” of the Author (Poet – Composer).
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Furdychko, Andrii, and Olesya Ilyenko. "VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 63–67. http://dx.doi.org/10.24061/2411-6181.2.2021.270.
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The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.
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Ovchinnikov, Pavel, and Marina Leonidovna Zaitseva. "Moscow Jazz School of the 1950s and 1960s: leading soloists and collectives." PHILHARMONICA. International Music Journal, no. 2 (February 2023): 51–60. http://dx.doi.org/10.7256/2453-613x.2023.2.40897.
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The subject of the study is the creativity of the leaders of the Moscow jazz school of the 1950s and 1960s: the variety orchestra at the Moscow State Orchestra under the direction of E. Rosner, the jazz orchestra of the Central Chamber of Artists Yu. The Saul Variety Orchestra conducted by O. Lundstrom. The article summarizes the results of the study of the domestic jazz art of the 1950s and 1960s, substantiates the trend in the development of instrumental jazz, and characterizes the repertoire policy of Moscow jazz ensembles. The hypothesis of the influence on the development of the national jazz art of the 1950s and 1960s of those innovations that were formed in American and European jazz of the 1940s and 1950s is substantiated. The characteristics of the performing styles of the leading metropolitan soloists and collectives are given, their role in the development of the Moscow jazz school is determined. The scientific novelty lies in the analysis of the performing styles of the leading Moscow jazz soloists and ensembles of the 1970s and 1980s, which allowed us to substantiate the hypothesis of the influence on the domestic jazz art of trends formed in American and European jazz of the 1940s and 1950s. They are based on the principle of dominance of small groups of participants, the desire to improve technical and expressive capabilities all instruments of the ensemble, based on the use of the artistic potential of the solo parts. The peculiarity of the Moscow jazz ensembles, which along with Leningrad and Baltic ensembles were the flagships of the national jazz art of the 1970s and 1980s, was the strengthening of experimental orientation in the field of expanding the timbre palette of ensemble sound through the use of electronic instruments and sonoristics techniques. The tendency of advancing the timbre-coloristic aspect of musical sound to the forefront of creative searches brings the sphere of jazz and academic art of the second half of the XX century closer.
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Коденко И. И. "ФОРМИРОВАНИЕ АУТЕНТИЧНОГО ИСПОЛНИТЕЛЬСТВА КАК ТЕНДЕНЦИЯ МУЗЫКАЛЬНОЙ КУЛЬТУРЫ XX-XXI ст." Science Review, no. 9(26) (November 30, 2019): 12–18. http://dx.doi.org/10.31435/rsglobal_sr/30112019/6815.
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The article is devoted to the study of the authentic performance periods formation and the definition of their specifics. The evolution of the origin and formation of ancient ensembles, both instrumental and vocal, and their rapid growth around the world are analyzed. The works of many researchers are devoted to the study of ancient music: V. P. Kachmarchik, R. Taruskin, N. V. Sikorskaya, etc. but the lack of musicians attention and theoretical studies to the issues of specificity and authentic performance development are emphasized. As a result of work the review of the most known ensembles and ancient music performers of Western Europe, Russia and Ukraine of the second half of the XX-XXI centuries is made and also specificity of each ensemble is defined. The staging of «Dido and Aeneas» by I. Korol and «Boris Godunov» by A. Reshetin operas and their performing versions are compared. By the beginning of the XXI century, the phenomenon of Early Music has firmly taken its place among the other musical directions of our cultural life. The prospect of further research is in a detailed examination of each period of authentic performance.
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Durrant, Colin. "Towards a Model of Effective Communication: A Case for Structured Teaching of Conducting." British Journal of Music Education 11, no. 1 (March 1994): 57–76. http://dx.doi.org/10.1017/s0265051700002011.
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Recent teaching with PGCE secondary music students has revealed that conducting ensembles is a musical activity in which they have variable knowledge, skills and experience. It is a general expectation, nevertheless, that music teachers still conduct choral and instrumental ensembles as part of their job in schools, and some may also undertake such roles in the wider community. This paper seeks to identify from research literature aspects of effective conducting that warrant greater attention. This forms part of a research project which is exploring definitions of effective conducting and making an analysis and case for more structured teaching in this area within higher education.
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Dickey, Marc R. "A Comparison of Verbal Instruction and Nonverbal Teacher-Student Modeling in Instrumental Ensembles." Journal of Research in Music Education 39, no. 2 (1991): 132. http://dx.doi.org/10.2307/3344693.
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Kubik, Olha. "ENSEMBLE IN THE BANDURA ART IN THE CENTER OF THE UKRAINIAN DIASPORA: CULTURAL-HISTORICAL ASPECTS OF DEVELOPMENT." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 220–25. http://dx.doi.org/10.25264/2409-6806-2020-31-220-225.
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The article analyzes the ensemble work of the diaspora bandura players. It is noted that ensemble music has its origins in the so called “kobzarism” in Ukraine. The development of bandura art in the diaspora of the twentieth century occurred differently. This is due to the chronological, spatial, geographical and cultural factors of the countries of the world where the bandura cells were located. The history of the appearance of Ukrainian bandura players on the territories of other continents is covered, and the emigration waves that became the impetus for the development of bandura art abroad are mentioned. The leading bandura ensembles of the diaspora were analyzed – the Taras Shevchenko Bandura Band (Detroit), the Canadian Bandura Band, the Gnat Khotkevych Bandura Ensemble (Toronto), and the Maiden Bandura Band. P. Orlyk (Detroit), ensemble “Haidamaki”, children’s choir “Golden Strings” and their cooperation with various groups both in the diaspora and in Ukraine. The article also describes the repertoire, tools and their modifications in connection with certain historical events. It is noted that the Ukrainian theme became the basis for the repertoire of the diaspora bandura players – Ukrainian folk songs, patriotic, Cossack, Duma, spiritual works, carols, works of Ukrainian composers, instrumental melodies and others. The names of famous bandura masters abroad are mentioned. Ensemble performance of non-mainland Ukraine is associated with the names of many artists, including Vasyl Yemets, Mykhailo Teliga, Hryhoriy Kytasty, Hryhoriy Nazarenko, Stepan Hanushevsky, Volodymyr Lutsyv, Viktor Mishalov, Olga Gerasimenko-Oliynyk and Yuriy Oliynyk. The article mentions the close cooperation of bandura ensembles and representatives of choral and vocal art. The concert life of famous bandura groups of the diaspora and their artistic achievements are described. It is also noted that the ensemble art of the diaspora is currently actively studied by scholars of the diaspora and Ukraine.
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Lukashenko, Larisa. "REVIVAL FOLK PERFORMANCE IN UKRAINE: ORIGIN, PROGRESS, ACHIEVEMENTS (FROM THE LATE 1970S TO THE PRESENT)." Problems of music ethnology 18 (December 22, 2023): 75–92. http://dx.doi.org/10.31318/2522-4212.2023.18.294832.
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The development of the new history of Ukraine contributes to the fact that the using of folklore in various directions of modern culture (a process generally called folklorism) is constantly in an upward direction. In recent decades, there has been a growing public interest to folk music and revival folk performance as well.
Although the history of Ukrainian reconstructive performance dates back to more than four decades, it remains almost unexplored, which justifies the relevance and scientific novelty of the proposed study. This is partly due to the fact that the scientific definition and demarcation of various phenomena of musical folklorism (and, accordingly, the targeted research interest in this subject) began to appear in Ukraine only in the 1980s.
In spite of the fact that the history of Ukrainian revival folk performance spans nearly a half а century, the topic remains practically unexplored, which contributes to the relevance and scientific novelty of the proposed study. A scientific definition and demarcation of various phenomena of folklorism began to appear only in the 1980s (during the Soviet period the term folklorism was not popular).
The purpose of the proposed study is to highlight the preconditions, the history of origin, development, directions, as well as achievements and prospects of modern Ukrainian reconstructive performance. In the process of achieving this goal, the following tasks were set and completed. The historical and contextual preconditions for the emergence of the reconstructive performance and the state of research on the topic were analysed. The history of the emergence and activity of scientific and ethnographic groups, within the context of activity centres, has been traced and described. An attempt was made to analyse the historical and sociological aspects of the phenomenon under study and to determine the prospects for its development. For this purpose, factographic, factual, analytical, synchronistic and diachronic comparative methods are used. This base makes it possible to reveal continuity, mutual dependence, and also to predict probable future perspectives and directions of development of the phenomenon under study.
A phenomenon of a modern Ukrainian revival performance began in the late 1970s because of the activity of the Kyiv folk ensemble “Drevo” (“Tree”). It was primarily due to the activation of fieldwork and big passion for traditional singing among scientists. This initiative was soon picked up and therefore vocal, instrumental, and mixed folk reconstructive ensembles began to appear in some cities of Ukraine: “Muravskyi Shliakh” (Kharkiv) and “Rodovid” (Lviv). The ensemble “Nadobryden” (Kyiv) became the first reconstructive band of instrumental music. Thus, the activities of these several groups formed the stage of the origin and formation of Ukrainian revival performance, which lasted from the late 1970s until the mid-1990s.
The “Drevo” ensemble is to be considered the founder of the revival authentic performance tradition, as well as it became an inspiration and example to follow for a number of ensembles of the younger generation emerging from the mid-90s. These are such ensembles as: “Hilka”, “Bozhychi”, “Volodar”, “Buttia”, etc.
Another revival performance direction concerns educational and extracurricular institutions, where folk performance is studied and children’s and youth folk singing ensembles are organized. Among them Rivne State Humanities University is to be mentioned, where in the late 1970s and early 1980s folk ensembles “Horyna” and “Dzherelo” were formed. Other high educational institutions are Kyiv National University of Culture and Arts (“Kralytsia”) and Kharkiv State Academy of Culture (“Kupalonka”, "Gorlytsia" etc.).
During the last decade, the public associations such as “Rys”, “Hurba” and dance association “Dryg” became the successors of the movement in a more interactive direction. Members of folk ensembles and associations organize workshops, including performing rituals, singing, dancing, etc. and create another cultivation area of folk music traditions.
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Clementson, Casey J. "A mixed methods investigation of flow experience in the middle school instrumental music classroom." Research Studies in Music Education 41, no. 1 (June 19, 2018): 43–60. http://dx.doi.org/10.1177/1321103x18773093.
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Although flow theory is one way of measuring the quality of a student’s experience in a music ensemble, the majority of flow research utilizes samples of high school or collegiate level musicians thus causing us to generalize findings to young adolescent (middle school) populations. Using a convergent parallel mixed methods design, the purpose of this study was to examine factors that may contribute to flow experiences of students in a middle school band. Quantitative data (surveys that included the Experience Sampling Method) and qualitative data (case study of an eighth grade band) were analyzed separately before being merged into a final analysis. Results provide evidence to support that flow is an individualized experience even though students were not in flow based on self-perceived ratings of challenge and skill. Mixed methods results also suggest that young adolescent students may not conceptualize flow in the same manner as older adolescents, thus erroneously suggesting that flow did not occur. Recommendations for future research include exploring alternative vocabulary for flow characteristics for use in Experience Sampling Method surveys, expanding the sample to include music programs at multiple middle schools to create additional regression model predictor variables, and longitudinal explorations of flow over time within large ensembles.
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Cheng, Lee, Chi Hin Leung, and Wing Yan Jasman Pang. "Audience’s Perceived Expectancy and Authenticity of Classical Music Performance by Digital Musical Instrument Mobile Apps." Music Perception: An Interdisciplinary Journal 41, no. 2 (December 1, 2023): 132–47. http://dx.doi.org/10.1525/mp.2023.41.2.132.
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Classical music is characterized by its standardized practices and established patterns of audience behavior. Recent advancements in digital musical instrument (DMI) and mobile technology may potentially offer a means by which the art form can further evolve. This paper presents a study that aims to examine the audience’s perception of classical music concerts performed by ensembles using DMI mobile apps and tablets. A mixed-methods approach was employed, including a questionnaire survey administered to audiences (N = 141) attending a classical music concert featuring repertoire performed by DMI mobile apps ensembles, as well as semi-structured interviews conducted with a subset of participants (n = 13). The survey results revealed significant, strong, and positive correlations between participants’ enjoyment of listening to classical music, frequency of attending classical music concerts, expectancy, and authenticity. The interviews addressed relevant issues, such as differences in ensemble and instrumental practices, timbral quality, and the capabilities of DMI mobile apps. While there were negative perceptions regarding expressive body movements, emotional expression, and interaction among performers, positive feedback regarding the use of DMI mobile apps affirmed the potential to introduce innovative pedagogical approaches in school music education, cultivate a younger audience base, and bring fresh ideas to this genre.
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Allsup, Randall Everett. "Mutual Learning and Democratic Action in Instrumental Music Education." Journal of Research in Music Education 51, no. 1 (April 2003): 24–37. http://dx.doi.org/10.2307/3345646.
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This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups culture. The group members and researcher saw classical music as unproductive for group composing or community-making. Composing in a jazz or popular style was conceived of as fun, nonobligatory, self-directed, and personally meaningful. In such settings, there was an emphasis on interpersonal relationships, peer learning and peer critique, as well as an expectation that members will take care of each other.
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Silvey, Brian A., and Mark Montemayor. "Effects of Internal and External Focus of Attention on Novices’ Rehearsal Evaluations." Journal of Research in Music Education 62, no. 2 (May 19, 2014): 161–74. http://dx.doi.org/10.1177/0022429414530434.
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The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. No significant differences were found between conditions for any of several dependent measures, including participants’ self-evaluation of their teaching, participants’ evaluation of ensemble performance, ensemble members’ evaluations of conductor rehearsal effectiveness and of conductor score knowledge, and independent audio evaluation of the final ensemble performance run-through. Results of repeated-measures analyses did indicate significant improvements in participants’ and ensemble members’ evaluations, for both experimental groups, between the first rehearsal and the second and third rehearsals. Both methods may have helped novice conductors prepare to rehearse, but their direct experience in working with ensembles may have been comparatively more informative in preparing them for future rehearsals.
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Bebak, Marek. "Carmelite music ensembles in the Greater Poland province in the eighteenth century. Musicians and their repertoire." Muzyka 68, no. 4 (December 29, 2023): 20–37. http://dx.doi.org/10.36744/m.2442.
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This article deals with the musical culture of the Carmelites of the Ancient Observance in the territory of Greater Poland in the 18th century and has been prepared on the basis of archival materials stored in Polish and foreign archives. In 1743, the monastic authorities of the Greater Poland Province introduced a decree according to which secular musicians were to be removed from Carmelite ensembles. The text therefore identifies those Carmelite centres where vocal and instrumental ensembles were active in the 18th century (Poznań, Markowice, Gdańsk, Kcynia, Obory, Drohobycz and Płońsk, as well as previously unknown information about the Carmelite ensemble in Warsaw), and lists the musicians associated with these ensembles (Kapellmeisters, organists and other musicians). Special attention was paid to composers and copyists. In the course of the research, many details have been established about the life of Elias (Elias a Monte Carmeli), who served as Kapellmeister in Poznań for many years, his civilian name (Jan Matalski) has been indicated, and information about the sources for his works has been summarised. Attention was drawn to the figure of Fabian of St Valentine (Valentinus Winkler), who, while he was Kapellmeister and organist, probably also composed. In addition, a profile of Teofil a S. Dorothea, who was Kapellmeister in Markowice and Warsaw and a copyist of works such as arias by Hasse and Pergolesi, is presented. In identifying the organists active in the Carmelite Province of Greater Poland, reference is made to the terms 'organista choralis' and 'organista figuralis' found in monastic sources and the duties of organists known from the printed Ceremonial of 1766 are indicated.
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Mazur, D. V. "PEDAGOGICAL CONDITIONS AND METHODS OF DEVELOPMENT OF PROFESSIONAL REFLECTION OF FUTURE LEADERS OF INSTRUMENTAL ENSEMBLES." Innovate Pedagogy, no. 26 (2020): 130–34. http://dx.doi.org/10.32843/2663-6085/2020/26.25.
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Knight, Jeff R. "The Atlantic Multidecadal Oscillation Inferred from the Forced Climate Response in Coupled General Circulation Models." Journal of Climate 22, no. 7 (April 1, 2009): 1610–25. http://dx.doi.org/10.1175/2008jcli2628.1.
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Abstract Instrumental sea surface temperature records in the North Atlantic Ocean are characterized by large multidecadal variability known as the Atlantic multidecadal oscillation (AMO). The lack of strong oscillatory forcing of the climate system at multidecadal time scales and the results of long unforced climate simulations have led to the widespread, although not ubiquitous, view that the AMO is an internal mode of climate variability. Here, a more objective examination of this hypothesis is performed using simulations with natural and anthropogenic forcings from the Coupled Model Intercomparison Project phase 3 (CMIP3) database. Ensemble means derived from these data allow an estimate of the response of models to forcings, as averaging leads to cancellation of the internal variability between ensemble members. In general, the means of individual model ensembles appear to be inconsistent with observed temperatures, although small ensemble sizes result in uncertainty in this conclusion. Combining the ensembles from different models creates a multimodel ensemble of sufficient size to allow for a good estimate of the forced response. This shows that the variability in observed North Atlantic temperatures possess a clearly distinct signature to the climate response expected from forcings. The reliability of this finding is confirmed by sampling those models with low decadal internal variability and by comparing simulated and observed trends. In contrast to the inconsistency with the ensemble mean, the observations are consistent with the spread of responses in the ensemble members, suggesting they can be accounted for by the combined effects of forcings and internal variability. In the most recent period, the results suggest that the North Atlantic is warming faster than expected, and that the AMO entered a positive phase in the 1990s. The differences found between observed and ensemble mean temperatures could arise through errors in the observational data, errors in the models’ response to forcings or in the forcings themselves, or as a result of genuine internal variability. Each of these possibilities is discussed, and it is concluded that internal variability within the natural climate system is the most likely origin of the differences. Finally, the estimate of internal variability obtained using the model-derived ensemble mean is proposed as a new way of defining the AMO, which has important advantages over previous definitions.
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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.
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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.
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Gooch, Riki. "An Indigenous embodiment of Conduction: Collective composition for traditional Māori instruments and beyond." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 303–15. http://dx.doi.org/10.1386/jpme_00123_1.
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This article looks at the indigenization of Butch Morris’s Conduction methodology by embodying it within ngā taonga puoro (traditional Māori musical instruments and practice). It explains the transition of Conduction from western music ensembles to a Māori instrumental orchestra. This is an examination of how the alteration of Morris’s conducting vocabulary can offer an alternative to the challenges faced with writing for ngā taonga pūoro within the context of western musical notation and how the recording process contributed to this development.