Bibliographies thématiques / College-Conservatory of Music of Cincinnati

Littérature scientifique sur le sujet « College-Conservatory of Music of Cincinnati »

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Publié le 26 juillet 2024

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Articles de revues sur le sujet "College-Conservatory of Music of Cincinnati"

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Ryan, Pamela, et Heidi Castleman. « Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations ». American String Teacher 44, no 2 (mai 1994) : 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.
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Kirkegaard, Joseph. « University of Cincinnati, College Conservatory of Music ». Journal of the Acoustical Society of America 115, no 5 (mai 2004) : 2478. http://dx.doi.org/10.1121/1.4782577.

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Green, Barry. « The Inner Game : Breaking through your Barriers ». American String Teacher 36, no 1 (février 1986) : 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Press.
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Knapke, Jacqueline, John R. Kues, Stephanie M. Schuckman et Rebecca C. Lee. « 3203 Collaboration in Reappointment, Promotion, and Tenure Guidelines ». Journal of Clinical and Translational Science 3, s1 (mars 2019) : 130–31. http://dx.doi.org/10.1017/cts.2019.297.

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OBJECTIVES/SPECIFIC AIMS: As the issues facing our global society become more complex, university faculty are called upon to address these contemporary problems using interdisciplinary approaches. But do reappointment, promotion, and tenure (RPT) guidelines reflect and reward this fundamental change in the nature of higher education and scholarly inquiry? After collecting all of the RPT guidelines across the university, our research team at the University of Cincinnati (UC) conducted a content analysis of these documents to determine how collaborative work is defined, interpreted, and supported. In addition, we also sought to identify differences in how collaborative work is valued across disciplines and how that value has changed over time. METHODS/STUDY POPULATION: An initial database was assembled that included two distinct data samples: historical and current. Both included RPT criteria for over 100 disciplinary units at the university. Working with the initial comprehensive database, the team narrowed content by selecting all language related to collaborative work using several relevant keywords or keyword fragments (team, collaborat[*], disciplin[*], and interprofessional). This process resulted in a subset of data reflecting the area of interest that could then be coded. Three investigators independently coded common portions of the data for categories. The investigators met regularly to compare the results of their coding, and discrepancies between the investigators’ coding schemes were resolved through discussion. The final, common coding scheme will used to code the remainder of the data by each independent investigator. The team meets weekly to discuss significant passages and assign codes, and then reach consensus related to important themes that are identified. Specifically, we will examine the frequency with which collaborative activities are included, the value and emphasis given to them, and the differences across units. Having a historical sample and a current sample also allows us to analyze trends over time and further compare disciplinary differences. RESULTS/ANTICIPATED RESULTS: UC is a diverse institution that includes world-renowned creative schools (the College Conservatory of Music and the College of Design, Architecture, Art, and Planning), as well as traditional colleges of medicine, nursing, pharmacy, allied health, engineering, business, arts and sciences, etc. UC also includes two branch campuses that specialize in associate’s degree level education. Given the diversity in educational and research missions across these areas, we anticipate discovering several themes within the RPT guidelines, primarily centered around the traditional foundations of faculty work such as service, research, and teaching. We anticipate strong differences by college and disciplinary focus, with emphasis on collaborative work and engagement increasing as RPT guidelines become more current. DISCUSSION/SIGNIFICANCE OF IMPACT: Our experience is that faculty members want to engage in collaborative work when possible and appropriate, but their perception is that independent contributions to their field are more highly valued than interdisciplinary work. As universities rush to endorse and promote interdisciplinary, team-oriented research and teaching, this study will afford a better understanding of the types of activities valued at one large and diverse urban institution, grounded in the actual language of RPT criteria.
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Pressley, Margaret, et Rebecca Henry. « A Personal Journey toward Teaching Success ». American String Teacher 44, no 2 (mai 1994) : 69–72. http://dx.doi.org/10.1177/000313139404400227.

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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the faculty of the Indiana University Summer String Academy, a member of the advisory board of the Seattle Young Artist Music Festival and the National Music Teachers Association Competition String Repertoire Committee, and string chair for the Washington State Music Teachers Association. She was named ASTA's 1994 Washington State Studio Teacher of the Year.
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Glushkova, Olga R., et Sergei V. Glushkov. « About the Educational-Pedagogical Work of the Moscow Conservatory in the Pre-Revolutionary Period ». ICONI, no 1 (2019) : 54–62. http://dx.doi.org/10.33779/2658-4824.2019.1.054-062.

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The educational activities of the Imperial Russian Musical Society (IRMS) were of indelible significance in the formation of the Russian musical enlightening and educational system. The Moscow Conservatory became one of the greatest achievements of the IRMS, since it concentrated in its image — its spiritual and artistic orientations, administrative and tutorial structure, and pedagogical — the characteristic particularities the development of which subsequently consolidated and elevated its significance in music history. The article examines the questions of the establishment of the tutorial-pedagogical work of the Moscow Conservatory during the prerevolutionary period: the formation of the managerial apparatus, its evolution (depending on the quantity of students), a perception is provided about the makeup of the pedagogical faculty. The peculiarities of the pre-revolutionary organization of tutorial courses of the Conservatory are briefly illuminated as being accessible (for involvement in it at any stage) and as being compound, comprised of several interconnected steps: from the elementary to the artisanal-professional and to the advanced level. The latter also provided the possibilities to acquire indispensable knowledge in the humanitarian sphere for those to wished it. On the example of the Moscow Conservatory the achievements of the educational achievements of the IRMS are demonstrated, which during the Soviet period led to the threelevel system of national musical education in Russia (school — college — higher educational institution), which exists up to the present day.
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Sorokina, Anna V., et Vladimir E. Okhotnikov. « Karl Eduard Weber, How He was Known in Russia ». ICONI, no 1 (2019) : 29–41. http://dx.doi.org/10.33779/2658-4824.2019.1.029-041.

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The article illustrates the life and creative activity of German pianist and pedagogue Karl Eduard Weber in Russia. Weber received his education at the Leipzig Conservatory. In 1854 he went to Russia, where musicians of high professional level were on demand, and taught for over 20 years at the Tambov Music College. However, having engaged in pedagogical activity in various Russian cities, Weber frequently experienced discontent. Having observed the unsatisfactory level of musical education, he began creating methodological works. Among them, those which became famous and were disseminated were “Rukovodstvo k sistematicheskomu obucheniyu igre na fortepiano” [“A Manual for the Systematic Instruction of Playing the Piano”] (1866), and “Putevoditel' pri obuchenii igre na fortepiano” [“A Guide to Instruction of Piano Playing”] (1876). In 1881 Karl Eduard Weber received the position of an instructor at the Tambov Alexandrinsky Institute for Noble Girls. In 1889 he switched to working at the Tambov Musical Classes (since 1900 — the Tambov Music College), where he worked until the end of his life (1913).Weber brought up the talented student Anna Gravert-Lavdovskaya (1881 – 1888). She provided initial instruction to the future outstanding pianist Victor Merzhanov. Therein, undoubtedly, lies a great merit of the Weber school. Many of the foundational traits of piano pedagogy of Karl Eduard Weber are inherent to the pedagogy of Victor K. Merzhanov.
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Ferodova, Alexandra. « Parenting Styles and Their Influence on Personality and Stage Performance Successfulness of Would-Be Musicians ». Musical Art and Education 7, no 4 (30 décembre 2019) : 31–43. http://dx.doi.org/10.31862/2309-1428-2019-7-4-31-43.

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This article is devoted to the relevant issue of correlation between the style of parenting and the prerequisites of professional difficulties that music students may have. The research of professional and personal problems of musicians, its causes and effects as well as prevention opportunities is relevant to consistently actual issues of musical education psychology. Wide public debate about authoritarianism problems and violence signs in musical pedagogy indicate importance and depth of the problem of choosing an optimal educational style, that is proved by the results of many current domestic psychological research as well. The analysis of experimental data available allows to suggest there is an ambivalence of parenting and teaching style effect on emotional wellbeing and professional success of young musicians. This article shows the generalized theoretical view on the nature of irrational setting and neurotic perfectionism of young musicians as well as peculiarity of forming self­identity in conditions of different parenting styles. The results of empiric research of parenting styles and their relation to scenic stress suggest the correlation between parental authoritarianism and scenic stress level. The research has been conducted in 2019 among students of Academic music college at Tchaikovsky Moscow state conservatory and the students of world music culture faculty of Maimonides Academy.
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Rovner, Anton A. « An Interview with Composer and Pianist Nina Siniakova ». Problemy muzykal'noi nauki / Music Scholarship, no 1 (2023) : 77–87. http://dx.doi.org/10.56620/2782-3598.2023.1.077-087.

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The journal Problemy muzykal'noi nauki / Music Scholarship would like to present its readers with an interview with Nina Siniakova, a composer and pianist of a diverse cultural background and broad interests. Her music explores the eternal subjects of beauty, love, life, and death. Her colleagues describe her style as “unique and refined,” (Mark Hagerty, composer, USA) and that in their opinion makes Nina Siniakova “one of the most interesting composers of her generation.” (Krzysztof Meyer, Professor Emeritus, Cologne Hochschule für Musik) Her interests in musical genres span from music written in the contemporary classical style to minimalism, jazz, easy listening, and music for children. Nina Siniakova is active as a composer, pianist, educator, and a sales representative at Cunningham Piano Company in Philadelphia. A Doctor of Musical Arts, she was born in Minsk, the capital of Belarus, received her education at the Minsk Glinka Music College, the St. Petersburg State Rimsky-Korsakov Conservatory and the Musikhochschule in Cologne. Besides having developed her activities in music she has also studied theatrical acting professionally. Siniakova is a recipient of numerous awards, including the First Prize and the People’s Choice Award at the XII Open Competition of Composers named after Andrei Petrov in St. Petersburg, Russia (in the nomination “symphonic music” for her Concerto for Two Violins and Orchestra), a stipend from the DAAD (the German Students’ Exchange Service), a stipend of Exploring the Metropolis program NYC and many others. As a pianist and a composer, she has appeared at the Carnegie Weill Recital Hall, Symphony Space in New York, Harvard University, the Beethoven House in Bonn, the Academy of Music in Philadelphia, the St. Petersburg Philharmonic and the Zink jazz Bar in New York. With such an assortment of diverse accomplishments in music, Nina Siniakova appeared to be the perfect musician to take an interview from which the readers of the journal would find of great substance.
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De Carvalho, Daniela Dias. « Urban design and architecture through notation ». Ekistics and The New Habitat 73, no 436-441 (1 décembre 2006) : 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the Center for Performing Arts in Portalegre, and on a contest for the Music Conservatory in Coimbra, among other projects. Simultaneously, she has worked with Kale Dance Company and Círculo Portuense de Opera, in several dance and opera performances, either as a dancer or a stage assistant director. For three years now, she has also taught young children at Ginasiano Dance School developing Expressões, a project that aims to develop the individual through Art in an altogether involvement with movement expression, visual arts, music and drama. The text that follows is a slightly revised and edited version of a paper presented at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.
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Thèses sur le sujet "College-Conservatory of Music of Cincinnati"

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Vander, Hart Robert Jay. « A history of the Conservatory of Music at Central College (Pella, Iowa), 1900-1930 ». Thesis, University of Iowa, 1998. https://ir.uiowa.edu/etd/5384.

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Hardin, Gary Joe II. « IN THE DIVISION OF COMPOSITION, MUSICOLOGY, AND THEORY OF THE COLLEGE-CONSERVATORY OF MUSIC ». University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin960900004.

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Johnson, Brandon Paige. « Elements of excellence : A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence ». Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.

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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
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Vassillière, Christa Theresa. « The Spatial Properties of Music Perception : Differences in Visuo-spatial Performance According to Musicianship and Interference of Musical Structure ». Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1340331749.

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Livres sur le sujet "College-Conservatory of Music of Cincinnati"

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Schnurr, Stephen J. Organs of Oberlin : The College Conservatory of Music and its pipe organs. Oak Park, Ill : Chauncey Park Press, 2013.

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Wilkins, James Richard. The impossible task : A history of Shenandoah College and Conservatory, 1875 to 1985, and the moving and rebuilding of the colleges in Winchester, Virginia, 1955 to 1985 : also a brief history of the Old John Kerr School and early education in the Winchester, Virginia area. [Winchester, Va.] : J.R. Wilkins, 1985.

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Library, Oberlin College Conservatory of Music. Every Monday morning : A discography of American labor songs in the Conservatory Library at Oberlin College. Oberlin, Ohio : Oberlin College Library, 1993.

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DesRoches, Michael. Sir Edmund Walker scholarships. [Toronto : s.n., 1990.

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Doering, James M. The Young Educator. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037412.003.0002.

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This chapter discusses how music became an early passion of Judson's, and he showed promise. He studied violin throughout adolescence with a teacher from the Cincinnati Conservatory of Music. After completing high school, his musical skills captured the attention of Ebenezer M. Thresher, a Dayton businessman and chairman of the Board of Trustees for Denison University. Judson remained at Denison for the next seven years (1900–1907), rising to the rank of professor in 1902 and becoming dean of its Conservatory of Music in 1904. By all accounts, he injected “new life” into Denison's musical environment. During his tenure, music went from being an extracurricular diversion to a viable academic program.
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Southern Presbyterian College and Con. Southern Presbyterian College and Conservatory of Music Catalog ; 1911-1912. Creative Media Partners, LLC, 2021.

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College, Whitby Ontario Ladies. Biennial Calendar of the Ontario Ladies' College and Ontario Conservatory of Music and Art, Whitby, Ont. for the Collegiate Years 1911-12 And 1912-13. Creative Media Partners, LLC, 2021.

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Vail, Lillian Speakman. Achievements in seventy five years of Epsilon Chapter, Sigma Alpha Iota at : Ithaca College. [Ithaca, N.Y, 1986.

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Vail, Lillian Speakman. Achievements in seventy five years of Epsilon Chapter, Sigma Alpha Iota at : Ithaca College. [Ithaca, N.Y, 1986.

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Chapitres de livres sur le sujet "College-Conservatory of Music of Cincinnati"

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Klotz, Kelsey. « Negotiating Jewish Identity in The Gates of Justice ». Dans Dave Brubeck and the Performance of Whiteness, 199—C5N118. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197525074.003.0006.

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Abstract Chapter 5 focuses on the late 1960s, as the civil rights movement appeared to some to be splintering, and after the Brubeck Quartet officially disbanded. In 1968, Brubeck was commissioned by the Union of American Hebrew Congregations with the College Conservatory of Music at the University of Cincinnati to compose a cantata that would address what many Jewish leaders perceived as the rapidly deteriorating relationship between Black and Jewish communities. The result was The Gates of Justice (1969). This chapter presents musical analysis alongside conversations among Black and Jewish leaders across the 1960s, revealing the ways in which the cantata, though explicitly intended to speak to Black-Jewish relations, also re-solidified a particularly Jewish identity in an era of increasing discomfort with white assimilation among Jewish communities.
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Marlow, Eugene. « Jazz Education in China ». Dans Jazz in China, 210–23. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0017.

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This chapter first discusses music education in China. The Shanghai Conservatory (Shanghai) and the Central Conservatory (Beijing) are the two dominant music conservatories in China. Changes in music education takes three forms: (1) more Western-style music education; (2) a much greater connection, culturally and musically, to the outside world; and (3) the emergence of music education in jazz at the college level. The chapter then turns to the evolution of jazz education, which has occurred through various phases since its first appearance in Shanghai in the 1920s. But just like the rest of the world, jazz education ranges from the highly informal (listening, experimentation, self-teaching) to the highly formal, e.g., studying at the University of Beijing or the Midi School in Beijing, or the Shanghai Conservatory of Music, or the JZ Club School in Shanghai, or the jazz program established at Ningbo University.
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McCutchan, Ann. « Eric Stokes ». Dans The Muse that Sings, 3–10. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0001.

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Abstract Eric Stokes was born and raised in Haddon Heights, New Jersey, and educated at Lawrence College, the New England Conservatory, and the University of Minnesota. From 1961 to 1988 he taught at the University of Minnesota, where he founded the university’s electronic music program and First Minnesota Moving and Storage Warehouse Band, a new music performance group. He was an active proponent of new music in the Twin Cities for more than thirty-five years.
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McCutchan, Ann. « Richard Danielpour ». Dans The Muse that Sings, 211–18. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0022.

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Abstract Richard Danielpour was born in New York City and grew up in New York and West Palm Beach, Florida. He received his professional training at Oberlin College, the New England Conservatory of Music, a he Juilliard School. His composition teachers included Vincent Persichetti and Peter Mennin, and he studied piano with Lorin Hollander, Theodore Lettvin, and Gabriel Chodos. Danielpour also acknowledges the influence of Leonard Bernstein on his music and his outlook on musical life.
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Van Maanen, Cynthia. « Preparing Young Composers for Collegiate Study ». Dans The Oxford Handbook of Music Composition Pedagogy, 514–34. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197574874.013.25.

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Abstract This chapter focuses on the many skills students need to develop that will prepare them for collegiate study in music composition. Topics will include an exploration of what gets in the way of skill growth, how to develop the daily discipline required to practice the compositional craft, how score study can contribute to the evolution of stronger artists, and the challenges young composers face along with the strengths they already possess. The topic of college/conservatory applications will be considered as a lens for developing creative musical artists who are knowledgeable, passionate, and articulate about their work. Examples drawn from twenty-one years of pursuing this work at the Interlochen Arts Academy will offer insight into what works—and what really does not work—in composition curriculum and pedagogy.
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McCutchan, Ann. « Bright Sheng ». Dans The Muse that Sings, 203–10. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0021.

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Abstract Bright Sheng was born in Shanghai, China, and started piano studies with his mother at the age of four. His adolescence coincided with the Chinese Cultural Revolution (1966-76), during which he was sent to the country for a rural education. After the fall of Mao Tse-Tung’s regime, Sheng earned a degree in composition at Shanghai Conservatory of Music, and in 1982 he moved to New York, where he attended Queens College, CUNY, and Columbia University. Among his teachers were Leonard Bernstein, Chou Wen-chung, Mario Davidovsky, George Perle, and Hugo Weisgall.
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Haroutounian, Joanne. « The Flame : Teenage Years ». Dans Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0022.

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Close to a dozen years have gone by and we find ourselves seated on folding chairs enjoying the final recital of a private studio of talented piano students. Each year there are a few new eager faces as the younger students deftly work through pieces that seem very complex for such little fingers to play so quickly. We notice the students who have been seasoned through training, now in those tenuous intermediate years. Their intense desire for precision shows maturing musical ideas, but often arrives at awkward adolescence when being on stage has an added gravity of meaning. We search for the advanced teenagers—those students we have seen truly blossom through the long process of talent development. Numbers have dwindled in this studio. One has decided to move out of state and is now studying at a conservatory. Another has decided to concentrate efforts on the oboe, begun in elementary school band, with time restraints easing piano lessons out of her schedule. Academic and parental pressures have caused last year’s shining star, a junior seeking an Ivy League college education, to quit as well. There remains one teenager who ends the program with a flourish, receiving many hugs from young admirers and awards galore following the program. This is our tiny, eager student from the front steps. A senior, having completed a full twelve years of instruction with many competitions and solo recitals under his belt, he bids farewell to this comfortable, nurturing studio. He enters college as a math major. Many private teachers, parents, and music students may recognize this scene as a very realistic portrayal of possibilities in musical talent development. The first years of training are “romance,” with parents aglow when hearing their talented youngster perform with such confidence and flair. The middle years consist of flux and flow, a phase when students search for the “whys” and “hows” beneath the notes that were so easily played in prior years. Musical training now presents persistent challenges. Late-starters may speed into these years with determination. Others may begin a second instrument or composition classes to broaden musical experiences.
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Actes de conférences sur le sujet "College-Conservatory of Music of Cincinnati"

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O' Connor, Rachel, et Puo (Roger) Wu Fu. « Musical instrument, personality and interpretation : Music cognition at a college-conservatory ». Dans Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0011.

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