Journal articles on the topic 'Instrumental ensembles'
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1
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.
Abstract:
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.
2
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.
3
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.
Abstract:
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.
4
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.
Abstract:
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.
5
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.
Abstract:
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.
6
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.
Abstract:
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.
7
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.
Abstract:
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.
8
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.
Abstract:
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.
9
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.
Abstract:
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.
10
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.
Abstract:
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.
11
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.
12
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.
Abstract:
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.
13
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.
Abstract:
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.
14
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.
15
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.
Abstract:
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.
16
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.
Abstract:
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.
17
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.
Abstract:
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.
18
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.
19
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.
20
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.
Abstract:
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.
21
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.
Abstract:
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.
22
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.
Abstract:
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.
23
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.
Abstract:
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.
24
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.
Abstract:
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.
25
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.
26
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.
Abstract:
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.
27
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.
Abstract:
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.
28
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.
Abstract:
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.
29
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.
Abstract:
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.
30
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.
Abstract:
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.
Abstract:
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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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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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.
Abstract:
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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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.
Abstract:
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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Kinney, Daryl W. "Selected Nonmusic Predictors of Urban Students’ Decisions to Enroll and Persist in Middle and High School Music Ensemble Electives." Journal of Research in Music Education 67, no. 1 (November 8, 2018): 23–44. http://dx.doi.org/10.1177/0022429418809972.
Abstract:
The purpose of this study was to fit theoretical models of prediction to urban students’ decisions to enroll and persist in music ensembles using academic achievement, socioeconomic status (SES), number of parents/guardians at home, mobility, ethnicity, and sex as explanatory variables. Through multinomial logistic regression, I built predictive models for initial enrollment (i.e., 6th grade) and retention (8th and 10th grades) in band, string, and choir electives. At each grade level, predictive models supported differentiation between band, string, and choir students from nonmusic students on most factors as well as differences between instrumental and choir students. Choir students were differentiated from instrumental students in terms of academic achievement, SES, family structure, and mobility. These factors revealed more congruence with the population of nonmusic students than instrumental students. Factors influencing initial enrollment in band, string, and choir remained relatively stable over retention models, with notable exceptions: SES became a weaker predictor of band enrollment in high school, whereas number of parents/guardians at home became more salient for this group. All music participation was predicted by academic achievement; however, this was evidenced only in reading test scores for choir participants, whereas math and reading achievement predicted enrollments in instrumental music electives.
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ICHIM, Mihai, and Stela DRAGULIN. "Evaluation of the stylistic path of authors of concertos composed for double bass and orchestra in XVIII-XX centuries." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 113–22. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.12.
Abstract:
The choice of the following subject is conditioned by the artistic practice itself. The double bass not only being today an indispensable element of symphony and chamber orchestras, of different instrumental ensembles (trio, quartets, quintets, etc.), but also as a soloistic instrument, whose expressive possibilities as a soloist and participant in the instrumental dialogue reveals the genre of concerto for this instrument. The concerto has been and remains an object widely explored both by musical practice, through the creation of composers and the work of performers, and by musicological science by examining the most diverse aspects of the genre in numerous studies conducted by researchers in different countries. The dialogic character of narrating, the highlighting of the solo interpretation, and the realization of the principal of the artistic act are most frequently called as specific features of the concerto. The genre of the instrumental concerto is a suitable field for the investigation and experiments of the composers, for the manifestation of the artistic potential of the performers, as well as for the application of the analytical abilities of the researchers.
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Warnet, Victoria. "Verbal Behaviors of Instrumental Music Teachers in Secondary Classrooms: A Review of Literature." Update: Applications of Research in Music Education 39, no. 1 (June 2, 2020): 8–16. http://dx.doi.org/10.1177/8755123320924827.
Abstract:
The purpose of this article was to review and synthesize research literature on the verbal behaviors of secondary school band and orchestra teachers in their classrooms. A comprehensive search of four journal indices was conducted, which resulted in 35 studies that met the inclusion criteria and were therefore included in this review. A wide range of results were found with regard to teacher talk. A comparison of rates of teacher talk suggests that teachers used more verbal instruction when working with younger and more inexperienced ensembles. Additionally, novice teachers used more teacher talk than experienced teachers. Effective teachers gave more specific feedback and had a greater percentage of completed rehearsal frames. However, teachers varied in the amount of positive and negative feedback they gave. Vocal modeling and questioning seem to be areas of verbal instruction that were underused by teachers of all experience levels in previous research.
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Corall, Georg. "The Lilien Partbooks in the Sonsfeld Collection (D-HRD Fü 3741a): A Reconsideration of the Role of Eighteenth-Century Prussian Hautboisten and their Engagement in ‘Art’ Music." Royal Musical Association Research Chronicle 49 (2018): 68–178. http://dx.doi.org/10.1080/14723808.2018.1443618.
Abstract:
In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.
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Rypdal, Martin, Hege-Beate Fredriksen, Eirik Myrvoll-Nilsen, Kristoffer Rypdal, and Sigrunn Sørbye. "Emergent Scale Invariance and Climate Sensitivity." Climate 6, no. 4 (November 28, 2018): 93. http://dx.doi.org/10.3390/cli6040093.
Abstract:
Earth’s global surface temperature shows variability on an extended range of temporal scales and satisfies an emergent scaling symmetry. Recent studies indicate that scale invariance is not only a feature of the observed temperature fluctuations, but an inherent property of the temperature response to radiative forcing, and a principle that links the fast and slow climate responses. It provides a bridge between the decadal- and centennial-scale fluctuations in the instrumental temperature record, and the millennial-scale equilibration following perturbations in the radiative balance. In particular, the emergent scale invariance makes it possible to infer equilibrium climate sensitivity (ECS) from the observed relation between radiative forcing and global temperature in the instrumental era. This is verified in ensembles of Earth system models (ESMs), where the inferred values of ECS correlate strongly to estimates from idealized model runs. For the range of forcing data explored in this paper, the method gives best estimates of ECS between 1.8 and 3.7 K, but statistical uncertainties in the best estimates themselves will provide a wider likely range of the ECS.
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Talbert, Matthew D., and Philip Edelman. "COVID-19 and community band participation: Impacts and the road forward." International Journal of Community Music 14, no. 2 (November 1, 2021): 191–203. http://dx.doi.org/10.1386/ijcm_00044_1.
Abstract:
The purpose of this study was to survey members of New Horizons International Music Association (NHIMA) instrumental ensembles and community band members (N = 1184) with regard to their music-making experiences during the COVID-19 pandemic. Results of the survey revealed that New Horizons Band (NHB) members and community band members value the social aspect of rehearsals the most, and that suspension of these rehearsals had negative impact on participants’ experiences. Results also indicate that less than 20 per cent of participants engaged in remote learning with their NHB group, suggesting a need to examine the use of technology and remote learning strategies both among senior adult musicians and within the contexts of community music-making.
41
Vad, Thomas, and Wiebke F. C. Sager. "Comparison of iterative desmearing procedures for one-dimensional small-angle scattering data." Journal of Applied Crystallography 44, no. 1 (January 11, 2011): 32–42. http://dx.doi.org/10.1107/s0021889810049721.
Abstract:
Two simple iterative desmearing procedures – the Lake algorithm and the Van Cittert method – have been investigated by introducing different convergence criteria using both synthetic and experimental small-angle neutron scattering data. Implementing appropriate convergence criteria resulted in stable and reliable solutions in correcting resolution errors originating from instrumental smearing,i.e.finite collimation and polychromaticity of the incident beam. Deviations at small momentum transfer for concentrated ensembles of spheres encountered in earlier studies are not observed. Amplification of statistical errors can be reduced by applying a noise filter after desmearing. In most cases investigated, the modified Lake algorithm yields better results with a significantly smaller number of iterations and is, therefore, suitable for automated desmearing of large numbers of data sets.
42
Gergis, Sonia. "The Power of Women Musicians in the Ancient and Near East: The Roots of Prejudice." British Journal of Music Education 10, no. 3 (November 1993): 189–96. http://dx.doi.org/10.1017/s0265051700001741.
Abstract:
Amongst the most fascinating discoveries made in recent years was the identification of the Egyptian songstress Iti (2450 BC) as the first woman composer to have been mentioned by name in musical history. This paper examines the status of professional women musicians in Ancient Egypt, their role in society and their contribution to various aspects of life and death. Reviewing the range of styles, practices and variety of instrumental and vocal ensembles in which women took part as composers, performers and instructors, the author traces the development of a musical tradition which would appear to throw light upon some long standing prejudices, and to have important implications for music education in multi-cultural schools today.
43
Bobechko, Oksana. "Traditions and Innovations in the Creative and Performing Activities of the Precarpathian Bandura Quartet Gerdan." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 24–38. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258137.
Abstract:
The purpose of the research is to highlight the formation of the Precarpathian bandura quartet Gerdan and its creative and performing activities. It emphasizes the phenomenon of the female ensemble bandura playing as well as determines the contribution of the quartet to the development and popularization of modern bandura playing. The research methodology comprises the use of general scientific methods of cognition, namely, the chronological, analytical, as well as methods of generalisation and systematisation that gave the opportunity to study the formation and creative-performing activities of the Precarpathian bandura quartet Gerdan in dynamics and time. The scientific novelty of the study is that for the first time the stages of formation and creative performing activity of the Carpathian bandura quartet Gerdan in the context of the modern ensemble bandura playing development were studied in detail. Conclusions. The article underlines the dominance of female chamber ensembles, especially bandura quartets, in the development of modern ensemble bandura playing. The Precarpathian bandura quartet Gerdan is noted to be one of the prominent modern bandura quartets, which creative and performing activities brightly popularize the bandura art, both in Ukraine and abroad. Presenting the innovative approach and creativity to its own artistic activities, the quartet has become original and unique in the formation of its repertoire. The ensemble impresses with the wide range of performance opportunities in vocal and instrumental aspects. Its highly professional performing art skillfully combines the emotional sphere and the analytical approaches that focused great attention on the characteristics of creative and performing activities of the ensemble in the context of the development of modern music culture, which is characterized by national traditions as well as correspondence to European and world cultural and art standards.
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Brumbach, Glen A. "Marching Forward: The Music Education Innovation and Legacy of James R. Wells (1931 – )." Journal of Historical Research in Music Education 41, no. 2 (September 11, 2018): 156–78. http://dx.doi.org/10.1177/1536600618798747.
Abstract:
James R. Wells, retired professor of West Chester University in West Chester, Pennsylvania, could be considered one of the most influential and innovative band directors of the late twentieth century. Wells influenced and mentored many current leaders in the music education field as well as created educational music programs that continue today. In the 2016–2017 school year, Wells’s ensemble music adjudication festival programs involved more than 220,000 students. To gain further insight into the origin and development of these leaders and programs, I conducted an oral history case study with Wells. I collected interviews, e-mail correspondence, and artifacts provided by former students and colleagues of Wells’s to provide additional facts and corroborate Wells’s memories. Results demonstrated Wells incorporated comprehensive musicianship and aesthetic education in marching band pedagogy, professional development and educational experiences for music educators through films, workshops, and adjudicated festivals. He also empowered student leadership and promoted gender equality in instrumental ensembles. Knowledge gained from this study provides insight into the origin of these important music education individuals and programs. I hope that the findings in this study serve as an inspiration to future music educators as they continue to improve and create new experiences and opportunities for students.
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Seybert, John M. "A History of the North American Band Directors’ Coordinating Committee, 1960–1970." Journal of Research in Music Education 60, no. 4 (November 16, 2012): 430–51. http://dx.doi.org/10.1177/0022429412463580.
Abstract:
The purpose of this study was to investigate the institutional history and documentary evidence of the North American Band Directors’ Coordinating Committee (NABDCC) during the first decade of its existence, from 1960 through 1970. The NABDCC constituted a forum of national band, music industry, and related associations, including the American Bandmasters Association, College Band Directors National Association, and the National Association of Music Merchants, for examining mutual concerns critically and for fostering discussion with experts outside of the wind profession. The research questions addressed the development of the NABDCC, important events in its history, and the specific issues in music education examined by the committee. Important issues in instrumental music that were discussed by the NABDCC included the role of the band in the school curriculum, music advocacy, federal and state legislation, standards-based education, and the inclusion of new musical styles and ensembles. Various themes across these issues emerged from the study, including the difficulties of collaboration within a multifaceted representation of specific interests and the oscillating relationship between music educators and the music industry. The results of this study contribute to enhanced understanding of 1960s instrumental music education, with implications for the present.
46
IOAN, Cristina-Mioara. "Methodology of training music education in children and young people with the help of wind and percussion instruments, in the fanfare ensemble." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 131–40. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.14.
Abstract:
The artistic phenomenon of fanfare music for ensembles made up of children and youth has seen a large development in the NV region of the country in recent years, through the enthusiasm of some musicians, teachers or conductors, but also through the openness to culture of some local communities. The assimilation of musical and instrumental notions was done through individual study coordinated by teachers or conductors, and the musical product was assembled in the band, to be presented in concerts and parades. The teaching methods used in the training of these instrumentalists are the methods used in vocational art education, although they studied the instrument as amateurs. The artistic results made the individual products (instrumentalists) become a nursery for music faculties and academies in Transylvania.
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Solomon, Amy. "Using Initialized Hindcasts to Assess Simulations of 1970–2009 Equatorial Pacific SST, Zonal Wind Stress, and Surface Flux Trends." Journal of Climate 27, no. 19 (September 24, 2014): 7385–93. http://dx.doi.org/10.1175/jcli-d-13-00709.1.
Abstract:
Abstract Initialized decadal hindcasts are used to assess simulations of 1970–2009 equatorial Pacific SST, zonal wind stress, and surface flux trends. Initialized hindcasts are useful to assess how well the models simulate observed trends, as well as how simulations of observed trends (due primarily to natural variability) differ from ensemble-mean forecasted trends (due to the response to an increase in external forcing). All models forecast a statistically significant warming trend in both the warm-pool and cold-tongue regions. However, while the warm-pool warming trend is within the observed estimates, the cold-tongue warming trend is an order of magnitude larger than an ENSO residual estimated using SST instrumental reconstructions. Multimodel ensemble means formed using forecasts 6–10 years from initialization with 40 ensemble members do not produce an unambiguous zonal SST gradient response to an increase in external forcing. Systematic biases are identified in forecasts of surface fluxes. For example, in the warm-pool region all year-1 forecasts produce SST trends similar to observations but ocean mixed layer and net surface heat flux trends with an opposite sign to air–sea datasets. In addition, year-1 forecasts produce positive shortwave feedbacks on decadal time scales, whereas 6–10-yr forecasts produce negative or statistically insignificant shortwave flux feedbacks on decadal time scales, suggesting sensitivity to circulations forced by the initialized ocean state. In the cold-tongue region initialized ensembles forecast positive net radiative flux trends even though shortwave flux trends are negative (i.e., for increasing cloudiness). This is inconsistent with air–sea datasets, which uniformly show that the net surface radiative flux feedback is a damping of the underlying SSTs.
48
Gergis, Joëlle, Raphael Neukom, Ailie J. E. Gallant, and David J. Karoly. "Australasian Temperature Reconstructions Spanning the Last Millennium." Journal of Climate 29, no. 15 (July 10, 2016): 5365–92. http://dx.doi.org/10.1175/jcli-d-13-00781.1.
Abstract:
Abstract Multiproxy warm season (September–February) temperature reconstructions are presented for the combined land–ocean region of Australasia (0°–50°S, 110°E–180°) covering 1000–2001. Using between 2 (R2) and 28 (R28) paleoclimate records, four 1000-member ensemble reconstructions of regional temperature are developed using four statistical methods: principal component regression (PCR), composite plus scale (CPS), Bayesian hierarchical models (LNA), and pairwise comparison (PaiCo). The reconstructions are then compared with a three-member ensemble of GISS-E2-R climate model simulations and independent paleoclimate records. Decadal fluctuations in Australasian temperatures are remarkably similar between the four reconstruction methods. There are, however, differences in the amplitude of temperature variations between the different statistical methods and proxy networks. When the R28 network is used, the warmest 30-yr periods occur after 1950 in 77% of ensemble members over all methods. However, reconstructions based on only the longest records (R2 and R3 networks) indicate that single 30- and 10-yr periods of similar or slightly higher temperatures than in the late twentieth century may have occurred during the first half of the millennium. Regardless, the most recent instrumental temperatures (1985–2014) are above the 90th percentile of all 12 reconstruction ensembles (four reconstruction methods based on three proxy networks—R28, R3, and R2). The reconstructed twentieth-century warming cannot be explained by natural variability alone using GISS-E2-R. In this climate model, anthropogenic forcing is required to produce the rate and magnitude of post-1950 warming observed in the Australasian region. These paleoclimate results are consistent with other studies that attribute the post-1950 warming in Australian temperature records to increases in atmospheric greenhouse gas concentrations.
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Beobide-Arsuaga, Goratz, Tobias Bayr, Annika Reintges, and Mojib Latif. "Uncertainty of ENSO-amplitude projections in CMIP5 and CMIP6 models." Climate Dynamics 56, no. 11-12 (February 11, 2021): 3875–88. http://dx.doi.org/10.1007/s00382-021-05673-4.
Abstract:
AbstractThere is a long-standing debate on how the El Niño/Southern Oscillation (ENSO) amplitude may change during the twenty-first century in response to global warming. Here we identify the sources of uncertainty in the ENSO amplitude projections in models participating in the Coupled Model Intercomparison Phase 5 (CMIP5) and Phase 6 (CMIP6), and quantify scenario uncertainty, model uncertainty and uncertainty due to internal variability. The model projections exhibit a large spread, ranging from increasing standard deviation of up to 0.6 °C to diminishing standard deviation of up to − 0.4 °C by the end of the twenty-first century. The ensemble-mean ENSO amplitude change is close to zero. Internal variability is the main contributor to the uncertainty during the first three decades; model uncertainty dominates thereafter, while scenario uncertainty is relatively small throughout the twenty-first century. The total uncertainty increases from CMIP5 to CMIP6: while model uncertainty is reduced, scenario uncertainty is considerably increased. The models with “realistic” ENSO dynamics have been analyzed separately and categorized into models with too small, moderate and too large ENSO amplitude in comparison to instrumental observations. The smallest uncertainties are observed in the sub-ensemble exhibiting realistic ENSO dynamics and moderate ENSO amplitude. However, the global warming signal in ENSO-amplitude change is undetectable in all sub-ensembles. The zonal wind-SST feedback is identified as an important factor determining ENSO amplitude change: global warming signal in ENSO amplitude and zonal wind-SST feedback strength are highly correlated across the CMIP5 and CMIP6 models.
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Ломтев, Д. Г. "Ludwig Marschner’s Scientific and Compositional Heritage." Научный вестник Московской консерватории, no. 3(38) (September 25, 2019): 140–57. http://dx.doi.org/10.26176/mosconsv.2019.38.3.006.
Abstract:
На основе печатных и архивно-рукописных источников впервые предлагается биографический очерк об австрийском композиторе, музыковеде и философе Ф. Л. Маршнере (1855–1932) на русском языке. Рассматриваются его значимые научные публикации в области музыкальной эстетики и гармонии (изложение функциональной теории). В характеристике композиторского творчества указывается на ведущее положение вокальной лирики (больше 150 песен) и инструментальных ансамблей, отмеченных симфонизацией камерного стиля. For the first time, a biographical essay in Russian about the Austrian composer, philosopher and musicologist Franz Ludwig Marschner (1855–1932) has been compiled on the basis of printed sources and preserved manuscripts. His important scientific works in different fields of music aesthetics and harmony (functional theory) are highlighted. The scientific examination showed that among his musical compositions the leading role is shared by vocal music with lyrics (more than 150 songs) and instrumental chamber ensembles.