Journal articles on the topic 'Master of Musical Arts'
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1
Koryakin, Olexiy. "ТHE METHODOLOGICAL SUPPORT OF SOUND ENGINEERING TRAINING OF FUTURE MASTERS OF MUSICAL ART." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 26–33. http://dx.doi.org/10.28925/2414-0325.2020.8.4.
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The article is devoted to specifying the basics of methodological support of sound processing training of future masters of musical art of performing specializations in the specialty «Musical Art». The article analyzes the general direction of professional training in the specialty «Musical Art» and defines the main content of sound processing training of future masters of musical art of performing specializations; outlines the conditions for incorporating computer information technology into the content of professional training of future masters of musical art of performing specializations. This article provides few examples of the use of multimedia computer technology and software for content of sound processing training for future masters of musical art in the specialty «Musical Art». The article contains general characteristics of the educational discipline of the cycle of professional training of the future masters of musical art «Sound processing and musical acoustics», as well as few examples of its use in the teaching of various multimedia technologies and computer programs. The article also defines the main stages of the technique of preparation of training session with the future masters of musical arts of performing specializations with the use of information multimedia computer technologies and software, as well as the basic conditions for the inclusion in the content of professional training of masters of musical arts of performing specializations of computer technology. The emphasis is placed on the use in the process of sound processing training of future masters of musical arts of performing specializations in the specialty «Musical Art» of multimedia technologies and software, which is an important component of ensuring the competitiveness of graduates in today's labor market
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Inna, Synevych. "Structure and content of quasi-professional experience." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 53–60. http://dx.doi.org/10.24195/2617-6688-2019-2-8.
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The content of quasi-professional activity of future teachers of Musical Arts has been disclosed. It has been determined that students’ formation of quasi-professional activity through their quasi-professional activity within the educational process provides the modelling of situations where future specialists can practice in successful implementation of educational functions of the teacher on the basis of gained knowledge and experience. It has been noted that the process of quasi-professional experience formation also contributes to the growth of the creative and cognitive activities, stability of students’ professional motivation providing the development of their positive, value-centre attitudes towards the profession of the Music teacher. The structure of the quasi-professional experience of the future teachers of Musical Arts has been disclosed, the main structure components have been determined, in particular, professional and reflexive, activity-centred and creative, value-centred and motivational, emotional and interpretive. The detailed analysis of each structure component has been carried out. It has been emphasized that the formation of the professional-and-reflexive component of the quasi-professional experience provides influence on the motivational value-centred, intellectual, activity-centred spheres as well as on the improvement of professional skills of the future teachers of Musical Arts. The activity-centred and creative components aimed at obtaining knowledge, practical experience of the musical-and-creative, vocational and pedagogical activities by the students as well as developing of their own proficiency have been considered. The value-centred and motivational components which determine vectors of value orientations, stable motivational sphere, provide increased learning efficiency of the future teachers-musicians, activate the need in professional self-realization have been characterized. It has been proved that the emotional and interpretive components are significant components of the quasi-professional experience which enable the students to master professional skills and develop their personal qualities that determine emotional and personal styles as well as to form an image of the Musical Arts teacher, artistry, musical interpretation that substantially influence their further professional activity. Keywords: experience, structure, quasi-professional experience, future teacher of Musical Arts.
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Zhuhua, Li. "The structure of the future Music teachers’ methodological culture." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (February 7, 2020): 22–27. http://dx.doi.org/10.24195/2617-6688-2020-1-3.
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Our country's aspirations for joining the European educational space, acquiring institutions of the national education system, including establishments of general education, competitiveness in the world educational services market actualize the need for its modernization and quality improvement. Modern state documents that provide the legal normative framework for national education are aimed at the above mentioned. The purpose of the article is to highlight and substantiate the structure of the methodological culture of the future teachers specialised in Musical Arts. The article describes the essence of the phenomenon "methodical culture of the future teachers of Musical Arts". The use of the systematic approach as a unity of ideas, baselines, starting points made it possible to consider the identified phenomenon as a system containing specific constituents which determine its peculiarities. These components are the structural components of the phenomenon under study. The analysis, generalization and interpretation of scientific sources and practices of professional training targeted to the future teachers of Musical Arts allowed us to identify and characterize the structural components of their methodological culture as a personal formation: epistemological (as a set of acquired knowledge necessary for the future teacher of Musical Arts; axiological (as a system of values and orientations of the future teacher of Music Arts which determines the cultural orientation of his / her musical and professional activities and personal attitude to the solving of methodical problems); praxeological (characterized by the presence of methodological-pedagogical and special skills, the totality of which ensures the cultural correspondence of the future professional and the quasi-professional activity of the future teacher of Musical Arts); personal (implies an emotionally positive attitude of the future Music teacher to the need to master and qualitatively carry out methodological and pedagogical activities on the basis of emotional flexibility, ability to evaluate and self-evaluate its progress as well as those methodical products, the use of which contributed to the achievement of the tasks.
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Xuan, Wu. "Criteria, indicators and levels of musical arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 143–50. http://dx.doi.org/10.24195/2617-6688-2019-3-20.
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The article presents the criteria, indicators and levels of Musical Arts masters’ preparedness (proficiency levels) for developing schoolchildren’s vocal culture by means of the participation technology. The art- and worldview-oriented, creative-performing and innovative-organizational criteria have been determined on the basis of the structure of the Musical Art masters’ training. The art- and worldview-oriented criterion is determined by: the openness of the process of emotional experience and artistically justified interpretation of an image as a worldview of an artistic character (hero); coordination while identifying moral orientations in a group and an independent choice of vocal value; mastering the variability of vocal artistic and pedagogical creative tasks and flexible technologies. The creative-performing criterion is characterized by a high level of participants’ vocal culture; mastery of types, techniques, organizational forms of vocal participation; voluntariness and interest in the general vocal process, polysubject-centred creative pedagogical interaction. The innovative-organizational criterion is revealed through these indicators: skills to organize and conduct an interactive lesson as a vocal participatory art-practice; knowledge of the stages and experience of organizing the process of making a cooperative vocal-creative decision; mastery of the means enabling the activation of the group energy involving all participants of the vocal process. The preparedness (proficiency) levels of the subjects involved into education have been determined – low, intermediate, high. The criteria, indicators and levels indicated in the work allow evaluating Musical Arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology in a complex way as well as determining the state and development dynamics of the vocal culture of the students constituting this category. Keywords: masters of Musical Art, schoolchildren’s vocal culture, technologies, participation, function, criterion, indicator, level.
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Mandolini, Ricardo. "Una composición musical a partir de una improvisación: Fundamentación hermenéutica- Experiencia heurística de creación." Itamar. Revista de investigación musical: territorios para el arte, no. 8 (July 8, 2022): 137. http://dx.doi.org/10.7203/itamar.8.24823.
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Una composición musical a través de la improvisación. Fundamentación hermenéutica – Experiencia heurística de la creación, es un artículo experimental nacido de una realización musical pedagógica desarrollada en 1986 en el curso de Creación Musical de Ricardo Mandolini, en la licenciatura del Departamento de Estudios Musicales de la Universidad de Lille III, Francia.
Con el nacimiento de la disciplina musicológica Heurística Musical, parte de la formación du Master del CEAC (Centre de Recherches des Arts Contemporains) de la Universidad de Lille, el modelo de esta experiencia fue reflexionado e interpretado a la luz de diversas contribuciones teóricas de filósofos y psicólogos. Estas reflexiones constituyen la primera parte del artículo; los escritos de Baumgarten, Winnicott, Straus, Ehrenzweig, Adorno y Morin son presentados aquí, sin respetar un orden cronológico sino su pertinencia gradualmente creciente para cernir el sujeto.
La exégesis e interpretación de los textos abre camino a la segunda parte del trabajo, que contiene el “libro de bitácora” de una experiencia de creación. De ella el lector será testigo desde su nacimiento hasta su culminación. Se trata de una improvisación vocal que se desarrolla y se transforma en una composición musical. El instrumento metodológico utilizado aquí es una semiología evolutiva que nace y se desarrolla con la música, permitiendo realizar una tomografía, instante por instante, del camino recorrido.
El propósito principal de este artículo es demostrar la manera compleja como la teoría y la práctica interactúan en un proceso de creación.
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Zorin, Sergei. "Musical Color-Painting: In Memory of Yu. A. Pravdyuk." Leonardo 38, no. 1 (February 2005): 60–66. http://dx.doi.org/10.1162/leon.2005.38.1.60.
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On 17 May 2002 the master of the art form known as musical color-painting, Yury Pravdyuk, passed away in Kharkov, Ukraine. Pravdyuk was the inventor of an ingeniously simple instrument for color-painters and the author of approximately 150 inimitable color-dynamic compositions to accompany the music of composers of different eras and peoples. How the idea of musical color-painting was born and Pravdyuk's creative path is the subject of the present article by one who had been a close assistant of Pravdyuk since 1965.
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Turner, John. "In Memoriam Thomas Pitfield: Master of Arts." Musical Times 141, no. 1870 (2000): 9. http://dx.doi.org/10.2307/1004356.
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BARBASHOVA, I. "THE QUALITY DYNAMICS OF YOUNGER STUDENTS’ MUSICAL SENSORY SKILLS: RESULTS OF THE FORMATIVE EXPERIMENT." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 39–54. http://dx.doi.org/10.31494/2412-9208-2022-1-1-39-54.
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The importance of forming primary school children’s musical perception is justified by the introduction of the new version of the educational standard and educational programs as well as by teaching Arts on the basis of an integrative methodological approach. The purpose of the article is to scientifically ground the system of didactic influences on musical perceptual processes of younger school children focusing on the following research tasks: a) to define sensory ability as a unit of functioning of musical perception; b) to characterize the levels of pupils’ musical sensory skills formed in the mass experience of primary education; c) to disclose the specifics of variable experimental effects which differ in the degree of intensity of intermodal connections of sensory channels; d) to compare the quality dynamics of musical sensory skills formation in different versions of the pedagogical experiment. Musical sensory ability is defined as the performance of a system of auditory interiorized perceptual familiarizing and cognitive actions based on the mastered standards of music sounds and skills of applying these standards in the examination of musical phenomena. It has been found that in the mass experience of primary education pupils master musical sensory skills at elementary, intermediate and sufficient quality levels where the intermediate one prevails. The system of exercises and game tasks has been developed on the basis of intermodality with coordination of musical and phonemic auditory, musical auditory and color visual, musical auditory and spatial visual sensory processes. The system is aimed at expanding and systematizing pupils' reference ideas about music sounds as well as forming rational ways of their examining musical phenomena. The effectiveness of the introduced didactic influences has been proved: in comparison with the control group the participants of experimental groups, especially the first one, have demonstrated both the highest efficiency of distinguishing and systematizing music sounds and a variety of skills to reproduce them in singing, spatial modelling and instrumental game. The following changes have taken place in the structure of experimental groups: the respondents with an elementary level of musical perception development have not been identified, but a level gradation with intermediate, sufficient, high and consistently high levels of mastery of musical sensory processes. Key words: musical sensory ability, standards of musical sounds, methods of examination of musical sounds, game tasks, exercises, younger students.
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McCullough, Lis, and John Finney. "Living with the spiral: a duoethnographic perspective." British Journal of Music Education 39, no. 1 (March 2022): 67–79. http://dx.doi.org/10.1017/s0265051721000322.
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AbstractThe authors of this article met on a Master of Arts (MA) music education course a month before the Swanwick Tillman Sequence of Musical Development was published. The course was a portal to an exciting range of literature, with the Swanwick Tillman spiral providing a long-term source of discussion and reflection as our careers have diverged and converged over the intervening years. This paper takes the form of a duoethnographic conversation in which we summarise and reflect on that ongoing synergistic discussion, showing the influence the spiral has had within our particular situations.
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Dorris, George. "Robbins and other masters of the musical." Dance Chronicle 13, no. 2 (January 1990): 258–60. http://dx.doi.org/10.1080/01472529008569040.
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Pistunova, Tetiana. "Master Class as Part of Musicians Professional and Practical Training." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 219–29. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245800.
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The article examines the features of practical training and independent work of musicians in art institutions of higher education, presents the experience of introducing master classes as a methodological component of the educational program ‘Musical Art’ for ‘Bachelor’ and ‘Master’ degrees. The purpose of the research is to analyze the practical experience of using the master class method in training musicians for the educational programs ‘Bachelor’, ‘Master’. The research methodology consists of several general scientific and special methods: analytical-search – to clarify the concepts of research; problem-search and observation method – to identify the main features of the master class; comparative – to compare the educational process as a whole and the method of transferring information within the framework of master classes; classification – for grouping master classes by type, method of conducting and tasks. The scientific novelty of the research consists in a comprehensive understanding of the practice of conducting master classes as an integral part of the professional competencies’ formation of music students in institutionalized higher music education, their systematization and classification by types, methods and tasks. Conclusions. The analysis of many of master classes held at the Kyiv National University of Culture and Arts made it possible to make some generalizations of practical experience and propose the following classification by type: conceptual master class, practice-oriented master class, combined master class. Own experience of initiating, planning and conducting master classes and pedagogical observation proves that the construction of the author's models of the educational process in real-time, the practical mastering of music skills within the framework of the broadcast of experience, the activation of the cognitive activity of music seekers are the most effective means of exchange and popularization of modern technologies, techniques, programs to improve professional competence, the formation of an individual creative performing style.
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Simion, Aurelia. "Musical Instruments In Renaissance Paintings." Review of Artistic Education 22, no. 1 (June 1, 2021): 177–85. http://dx.doi.org/10.2478/rae-2021-0022.
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Abstract Art, the language of ideas and concepts, comprises a multitude of means of manifestation through sound, word, color, gesture, etc., between which there is often an interconnection. This article highlights some aspects of the aesthetics of the Renaissance period in which artists, starting from Italy, focused on realism and human emotion in art, but also on the interconnection between two arts - painting and music. In this sense, we turned our attention to identifying the symbolic role of the musical instruments of that period represented in paintings by some notable masters from Italy, Flanders and Germany.
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Falkenberg, Kjetil, Hans Lindetorp, Adrian Benigno Latupeirissa, and Emma Frid. "Creating Digital Musical Instruments With and for Children: Including Vocal Sketching as a Method for Engaging in Codesign." Human Technology 16, no. 3 (November 30, 2020): 348–71. http://dx.doi.org/10.17011/ht/urn.202011256768.
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A class of master of science students and a group of preschool children codesigned new digital musical instruments based on workshop interviews involving vocal sketching, a method for imitating and portraying sounds. The aim of the study was to explore how the students and children would approach vocal sketching as one of several design methods. The children described musical instruments to the students using vocal sketching and other modalities (verbal, drawing, gestures). The resulting instruments built by the students were showcased at the Swedish Museum of Performing Arts in Stockholm. Although all the children tried vocal sketching during preparatory tasks, few employed the method during the workshop. However, the instruments seemed to meet the children’s expectations. Consequently, even though the vocal sketching method alone provided few design directives in the given context, we suggest that vocal sketching, under favorable circumstances, can be an engaging component that complements other modalities in codesign involving children.
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d’Escriván, Julio, and Nick Collins. "Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games." Journal of Visual Culture 10, no. 2 (August 2011): 238–46. http://dx.doi.org/10.1177/1470412911402896.
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Musical computer games and their reward structures are transforming solitary and participative music making. Visuals in musical games tend to assume the role of music in video games as they become incidental to the gameplay or provide graphical aid for musical decision making. Constrained manifestations of musical skill in game software simulations point towards the development of real world musical skills. Yet, arguably, no video game so far developed requires the kind of sophisticated expression that a musician hones by training. The time-scale for mastery is an order of magnitude greater in traditional musical instruments and teaching, but we may be at the dawn of a new audiovisual musical learning paradigm.
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Babenko, Leonid, Andrew Babenko, and Larysa Haidai. "THEORY AND PRACTICE OF INTRODUCTION OF MUSICALS IN THE TRAINING SYSTEM OF FUTURE TEACHERS OF ARTS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 52–55. http://dx.doi.org/10.36550/2415-7988-2021-1-195-52-55.
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The article deals with the introduction of performances of theatrical musicals into the educational process of preparing future art teachers on the artistic faculty of the Centralukrainian State Volodymyr Vynnychenko Pedadogic State University. Illuminated positive impact of such an introduction on the quality of professional training of students. The motivational approach to the meaningful responsibility of students for training is revealed when they carry out self-control over the process of acquiring the necessary knowledge and skills and become fully responsible for the quality of learned material. All this greatly increases the creative activity of students, prompts them to self-studying and self-development, forms an active life position. The role of a teacher in this system of educational process is the role of the coordinator. He carries out a general leadership of the educational and creative process, acts as a consultant, an assistant, and most importantly – he is a professional-mentor, a senior mate who helps students to master the whole complex of knowledge, skills and abilities. In such motivated training, it is necessary to point out initial goals, determined by the teacher, which coincides with the educational motives of students. Only under such conditions, academic actions of the students will be transformed into conscious educational activities, the motivation of success will be created. That is why students study on the basis of partnership in the chorus studio. They make their proposals for project themes, develop the concept, choose the form of material presentation, create scenarios and are interested in preparatory and organizational work, as well as independently choose the direction of its own educational activity within the project – write or distribute musical solos and choral parties, make them choral. Arrangement or perform computer arrangement of musical accompaniment, etc. Execution of such a work not only reveals existing knowledge of students on the relevant educational subjects, but also requires mastering new knowledge and skills, assimilating the material of new educational subjects that are needed to implement the plan.
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Pavlov, Denis N. "Methods for development of creative expression of college students in music composition." Bulletin of Nizhnevartovsk State University, no. 1 (53) (March 20, 2021): 66–73. http://dx.doi.org/10.36906/2311-4444/21-1/09.
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The development of a person's creative self-realization is one of the main guidelines for the modernization of the modern Russian education system. However, an analysis of the content of curricula, programs, the state of the modern practice of teaching students of colleges of culture and arts enrolled in specialties related to musical art, indicates a lack of attention of teachers to the problem of creative self-realization of students. Mastering by students of musical and compositional activity can contribute to their successful mastery of the means of musical expression, finding their own methods of creative self-realization. The author of the article concludes that the process of development of creative self-realization among students of colleges of culture and arts in musical-compositional activity is a gradual transition from self-knowledge and self-assessment by students of their capabilities in the implementation of this activity, through the formation of their skills and abilities of musical improvisation, composing music, developing motivation for self-development, developing creativity, for self-assertion of students and self-assessment of the results of musical and compositional activity. The article presents a methodology for the development of creative self-realization of students of colleges of culture and arts in musical and compositional activities, including: forms of education - small-group, individual and practical classes; forms of extracurricular activities - a music room, a music lecture hall, a creative workshop; teaching methods - observation of music, research, brainstorming, author's introspection, associative, portfolio; techniques - explanations of one's own actions, feedback, reflection; methods and techniques of creative work - combination, transformation, sketch work.
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Kanchanapradit, Jarun, and Wanida Bhrammaputra. "Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 23. http://dx.doi.org/10.24821/ijcas.v2i2.1795.
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This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.
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Koehn, Natalya, and Сui Shiling. "Overcoming the stage-psychological barrier in the process of training masters in vocal." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 40–46. http://dx.doi.org/10.24195/2617-6688-2019-2-6.
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The article deals with the problem of future vocal teachers training in performance activity. The author has focused on the psychological readiness for public performance, which is subjectively perceived as a stressful situation requiring psychological, emotional strain, maximum concentration of attention and volitional effort. A significant role of the psychological state for the singer caused by his/her reflection on the phonation-singing aspects; the degree of emotional brightness, artistic perfection in the creation of musical images has been specified. The author has analysed the works of musical psychologists and representatives of theatrical and musical arts in relation to the factors of the performers’ unsatisfactory psychological state. Some features of productive and creative as well as excessive unproductive unrest alongside with its causes have been described. Three groups of determinants of the future professional’s personal psychological state have been considered: functional; motivational-characterological and operational. A special attention was paid to the types of the future vocal coaches’ performance activity such as performances in the form of academic reporting, contests, concerts and other educational events, pedagogical-illustrative methods as well as students’ entertainment. The participation in these activities is significantly different in the extent of responsibility for the performance quality and its possible consequences. It has been pointed out how significant it is to choose the repertoire for the performance in accordance with vocalist’s real abilities, to hold auto trainings, to create «situations of success», role play and vocal-improvisation games in order to improve students’ performing-psychological state. Keywords: vocal performance; future vocal teacher (coach); stage-psychological barriers, training, master students, stage-performing activity.
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Yeo, Narelle, Sophie Mohler, Ines Paxton, Helen Hoi Ting Kwan, Lachlan Massey, and Thomas Hallworth. "“The Connection Itself was the Project”: Capstone Experiences for Emerging Professional Musicians Through WIL." Student Success 13, no. 3 (November 29, 2022): 37–45. http://dx.doi.org/10.5204/ssj.2484.
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During their studies, musicians transition to work-readiness, develop a professional persona and graduate from skills acquisition in a traditional master-mentor relationship towards heterarchical collaboration in ensembles. Over the final year of an undergraduate program in performance, students, faculty/industry mentors and course coordinators worked collaboratively to implement a music work integrated learning (WIL) project, culminating in public performance as a capstone experience. This phenomenological case report outlines how a student group with diverse skills formed a complex adaptive system through inclusion, connection, support, and collaboration culminating in a final public performance and this practice report. Through this process, students obtained a broad range of graduate skills as well as professional musical competencies within a functioning heterarchy. In creative and performing arts, WIL can positively produce professional outcomes that appear indistinguishable from professional practice in the industry at large. This can be a model for transformative WIL in other disciplines. In addition, this research and practice report was prepared primarily by students with a faculty mentor, providing yet another set of graduate skills to musicians seeking portfolio careers in the arts.
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Plyachenko, T. M. "PROFESSIONAL TRAINING OF THE FUTURE TEACHER MUSICIANS IN THE CONDITIONS OF CREDIT-MODULAR EDUCATION." Educational Dimension 21 (September 1, 2008): 209–14. http://dx.doi.org/10.31812/educdim.6678.
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In the article T.N. Plyachenko is exposed specific of professional preparation of future music masters in the conditions of the credit-module departmental teaching, a structure and maintenance of discipline is analysed „Introduction to speciality for the students of musical separation of faculty of arts of pedagogical university.
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Karas, Hanna. "USE OF INTERDISCIPLINARITY AS AN INNOVATIVE APPROACH IN THE EDUCATIONAL PROCESS OF ART INSTITUTIONS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 18–22. http://dx.doi.org/10.36550/2415-7988-2021-1-195-18-22.
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The article is devoted to the use of interdisciplinarity as an innovative approach in the educational process of art institutions of higher education on the example of studying the discipline «Evolution of artistic styles in art» included in educational master's programs. This discipline is based on the theory and practice of professional development of a teacher-musician, who provides the Master of Arts education process, shapes their professional development necessary for their future musical and pedagogical creativity, skills, and pedagogical culture. The content of the discipline consists of the introduction of artistic styles’ scientific and theoretical fundamentals to the future specialists. The objectives of the course are 1) the theoretical generalization of the historical experience of the evolution of artistic styles, 2) acquaintance with the best examples of artistic culture, representing different styles and directions, 3) mastering complex problems of stylistic analysis. The aim of the course is the establishment of a strategy for a professional growth as part of the vocational training of masters in the following educational areas «Secondary education. Musical Art» and «Musical Art»; mastering the scientific and theoretical foundations of the artistic styles’ analysis as a formative student course of the music and pedagogical education in higher education. The interdisciplinary approach can be implemented in two main formats. A. Kolot believes that with the help of the first format he builds bridges between different sciences, brings them together on an informal basis without violating their individuality and uniqueness. In this format, the discipline «Evolution of artistic styles in art» «builds bridges» with such disciplines as: philosophy, history, foreign languages, general psychology, culturology, sociology, art culture, aesthetics. In the second format, interdisciplinarity is presented as a real tool for unifying sciences, and the emergence of integrative products. In this format the course «Evolution of Artistic Styles in Art» involves an organic combination of such disciplines as history and theory of music, theater, ballet, art history, philosophy, art culture and literature, analysis of musical form, choral class, music psychology, and others. Therefore, we propose to define the student course «Evolution of artistic styles in art» as a complex, interdisciplinary field of knowledge and consider the application of an interdisciplinary approach in the practice of a teacher of artistic institutions.
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Yeroshenko, O. V. "Specifics of Vocal Repertoire of Students-Actresses (on the Example of Ukrainian Folk Songs Arrangements): Musical and Performing Aspect." Culture of Ukraine, no. 71 (April 2, 2021): 68–74. http://dx.doi.org/10.31516/2410-5325.071.08.
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The purpose of this article is to determine the main musical performance features of the vocal repertoire of students-actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) and highlight their role in the selection of vocal works in the field of stage arts. Research methodology. General scientific methods are used in this article: cognitive, analytical, comparative; particular musical-theoretical methods: musicalanalytical method, vocalperforming analysis. Results. Some of the most significant musical and artistic features of the arrangement of Ukrainian folk songs, which serve their widespread use in the repertoire of future specialists of the dramatic scene, in particular, are: the variety of their genre and thematic composition, the lightness of the verbal text, the simple form of musical verse, which together create suitable conditions for solving musical, vocaltechnical and artistic-performing tasks of the work. Widely used in the vocal repertoire of students-actresses (on the example of KhSAC) are the Ukrainian composers’ arrangement of folk songs of a narrow range (from a minor sixth to a perfect octave), where performers are not given complex vocal and technical tasks, however, they require future actresses to master such important factors of singing phonation as singing breathing, various types of sound science (legato, staccato), expressive articulation, as well as a vivid acting embodiment of the vocal and artistic image of the work. Novelty. For the first time, the article considers the specificity of the singing repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) in the musicalperforming plane and identifies the main parameters of introducing this musical material into the vocal repertoire of future stage art specialists. The practical significance. The article contains information that is useful for professional representatives of drama arts sphere, vocal pedagogy and students-actors in the aspect of vocal and performing skills development. Сonclusions. The main musical performance characteristics of the vocal repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for female voice accompanied by a piano) are defined as follows: a narrow vocal range of the song, which is important for the vocal performance of actresses, whose singing range is generally not complete (most often reaches up to one and a half octaves); consistency of the musical material with a change in the mode and tone altitude (fretonal pitch), which allows to freely select the desired tonality that is most convenient for the performer; expressive artistic and emotional content of the work, which together play a leading role in the selection of the singing repertoire of future specialists in the dramatic sphere.
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Vermeulen, K., and B. Spies. "Musikale narratief in Benjamin Britten se opera Billy Budd." Literator 28, no. 1 (July 30, 2007): 85–104. http://dx.doi.org/10.4102/lit.v28i1.152.
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Musical narrative in Benjamin Britten’s opera Billy Budd In Herman Melville’s story, which is set on a British warship during the Napoleonic wars, Billy Budd becomes the object of a jealous master-at-arms, John Claggart. When the young Billy faces Captain Vere about Claggart’s false accusation of mutiny, he stutters and in a moment of despair, kills Claggart with one blow. The death sentence is inevitable. The discrepancy between the nature of the three main characters and their actual deeds results in ambiguity. Billy, the innocent boy, kills. Vere, the father figure, does not protect Billy on the day of his conviction. Claggart, the manipulator, cannot avoid his own death and dies as the victim. This article takes Melville’s story and its historic background as a point of departure to investigate the correspondence between the narrative and the unfolding of the music in the opera by Benjamin Britten. The analysis shows that specific musical images depict the diverse, dualistic nature of the three main characters in the opera. Furthermore, the manner in which these musical images are transformed in the course of the opera depicts the evolving plot to create a musical narrative. By promoting the understanding of the manner in which the musical narrative communicates a message, this article is an attempt to contribute to the hermeneutic project in the field of music.
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Chemenyan, Gayane. "Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 109–15. http://dx.doi.org/10.24195/2617-6688-2019-4-14.
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The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.
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Bialock, David T. "Biwa Masters and Musical Hierophanies in the Heike monogatari and Other Medieval Texts." Journal of Religion in Japan 2, no. 2-3 (2013): 119–51. http://dx.doi.org/10.1163/22118349-12341256.
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Abstract The Heike monogatari has long been at the center of discussions about the function of medieval Japanese performing arts, linked variously to ritual placation, purification, and to Buddhist sermonizing and entertainment. The present essay complicates this view by connecting Heike and biwa playing to several musical phenomena that have received less attention. These include the accusation of bōkoku no oto (sounds of a nation going to ruin), which criticized certain kinds of music from a Confucian ethical perspective, as well as the practice of esoteric biwa initiation (biwa kanjō) along with the related phenomena of the musical hierophany (yōgō) and the elaborate descriptions of music in Heike texts that I call ‘musical ekphrasis.’ The essay is divided into two parts. The first half highlights aspects of vocal, musical, and textual performance in the Heike, including the kinesthetic dimension of dance. The second part examines parallels between medieval guides to esoteric biwa initiation, such as the Biwa kanjō shidai, and descriptions of musical instruments and hierophanies in the Genpei seisuiki and Engyōbon Heike monogatari, two lesser known Heike variants. Moving away from a purely instrumental use of description in the Heike narratives, i.e., what might a certain passage tell us about biwa playing, I argue instead that these elaborate musical ekphrases woven into the Heike texts are themselves synaethesias, or auditory-visual-tactile manifolds, that gesture toward the epiphanic moment of enlightenment through music that is also echoed in the adornment (shōgon) of the esoteric biwa initiation ceremony.
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Payne, Ian. "The Will and Probate Inventory of John Holmes (d 1629): Instrumental Music at Salisbury and Winchester Cathedrals Revisited." Antiquaries Journal 83 (September 2003): 369–96. http://dx.doi.org/10.1017/s0003581500077738.
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The recent discovery of probate material relating to John Holmes (d 1629), a provincial Jacobean cathedral organist and composer, provides three valuable references to the use of musical instruments at Salisbury Cathedral before the Civil War. These prove that the Choristers' House, where Holmes lived, contained in 1629 a consort of viols, with other (unspecified) instruments, four virginals and an organ. This evidence, though fragmentary and circumstantial, may be read in the context of what is known about the practice of instrumental music in other English cathedrals. The references can then be used to support three generally accepted theses: first, that viols were used for teaching purposes (and possibly also in a flourishing adult musical circle centred on Salisbury Cathedral, for which there is strong circumstantial evidence), rather than in liturgical contexts; second, that sackbutts and cornetts most probably doubled the voices in the choir; and third, that the organ remained the principal instrument of choral accompaniment even in the first decade of the Restoration period. Holmes had previously served as organist and master of the choristers at Winchester Cathedral, where there is also circumstantial evidence of viol-teaching activity since 1618, where wind instruments were employed (probably liturgically) in the sixteenth century, and where Holmes may have composed at least one piece of instrumental consort music, most probably for teaching purposes.
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Khodorovskyi, V. I. "The features of instrumental and performance training of future music teacher at concertmaster classes." Musical art in the educological discourse, no. 2 (2017): 168–71. http://dx.doi.org/10.28925/2518-766x.20172.16871.
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The article presents one of the most current problems of modern music education concerning concertmaster training of students in higher education institutions of arts as one of the priority components of their future profession. The author of the article notes that music lessons in secondary school encourage teacher to the active manifestation not only of music and performing skills, but willingness to perform concertmaster job at a high professional level. A wide range of music teacher’s concertmaster activities results in a whole set of his professional skills such as: coordinating teacher’s performance activity with the soloist, the ability to read musical scores sheet, edit it, transpose the music material, pick accompaniment, if necessary, simplify or complicate maintenance, perform own song accompaniment etc. In light of this, the weight of the concertmaster classes increases, which acquires the status of primary professional development of future expert. The author of the article highlights the features of instrumental and performance training of future music teacher at concertmaster classes and exposes potential possibilities of students’ music and performance development during these classes, in particular, development of future music teachers’ skills and abilities that are unique for concertmaster activities. The author points out such skills as: ability to accompany own singing, combine accompaniment while singing a soloist party, simplify or complicate the texture of musical accompaniment, read three rows of musical scores sheet, transpose music in connection with tessitura capabilities of performers, pick the melody and detailed accompaniment to it, ensemble skills, etc. The article states that concertmaster classes allow future music teachers to master necessary knowledge for future professional activity and skills and to fill the performance store with works of school repertoire.
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Peng, Yu. "Typology of creative skills of future music teachers and pedagogical conditions for their effective development." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 2 (131) (June 25, 2020): 174–78. http://dx.doi.org/10.24195/2617-6688-2020-2-22.
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The article analyses the problems related to the development of future Music teachers’ creative skills; the classification of varieties of creative skills that are necessary for a future teacher of Musical Arts and the substantiation of the pedagogical conditions for their successful development are specified. The essence of the concepts “skills”, “abilities” and “creative skills” has been clarified. Acquisition of skills is associated with the result of mastering coordinated actions of a reproductive type. Creative skills are considered as the ability to apply the acquired knowledge and skills in non-standard conditions, in new ways, in order to obtain qualitatively new, socially significant material or spiritual values. The varieties of creative skills that are typical for the activities of future teachers of Musical Arts are characterised, their classification being based on their analysis. As a result, these categories of creative skills are distinguished: performing-interpretative, verbal-hermeneutic, musical-productive, methodological and practical. The forms of their implementation in the process of interpreting and performing musical works, interpreting their artistic and figurative meanings from the pedagogical point of view, creating musical and creative products in the forms of arranged musical material, its scientific and pedagogical creativity have been determined. The pedagogical conditions for the successful development of the future Music teachers’ creative skills have been grounded. They include: presence of personal attributes which ensure person’s psychological readiness for conscious and persistent mastery of creative skills; maturity of the teaching staff of the pedagogical institution to demonstrate their attitude towards the implementation of the student-centred approach to organising classes; a dialogical, democratic style of communication; creation of a psychologically comfortable psychological climate. The complex and integrative nature of creative skills explains the importance of enhancing systemic interdisciplinary connections and interdisciplinary coordination in the process of training students as the second pedagogical condition for the formation of their creative skills. The substantiation of the third pedagogical condition is based on the analysis of two types of creativity: artistic-figurative and intellectually-creative and the need to achieve their organic combination and interpenetration in the activities of a Musical Arts teacher. The solution to this condition provides the ability of future specialists to mobilise the achievements of their own musical, artistic and scientific searching experience, integrate them in the process of acquiring professional and creative skills, developing a flexible strategy for creative self-improvement, expanding areas and ways of applying innovative and creative actions. The creation of these pedagogical conditions is to facilitate the effectiveness of the acquisition of creative skills by the future teachers of Music.
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Bannan, Nicholas. "Two Servants, One Master: The Common Acoustic Origins of the Divergent Communicative Media of Music and Speech." Evolutionary Studies in Imaginative Culture 6, no. 2 (December 1, 2022): 21–42. http://dx.doi.org/10.26613/esic.6.2.297.
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Abstract This article explores and examines research in the field of human vocalization, proposing an evolutionary sequence for human acoustic perception and productive response. This involves updating and extending Charles Darwin’s 1871 proposal that musical communication predated language, while providing the anatomical and behavioral foundations for the articulacy on which it depends. In presenting evidence on which a new consensus regarding the emergence of human vocal ability may be based, we present and review contributions from a wide range of disciplines, illustrating that the phenomenon of human musicality may have had more of a core function in shaping our anatomy and culture than has hitherto been recognized. Essential to the adaptive sequence on which this depends is human perceptual and productive response to the properties of the Harmonic Series. Both music and language have emerged from the auditory and performative consequences of this relationship.
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Fomin, Victor P. "Psychological and Pedagogical Resources of Warrior Yoga as a Tool for Musician’s Psychophysical Self-Regulation." Musical Art and Education 8, no. 1 (2020): 41–58. http://dx.doi.org/10.31862/2309-1428-2020-8-1-41-58.
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The article discusses actual problem of musician’s psychophysical self-regulation in the modern world. The increase in the “degree of extreme” in musician’s profession puts forward increased requirements to his health and psychophysical stability, which is comparable to the requirements in combat sports and martial arts. The answer to these challenges is a “body-oriented” system of psychophysical self-regulation based on warrior yoga adapted for musicians. This system is being developped in the Problem laboratory of the Moscow Conservatory by the author professionally educated in music, sports and martial arts. The essence of the approach is described in the sections of the article, where yogic origins of modern bodyoriented systems, phenomenon and resources of warrior yoga are considered and conceptual guidelines are given, providing “navigation” in the content of adapted “warrior” methods and practices of psychophysical self-regulation.The latter are specified through links to the author’s publications and other sources. In conclusion, we touched upon the conduct of pilot master classes on the adapted complex of warrior yoga in the regions of Russia. It shows the relevance of such practices of psychophysical self-regulation in the musical and pedagogical community. It opens up prospects for their use in targeted consulting programs for teachers and students.
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Sitsui, Zhang. "Intonation Attributes of Traditional Singing And Recitations of Suzhou Musical Drama." Culture of Ukraine, no. 71 (April 2, 2021): 125–28. http://dx.doi.org/10.31516/2410-5325.071.16.
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The aim of this paper is to identify the intonation attributes of traditional singing and recitation in Suzhou musical drama, which is embodied in the melodic organization of melody, rhythmic pattern, signs of syncretism with speech and gestures of singers-actors, which add semantic certainty and artistic expression to images.
Research methodology. The study investigates this issue by examining the basic methods and principles of musicology.
Results. Suzhou drama is based on traditional folk songs of the northern regions of Jiangsu province, “labor cries”, such as urging bulls when ploughing, woman crying, jumping on horses etc. The melody of the Lahongqiang is characterized by the transitions of the female falsetto into high octaves, which are balanced by the inclusion of a recitative that affects the feelings of the listener.
The realization of works of Suzhou musical drama, in particular vocal-declamatory methods of performance, requires singers-actors to master the skills of improvisation in the process of creating a stage action. The intonation attributes of melody and declamatory speech, which are based on dialects of oral language, folk songs of the northern regions of Jiangsu province, due to the traditions of the population of this area. The fricative basis of singing is pentatonic, the structure of the “jumping” rhythm with frequent “turns” evokes in the listener a sense of novelty, energetic free movement. The properties of the declamatory pattern of “da-shetou” is one of the outstanding features of Suzhou musical drama.
Novelty: the concept of “Lahongqiang” can be used in a number of meanings: in a broad sense — if we talk about the traditional nature of one of the types of songwriting; in the narrow sense — to use as the name of the music genre and performing arts.
Practical significance. The properties of the declamatory pattern of “da-shetou” is one of the outstanding features of Suzhou musical drama. Importantly, it enriches the area of cognitive ability to understand the communicative “axis” of the East-West artistic relationship.
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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (December 10, 2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.
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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).
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Melnychuk, Halyna. "Modern forms of handicraftsmanship preservation and promotion (taking Kosiv Museum of Hutsul Folk Art and Life as an example)." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 50 (December 16, 2019): 64–69. http://dx.doi.org/10.31861/hj2019.50.64-69.
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The author of the article expounds modalities of Kosiv Museum of Hutsul Folk Art and Life activities, cultural and educational, in particular. It is found out that the regional museum centres carry out an important mission to collect, house and learn about the handmade artefacts. The factual material is analysed, which indicates that the museum is highly ranked in terms of preservation of the traditional arts and crafts of Hutsul region. The museum staff has developed a certain concept, the goal of which is to coordinate activities of both the artists and educational institutions, in order to popularize the historical and cultural legacy of Hutsul region. The museum staff is the initiator and co-organizer of various exhibitions, fairs, master classes and displays of folk arts and crafts.
Young people are involved in practical classes on traditional crafts during art events with folk artisans and interactive games. Interactive digital media, tours, lectures, theatre performances, folklore and musical performances are used in the museum expositions to achieve the educational goal. Displays of works by folk and amateur masters, artists of professional decorative and applied art are at the forefront of the museum activities. The main place, among various events, is occupied by exhibitions dedicated to the disappearing Hutsul traditions, clothing, in particular. The innovative elements, which are manifested in the support of the contemporary art and implementation of the original art projects, have become traditional. The museum holds unique exhibitions, in which all exhibits are accessible to people with severe visual impairments.
The material analysed proves that the museum activities are an important part of the life of Hutsul region in the field of culture and art. The museum vernissages help increase the cultural level of the audience and their approximation for understanding of how important it is to preserve the material and spiritual legacy of Ukrainian people.
Keywords. Kosiv Museum of Hutsul Folk Art and Life, arts and crafts, artisans, artists, preservation, popularization, handicraftsmanship, exhibitions, material and spiritual legacy.
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Luke, Joy Turner. "Colorcurve registered Master Atlas." Leonardo 25, no. 1 (1992): 99. http://dx.doi.org/10.2307/1575638.
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Silveira, Jason M., Julie Beauregard, and Tina Bull. "Development of the Processfolio: Promoting Preservice Music Teacher Reflection Through Authentic Assessment." Journal of Music Teacher Education 27, no. 1 (March 14, 2017): 11–23. http://dx.doi.org/10.1177/1057083717697632.
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The purpose of this study was to determine what impact an authentic assessment tool (i.e., a processfolio) would have on our music education Master of Arts in Teaching degree program. We conducted a case study at our university with the music education Master of Arts in Teaching student cohort to detail the development and initial implementation of the processfolio as a means of reflection in preservice music teachers. Data included participant observation, individual and collaborative note taking, written artifacts from students and faculty, audio/video recordings, and semistructured interviews. Findings indicated (a) processfolios became a lens through which students focused their growth as reflective teachers; (b) a lack of examples and confusion over specific processfolio requirements was stress inducing; (c) the collaborative nature of working within a peer/faculty cohort was socially, emotionally, and academically valuable; (d) students effectively used the processfolio to demonstrate synthesis of the multiple facets of the graduate music education program.
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Vester, Anne. "„Der Himmel weiß! In welchem Geistesstall er sein nächstes Steckenpferd finden wird“ Liszts Interesse an der bildenden Kunst mit den Augen Heines gesehen." Studia Musicologica 55, no. 1-2 (June 2014): 81–102. http://dx.doi.org/10.1556/6.2014.55.1-2.6.
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In German literature Heinrich Heine is regarded as one of the founders of musical feuilleton, a genre that he developed to the highest mastery with the means of irony and satire. In his music reviews Heine discussed repeatedly many of his musical contemporaries; he met leading composers of his time like Mendelssohn-Bartholdy, Meyerbeer, Berlioz, Chopin, Liszt, and Wagner personally. The fact that the relationship between Heine and Liszt (they got to know each other in 1831 in Paris) was not without problems, is a commonplace. Rainer Kleinertz describes it as ambivalent. The essay examines Heine’s musical judgements about Liszt, focussing on the question of Liszt’s interest in the fine arts. In the tenth letter from Über die Französische Bühne. Vertraute Briefe an August Lewald (1837), Heine accused Liszt of philosophical eclecticism, because he would change his beliefs like hobbyhorses. Are there contradictions and inconsistencies also in Liszt’s thinking about art and music that justified such an ambivalent attitude on the part of Heine? Finally, Liszt replied Heine in the seventh of his Lettres d’un bachelier ès musique, dated Venice, 15 April 1838.
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Tung, Khoe Yao, and Nugraha Gusti Satya. "Improving the Understanding of Reading Rhythm and Notes in Music Education by Using Kodály and Suzuki Technique Method in Grade 8 Junior High School XYZ." Journal on Education 5, no. 2 (January 3, 2023): 1972–87. http://dx.doi.org/10.31004/joe.v5i2.841.
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The basic or elementary music theory is one of the knowledge that one should masters in playing music. the most common thing, which occurs in students of Arts and Culture subjects (Music) with keyboard musical instrument interest, is a low level of understanding in reading and playing rhythm as well as reading notes in general. Students of grade 8 with keyboard musical instruments interest also have issues with their knowledge regarding basic music theory, especially on reading rhythm and notes. The purpose of this research is to find out methods to improve students' understanding of reading rhythm and notes in a short period. this research consists of three cycles. On each cycle, the researcher uses techniques derived from Kodály and Suzuki's teaching method. Instruments used in this research are observation sheets, rubrics, tests, and student interviews. The result of the activities conducted in the class following this research shows techniques derived from Kodály and Suzuki's teaching method could help improve students' understanding of reading and playing rhythm as well as improving understanding of reading notes. Students of grade 8 with keyboard musical interest experience quite significant understanding improvement and have been helped with reading rhythm and music notation.
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Anchutina, Natalya V. "Development of Skills of Work on Musical Work at Students-Domrists." Uchenye Zapiski RGSU 20, no. 2 (June 29, 2021): 148–55. http://dx.doi.org/10.17922/2071-5323-2021-20-2-148-155.
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Work on a musical piece is associated with certain difficulties and takes place in several stages, from reading from score to completing in the form of an exam or concert performance. The final stage, in principle, can be considered infinite, since there is no limit to perfection in the performing arts, and even more so if we are talking about the educational process. The form of the work, its structure, the character of the themes, identification of the figurative nature of music are directly related to the choice of technical and artistic means of expressiveness. The skills of this work are developed in the class of folk instruments in each lesson, since each work requires an individual approach to its mastery and a unique style of interpretation. An article is devoted to the process of mastering these skills, which gradually describes work on the musical work of students-domrists of music universities.
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Annenkova, Nataliia, and Tetiana Potapchuk. "Development of creative potential of future masters of musical arts in extracurricular activities of higher education institution." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 43–48. http://dx.doi.org/10.29038/2415-8143-2020-01-43-48.
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Abstract. The article analyzes the theoretical foundations of a young person's creative development, which is impossible to imagine outside the history of the people or nation to which he belongs, because a person enters society as a representative of a nation through education, upbringing, acquaintance with art and more. It is noted that an effective means of pedagogical influence on the individual, an important factor that provides a young person not only the assimilation of national and world cultural heritage, but also the conditions for full self-realization and comprehensive self-expression, should be both art in general and artistic activity in particular. . Significant potential in the creative development of future masters of music has fiction, the work of writers of the native land. For example, when organizing and conducting cultural events in higher education institutions aimed at the creative development of the student's personality (evenings, debates, quizzes, etc.), you can use materials from the life and work of famous Ukrainian writers, poets, playwrights, directors , musicians. The development of students' creative potential will be successful if not only the latest technologies of such activities, modern pedagogical achievements, but also the best traditions of the Ukrainian style of youth, its creative development, namely: nationally oriented direction of the young person's entry into society, including her creative development; its spiritual, religious nature; humanistic, personality-oriented orientation of education and upbringing, but, at the same time, collectivism as a powerful means of educational influence, because Ukrainians have long been characterized by a combination of a sense of individualism with belonging to a large community. That is why, given the research topic, the purpose of our work was to analyze the development of creative potential of future masters of music in the extracurricular activities of higher education. In view of this, a special role in training not only a highly professional worker, but also a creative person who is able to respond quickly and productively to the realities of life, belongs to extracurricular activities in higher education.
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Nikulina, Anna. "Education of female church choir masters in educational institutions at the turn of the 19th — 20th centuries (with St. Vladimir’s church teacher’s school as an example)." St.Tikhons' University Review. Series V. Christian Art 45 (March 31, 2022): 99–111. http://dx.doi.org/10.15382/sturv202245.99-111.
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Since the middle of the XIX century, the development of education has become one of the important state priorities in the Russian Empire. The spread of education in society has influenced the development and democratization of the arts. At the end of the XIX century, as a result of social changes, the status of women in art was gradually revised. The history of musical education in Russia, as well as in foreign civilization, is inextricably linked with church culture. Our article will focus on St. Vladimir’s church teachers’ school in Saint-Petersburg which belongs to the religious department. This educational institution prepared teachers for parish schools. Musical education and in particular its choir part used to be of such a high quality there, that it could have been an example for many female institutes of that period. The historical experience of this education institution can still be useful today. This article concerns the choir education of the pupils of the school. There is also the aspect of church chants and the matter of school choir repertoire considered in the article. There are a number of prominent writings devoted to the development of musical education in Russia. However in the majority of cases female musical education is addressed briefly in all these writings. Nevertheless there were secondary educational female church institutions that had begun training women choirmasters, which provoked the raise of choir singing level in the country.
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Simon, Victoria. "Guided by Delight: Music Apps and the Politics of User Interface Design in the iOS Platform." Television & New Media 21, no. 1 (August 23, 2018): 60–74. http://dx.doi.org/10.1177/1527476418794634.
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Seemingly trivial software does important cultural work, both reflecting hegemonic norms and providing opportunities for transforming them. Software applications for music production (music apps) within the iOS app store promise to broaden the potential for musical participation through simple, “fun,” user-friendly interface design. Yet, within the dominant user interface convention, “fun” is synonymous with the experience of instant success and effortless musical mastery. Drawing on semistructured interviews conducted with developers, and an analysis of shared user interface design conventions across three case studies of apps, ThumbJam, iMaschine 2, and Skram, I argue that normative conceptions of human perfectibility are assumed to be what generates an optimal user experience. Exploring theories of “queer fun,” and the importance of “failure” in studies of video gaming, I propose alternative conceptions of “fun,” and consider how, and with what effects, these might be implemented in the world of music apps.
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GREAVU, Elena-Laura, and Roxana PEPELEA. "Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 85–92. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.9.
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In Dan Voiculescu's choral compositions, music and poetry are particularly intertwined, the syncretism of the arts being a fundamental feature in the composer's approach to this type of repertoire. The more detailed analysis, with examples of excerpts from works from the volume Songs for Children, are convincing proof of the compositional mastery that is necessary for the succesful creation of a deep connection between musical construction and text. Even the choice of certain elements related to the mode of musical composition (subordinated to the melodic, harmonic, polyphonic, rhythmic, metrical, dynamic, formal structure, etc.) demonstrates the intrinsic nature of the connection between music and the message of poetic lyrics. At the same time, the capitalization of the Romanian folklore resources, the incorporation in certain works of some underlying influence from baroque music and the preoccupation of introducing innovations related to the singing technique of the choral repertoire on equal voices represent some of the multiple stylistic features reflected in this volume.
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Maksymowicz, Virginia, and Blaise Tobia. "An Alternative Approach to Establishing a Studio Doctorate in Fine Art." Leonardo 50, no. 5 (October 2017): 520–25. http://dx.doi.org/10.1162/leon_a_01189.
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As soon as the creative arts migrated from academies into colleges and universities, questions about accreditation and evaluation arose. From its inception, the master of fine arts (MFA) degree has been problematic. Although the College Art Association published standards for the MFA in 1977, confusion remains between this terminal degree and the nonterminal master’s degree (MA) in fine arts. Some believe that the solution to this problem is to establish the PhD as the terminal degree in fine arts; however, this solution is problematic in other ways: Standard approaches to research and publication in PhD programs do not mesh with the reality of studio-based creative inquiry and production. A better solution might be the development of a doctor of fine arts (DFA) degree.
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TOMLINSON, GARY. "Learning to curse at sixty-seven." Cambridge Opera Journal 14, no. 1-2 (March 2002): 229–41. http://dx.doi.org/10.1017/s0954586702000150.
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What makes Bernard Shaw, for us, the most perfect of Wagnerites is that he did not mince words when he judged the master to have taken a wrong turn. Such a turn came in Das Rheingold, and Shaw was quick to expose it, even though he had just spent a chapter elaborating the profound political allegory he discerned in the work:In the midst of these far-reaching ideas, it is amusing to find Wagner still full of his ingrained theatrical professionalism, and introducing effects which now seem old-fashioned and stagey with as much energy and earnestness as if they were his loftiest inspirations. When Wotan wrests the ring from Alberic, the dwarf delivers a lurid and blood-curdling stage curse, calling down on its every future possessor care, fear, and death. The musical phrase accompanying this outburst was a veritable harmonic and melodic bogey to mid-century ears, though time has now robbed it of its terrors. It sounds again when Fafnir slays Fasolt, and on every subsequent occasion when the ring brings death to its holder. This episode must justify itself purely as a piece of stage sensationalism. On deeper ground it is superfluous and confusing, as the ruin to which the pursuit of riches leads needs no curse to explain it; nor is there any sense in investing Alberic with providential powers in the matter.
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Stoessel, Jason. "Arms, A Saint and Inperial sedendo fra più stelle." Journal of Musicology 31, no. 1 (January 1, 2014): 1–42. http://dx.doi.org/10.1525/jm.2014.31.1.1.
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Scholars have proposed Milan, Pisa and/or Bologna as possible locations for the copying of the inner gatherings (II–IV) of the manuscript Modena, Biblioteca Estense Universitaria, α.M.5.24 (Mod A) and have argued that some of the compositions might have originated in the circle of Archbishop of Milan Pietro Filargo. Yet evidence based on Mod A's repertory and the scant biographies of its composers is insufficient for determining the manuscript’s origin. To solve this problem, I look at Mod A as a cultural artifact, attributing its illumination to the Master of 1411, an illuminator active in Bologna from 1404 to 1411, or to his assistant, both associated with the manuscript workshop of the Olivetan abbey of San Michele in Bosco, on the outskirts of medieval Bologna. The Master of 1411 might have been Giacomo da Padova, an illuminator documented there between 1407 and 1409. Iconographical analysis shows that the illuminator of Mod A possessed considerable knowledge of Paduan culture before the fall of the ruling Carrara family in 1405. This knowledge is apparent in his use of an astrological allusion to Carrara heraldry in his decoration of the song Inperial sedendo. His illumination of a Gloria by Egardus with the figure of Saint Anthony of Padua implies a familiarity with Padua's musical institutions. Mod A may have been illuminated when the papal entourage of John XXIII visited San Michele in Bosco in the fall of 1410, although further compositions were added after the illuminator had finished his work. This conclusion invites scholars to consider afresh the social context that might have fostered the compilation of the repertory in the inner gatherings of Mod A.
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Walidaini, Birul, Suminto A. Sayuti, and AM Susilo Pradoko. "The Patterns of Music Learning in Phenomena of Valerio International Guitar Festival." Harmonia: Journal of Arts Research and Education 22, no. 1 (July 1, 2022): 91–102. http://dx.doi.org/10.15294/harmonia.v22i1.35775.
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This study aims to reveal the finalists’ learning patterns and outcomes at the 2018 Valerio International Guitar Festival. It is qualitative research with the phenomenological approach. It was conducted in the final round of the open category of the 2018 Valerio International Guitar Festival. The informants in this study include the finalists, judges, and organizers. The data were obtained through observation, interviews, and documentation studies. The research findings show that the music learning process among the finalists of the 2018 Valerio International Guitar Festival is carried out through lectures (formal), courses (non-formal), and community (non-formal). The learning patterns experienced by the finalists have shaped the competitive mentality of the finalists of the 2018 Valerio International Guitar Festival. The competitive mentality formed includes: (1) increasing repertoire mastery which reflects independence in achieving the target of mastery of the chosen repertoire that will be performed; and (2) the mentality to perform on stage in the competition arena. In this mentality, the finalists have high motivation when performing on the stage. The motivation that grows comes from within and outside the finalists. In addition, the finalists also have the mentality to be ready to face various possibilities that will be experienced, both in terms of musical and non-musical abilities, such as how to use the right strategy when facing the audience and maintain calm while playing.
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Zhuravel-Mazelli, Olga. "Liudmyla Heorhiivna Tsurkan – personality and pedagogue." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 185–95. http://dx.doi.org/10.34064/khnum2-23.12.
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The article is devoted to the problems of vocal pedagogics on the example of creative life of outstanding teacher, professor of the Department of solo singing of Kharkiv I. P. Kotlyarevsky National University of Arts Liudmyla Heorhiivna Tsurkan. The goal of an article is to reveal the path of professional growth of L. H. Tsurkan and to systemize her pedagogical principles. The article uses such methods of research as historical, analytical and stylistic. The relevance of the study is due to the lack of generalizing work on the professional development and pedagogical principles of the singer and teacher. Scientific novelty lies in the coverage of previously unknown facts of the biography of L. H. Tsurcan and systematization of its methodological principles. Results for discussion. L. H. Tsurkan is an opera singer who created more than 30 leading images of repertoire for soprano, used her own experience in performance and creative premises in her own pedagogical activity, which she started in 1976 on the Department of Solo signing of Kharkiv I. P. Kotlyarevsky National University of Arts. On several examples, the questions of technology, including methodology of development of vocal apparatus, are researched. She combined fundamental principles of Italian, Russian and Ukrainian schools of singing as well as enriched these methods with new skills and ideas, which help young singers to liberate their creativity, and develop their emotional memory and independence of creative search. On some examples principles of singing are analyzed which were given to the students by L. H. Tsurkan. These are low-rib breath, free state of oropharynx. High position is combined with low breath. The power of voice is coordinated with chest and head resonance or with their combination with dominance of one or another on several parts of the voice. It is stressed that while working on technique and right breath, she always bore music in her mind. A breath is a mean of performers expressiveness. Thus, it has to change according to style of the work. Significant role of diction is stressed, which draw a lot of attention of L. H. Tsurkan. Conclusions. Renowned professor and Master of vocal pedagogics, she created experience and methodical devices which are used not only by her former students, but as well by her colleagues and young pedagogues. These are: relentless and inspired work; indefatigable search for ways and methods of correction of problems, and perfection of already achieved skills; constant development, both cultural and intellectual; ability to play musical instruments and knowledge of theory and history of music; ability to speak foreign languages, which gives an opportunity to learn an incredibly wide variety of musical literature. Not only does this all enrich both spiritually and professionally, but also it is a straightforward path to success and more complete realization of personality. The article uses reminiscences of L. H. Tsurkan’s daughter about life of the pedagogue, video-recordings of master-classes and lessons of the Professor.
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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.
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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.
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Sultanov, Abdurakhim Abdurakhmanovich. "THE IMPORTANCE OF THE APPLICATION OF THE TRADITIONS OF “TEACHER-SHOGIRD” IN THE FORMATION OF MORAL AND MORAL QUALITIES OF STUDENTS AND STUDENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 06 (June 30, 2021): 161–66. http://dx.doi.org/10.37547/pedagogics-crjp-02-06-30.
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In the article, important tasks that should be performed in higher and secondary special educational institutions , as well as in secondary schools, in order to integrate the masterpieces of Uzbek national and classical music, as well as musical heritage of “Shashmakom” into the minds of young people, classes in the traditional style" teacher – in the process of using modern information technologies in the teaching of “traditional singing”, important tasks such as providing knowledge to students and students, developing their talents and abilities, educating the younger generation in the national spirit will be resolved. The education of a harmonious person, the formation of his spiritual world, the development of his attention to national values - in fact, should begin with the primary classes of secondary schools. The awakening of love in children to all genres, spheres of art is carried out from that time. Those in the primary classes are threeraydi a lot of students with such multifaceted abilities. The solution of these issues is based on the creative activity of the master artists, on the research conducted in the process of delivering classical music performing arts to fans and the results of the experiments obtained, the experiences of their introduction into the educational process are presented and the solution of the problems that are encountered is expressed.
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Billingsley, Dale B. "The Pastime of Master F. J." Renaissance and Reformation 29, no. 3 (January 20, 2009): 5–18. http://dx.doi.org/10.33137/rr.v29i3.11428.
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Characters in Gascoigne's "Adventures of Master F. J." (1573) use reading as a pastime by which they sort out or complicate their relationships with others; the novel's readers, for their pastime, recreate these relationships as they read the novel. These linguistic, rhetorical and social pastimes are moves in a serious game of access to power, and the "Adventures” is thus an ironic 'institute' for the transformation of the individual.