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Journal articles on the topic 'Music competitions'
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1
Rucsanda, Mădălina Dana, Ana-Maria Cazan, and Camelia Truța. "Musical performance and emotions in children: The case of musical competitions." Psychology of Music 48, no. 4 (November 19, 2018): 480–94. http://dx.doi.org/10.1177/0305735618810791.
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Emotion is a condition that facilitates or inhibits music performance. Our research aimed to explore emotions of young musicians performing in music competitions. We tried to highlight the possible differences in terms of emotions between young singers who obtained prizes in musical competitions and those who did not. Another aim of the study was to explore the relationship between pre-competition emotions and music performance, focusing on the mediating role of singing experience. The sample consisted of 146 participants in international music competitions for young musicians. A nonverbal pictorial assessment technique measuring the valence, arousal and dominance dimensions of emotions was administered just before and immediately after each participant’s performance in the competition. Our study revealed that negative emotions were associated with lower performance quality while positive emotions, low arousal and increased dominance were associated with higher performance quality. Experienced young singers reported more positive emotions, low arousal and high dominance. Our results also revealed that experience in music competitions could mediate the associations between emotions and music performance in competition. The implications of the results support the inclusion of psychological/emotional training in music education of young singers.
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Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue." Culturology Ideas, no. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.
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The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competitions for Youth, Alink-Argerich Foundation, etc. The study of information materials of Ukrainian international piano competitions, which are the members of these prestigious international organizations, revealed global trends in the development of the competition and festival movement. Specific examples of international music festivals and other art projects initiated by the organizing committees of Ukrainian piano competitions have shown that they contribute to the development and promotion of Ukraine's cultural identity globally, help spread the best national traditions of musical performance in the world and are one of the best forms of cultural diplomacy.
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EVREN, Gül Fahriye, and Özgül GÖK. "Leyla Gencer Şan Yarışması Üzerine Sistematik Bir Değerlendirme." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 12, no. 3 (September 27, 2023): 2030–55. http://dx.doi.org/10.15869/itobiad.1311952.
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Several prestigious classical music competitions are organized in the national and international fields. These competitions, organized in the field such as performance and composition, motivate many young artists and allow them to achieve significant successes. The Leyla Gencer Voice Competition is an international and worldwide-known voice competition, which is the oldest and most important competition held in Turkey in the opera genre. Leyla Gencer, known as La Diva Turca and entitled as State Artist by the Turkish Republic, is one of our world-renowned artists, and with her pioneering character of music, she has made significant contributions to the promotion of the art of opera to our country and the announcement of Turkish opera singers to the world. Leyla Gencer Voice Competition has been organized with different frequencies starting from 1995 until 2018. This competition has been also held in the years after her death and it has maintained its prestige until today. From the past to the present, numerous great performers started their careers with prestigious music competitions such as Leyla Gencer Voice Competition. They achieved important career positions with their success of the competitions and now they are worldwide known artists. In this study, information about the life of Leyla Gencer, who made great contributions to the development of Turkish Opera art, was given; and the findings of the voice contest organized in her name were tabulated and interpreted by using document analysis methodology. The findings were created by systematical analysis of the information on the official website of the Leyla Gencer Voice Competition and the one in the archive of the Istanbul Foundation for Culture and Arts. Data regarding terms and conditions of the competition, audition processes, winners, awards, jury members for the preliminary auditions and finals, winners by country, Turkish award winners, number of awards received by Turkish award winners, distribution of award winners by voice type, distribution of award winners by gender, organizing institutions and gala concerts were evaluated and presented by classifying them according to years. As a result, the importance of the increase in prestigious competitions in our country, the increase in the motivation of young soloists, the creation of an archive of the competitions, and most importantly the establishment of a national federation of music competitions were emphasized.
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McCormick, Lisa. "Pogorelich at the Chopin: Towards a sociology of competition scandals." Chopin Review, no. 1 (April 27, 2023): 52–77. http://dx.doi.org/10.56693/cr.103.
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Controversies are a regular feature on the international classical music competition circuit, and some of these explode into scandals that are remembered long afterward. This essay draws from the sociology of scandal to identify the conditions that predispose classical music competitions to moral disruption and to examine the cultural process through which a scandal attains legendary status. The case considered in depth is the International Fryderyk Chopin Piano Competition and the controversy surrounding Ivo Pogorelich’s elimination from the 10th Competition in 1980. Through an analysis of media coverage in Polish and English, I show how the scandal was discursively constructed through two interpretive frameworks: the collective memory of previous controversies at the Chopin Competition, and a generational divide. I also trace the legacy of the scandal over the decades that followed. Following Durkheim, I argue that controversies at classical music competitions should not be taken as an indication of their decline. Rather, scandals – especially legendary ones – can have positive effects for competition organisations and the wider social world of classical music, as long as they do not become chronic.
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Ako, Mashino. "Competition as a New Context for the Performance of Balinese Gender Wayang." Yearbook for Traditional Music 41 (2009): 111–37. http://dx.doi.org/10.1017/s0740155800004161.
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A musical competition is a social event as well as a musical one, raising great interest in the community. Its particularly exciting atmosphere, the enthusiasm of both participants and observers, and the social honour bestowed upon the winners encourage the musicians to polish and elaborate their competence and performance styles, and sometimes to create new performance tactics. Previous studies of musical competitions suggest that rivalry and competition in the performing arts—which are deeply rooted in their social settings and carry the creative impulse to transform performing styles—can be found around the world, although their cultural, social, and historical contexts, as well as the changes that result from the competitions, are widely divergent (see Gunderson and Barz 2000; Gunderson 2003). Competitions have also had a significant impact on the development of music in Indonesia, especially in conjunction with official cultural policy. In President Suharto's New Order (Orde Baru) Indonesia, various levels of government held competitions to preserve (melestarikan) and develop (perkembangkan) the traditional performing arts, in accordance with the national cultural policy (Sutton 1991, 1995; Lindsay 1995; Yampolsky 1995; Bakan 1999; Tenzer 2000; Williams 1999,2003; Harnish 2007). This focus on the arts has continued into the period of political reformation (reformasi) since 1998. Competition has been an effective vehicle of cultural ideology through its potential to transform performing style and to change aesthetic value. However, the results of the competition do not always conform to the intentions of the government. A competition involves people with a wide range of purposes and viewpoints, who interpret the event and react to it differently according to their positions, whether as participants, teachers, judges, organizers, or audience members. As R. Anderson Sutton reported regarding the Pekan Kebudayaan Sulawesi Selatan (South Sulawesi Cultural Week) in 1993, festivals or competitions “have contrasting, even conflicting meanings for the different people involved” (Sutton 1995:687). In reality, these various interpretations of the event intertwine to create a tense but influential context for the performing arts.
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Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.
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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?
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Jones, Peter Blundell. "Reflections on the competition for National Centre for Popular Music, Sheffield." Architectural Research Quarterly 1, no. 4 (1996): 16–27. http://dx.doi.org/10.1017/s1359135500003043.
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For many years, architects in the United Kingdom have looked enviously at the competition system in the German speaking countries and Scandinavia. Now, with the introduction of a major public buildings programme partially funded by the new National Lottery, competitions are becoming more common in Britain. This paper opens with some reflections on the advantages and disadvantages of competitions. It then describes the conduct and outcome of a single Lottery-funded competition for the design of a building for which there were no precedents and in which issues of content and image were major preoccupations for both designers and assessors.
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Untung, Rachel Mediana. "Investigating the Indonesia Folk Song Arrangement in Six Choir Competition, 2019." Resital: Jurnal Seni Pertunjukan 21, no. 2 (June 1, 2021): 85–98. http://dx.doi.org/10.24821/resital.v21i2.4357.
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This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.
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McDow, George H., and Daniel L. Stiffler. "Statewide Public School Music Competitions/Festivals in Kansas and Oklahoma: The Beginnings of the School Music Contest Movement in the United States." Journal of Historical Research in Music Education 41, no. 2 (November 19, 2018): 132–55. http://dx.doi.org/10.1177/1536600618810783.
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Music competitions have an ancient history dating back some two thousand years. In the United States, early music contests mimicked the German Saengerfests and Welsh Eistoddfods; however, some of the earliest continuously running music competitions held in America are the state contests for secondary school students. This article identifies for the first time Kansas and Oklahoma as holding the two earliest state school music competitions and corrects some long-standing erroneous information. It studies these two state events through historical analysis of primary sources and triangulates the data with secondary sources. Frank Beach at Kansas State Normal School in Emporia and Fredrik Holmberg at the University of Oklahoma were found to be the two initiators. These two state music contests were influenced by several things including the state track and field meets, previous music contests, the western pioneering spirit, European music systems, and the music specialties of the founders. In the end both contests were seen as promoting the cause of public school music by increasing both the quality and numbers of music education programs and as leading to the exponential growth of state music competitions throughout the United States.
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GILMAN, LISA, and JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga." Popular Music 25, no. 3 (September 11, 2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.
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Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.
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Khoirunnisa, Noor Ayyuzia, and Ganang Dwi Asmoro. "Enhancing performance through music selection and thematic presentation in marching band competition: A case study in Pekan Olahraga Provinsi (PORPROV) XIV Jawa Barat." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 1 (November 30, 2023): 22–51. http://dx.doi.org/10.17509/interlude.v3i1.71189.
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This study analyzes the performance of the West Bandung Regency contingent at the Pekan Olahraga Provinsi (PORPROV) XIV Jawa Barat. It specifically focuses on how the strategic integration of music selection and thematic presentation might improve the overall performance. The marching band sport involves teams competing in four competitions. The competitions include Lomba Baris Berbaris (LBB) Marching Competition, Lomba Unjuk Gelar (LUG), Lomba Berbaris Jarak Pendek / Short Distance Marching Competition (LBJP), and Lomba Ketahanan dan Ketepatan Berbaris (LKKB) / The Endurance and Accuracy Marching Competition. In order to effectively engage audiences and judges, bands must enhance and perfect their aesthetic and thematic techniques as the level of competition increases. The study utilized a qualitative research methodology, which involved active involvement and careful observation for analysis. We participated in marching band activities and closely observed practices and performances in order to acquire a thorough comprehension of the aesthetic and conceptual components. Data were gathered via observations, and discussions and examined using an analytical framework rooted in the literature on music aesthetics and performance art. This framework evaluated the elements of melody, harmony, rhythm, and visual depiction. The results emphasize the significance of carefully choosing music, maintaining theme consistency, and using visual components to provide a captivating performance. The topic chosen by the West Bandung contingent, "Flight and Movement," together with their smart selection of music, showcased the ability of thoughtful curation and dynamic arrangements to amplify the story and emotional resonance. The utilization of intensive rehearsals and coordinated visual elements had a pivotal role in attaining elevated levels of audience engagement and competitive triumph.
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Wolffenbüttel, Cristina Rolim. "Research on Music Teachers' Competitions in Brazil." Advances in Social Sciences Research Journal 10, no. 7 (August 5, 2023): 443–56. http://dx.doi.org/10.14738/assrj.107.15200.
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This article presents a state-of-the-art investigation concerning research related to public competitions for music teachers in Brazil. Data collection focused on research conducted and published until the year 2021, with no specific start date, based on internet-based sources. After collection, the data underwent content analysis. The results revealed four articles, each published in a different journal, with three related to Music and one to Education
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Klett, Joseph. "Performing Civility: International Competitions in Classical Music." Contemporary Sociology: A Journal of Reviews 46, no. 3 (April 27, 2017): 334–35. http://dx.doi.org/10.1177/0094306117705871bb.
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Tokay, Dilbağ. "Impact of Online Music Competitions on the Young Musicians’ Professional Skills and Their Musical Development During the Covid-19 Pandemic." European Journal of Social Science Education and Research 7, no. 3 (December 12, 2020): 80. http://dx.doi.org/10.26417/466ven59n.
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Classical music competitions present a medium for the development and motivation of young musicians. In this context, they prepare young musicians to professional life and play an important role in their career. Online competitions became more popular due to the Covid-19 pandemic with an increasing number of high professional quality applicants. This research aims to focus on the impact of online music competitions on the young musicians’ professional skills and their musical development. The research will set forth the differences between online competitions and real life competitions from various aspects such as application process, video presentations, and efficiency of the young musicians in using available technology, jury formation, evaluation of the applicants' performances by the jury as well as the applicants' evaluation of their own performance among other applicants.
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BORYSOVA, SVITLANA, VEROMIKA PIESHKOVA, ALEXANDER PLOKHOTNYUK, IRYNA POLSTIANKINA, and NATALIA DEMESHKO. "MODERN MUSIC PERFORMANCE CONTEST AS A CULTURE PHENOMENON." AD ALTA: 14/01-XL. 14, no. 1 (February 29, 2024): 128–36. http://dx.doi.org/10.33543/j.140140.128136.
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The research aimed to determine the distinctive features of contemporary performing arts and their reflection in the specifics of the instrumental competitions. In particular, the roles of the jury and the audience are considered in the context of the influence on the development of the musical career and skill of participants in the competitions and the vectors of instrumental music development in general. Particular attention in the study is paid to musical works created using the latest digital technologies. In general, the role of instrumental competitions in shaping the development vectors of the performing arts and accompanying concerns are outlined.
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Odello, Denise. "Ritualized performance and community identity: A historical examination of drum corps competition in the United States." International Journal of Community Music 13, no. 1 (May 1, 2020): 65–79. http://dx.doi.org/10.1386/ijcm_00010_1.
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What structures bind musical communities that reach over distances? This article examines the musical community of youth drum corps in the United States and, in particular, the changing performance practices at competitions over time and how those changes influence the identity of the community. Drum corps is a community that exists over increasingly greater distances, yet the identity of this musical community is strong. An important site for discovering this communal identity is in competitive performance. Drum corps performances are strictly regulated because of this competitive context, and the values seen in those competitive regulations reflect the identity of the community. Ritual theory helps to examine the mechanisms by which members of this musical community renegotiate these identity values over decades. This article discusses shifts in performance practices such as instrumentation, repertoire and motion, all of which are reflected in changing competition judging guidelines. Ritual theory is used to understand how members of the drum corps community understood the implementation and official recognition of these changes in competitions as changes to the community’s identity.
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Lajic-Mihajlovic, Danka. "Competitions as a form of public gusle playing performance." Muzikologija, no. 11 (2011): 183–202. http://dx.doi.org/10.2298/muz1111183l.
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This paper offers an ethnomusicological perspective on competitions of guslars (players of a single-stringed musical instrument gusle predominantly used to accompany the voice of a singer reciting epic poetry), here interpreted as a specific form of public music performance. First competitions were organized between World Wars (1924-1933), afterwards being established in 1971 and since then organized (with a short interruption) in Serbia, Montenegro and the Republic of Srpska. Apart from gusle players and the audience participating in this interaction, these competitions introduced into the focus the very organizers as well. The importance of collectivity as an idea interwoven into epic ethos has become a powerful means of manipulation used by authorities. Their interests have been put forward primarily through the poetic content of new songs. Ideology, though, is not only reflected in the competition repertoire. It is also felt in other forms of public gusle playing practice (such as performances with miscellaneous programme, concerts etc.). The sense of competitiveness, as a type of communicational situation, is far strongly felt in the music dimension. Limited in duration, the performance was reduced to only fragments of songs, which, on the other side, caused a change in gusle playing. The traditional style implied economizing with player?s energy and dramatization tailored to suit the context of long-lasting songs, whereas per-forming of fragments resulted in a more grandiose style aimed at making momentary impression: intensive, vigorous singing in the upper vocal register, using a wide range of expressive devices within short time etc. After studying the competition rules, key formal regulations, and the organization of competitions so far, I discerned that those epic poems have been dominantly regarded as poetry. One of crucial reasons for this is wider communicability of verbal to music discourse, but also more straightforward conveyance of ideological messages through words. Syncretism, which is quintessence of artistic expression in epic poetry, demands paying more attention to the musical component. This artistic expression has always been the domain of players? creativity, in contrast to the poetic component which is standardized, fixed, and which a contemporary gusle player is only presenting. The contribution of competition to the evolution of gusle playing practice, especially in regard to its role in the shaping of collective identity, demands reconceptualization of such cultural events in which guslars associations, state institutions and experts would also take part.
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Nowak, Tomasz. "Revitalisation and Revival of Traditional Musical Instruments in Poland in the Context of Music Contests." Interdisciplinary Studies in Musicology 22 (December 29, 2022): 21–32. http://dx.doi.org/10.14746/ism.2022.22.2.
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This article is devoted to the issue of revitalisation and revival of traditional musi- cal instruments in Poland in the context of music competitions. Research on revival activities in Poland is rare, as is research on the phenomenon of traditional music competitions. Meanwhile, over the last nine decades, traditional music competitions have become the main environment for the public presentation of traditional music and stimulating the revival and revitalisation of indi- vidual musical phenomena. In this area, I have been conducting my own participant observations and archival research for over two decades. I understand the revival phenomenon itself and the activities that constitute it after Caroline Bithell and Juniper Hill (2013). The distinction between the terms revitalisation and revival is based on that made by Ingrid Åkesson (2006) and Ulrich Morgenstern (2019). In the text I discuss the issue of revitalisation of the Podhale bagpipes and the revival of the hurdy-gurdy. I also show that the phenomenon of the revival of musical tradi- tion is accompanied by processes of depreciation of the role, importance or presence of other instruments, such as the accordion or clarinet. I also show the important role of the activism of leading figures among both researchers and lovers of traditional music, as well as musicians and instrument builders.
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Von Benda-Beckmann, Keebet. "Incommensurable ideals - the enigma of music competitions - Lisa McCormick, Performing Civility: International Competitions in Classical Music (Cambridge University Press, 2015)." European Journal of Sociology 57, no. 3 (December 2016): 541–45. http://dx.doi.org/10.1017/s0003975616000333.
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Gronow, Pekka, and Jānis Daugavietis. "Pie laika … Now is the time. The singing revolution on Latvian radio and television." Popular Music 39, no. 2 (May 2020): 270–93. http://dx.doi.org/10.1017/s0261143020000380.
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AbstractIn the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.
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Takacs, Peter, and Gustav A. Alink. "International Piano Competitions." Notes 51, no. 2 (December 1994): 616. http://dx.doi.org/10.2307/898896.
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Sparling, Heather. "Silence, Absence, and Forgetting: Traditional Music and Dance Contests of Gaelic Cape Breton." MUSICultures 50 (March 18, 2024): 269–99. http://dx.doi.org/10.7202/1110022ar.
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<p>A documented history of cultural competitions and contests in Gaelic Cape Breton is being deliberately forgotten. Drawing on Paul Connerton’s theory of social forgetting, the author suggests that this has happened for ideological reasons involving the construction of Gaelic culture as participatory and inclusive, characteristics that many Cape Bretoners find irreconcilable with competitions. By examining historical evidence demonstrating that cultural contests and competitions existed in Cape Breton at various times and in various places, and how they relate to a broader, international context of competitions in “Celtic” cultural communities, the author concludes that present-day claims about the absence and insignificance of contests are inconsistent with the historical record.</p>
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Chmurzyńska, Małgorzata. "Research on the assessment of music performance from Maria Manturzewska’s early experiments to more recent studies." Musicae Scientiae 27, no. 4 (November 15, 2023): 862–74. http://dx.doi.org/10.1177/10298649231188272.
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The assessment of music performance by experts is vital for the measurement of performers’ achievements both in the course of their training and in the context of competitions. More than 350 international piano competitions are held every year, in which the main task of the jury is to judge performances as they take place in the moment, without taking into account any other information such as performers’ previous competition successes. A vast body of evidence shows that many factors influence such judgments. In this article, I discuss these factors, as first identified in early and comparatively little-known research by Maria Manturzewska, the first Polish music psychologist (1930–2020). The principal purpose of her studies was to examine the inter- and intra-rater reliability of judges’ scores in the 6th International Fryderyk Chopin Piano Competition (IFCPC), held in Warsaw in 1960, and in an experiment in which the judges were, respectively, 28 competition jurors and a panel of 10 experts (2 competition jurors, a participant in the competition, and 8 further outstanding pianists). Based on the analysis of the jurors’ scores in the competition and those of the experts, Manturzewska found low values for both inter- and intra-rater reliability: different judges assessed the same performances in different ways, as did experts hearing the same performance on two occasions. Manturzewska proposed several explanations for the discrepancies between judges’ assessments. Not only have her students and collaborators continued her work by testing and verifying some of her hypotheses, but more recent research conducted outside Poland has also done so. In conclusion, although some kinds of objective measurement can be made using new tools and technologies, human judges with their own competences, ability to evaluate, value systems, preferences, and a sense of fairness and morality will always be needed for reliable and accurate assessments.
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Ло, Юаньвень. "ТВОРЧЕ САМОВИРАЖЕННЯ МАЙБУТНІХ МУЗИЧНО-ПЕДАГОГІЧНИХ ПРАЦІВНИКІВ В СИСТЕМІ ВИЩОЇ ОСВІТИ КНР." Spiritual-intellectual upbringing and teaching of youth in the 21st century, no. 4 (2022): 807–11. http://dx.doi.org/10.34142//2708-4809.siuty.2022.201.
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The article reveals the creative self-expression of music-pedagogical workers as an individual’s ability to publicly reveal their own talents, have supporters and inspire them with beautiful and spiritual things. It is noted that Chinese popular music inspires creativity, development of spiritual values, aesthetic perception of the surrounding world. Examples of stimulation of creative self-expression of Chinese singers due to participation in music competitions of various levels are given
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Ergashevna, Tursunova Laylo. "The Impac Of The Global Environment And Its Spiritual Factors On The Musical Culture Of Youth." American Journal of Social Science and Education Innovations 03, no. 01 (January 30, 2021): 244–48. http://dx.doi.org/10.37547/tajssei/volume03issue01-47.
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Continuing the traditions of our great ancestors, programs and plans aimed at the development of music in our country are being implementedduring the years of independence. In particular, in order to preserve and study our musical heritage, to pass it on to the younger generation, many competitions and prestigious international music conferences are held regularly.
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Takacs, Peter, and Joseph Horowitz. "The Ivory Trade: Piano Competitions and the Business of Music." Notes 49, no. 4 (June 1993): 1482. http://dx.doi.org/10.2307/899403.
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Cottrell, Stephen. "Performing Civility: International Competitions in Classical Music. By Lisa McCormick." Music and Letters 98, no. 2 (May 1, 2017): 322–24. http://dx.doi.org/10.1093/ml/gcx032.
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Ballengee, Christopher L. "Music competitions, public pedagogy and decolonisation in Trinidad and Tobago." South Asian Diaspora 11, no. 2 (January 17, 2019): 145–61. http://dx.doi.org/10.1080/19438192.2019.1568506.
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Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century." Culturology Ideas, no. 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.
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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.
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Franceschi, Ivana, and Ina Ercegovac. "Personal and motivational determinants of piano student performance in the context of self-determination theory." Humanities and Cultural Studies 3, no. 2 (July 26, 2022): 37–53. http://dx.doi.org/10.55225/hcs.377.
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The aim of this study was to examine the contribution of personality traits and different types of motivation to explaining individual differences in piano student performance and satisfaction of basic psychological needs in an academic context. The research was conducted in 2017 on a sample of piano students (N = 92) attending four music academies (Music Academy in Zagreb, Arts Academy in Split, Music Academy in Osijek, and Music Academy in Pula), making up about 90% of the whole piano-student population in Croatia. Self-assessment instruments were used to examine five personality traits from the Big Five Model, types of motivation according to the continuum of self-determination, the satisfaction of three psychological needs according to the self-determination theory in the context of music academies, and three categories of performance – piano success in the academic year, piano competition achievements, and public performances. The results showed that personality traits and motivational determinants could not predict piano success at the academy. Still, conscientiousness and emotional stability do play a significant role in public performances and piano competitions. Identified motivation proved to be important for these criteria as well. The relationship between psychological needs, motivation, and personality traits pointed to the significant role of the intellect, agreeableness, and intrinsic motivation, which proved to be important for satisfying the needs for relatedness and autonomy.
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Pahan, Berth Penny, and Arly Prasetya. "Pembinaan Tari dan Musik Tradisional Kalimantan Tengah sebagai Pendidikan Karakter pada Siswa SMKN 1 Kuala Kapuas." Jurnal Ilmiah Religiosity Entity Humanity (JIREH) 5, no. 1 (July 13, 2023): 110–21. http://dx.doi.org/10.37364/jireh.v5i1.123.
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The background of this research is how a teacher of Christian Religious Education and a teacher of Cultural Arts with different expertise backgrounds can conduct successful coaching. The objectives of this study are to find out and obtain an actual and factual picture of the work program, teacher creativity, and elements of character development in traditional dance and music in Central Kalimantan traditional dance and music extracurricular activities at SMKN 1 Kuala Kapuas, Kapuas Regency. Data collection techniques were carried out by observation, interviews, and documentation. Then the data analysis technique is done by reduction, exposure, and conclusion/verification. The results of the research are that the extracurricular activities of traditional dance and music development already have planning, funding, routine training schedule, training facilities, completeness of dancers and musicians, performance targets and competitions at the district, provincial, and national levels. The creativity carried out by the coaching teacher is to make an annual work program, clear goals and objectives for a year. The elements found in traditional dance and music in Central Kalimantan are elements of history, regional culture, and music.
Latar belakang penelitian ini bagaimana seorang guru Pendidikan Agama Kristen dan seorang guru Seni Budaya yang berbeda latar belakang keahliannya dapat melakukan pembinaan yang berhasil. Adapun tujuan penelitian ini adalah untuk mengetahui dan memperoleh gambaran secara aktual dan faktual mengenai program kerja, kreativitas guru, dan unsur-unsur pengembangan karakter dalam seni tari dan musik tradisional pada kegiatan ekstrakurikuler tari dan musik tradisional Kalimantan Tengah di SMKN 1 Kuala Kapuas, Kabupaten Kapuas. Teknik pengumpulan data dilakukan dengan observasi, wawancara, dan dokumentasi. Kemudian untuk teknik analisa data dilakukan dengan reduksi, paparan, dan kesimpulan/verifikasi. Hasil penelitian bahwa kegiatan ekstrakurikuler pembinaan tari dan musik tradisional sudah memiliki perencanaan, pendanaan, jadwal latihan rutin, fasilitas latihan, kelengkapan penari dan pemusik, target penampilan dan lomba tingkat kabupaten, provinsi, dan nasional. Kreativitas yang dilakukan oleh guru pembina adalah membuat program kerja tahunan, tujuan dan sasaran yang jelas selama setahun. Unsur yang ditemukan dalam seni tari dan musik tradisional Kalimantan Tengah adalah unsur sejarah, budaya daerah, dan musik.
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Morrow, Jean. "Concert Artists Guild's Guide to Competitions." Notes 52, no. 2 (December 1995): 450. http://dx.doi.org/10.2307/899041.
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Cocca, Michaela, Armando Cocca, Ney Augusto Da Silva, and Luis Tomas Rodenas Cuenca. "Impact Of Music On Athletes’ Motivation And Flow State During Competitions." Medicine & Science in Sports & Exercise 50, no. 5S (May 2018): 324–25. http://dx.doi.org/10.1249/01.mss.0000536149.71884.7a.
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Majewski, Paweł. "Review of Lisa McCormick Performing Civility: International Competitions in Classical Music." Chopin Review, no. 1 (April 27, 2023): 101–3. http://dx.doi.org/10.56693/cr.105.
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Hafiz, Alwan, Hary Murcahyanto, Abdullah Muzakkar, and Hulfatul Husna. "Dekultrasi Bentuk Pertunjukan Musik Hadrroh." Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora 3, no. 2 (December 25, 2020): 182–88. http://dx.doi.org/10.31539/kaganga.v3i2.1725.
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ABSTRAK
This paper is based on the results of research that aims to describe the deculturation and form of Hadrroh musik performances in Gerisak Semanggleng Sakra Barat Village, Lombok Timur. This study used a qualitative descriptive method with a phenomenological approach. Collecting data by observation, interviews and documentation. From the results of the study, it is concluded that a result of the times and often following competitions the musik group has innovated to become a modern Hadrroh Modern musik group. To meet the needs of a show so as not to be outdated, this musik group underwent a change in the form of deculturation in the form of its performance by adding a keyboard musical instrument and presentation material using modern religious songs. The form of Hadrroh's musik shows is divided into two forms of performances, namely routine performances as a means of worship and non-routine performances (rituals) as entertainment.
Keyword : Deculturation, Hadrroh Music, Performance Forms.
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Maestro, Esy, and Mudjiran Mudjiran. "MINAT BELAJAR MUSIK INSTANT AKIBAT RESPON BERULANG DAN MENYENANGKAN PADA AJANG PENTAS KOMPETISI MUSIK POPULER “Studi Kasus Pendidikan Musik Nonformal dalam Sudut Pandang Teori Belajar Operant Conditioning BF. Skinner”." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 308. http://dx.doi.org/10.24036/jsu.v9i2.111100.
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Thedevelopment of music in modern and urban society today is not always driven by the awareness of the importance of formal education in the field of music itself. The behavior of the community that develops in the surrounding environment, psychologically has triggered the interest of some individuals to engage in the phenomenon of populist music culture, one of which is budaya K-pop who participated in fertilizing music talent search competitions such astelevision, initiated bylocalgovernments, and certain nongovernmental organizations. Many parents consider that their children need to take part either as serious participants or just perform in the event. Many young people and their parents are willingto spendmoney, time, energy, and cost in order to be exposed to the event that is considered prestigious. The continuation is predictable, while the prizes are obtained,of coursepopularity follows, because they will be widely published by the services of the media and television. A number of thesefinancial r ewards and popularity will be enjoyable. The behavior to repeat and keep repeating the participation ofchildren in this event , aslong asitcauses them to havebeen trapped in the behavior of operant conditioning. So BF. Skinner has explained that if a stimulus produces a pleasant reward support capacity,there will be consequences for repeated behavioral responses. Because it will repeat itself, some young people are trying to develop their musical interests by learning music from an early age or studying it in formal education. But the irony for some of them is that it synergizes with the impatience of their parents, to learn music in more results-oriented and instantaneous music courses. The managers of this kind of non-formal music education institutions seem to also care about the quality of music education, unless they also feel equally profiting momentarily from this phenomenon. Eventually many participants of the courseand tutors were disappointed at the incompatibility of the results obtained with all the power that had been sacrificed. In fact, it is still the really talented children who continue to advance to win this talent search competition, even though there are actually some of these champions who learn or do not need to study in courses and less private music.Keywords:Music Competition, Blessing, Operant Conditioning
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Movchan, Larisa Anatol'evna, and Sergei Mikhailovich Movchan. "The relevance and specificity of using choral works by modern composers in the class of «choral conducting»." PHILHARMONICA. International Music Journal, no. 1 (January 2024): 33–41. http://dx.doi.org/10.7256/2453-613x.2024.1.70025.
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In the article, the author addresses the issue of the repertoire of choral groups in the class specializing in Choral conducting. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Spiritual compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Modern choral works use various innovative technologies that present a technical difficulty and require a certain methodological approach. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors. The educational repertoire of choral students and the list of choral works performed by vocal groups at concerts/competitions/festivals have little overlap. If concert performers increasingly include music by contemporary authors in their program, then classical music still makes up a larger percentage of the repertoire in educational institutions. The following conclusions can be drawn from the study. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Religious compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Updating the repertoire plays an important role in the education of music students. This is not only the study of innovative ideas of modern composers, the use of innovative technologies in teaching, but also the moral and ethical side. We have noted that in the music of the XXI century, the tendency to reflect reality and its constant changes is often applied. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors.
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Rawlings, Jared R. "Benefits and Challenges of Large-Ensemble Instrumental Music Adjudicated Events: Insights From Experienced Music Teachers." Update: Applications of Research in Music Education 37, no. 2 (May 30, 2018): 46–53. http://dx.doi.org/10.1177/8755123318777824.
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Adjudicated events, including music festivals, contests, and competitions, are performance opportunities for American instrumental music programs. The purpose of this study was to examine the benefits and challenges of participating in large-group instrumental adjudicated events in three Kansas high school programs. Data analysis followed cross-case procedures for coding data, as well as strategies for trustworthiness. Select findings revealed that participants (a) valued the process of preparing for adjudicated events, (b) valued and sought out additional instructional staff as a means of enriching the process of preparation for adjudicated events, (c) identified multiple logistical challenges associated with preparing for and attending adjudicated events, and (d) identified music considerations associated with attending large-group adjudicated events. These are likely pivotal factors in attending adjudicated events and thus can help us further understand how and why adjudicated events hold an important place in the history of American music education.
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Lianhong, Zhang. "ORGANIZATIONAL FORMS OF VOCALISTS’ PROFESSIONAL TRAINING IN THE SYSTEM OF HIGHER MUSIC EDUCATION OF CHINA AND UKRAINE: A COMPARATIVE ANALYSIS." Innovative Solution in Modern Science 2, no. 46 (October 3, 2021): 119. http://dx.doi.org/10.26886/2414-634x.2(46)2021.10.
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The article presents a comparative analysis of the organizational forms of vocalists’ professional training in the system of higher music education in China and Ukraine. It is found out that both individual (individual classes) and group forms of work (lectures, workshops, competitions, festivals) are used in both countries. Moreover, in China, group or collective forms of education are more common, while in Ukraine more time is devoted to individual classes. In addition, in Ukraine there is a greater variety of forms of education in the process of professional training of vocalists in the system of higher music education. Key words: vocalists, professional training of vocalists, organizational forms, system of higher music education, China, Ukraine.
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Tsibanyuk, O., and Yu Kurnyshev. "Features of postgraduate pedagogical education in Bukovina (physical education) of the first half of the twentieth century." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 12(120) (December 25, 2019): 113–17. http://dx.doi.org/10.31392/npu-nc.series15.2019.12(120)19.23.
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Features of postgraduate pedagogical education of Bukovina in the field of physical education of the first half of the twentieth century. The need for highly qualified personnel both for the education system and for public organizations of the physical and sports orientation operating on the territory of the region became formed. In addition, a powerful system of legislative regulation for the training of specialists in the field of physical culture and sports, including gymnastics teachers, was created.
Community societies that have worked productively in the region also needed professional staff. It was their lack that forced public activists to organize various forms of training of gymnastics teachers, general physical training instructors, fire-sich. In the capital of the region systematically held "gymnastics-fire" courses, in the popularization of which actively participated Bukovina press. But unification of all forms of professional development into a single state system, registration of the institution concerned and systematic activity became possible only in the 1940s.
The author distinguishes forms of advanced training of the studied period: studying of advanced pedagogical experience, attending lessons, methodical recommendations, competitions, sports competitions. In the early 50's of the twentieth century. considerable attention was paid to physical education and military training: systematic Olympiads, competitions and expeditions, various sports competitions, military sports games, etc. were systematically conducted. In order to study the status of teaching subjects, Methodists of the Institute, along with lessons in Ukrainian language and literature, history, mathematics and geography, chemistry and biology, attended lessons and extracurricular activities in military training in 4 schools, physical education ‒ in 4 institutions, music ‒ in 4 institutions, music educational institutions.
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Ogawa, Masafumi. "Music Education for “Musically Talented Children” in Japan: A Career Path Toward Professionals and Three Music Education Organizations." International Journal of Social Sciences and Artistic Innovations 1, no. 1 (September 30, 2021): 7–17. http://dx.doi.org/10.35745/ijssai2021v01.01.0003.
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Japan has been one of the leading countries in Asia, where many world-class music professionals are continually produced. As an insider, the author has witnessed and experienced how “musically talented children” are raised in Japan for more than three decades. The purpose of this paper is, therefore, to articulate the career path for becoming professional classical musicians from infants through college period. The findings are four folds: (1) piano is the most popular instrument, to begin with from early age, (2) most young children participate in music competitions, (3) there are three critical periods when young children have to decide whether they continue to study music or quit, (4) Two music universities, the Tōhō Gakuen Music School and the Tokyo National University of the Arts are the top schools in producing professional musicians, particularly in the piano, the violin, and the composition fields. In addition, the systems of three notable music education organizations, the Suzuki Methods, the Tōhō Music School for Children, and the PTNA, are explained.
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Marmaiyatno, Marmaiyatno, and A. Nyoman Sri Wahyuni. "Bali International Polytechnic Participation in Implementing the Sri Sedana Kerti Event in Jatiluwih Village." Social Economics and Ecology International Journal (SEEIJ) 8, no. 1 (May 2, 2024): 54–63. http://dx.doi.org/10.21512/seeij.v8i1.11288.
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Community participation is very necessary in implementing the Sri Sedana Kerti Event in Jatiluwih Village. This community participation is related to being a committee in organizing the event, competition participants, Micro, Small and Medium Enterprises preparing culinary delights, and several stakeholders preparing souvenirs and supporting the implementation of the Sri Sedana Kerti event. One of those who participated in the implementation of the Sri Sedana Kerti event, namely the Convention and Event Management Study Program from the Bali International Polytechnic. The aim of this research is to analyze the participation of the Bali International Polytechnic in implementing the Sri Sedana Kerti event in Jatiluwih Village. This study used descriptive qualitative method. Data collection was carried out using observation techniques, in-depth interview techniques, and document study. The results of this research are the participation of the Bali International Polytechnic in implementing the Sri Sedana Kerti Event in Jatiluwih Village, namely organizing a Photo Contest, Tiktok Contest and Video Contest. Other PIB community service team participation, such as participation in the Grand Harvest, running competitions, hat decorating, music events and tent rental. The implementation of the event went smoothly, although there were problems that occurred due to the shift in the event date, which caused the cancellation of several telents, competitions and the awarding of competition prizes to be shifted as well. Keywords: Participation, Bali International Polytechnic, Event, Sri Sedana Kerti
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Monique Giroux. "Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions." Ethnomusicology 62, no. 2 (2018): 265. http://dx.doi.org/10.5406/ethnomusicology.62.2.0265.
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Asmat, Roberto, Karol J. Borowiecki, and Marc T. Law. "Do experts and laypersons differ? Some evidence from international classical music competitions." Journal of Economic Behavior & Organization 214 (October 2023): 270–90. http://dx.doi.org/10.1016/j.jebo.2023.06.024.
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Majewski, Paweł. "Performing Civility. International Competitions in Classical Music Lisa McCormick Demokratyczny agon nowoczesności." Studia Chopinowskie 1, no. 1 (June 17, 2018): 97–99. http://dx.doi.org/10.56693/sc.96.
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Franceschi, Ivana. "The Influence of Piano Students’ Sociodemographic Characteristics, Motivation, and Self-Efficacy on Their Achievements and Aspirations for Continuing Music Education." Nova prisutnost XX, no. 3 (November 16, 2022): 587–601. http://dx.doi.org/10.31192/np.20.3.8.
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Motivation, self-efficacy and certain personality traits are important factors for the success of piano students, and they also influence student aspirations for further music education. In addition to these factors, the paper studies certain sociodemographic characteristics, as predictors of the continuation of music education. The aim of the research was to examine the aspirations and predictors of piano pupils to pursue music education. The research was conducted in the following schools: »Josip Hatze« Music School in Split, »Ivan Matetić Ronjgov« Music School in Rijeka, and the three largest music schools in Zagreb, »Pavao Markovac« Music School, »Vatroslav Lisinski« Music School, and »Elly Bašić« Music School. The respondents were 215 piano students aged 12‒18. The closedended research questionnaires included five subscales adapted for the purposes of this research, along with a new scale of piano practice efficacy, which represents a contribution to piano pedagogy. This paper explains many motivational factors, self-effective practice, and certain sociodemographic characteristics that affect students’ performance and aspirations, while participation in school competitions and international awards were found to be the most important factors for enrolling at music academies. Finally, in terms of explaining success and aspirations for further education, we can also highlight the importance of educational structure, parental support, and primary school performance.
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Heyman, Matthias. "The role and function of jazz competitions in Belgium, 1932–1939." Popular Music 39, no. 3-4 (December 2020): 439–58. http://dx.doi.org/10.1017/s0261143020000422.
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AbstractThis article focuses on a series of regional, national and international jazz competitions organised by the Jazz Club de Belgique between 1932 and 1939. In the early 1930s, contests for amateur jazz bands began to emerge in various European countries such as the UK, the Netherlands, and Belgium. Using the Belgian competitions as a case study, this article demonstrates that these were instrumental in the development of certain local jazz scenes, not only by offering budding talents an opportunity to be discovered, but more importantly in establishing a much-needed network of amateur and professional musicians, intermediaries, critics and fans. Furthermore, the argument is made that these events foreshadowed the first European jazz festivals to appear in the 1950s. Overall, it aims to demonstrate that the jazz contest is a valuable yet under-researched site for the promotion, socialisation, mediation, dissemination and popularisation of this music.
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Аманова, Роза Асановна. "Tradition of Aytysh and Kyuu Chertish performing competitions in the Kyrgyz musical heritage." Музыкальное искусство Евразии. Традиции и современность, no. 3(8) (October 5, 2022): 23–30. http://dx.doi.org/10.26176/maetam.2022.8.3.002.
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Статья посвящена актуальной проблеме кыргызского устно- профессионального музыкального искусства - особенностям бытования традиционных исполнительских состязаний айтыш и кюу чертиш, историко-культурным аспектам их формирования, а также синкрезису музыки и языка жестов в комузовых кюях. Отмечается важность сохранения состязаний как национальной формы развития исполнительского мастерства народных музыкантов. The article is devoted to the actual problem of the Kyrgyz oral-professional musical art - the peculiarities of the existence of the traditional performing competitions Aitysh and Kyuu Chertish, the historical and cultural aspects of their formation, as well as the syncresis of music and sign language in komuz kyuis. The importance of preserving competitions as a national form of developing of the performing skills of folk musicians is noted.
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Nagel, Julie Jaffee. "How to Destroy Creativity in Music Students: The Need for Emotional and Psychological Support Services in Music Schools." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 15–17. http://dx.doi.org/10.21091/mppa.2009.1004.
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A decision to pursue a career in the performing arts is a lifelong and complex undertaking. Musicians begin instrument lessons in early childhood, when the ego and talent are developing simultaneously. In these vulnerable years and at any age, music teachers and schools can inhibit the creativity, musical and personal growth, and careers of their students by various common attitudes: e.g., overemphasis on improving technique and winning competitions; stress on prestigious performance careers; denial of the psychological implications of playing-related injury; or failure to promote other professional outlets in music as well as other professions. Sometimes, a musician's career plans are altered or aborted altogether. The author advocates the establishment of psychological and physical interdisciplinary programs and courses in the curriculum as important aspects of healthy music programs as well as career services programs to assist students with both performance and non-performance careers.
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Capistrán-Gracia, Raúl Wenceslao. "Effective Music Practice. Equipping Students with the Tools to Succeed." Grenek Music Journal 13, no. 1 (June 14, 2024): 40. http://dx.doi.org/10.24114/grenek.v13i1.57318.
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By showing their musical achievements in concerts, auditions, competitions and the like, music students are not only executing notes, but they are exhibiting their aspirations and exposing their affective dimension. Many times, their personal dreams, as well as their own professional future are put at a stake with the resulting social and affective consequences. This represents a great responsibility for teachers since, as educators, they must provide their students with the necessary tools to succeed in their endeavor. In this essay, the author provides an overview on different music practice strategies whose effectiveness have been tested in rigorous research studies or proved by experienced teachers. The author expects they may be helpful to teachers and students to overcome the musical challenges the learning of music and its public performance entails.