Articoli di riviste: "M-Base Collective (Musical group)"

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Prettyman, Michele. "Doing It, Fluid". liquid blackness 6, n. 1 (1 aprile 2022): 168–203. http://dx.doi.org/10.1215/26923874-9546612.

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Abstract In this interview essay Michele Prettyman talks with filmmaker, moving image artist, curator, and producer Elissa Blount Moorhead about her work, the power of collaboration, and her innovative praxis. Taking some inspiration from black musical traditions, which are central to Blount Moorhead's roots, Prettyman borrows the essay's title phrasing, “Doing It, Fluid,” from a song by the group the Blackbyrds. The song's aggregation of an array of sonic components embodies the capacities of black expressive life to animate multiple creative impulses at once, providing a compelling analogy to Blount Moorhead's “fluid” practices of black making, gathering, and collaboration. The introductory essay outlines ways in which fluidity is useful both as an analytic and as an approach to studying Blount Moorhead's work, which often reveals unseen nuances in Black life by visually reconstituting images, artifacts, memories, and speculative histories. Prettyman also explores Blount Moorhead's role in shaping an art and moving image collective of Black media makers in Baltimore, coining the phrase “the Baltimore Arts and Image Renaissance (BAIR),” and citing Baltimore as an important base for Blount Moorhead, Bradford Young, and filmmaker Radha Blank, among others, and as a hub for TNEG, a film production studio helmed by Blount Moorhead, Malik Hassan Sayeed, and Arthur Jafa. Together the essay and interview reveal the impact of Blount Moorhead's praxis and the ways in which contemporary Black filmmakers remain connected to histories of Black creative collectives while also reimagining black aesthetic and technological possibilities.

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Einarsdottir, Sigrun Lilja. "‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir". British Journal of Music Education 31, n. 3 (14 agosto 2014): 281–96. http://dx.doi.org/10.1017/s0265051714000242.

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The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning ‘art music’ choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur ‘art music’ Bach Choir, in the process of rehearsing and performing the Mass in B Minor by J.S. Bach. Data collection consisted of participant observation, qualitative interviews and a paper-based survey. Findings indicate that in the process of learning a challenging choral work, participants use peer-learning as support and form supportive groups within each voice part, with ‘informal leaders’ supporting others (‘followers’) who are performing the work for the first time. On the other hand, performing a challenging work can also seem ‘intimidating’ for those less experienced singers. Findings also indicate that whereas followers (and the conductor) benefit from this group support, ‘leaders’ may experience a certain lack of musical challenge.

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Malakhova, Margaryta. "STUDENT’S FOLK MUSIC BAND: TECHNOLOGY OF GROUP INTERPRETATION OF MUSICAL COMPOSITION". Educological discourse, n. 3-4 (2019): 100–109. http://dx.doi.org/10.28925/2312-5829.2019.3-4.100109.

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The article deals with the problem of collaboration and group interaction during the production of a musical composition. The terms “music band”, “pedagogic technology” and “interpretation” are revealed. Based on author’s experience, the technological dimensions in the activity of student’s folk music band are shown. These dimensions are aimed at performance of musical compositions during collective interactions. According to this problem the four main stages are market out, such as familiarization with a musical composition, technical mastering, realization of artistic content and music performance. It is stressed, that performance interpretation covers all possibilities of musician. Thus for the sake of realization owns ideas it is necessary to have professional skills. Among them we point out creative thinking, performance skills, including ensemble mastering, possibilities, specifically good ear for music, and psychological stability, i.e. the high level of self-regulation during public performances. The main part of the article shows theoretical grounds, methodological recommendation and practical advice as for formation of collective thinking and common masterly performance. It is stressed, that necessary condition of good activity of student group is implementation of methods and tasks directed at development of creative individuality of every folk music band member, improvement of masterly performance and increasing of psychological stability during the performances. It is pointed out that team work during permanent cooperation creates band performance style and makes the conditions for generalization of masterly performance and development of creative potential, intuition and artistic feeling

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Heil, Leila. "Teaching Improvisation through Melody and Blues-Based Harmony: A Comprehensive and Sequential Approach". Music Educators Journal 104, n. 1 (settembre 2017): 40–46. http://dx.doi.org/10.1177/0027432117711484.

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This article describes a sequential approach to improvisation teaching that can be used with students at various age and ability levels by any educator, regardless of improvisation experience. The 2014 National Core Music Standards include improvisation as a central component in musical learning and promote instructional approaches that are contextual, integrate musical concepts, and facilitate group interaction. The described approach focuses on the how and the why of improvisation instruction, offering a pedagogical guide through the teaching process using concepts of melody, harmony, rhythm, texture, and formal structure. Rather than a collection of isolated activities, the sequence builds on skills and concepts that are applied in authentic and meaningful group interactions. Examples are based on the blues and teaching techniques commonly used by jazz educators that can be adapted to any musical genre.

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Kim, Jin Hyun, Andres Reifgerst e Marta Rizzonelli. "Musical Social Entrainment". Music & Science 2 (1 gennaio 2019): 205920431984899. http://dx.doi.org/10.1177/2059204319848991.

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Over the last decade, the concept of entrainment—emerging from the fields of physics and biology—has grown as a tool for investigating rhythmic adjustments among musicians, and between different groups of musicians. When combined with methods of audio data analysis, this approach has benefits for the assessment of musical behavior, previously limited to largely descriptive ethnomusicological research based on ethnographic data collected through field study. However, musical behavior is not only biophysically determined, but also a highly social activity. Therefore, this article focuses on “social entrainment”—a concept coined by the social scientists Joseph E. McGrath and Janice R. Kelly in 1986 which recently has been taken up in music research. Relating this concept to certain approaches in relevant current empirical studies on interpersonal coordination, the authors develop their own categories of social behavior, which are broader than those of social entrainment but can accordingly be applied to the social entrainment that may occur in musical practices. These categories range from basic behaviors that do not involve social cognition but are meaningful to interacting individuals and groups, to high-order social behaviors that require collective intentionality and can lead to sophisticated interaction involving music-specific phenomena such as a “groove.” Consequently, a concept of entrainment which goes beyond both an adaptation of the established concept of physical and biological entrainment and McGrath and Kelly’s original concept of social entrainment is proposed: “musical social entrainment.” The authors use this term to refer to intra-individual, inter-individual, intra-group, and inter-group entrainment to exogenous musical rhythms—including the rhythms of other musically acting individuals and groups—embedded in a social context and contributing to sociality. Finally, reviewing selected studies relevant to musical social entrainment, the authors discuss problems and open questions concerning music-related entrainment research, and potential contributions in the future of entrainment studies in general.

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Soares-Quadros Júnior, João Fortunato, Oswaldo Lorenzo, Lucía Herrera e Naiara Sales Araújo Santos. "Gender and religion as factors of individual differences in musical preference". Musicae Scientiae 23, n. 4 (14 maggio 2018): 525–39. http://dx.doi.org/10.1177/1029864918774834.

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The goal of this article is to analyse the musical preferences of Brazilian students by considering the variables of gender and religion. Using random sampling, a class was selected from each high school year group of 10 public schools in the city of São Luís (Brazil).The total study sample consisted of 658 students: 358 females (54.4%) and 300 males (45.6%). Of these, 343 (52.1%) were Protestants and 315 (47.9%) were Catholics, and their ages ranged from 14 to 19 years ( M = 16.24 years old, SD = 1.14). For the data collection, a version of the Questionnaire on Musical Style Preferences by Lorenzo, Herrera, and Cremades (2008) was used; however, it was shortened and culturally adapted to the Brazilian context. The participants were asked to evaluate how often they listened to 19 different styles of music. The overall results indicated that the participants’ musical preferences were heavily influenced by mass media. However, ANOVA results indicated significant differences and a variety of size effects in the frequency of musical listening based on gender and religion. Females had a greater preference for styles with emotional content, dance music and music with a strong connection to mass culture, while males preferred more vigorous styles. Regarding religion, Protestants had a stronger preference for gospel music, while Catholic preferences were more diverse.

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Aranda, Luis del Barrio. "La Creatividad Como Herramienta Didáctica En El Desarrollo Educativo Musical En Educación Primaria". European Scientific Journal, ESJ 13, n. 10 (30 aprile 2017): 353. http://dx.doi.org/10.19044/esj.2017.v13n10p353.

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This research shows a case study based on the analysis of an educational proposal focused on musical creative practice developed with 26 students in a class group of 4th year of primary education in a school year. The work was based on the musical teaching-learning process, the study of their contribution to the achievement of the set of curricular musical competences and the improvement of the student work in different contexts of learning with varying degrees of autonomy. The qualitative nature of this educational research has pointed out the use of numerous instruments for collecting information, whose triangulation has facilitated the interpretation of the results. The understanding of musical knowledge in selfexperimentation and the active dimension of the educational proposal have stimulated the familiarization of students with the musical activity as a way of autodidaxia creative activity.

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Sari, Ari Patma, Dwi Prasetiyawati Diyah Hariyanti e Purwadi Purwadi. "ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B". Wawasan Pendidikan 1, n. 2 (30 agosto 2021): 225–33. http://dx.doi.org/10.26877/wp.v1i2.8839.

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Musical intelligence is musical intelligence which is characterized by a person's ability in the field of music, both sensitivity and mastery of tones, rhythms, rhythm patterns, instruments, and musical expressions, so that a person can play musical instruments or sing songs. This study aims to analyze the musical intelligence of early childhood with angklung musical instruments in Hidayatullah Islamic Kindergarten Semarang. The benefit of this research is knowing how to apply the angklung musical instrument correctly so that it can develop children's musical intelligence. The method used is descriptive qualitative research with data collection methods, namely observation, interviews, and documentation. Based on the results of research that has been done that the activity of playing angklung musical instruments can play an active role in stimulating children's musical intelligence. This can be seen when playing angklung musical instruments, children have skills in playing angklung musical instruments, the ability to adjust the tempo, adjust the tone, adjust the rhythm/rhythm, and the ability to sing short songs with the right rhythm. The results of the study showed that the musical intelligence of children in group B of Hidayatullah Islamic Kindergarten Semarang through playing the angklung musical instrument developed as expected.

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Lima, Daiane, Simone Regaçone, Anna Oliveira, Yara Alcântara, Eduardo Chagas e Ana Frizzo. "Analysis of the Effect of Musical Stimulation on Cortical Auditory Evoked Potentials". International Archives of Otorhinolaryngology 23, n. 01 (25 luglio 2018): 031–35. http://dx.doi.org/10.1055/s-0038-1651507.

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Introduction Cortical auditory evoked potentials (CAEPs) are bioelectric responses that occur from acoustic stimulations, and they assess the functionality of the central auditory system. Objective The objective of the present study was to analyze the effect of musical stimulation on CAEPs. Methods The sample consisted of 42 healthy female subjects, aged between 18 and 24 years, divided into two groups – G1: without musical stimulation prior to the CAEP examination; and G2: with stimulation prior to the examination. In both groups, as a pre-collection procedure, the complete basic audiological evaluation was performed. For the musical stimulation performed in G2, we used an MP4 player programmed to play Pachelbel's “Canon in D Major” for five minutes prior to the CAEP examination. To analyze the effect on the groups, the ear side and the ide–group interaction , a mixed analysis of variance (ANOVA) of repeated measures was performed. Box M test and Mauchly sphericity test were also performed. Results Test differences were considered statistically significant when the p-value was < 0.05 (5%). Thus, it was possible to observe that there was a statistically significant difference of the P2 component characterized by the decrease in the amplitude of response in the left ear in G2 when comparing the responses of CAEP with and without prior musical stimulation. Conclusion The result of the present study enabled us to conclude that there was a change in the response of CAEPs with musical stimulation.

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Ray, James, e Karin S. Hendricks. "Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles". Journal of Research in Music Education 66, n. 4 (19 ottobre 2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.

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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that was rated by a panel of four string specialists. Analyses revealed moderately strong levels of collective efficacy belief and uniformly high within-group agreement. There was a significant, moderately strong correlation between collective efficacy belief and within-group agreement ( rs = .67, p < .01). We found no relationship between collective efficacy belief and performance quality across the total sample, but those factors correlated significantly for festival-based ensembles ( rs = .82, p < .05). Reliability estimates suggest that our collective efficacy survey may be suitable for use with string chamber ensembles. Correlational findings provide partial support for the theorized link between efficacy belief and performance quality in chamber music settings, suggesting the importance for music educators to ensure that positive efficacy beliefs become well founded through quality instruction.

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ЛАРИОНОВА, А. С. "Chants of olonkho in the records of the Viluy expedition of M. N. Zhirkov". Эпосоведение, n. 4(12) (26 dicembre 2018): 74–81. http://dx.doi.org/10.25587/svfu.2018.12.22344.

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В статье исследуются нотные записи напевов якутского героического эпоса олонхо, произведенные М. Н. Жирковым во время Вилюйской экспедиции 1943 г. Они хранятся в фондах М. Н. Жиркова в Национальной библиотеке РС (Я) им. А. С. Пушкина. Выявлено, что нотные записи напевов якутских сказаний М. Н. Жиркова являются одними из первых нотаций напевов олонхо. До него нотные записи якутских традиционных напевов произведены А. Ф. Миддендорфом и А. Л. Масловым. Впервые записал на ноты «Песню девушки» из олонхо В. Л. Серошевский. В изданных до М. Н. Жиркова нотных сборниках отсутствуют нотные записи напевов олонхо. Только во время Вилюйской экспедиции 1943 г. М. Н. Жирков впервые записал на ноты напевы якутских сказаний. В записях Вилюйской экспедиции М. Н. Жирковым приводятся 11 песен из олонхо. При этом отсутствуют указания принадлежности напевов к олонхо. Тем не менее, эти напевы принадлежат распространенным в олонхо персонажам. При анализе сделана попытка реконструкции принадлежности напевов олонхо к тому или иному якутскому эпосу, распространенному в вилюйской группе улусов. Все напевы принадлежат вилюйской стилистике пения этэн ыллыыр (поёт, выговаривая). Вместе с тем в них обнаруживаются две улусные традиции исполнения олонхо: верхневилюйская и нюрбинская, которые отличаются между собой и интонационно, и метроритмически. Изучены также методы собирания М. Н. Жирковым якутского музыкального фольклора в плане фрагментарной фиксации мелодий и их записи от пожилых носителей фольклора. Нотные записи М. Н. Жиркова отличаются краткостью, схематизмом и зачастую отсутствием слов. При ключе проставлены знаки альтерации, указывающие принадлежность напева к той или иной тональности, что характерно для начального этапа изучения якутской традиционной песенности, когда еще не были изучены ладозвукорядные закономерности якутской народной песни. Проставлен в нотных записях и размер, что говорит о принадлежности напевов к стилю якутского традиционного пения дэгэрэнг ырыа (подвижная, ритмичная, размеренная песня). Таким образом, нотные записи напевов олонхо М. Н. Жиркова, произведённые им во время Вилюйской экспедиции 1943 г., являются первыми нотными записями песенных фрагментов якутских героических сказаний в период активного бытования фольклора народа саха. The article examines musical notes of the Yakut heroic epic olonkho chants, produced by M. N. Zhirkov during the Viluy expedition in 1943. They are kept in the funds of M. N. Zhirkov in the National Library of RS (Y). It is revealed that the musical notes of the chants of the Yakut legends of M. N. Zhirkov are among the first notation of the olonkho chants. Before him, the musical notes of the Yakut traditional chants were produced by A. F. Middendorf and A. L. Maslov. For the first time, V. L. Seroshevsky recorded the notes of an Olonkho girl’s song. There are no musical notes of olonkho chants in musical compilations published before M. N. Zhirkov. It was only during the 1943 Viluy expedition that M. N. Zhirkov first recorded the chants of Yakut legends on notes. In the M. N. Zhirkov’s records of the Viluy expedition, there are 11 songs from olonkho. At the same time, there are no indications of belonging to the olonkho chants. Nevertheless, these chants belong to characters common in olonkho. In the analysis, an attempt was made to reconstruct the belonging of the olonkho chants to one or another Yakut epic, common in the Viluy group of districts. All chants belong to the Viluy style of singing eten yllyyr. At the same time, two other traditions of olonkho performance are found in them: Verkhnevilyuysk and Nyurba, which differ from each other in the intonation and metrrhythmically. The M. N. Zhirkov’s methods of collecting Yakut musical folklore were also studied in terms of fragmentary fixation of chants and their recording from elderly folklore bearers. The musical notes of M. N. Zhirkov are characterized by brevity, schematism, and often the lack of words. When the key is marked, the alteration signs indicate that the chant belongs to this or that key, which is typical of the initial stage of studying the Yakut traditional song, when the harmonic regularities of the Yakut folk song had not yet been studied. It is stamped in musical notations and size, which indicates that the chants belong to the Yakut traditional singing degereng yrya style. Thus, the musical notes of M. N. Zhirkov’s olonkho chants, made by him during the 1943 Viluy expedition, are the first musical records of song fragments of Yakut heroic legends during the period of active existence of the Sakha folklore.

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Vladimirovna Karkina, Svetlana, Nelya Khabibullovna Nurgayanova e Manpreet Kaur. "TRADITIONAL MUSIC AND POETRY OF THE TATARS-MISHARS: MODERN FORMS OF EXISTENCE". Humanities & Social Sciences Reviews 7, n. 6 (1 dicembre 2019): 477–80. http://dx.doi.org/10.18510/hssr.2019.7673.

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Purpose: The Tatars-Mishars are an ethnographic group of the middle Volga and Ural Tatars. Their speech is based on a special dialect and belongs to the Western group of the Tatar language. The Tatars-Mishars were settled on the Right Bank of the Volga in Mordovia, Chuvashia, Tatarstan, Bashkortostan, as well as in the Nizhny Novgorod, Penza, Ryazan, Samara, Saratov, and Ulyanovsk regions. The Mishar sub-ethnic group is divided into three ethnographic components – Sergach, Temnik, and lambir, each of which has its own linguistic and ethnocultural features. The object of our attention is the traditional musical and poetic creativity of the Tatar-Mishars of the Ulyanovsk region, which is a unique layer, characterized by the preservation and to date the existence of original folklore genres. Methodology: In the article the analysis of the materials obtained by the authors during expeditions in the Ulyanovsk region, where the ignorance relating to the khvalynskoe, Karsunsky and melekessky language groups. As a result of research various and interesting, to some extent, the original material was recorded. When collecting information, the instruction on collecting musical folklore was used for detailed certification of the recorded sample, which allowed to identify the distribution area, local features, the picture of the modern functioning of the works of traditional musical and poetic creativity. Results: In general, the study showed that the traditional musical culture of the Tatar-Mishars of the Ulyanovsk region, is a distinctive layer, characterized by a variety of genres and styles. This lyrical lingering and short tunes, takmaks and lyric-epic genres baits, munajat. Application: Therefore, the study and preservation for future generations of musical and poetic folklore of the Tatar-Mishars, which has inexhaustible wealth, will allow feeling the original and universal foundations of spirituality of the Tatar people and its culture.

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Artemeva, Olga Arkadjevna, e Alina Vladimirovna Karapetova. "Research groups as the foundation for psychological school of V. M. Bekhterev". Психология и Психотехника, n. 3 (marzo 2021): 74–89. http://dx.doi.org/10.7256/2454-0722.2021.3.36169.

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In the context of studying work organization of the leading teams of Russian psychologists, the article provides characteristics of the research groups that worked under the direction of V. M. Bekhterev in the field of psychology. For outlining the institutional framework, composition and results of the activity of such groups, the author carries out the biographical analysis along with the analysis of the products of scientific activity of the scholar and members of his team. It is demonstrated that the psychological direction of the scientific school of V. M. Bekhterev was formed out of the groups led by him at the premises of Kazan State University, Saint Petersburg Military Medical Academy, Neuropsychiatric Institute, and Institute for Brain Research. The novelty of the implemented approach consists in reconstruction of the establishment of reflexology as an independent psychological direction of scientific activity of V. M. Bekhterev from the perspective of socio-psychological theory of the collective. The individual “branches” of research of the team members were a distinct feature of the organization of collective work, which ensured the fulfillment of creative potential of each scholar and contribution to the development of the collective subject of research. The author also notes the united role of the leader. Throughout 40 years, V. M. Bekhterev united dozens of talented researchers. A crucial characteristic of the psychological “scientific school-research group” represented by a number of research teams was the experimental, practical and socially oriented research program for human study. The author indicates the priority of the scientific school of V. M. Bekhterev in the development and implementation of the objective and comprehensive approach towards studying the psychological phenomena. Based on the described peculiarities of organizing scientific activity, the established research base and of psychological personnel determined the formation of the Leningrad School of Soviet Psychology not only in the works of V. N. Myasishchev, N. M. Shchelovanov, A. V. Yarmolenko, M. Y. Basov, B. G. Ananyev, but also many other Russian psychologists.

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Sveschynska, Natalia. "FORMATION OF CREATIVE-PERFORMANCE SKILLS OF FUTURE TEACHERS OF MUSIC ART IN THE PROCESS OF INSTRUMENTAL TRAINING". Academic Notes Series Pedagogical Science 1, n. 190 (novembre 2020): 133–37. http://dx.doi.org/10.36550/2415-7988-2020-1-190-133-137.

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The level of professional qualification of a music art teacher is especially evident at the stage of creative and performing activities, when the synthesis of pedagogical and creative-performing components of activity allows to achieve the artistic influence of musical art on the individual. Analysis of the activities of music teachers of different levels of skill reveal the unity of pedagogical and creative- performing aspects of skill, their equivalence and complementarity in achieving teacher interaction with students. It is extremely important to reveal the original features of the national musical art (performance, creativity), education in the context of all the real preconditions, trends, factors of their development. There is a growing interest in theoretical and methodological issues of pedagogy and performance in each of the professional music fields. Improving the instrumental and performing training of young professionals, their active involvement in the system of pedagogical activity is a complex dialectical process, which is manifested in various forms of performing skills. The most important component of a musician's professional development is perfect musical and performance training. Various aspects of this process (physiological, psychological and pedagogical, etc.) are studied in the works of Yu. Bay, V. Bilous, E. Yorkina, E. Gurenko, M. Davydov, V. Knyazev, V. Razhnikov, V. Samitov, G. Tsypin etc. Important didactic principles of music teacher's knowledge development are the young teacher's own creative, aesthetic and professional self-improvement, supplementing the personal information and methodological base, creating an individual mobile system of effective pedagogical knowledge and skills that meet specific tasks. Attending concerts of academic music, opera and musical-dramatic performances, etc. (together with students, colleagues, independently); instrumental music, group singing; acquaintance with new musical works of various forms, genres, styles; training and performance as a performer (performers) at local, regional and other conferences, festivals, concerts, performances, etc. actively contribute to the creative self-improvement of the music teacher.

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Govorova, Liliya A., e Elena G. Balan. "REFLECTIONS OF LINGUISTIC AND CULTURAL IDENTITY AND COLLECTIVE MEMORY IN 20th AND 21st CENTURIES SONG DISCOURSE (BASED ON SPANISH LANGUAGE)". Proceedings of Southern Federal University. Philology 27, n. 1 (31 marzo 2023): 65–78. http://dx.doi.org/10.18522/1995-0640-2023-1-65-78.

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The analysis of song, being an important component of the culture of any ethnic group, is an essential factor of globalization processes in their cultural and linguistic dimension and arouses interest in modern humanitarian knowledge. This article analyzes the representations of linguistic and cultural identity and collective memory within the framework of the Spanish-language song discourse of different periods of time, which allows us to trace and comprehend whether the symbolic load and the national-cultural specifics of the products of song discourse have changed over time. The conducted research made it possible to make sure that the texts of musical compositions can be a kind of manifestation of national identity and can reflect elements of collective memory, which is largely associated with the identity and value orientations of native Spanish speakers.

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Faraco, Arthur. "Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis". Empirical Musicology Review 18, n. 1 (12 gennaio 2024): 63–81. http://dx.doi.org/10.18061/emr.v18i1.8875.

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This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. Participants segmented a recorded improvisation into sequences based on personal criteria. Two groups were given different contexts: one group was informed the piece was a free improvisation, while the other was told it was a contemporary composition. Each participant analyzed one of 10 recordings. We aligned the segmentations by looking for overlaps within a specific time frame, Δt, considering segments simultaneous if they occurred within [t – Δt; t + Δt] of each other. Results indicated a high degree of similarity in perceived structure: 64% of segments overlapped within a 5-second frame, and 71% within 10 seconds. Additionally, the study found variations in the total number of segments and a correlation between sequence duration and the number of instruments used in the piece. These findings suggest that despite different contexts, there is a comparable perception of structural elements in musical pieces.

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Syroezhko, Olga. "PEDAGOGICAL CONDITIONS OF FORMATION OF MUSIC-AESTHETIC EDUCATION OF ADOLESCENTS IN INSTITUTIONAL EDUCATION INSTITUTIONS BY MEANS OF PLAYING ON FOLK INSTITUTES". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 118–23. http://dx.doi.org/10.36550/2415-7988-2021-1-195-118-123.

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The leading trend of modern education of young people in Ukraine is a harmonious combination of interests of adolescents striving for free self-development and preservation of their individuality; a society that ensures the comprehensive development of their personality and the state, which sets before education the task of educating future patriotic citizens who are able to provide it with a worthy place in the world community. Pedagogical conditions are a component of the pedagogical system of out-of-school education and a set of possibilities of its educational environment, which effectively functions, develops and optimally influences the musical and aesthetic education of adolescents. Based on the analysis of the current state of musical and aesthetic education of adolescents, the study of practical pedagogical experience of out-of-school educational institutions, taking into account the requirements of state regulations on education, identified the following pedagogical conditions that optimize this pedagogical activity: – implementation by the teacher of a personality-oriented approach to interaction with students in the process of their involvement in folk instrumental performance; – introduction of the method of contextual music making by the head of the circle in the process of musical and aesthetic education of teenagers; – formation of adolescents' need for creative self-development from the standpoint of their focus on learning the experience of musical activities and integration into the socio-cultural environment. The organization of the educational process in the circles of out-of-school educational institutions on playing folk instruments is based on the interrelation of individual, group and collective forms of activity and in parallel or in the variant of interpenetration (individual-pair classes). The optimal combination of individual, group and collective forms of musical activity of adolescents provides their psychological and emotional comfort. Due to the use of the method of contextual music making by teachers of out-of-school education, the possibility of effective adaptation of individual features of the pupil, traditional and innovative methods of musical and aesthetic education of teenagers is realized, the level of theoretical knowledge increases. An important stimulus for the formation of musical and aesthetic taste of adolescents by means of folk instrumental performance are public performances of pupils-participants of musical groups, participation in competitions, festivals of creative projects, flash mobs. Further development of out-of-school education institutions requires a variety of forms and methods of organizing specialized cognitive and practical activities of students; optimization of conditions to ensure subject-subject relationships; increasing the role of out-of-school educational space - spatial and environmental association of subjects of activity, between which close relationships have been established that ensure the effectiveness of educational and creative interaction.

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Chao-Fernández, Aurelio, Dorinda Mato-Vázquez e Rocío Chao-Fernández. "Influence of Musical Learning in the Acquisition of Mathematical Skills in Primary School". Mathematics 8, n. 11 (10 novembre 2020): 2003. http://dx.doi.org/10.3390/math8112003.

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In this research we analyze the influence of musical activities in the acquisition of mathematical knowledge and skills of a sample, 50 students from both a public and a private school in A Coruña (Spain), at a cognitive level. Based on a quantitative study with a quasi-experimental design, we evaluated students’ knowledge acquisition; we worked with musical activities related to mathematics in the experimental group (EG), and with traditional mathematical activities in the control group (CG). We used a questionnaire that the teachers completed before and after putting the activities into practice, after collecting—writing daily field notes—the mathematical knowledge acquired by the students. The results indicate that there are significant differences between the pretest and the posttest, between CG and EG, but there are no differences between public and concerted schools. In short, it is concluded that music represents an excellent tool in mathematical learning.

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Khliebnikov, P. "National Elements of Musical Culture of Cherkashchyna at the End of the XX – The Beginning of the XXI Century". Culture of Ukraine, n. 80 (30 giugno 2023): 65–75. http://dx.doi.org/10.31516/2410-5325.080.08.

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Abstract (sommario):

The concept of “musical culture of Cherkashchyna” is characterized as a complex system that includes musical values, types of activities related to them, a set of subjects, institutions and social institutes of this type of activity. The musical culture of Cherkashchyna is presented as an integral part of the spiritual culture of Ukraine and the musical culture of Ukraine. The purpose of the article is to study the current state of the musical culture of Cherkashchyna, to determine the elements of the national level in its structure, to define the level of national significance of contemporary performers of Cherkashchyna. The methodology. The authorial vision of the problem is based on the principles of scientificity and objectivity. The structural and systemic approach was applied in the analysis of the infrastructure system of the musical culture of Cherkashchyna and further determination of its elements at the national level. The ranking scores approach made it possible to determine the most popular musical performers of Cherkashchyna in social networks. The results. According to the results of the study of the current state of the musical culture of Cherkashchyna, the following elements of the national level were determined in its structure, namely: S. S. Hulak-Artemovskyi Cherkasy Music Vocational College; the Cherkasy Regional Philharmonic, where collectives with the honorary title — “academic”, and the T. H. Shevchenko Cherkasy Academic Ukrainian Regional Music and Drama Theater. Using the ranking scores approach, a ranking of the most popular musical performers of Cherkashchyna in social networks was made, according to which the “Spiv Brativ” group holds the first position. The scientific novelty. The article defines the elements of the national level in the structure of Cherkashchyna, defines the level of national significance of modern performers of Cherkashchyna. The practical significance. The results of the research can be used by specialists in the field of cultural studies, musicology, musical pedagogy, as well as at higher educational institutions that implement educational programs, the learning outcomes of which are the ability to apply knowledge of the Ukrainian musical space of individual regions.

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Tychinina, Alyona. "Hryhoriy Skovoroda’s Idea of Related Work in the Poetry of the Modernist Association “Muzaget”". Pitannâ lìteraturoznavstva, n. 106 (30 dicembre 2022): 25–40. http://dx.doi.org/10.31861/pytlit2022.106.025.

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Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.

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Köberlein, Marie, Laila Hermann, Sophia Gantner, Bogac Tur, Gregor Peters, Caroline Westphalen, Tobias Benthaus, Michael Döllinger, Stefan Kniesburges e Matthias Echternach. "Impulse dispersion of aerosols during playing the recorder and evaluation of safety measures". PLOS ONE 17, n. 9 (26 settembre 2022): e0266991. http://dx.doi.org/10.1371/journal.pone.0266991.

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Introduction Group musical activities using wind instruments have been restricted during the CoVID19 pandemic due to suspected higher risk of virus transmission. It was presumed that the aerosols exhaled through the tubes while playing would be ejected over larger distances and spread into the room due to jet stream effects. In particular, the soprano recorder is widely used as an instrument in school classes, for beginners of all age groups in their musical education, in the context of leisure activities and in professional concert performances. Understanding the aerosol impulse dispersion characteristics of playing the soprano recorder could assist with the establishment of concepts for safe music-making. Methods Five adult professionally trained soprano recorder players (4 female, 1 male) played four bars of the main theme of L. van Beethoven’s “Ode to Joy” in low and in high octaves, as well as with 3 different potential protection devices in the high octave. For comparison they spoke the corresponding text by F. Schiller. Before each task, they inhaled .5 L of vapor from an e-cigarette filled with base liquid. The vapor cloud escaping during speaking or playing was recorded by cameras and its spread was measured as a function of time in the three spatial dimensions. The potential safety devices were rated for practicability with a questionnaire, and their influence on the sound was compared, generating a long-term average spectrum from the audio data. Results When playing in the high octave, at the end of the task the clouds showed a median distance of 1.06 m to the front and .57 m diameter laterally (maxima: x: 1.35 m and y: .97 m). It was found that the clouds’ expansion values in playing the recorder with and without safety measures are mostly lower when compared to the ordinary, raised speaking voice of the same subjects. The safety devices which covered the instrument did not show clear advantages and were rated as unpractical by the subjects. The most effective reduction of the cloud was reached when playing into a suction funnel. Conclusion The aerosol dispersion characteristics of soprano recorders seem comparable to clarinets. The tested safety devices which covered holes of the instrument did not show clear benefits.

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Aryandari, Citra, Karel Martinus Siahaya e Fariz Al Hazmi. "Ulahahan Babatu Orchestra: Concept and Functional Role of Inclusive Music Community". Harmonia: Journal of Arts Research and Education 23, n. 1 (29 giugno 2023): 40–52. http://dx.doi.org/10.15294/harmonia.v23i1.42411.

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The presence of Toki Batu music in Ulahahan Village as a cultural product cannot be separated from the musical narrative of the Maluku people, which has been part of social and cultural life since ancient times. This study aims to explain the concept of inclusiveness within the group and its functional role in society as an inclusive music community. The research method uses a descriptive qualitative with an ethnographic approach. Data collection techniques were carried out through observation, semi-structured interviews, and documentation. The study results explain that the concept of inclusiveness in the Ulahahan Babatu Orchestra community lies in membership open to people from various backgrounds, both children and adults. The Community also does not provide special requirements to be able to join the group because Toki Batu’s music belongs to the Community, and anyone should be able to contribute. The leadership style used is based on local culture by adopting respect for elders. As a result, the leader is someone who is older and more experienced in community management rather than someone who has mastered music. Functionally the role of the Toki Batu music community revives community creativity and influences collectively in various fields such as recreational, educational, communication and religious facilities.

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STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION". Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, n. 2 (11 gennaio 2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.

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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of playing in an instrumental ensemble among students, as well as the management of a children's musical group based on mastering the methods of working with a homogeneous and mixed composition of folk traditional instruments of a children's instrumental ensemble, didactic principles and knowledge of performance, are analyzed on such instruments. The process of preparing a future music teacher for the organization and implementation of collective performance instrumental and creative activity of schoolchildren in the conditions of classroom, extracurricular and extracurricular work, the form of conducting rehearsal work with an ensemble of folk instruments in extracurricular time, which involve the student writing a score for the instrumental accompaniment of a vocal work from children's music, is characterized School repertoire and its gradual voicing by the instrumental composition of the academic group. Examples of the use of rhythmic improvisation, the technology of mastering percussion instruments without a specific pitch, the chromatic soprano flute in C major in musical art lessons, and playing music on other traditional folk instruments during classes in an instrumental ensemble are given.

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Rakhimov, Ravil G. "AEROPHONE HORNAI AS A VARIETY OF THE BASHKIR SHAWM GROUP". Arts education and science 4, n. 37 (2023): 175–81. http://dx.doi.org/10.36871/hon.202304175.

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This article concerns the problems of reconstruction of national phono objects from the standpoint of ethnoorganology. The research object is the Bashkir aerophone hornai, which is a part of the clarinet-type shawm group and combines the main structural features of the Oriental zummara and the Slavic zhaleika. Hornai was first mentioned in 1867 at the All-Russian Ethnographic Exhibition and described in detail as “Bashkir Shepherd’s Horn”. The collection of the exhibition went down in history together with the name of V. A. Dashkov, ethnographer and patron of the arts, who donated 40 thousand rubles for the project. The scale of the exhibition today can only be judged from the 1909 publication “Illustrated Description of Musical Instruments Stored in the Dashkov Ethnographic Museum in Moscow: with 137 Drawings in the Text and 3 Tables” [2]. One of the articles under the number 150, entitled “Bashkir Shepherd’s Horn” served as a material for the reconstruction of the “horn”. Based on this document, in 2003 and 2005 Ufa masters A. Latypov and N. Starostin made author’s reconstructions of a single-reed and two-reed “horn”, and selected a conveniently performed repertoire from national melodies and tunes of kyska-kui varieties. More than twenty years of approbation in concert and educational folklore groups has shown that the reconstructed hornai is well received by the audience and has numerous followers.

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Towarek, Piotr. "GREAT MUSICAL FORMS DEDICATED TO SAINTS CYRIL AND METHODIUS". Forum Teologiczne 24 (14 novembre 2023): 143–58. http://dx.doi.org/10.31648/ft.9466.

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This article takes a closer look at the great musical forms dedicated to Saints Cyril and Methodius. These are mainly liturgical compositions related to the worship of the two saints. This group includes a medieval Mass propria (e.g. Parchment Missal no. 212 of the Cracow Chapter) and the Baroque-Classical Mass by Michael Haydn (1758). In the 19th century, the repertoire was expanded to include cantatas (Křížkovsky, Surzyński, Dinew) and hymns (Liszt, Tchaikovsky, Borodin, Pipkov), which are linked to the process of national awakening of Czechs, Slovaks, Croats and Bulgarians. The 19th and 20th centuries also saw the creation of numerous arrangements of the Ordinarium Missae in Glagolitic. These include Leoš Janáček’s monumental “Glagolská mše” (1926) and related works by Czech and Croatian composers (Říchovski, Foerster, Kožušníček, Douša, Janda, Kozinović, Novak, Sokol, Hanuš, Láník). This collection is enriched by stage works: the opera of Zhivka Klinkova (1981/2021) and oratorios and cantatas from the 20th and 21st centuries (Dinew, Širola, Krška, Andrašovan, Tučapský, Procházka, Krák). These works are based on Glagolitic liturgical tests and poetry and prose related to the upsurge of national thought in the 19th century. They show Sts Cyril and Methodius not only as preachers of the Gospel and missionaries to the Slavic peoples but also as teachers of culture, dialogue and reconciliation, and above all, as founders of the foundations of Slavic national identity. The article presented here contributes to the current theological reflection in the field of aspectual hagiology.

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Bhattacharjee, Partha, e Priyanka Tripathi. "Penning the pain of partition: Refugee camp narratives in Indian comics". Studies in Comics 12, n. 2 (1 novembre 2022): 179–200. http://dx.doi.org/10.1386/stic_00062_1.

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Within the melange of comics studies, migration studies and autobiography studies, this article investigates the process in which the collective trauma as well as the personal trauma of refugee women has been portrayed through the visual medium in Malini Gupta and Dyuti Mittal’s ‘The Taboo’, Syeda Farhana’s ‘Little Women’ and Maria M. Litwa’s ‘Welcome to Geneva Camp’. These stories focus on the issues faced by women who migrated to Bangladesh from parts of Bengal and Bihar and thereby experienced a crucial, grief stricken life in refugee camps during the Indo–Bangladesh–Pakistan partition. Life in these refugee camps meant not only meagre resources but also a loss of nationality. In the absence of such validation, these migrants faced an extreme sense of identity or existential crisis. The group photographs, family photographs, complex roadmaps and the map of the subcontinent in the aforementioned graphic narratives are merged to serve as the ‘narreme’, the base of narratives. They are organized on the basis of experiences of women from various classes, castes and provinces, contesting with the interminable psychological violence of partition and post-partitioned reality.

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Kropyvnyi, Oleksandr. "Digital Repository of Ukrainian Musical Folklore: Prerequisites for Creation, Ways of implementing the Concept, General Features of the Structure". Problems of music ethnology 17 (17 novembre 2022): 79–87. http://dx.doi.org/10.31318/2522-4212.2022.17.270908.

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A significant risk that we might lose especially valuable funds of Ukrainian musical folklore under conditions of Russian military aggression and, at the same time, the outstanding interest of Ukrainian society in its own national cultural heritage call for rethinking approaches to archival storage, post-processing and dissemination of folklore field research materials stored in archives of Ukrainian scientific institutions and in the personal scientist`s collections. Forced preparations for the sudden evacuation of the folklore archives, backup process and relocation, started by a group of folklorists from Kyiv and Lviv shortly before the Russian invasion, revealed a number of disadvantages of Ukrainian musical folklore archives organization. These include the impossibility of quick data transfer, unavailability of digital media backups, a lot of non-digitized materials stored on analog media, the inconsistency of analog and digital collection`s condition with modern (digital) information storage methods (mostly paper based documentation), etc. This article analyzes the current condition of the digital collections of Ukrainian musical folklore, which are located in the archives of several Ukrainian scientific institutions and in some personal collections of the scientists. The most important issues of organization and functioning of Ukrainian musical folklore digital collections are outlined. Existing principles and models of data structuring according to the modern analytical requirements outlined in the studies of Ukrainian emusicologists have been analyzed in detail. The new principles of data and metadata organization are proposed to simplify information search and analysis and extensive use of computer systems to work with digital collections of Ukrainian musical folklore. Development and implementation of a reliable digital repository as a component of the unified workspace for digitization, electronic archiving, analysis and presentation of the field folklore materials are intended not only to solve most of the mentioned issues related to the digital collections of Ukrainian musical folklore, but also to provide access to the intangible achievements of the Ukrainian nation for scientists, artists and a wide range of involved users.

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Dashieva, Lidiya D. "Раннефольклорные обрядовые жанры традиционной культуры хори-бурят". Монголоведение (Монгол судлал) 13, n. 4 (30 dicembre 2021): 704–12. http://dx.doi.org/10.22162/2500-1523-2021-4-704-712.

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This article continues the study of the traditional musical culture of the Eastern Khori-Buryats, based on rare archival material of the audio collection of the famous orientalist Purbo Baldanovich Baldanzhapov (1921–1991). The research was started by the author in 2014 in the article “Materials of P. B. Baldanzhapov as a source for studying the song tradition of the Khori-Buryats”. The aim of this article is to represent the early folklore genres of the ceremonial traditional music of the Eastern Khori-Buryats. In the article the methods of genre and structural-typological analysis of folklore works recorded by P. B. Baldanzhapov were used. The study of the Khori-Buryat ritual song tradition, as a system, entailed the involvement of a structural and functional method, which allowed us to consider various aspects of the ritual and ritual complex of the eastern Khori-Buryats. The traditional musical culture of the Eastern Khori-Buryats can be divided into two genre groups (ceremonial and non-ceremonial). The ritual music of P.B. Baldanzhapov’s audio collection includes wedding songs (Uusyn duunuud), the ancient ritual dance Neryelge and accompanying songs (Neryelgyn or Neryeenei duunuud), the glorification of the horse by Morinoy solo, Buddhist Maani chants. The second group includes such genres of non-ritual sphere as uligers (Ulgernuud), historical songs (Tuuhyn duunuud) about Shilde Zangi, magtals to parents (Magtaalnuud), ring songs (Beheligey duunuud), comic songs (Shog duunuud). In this article, special attention is paid to the unique, but already lost genres of ritual music of Khori-Buryats – Neryelgyn duunuud, accompanying the ritual dance of Neryelge and the glorification of the horse (Morinoy solo), who won the race. The analysis of the semantics of poetic texts and musical intonations of Neryelgyn duunuud and Morinoy solo allows us to attribute these genres to the early folklore layer of the traditional musical culture of the Eastern Khori-Buryats and to reveal the semantic connection with the mythology and religion of the early nomads. Of course, in the future research it is necessary to continue studying the works of non-ritual traditional music of the Khori-Buryats from the collection of P.B. Baldanzhapov. The analyses of these samples of song folklore might allow to carry out the notation of Morinoy’s solo samples with their subsequent musical analysis and publication. One of the promising areas of research may be the reconstruction of these rare and unique genres of ritual music of the Khori-Buryats in the context of a comparative historical study of the cultural traditions of the Turkic-Mongolian peoples.

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Hafiz, Alwan, Hary Murcahyanto, Abdullah Muzakkar e Hulfatul Husna. "Dekultrasi Bentuk Pertunjukan Musik Hadrroh". Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora 3, n. 2 (25 dicembre 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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O'Donnell, Shannon. "The Towards Silence Project: Multiple String Quartets Organize to Perform a New Musical Form in Spatially Variable and Distributed Conditions". Journal of Business Anthropology 10, n. 1 (16 luglio 2021): 65–85. http://dx.doi.org/10.22439/jba.v10i1.6326.

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This case describes an example of a collective making process in the field of performing arts. In 2009, multiple string quartets (many considered world class) organized to perform a new musical composition by Sir John Tavener. The composition challenged four quartets at a time to perform as an integrated ensemble while sitting apart, in various configurations, and at spatial distances up to 70 feet. The process unfolded in three phases: pre-rehearsals of the first group of quartets in the United Kingdom (UK), a series of rehearsals leading to one premiere performance by the second group of quartets in New York, and a series of rehearsals integrated with additional performances in four distinct venues in the UK. Mid-way through the process, the musicians chose to integrate a simple coordinating technology into their process, to address the difficulties produced by distance. This telling of the case story describes what the musicians did to achieve these unprecedented performances, given the unusual circumstances, emphasizing how they made decisions and evaluated their work along the way. The case is based on comprehensive fieldwork, including observation, interviews, spatial measurement and diagramming, questionnaires, and analysis of videotape of the rehearsal process.

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Bechler, Janaina, e Edson Luiz André Sousa. "URBAN NARRATIVES: A VIDEO-LETTER PROCESS WITH THE NEWSPAPER BOCA DE RUA". Revista Conhecimento Online 2 (28 maggio 2020): 33. http://dx.doi.org/10.25112/rco.v2i0.2141.

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ABSTRACTThe present study shares the process of the collective achievement of a video-letter regarding the city of Porto Alegre, made with a group of directors of the Boca de Rua (Street Mouthpiece) newspaper, which is made by the homeless people of Porto Alegre. It highlights a perspective that sees in the narrator of the city its expression, and bets that there is sharing and sociability stemming from the fragments of narratives produced by the multiplicities that compose it. As a basis, it introduces some concepts of narrative and self-narrative, assuming, based on psychoanalytic theory, that the “I” is eccentric to the subject, and that the self exists as a partial construction. Through the authors W. Benjamin, P. Ricoeur, J-M. Gagnebin, J. Butler e J. Lacan, it points out the importance of composing narratives in the assembly of oneself and the city, creating connections when appropriate, or even legitimizing the fragmentary character of the narrative. The article ends by presenting some narratives composed after the recordings made with the group in the locations chosen by them.Keywords: Boca de Rua newspaper. Video-letter. Porto Alegre. Self-narrative. RESUMOO presente estudo compartilha o processo de conquista coletiva de uma vídeo-carta sobre a cidade de Porto Alegre, realizada com um grupo de diretores do jornal Boca de Rua, feito pelos moradores de rua de Porto Alegre. Destaca uma perspectiva que vê no narrador da cidade sua expressão e aposta que há compartilhamento e sociabilidade decorrentes dos fragmentos de narrativas produzidas pelas multiplicidades que a compõem. Como base, introduz alguns conceitos de narrativa e autonarrativa, assumindo, com base na teoria psicanalítica, que o “Eu” é excêntrico ao sujeito e que o “Eu” existe como uma construção parcial. Através dos autores W. Benjamin, P. Ricoeur, J-M. Gagnebin, J. Butler e J. Lacan, ressalta a importância de compor narrativas na assembleia de si e da cidade, criando conexões quando apropriado ou até legitimando o caráter fragmentário da narrativa. O artigo termina apresentando algumas narrativas compostas após as gravações feitas com o grupo nos locais escolhidos por eles.Palavras-chave: Jornal Boca de Rua. Vídeo-carta. Porto Alegre. Autonarrativa.

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Pérez, Elizabeth. "Spiritist Mediumship as Historical Mediation: African-American Pasts, Black Ancestral Presence, and Afro-Cuban Religions". Journal of Religion in Africa 41, n. 4 (2011): 330–65. http://dx.doi.org/10.1163/157006611x604760.

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Abstract The scholarship on Afro-Atlantic religions has tended to downplay the importance of Kardecist Espiritismo. In this article I explore the performance of Spiritist rituals among Black North American practitioners of Afro-Cuban religions, and examine its vital role in the development of their religious subjectivity. Drawing on several years of ethnographic research in a Chicago-based Lucumí community, I argue that through Spiritist ceremonies, African-American participants engaged in memory work and other transformative modes of collective historiographical praxis. I contend that by inserting gospel songs, church hymns, and spirituals into the musical repertoire of misas espirituales, my interlocutors introduced a new group of beings into an existing category of ethnically differentiated ‘spirit guides’. Whether embodied in ritual contexts or cultivated privately through household altars, these spirits not only personify the ancestral dead; I demonstrate that they also mediate between African-American historical experience and the contemporary practice of Yorùbá- and Kongo-inspired religions.

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Ismail, Md Jais, Loo Fung Chiat e Azu Farhana Anuar. "LEARNING MUSIC THROUGH RHYTHMIC MOVEMENTS IN MALAYSIA". Malaysian Journal of Learning and Instruction 18, Number 1 (31 gennaio 2021): 241–63. http://dx.doi.org/10.32890/mjli2021.18.1.10.

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Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music classes, hence to improve students’ music performance skills. Methodology – The study was carried out within the framework of a ten-week action-research design involving 35 primary school students at Putrajaya, Malaysia. Data collection was through group observation on students’ musical behaviours. Researchers also conducted an in-depth interview with rhythmic movement experts. Findings – Result shows that there is a significant changing of musical behaviours among primary students from week 8 to week 10. Experts agreed that rhythmic movement can create a meaningful music class with an active participation by students. There are three rhythmic procedures recommended by the experts to strengthen a music class pedagogy. Significance – Learning music through movements has turned music class into active and fun. Rhythmic movement activity makes this intention to become more meaningful. The study helps students to explore music through movements while they have the chance to play, communicate to each other, learn through observation and express their creativity in their own way. This intervention helps students to grasp almost all the music concepts while doing activities. This study also provides ideas for teachers to integrate rhythmic movements in music instructional process. Keywords: Dalcroze Eurhythmics, rhythmic movement, music education, qualitative, primary students, singing, playing percussion.

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Soycan, Merve, e Feyzan Göher Vural. "The relationship between secondary school grade point average scores and musical interest in Turkey". International Journal of Human Sciences 12, n. 2 (9 dicembre 2015): 1568. http://dx.doi.org/10.14687/ijhs.v12i2.3372.

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<p>In Turkish educational system, students’ secondary school grade point average (GPA) scores constitute the basic criteria in determining the high schools they will next attend. Students, who start their high school careers based on this grade, receive their education together with peers who have similar GPA scores. In these pivotal years which play a significant role in developing character, teenagers not only affect each other through interaction, but also shape their likes and dislikes collectively during this high school period. Music interest in students is also shaped during this process. <em> </em>This descriptive study has been conducted at nine high schools in central Konya. The sample group includes a total of 626 students, 195 of whom are from three high schools with high GPA scores, 193 from three high schools with average GPA scores, and 238 from three high schools with low GPA scores. The results of the study reveal not only certain similarities between the student groups, but also significant difference between the groups in terms of the will to play a musical instrument, the music genres the students prefer to listen, singers and bands the students follow, and whether or not to choose music as a career path.</p>

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Ali, Ibadurrahman, e Dewi Chamidah. "Tashmiimu As’ilati at-Taqyiimi Lita’liimi al-Lughati al-Arabiyati a’la Asasi adz-Dzakaati al-Mutaaddidati". Riyahuna: Jurnal Pendidikan Bahasa Arab 3, n. 1 (30 novembre 2023): 85–95. http://dx.doi.org/10.22236/jpba/3111962.

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This research aims to design evaluation questions for Arabic language learning based on multiple intelligences. The research methodology employed is qualitative descriptive with a literature study approach. Data collection is conducted through documentation by analyzing relevant literature, references, and sources related to Arabic language learning and multiple intelligences theory. The data analysis results indicate that for linguistic intelligence, independent tasks can be used as the form of evaluation questions. In the context of kinesthetic intelligence, project-based tasks such as Arabic language dramas can be utilized. For musical intelligence, students can be asked to create children's songs using Arabic vocabulary. Regarding intrapersonal intelligence, group work methods such as the jigsaw method can be employed as the form of evaluation questions. In conclusion, by considering multiple intelligences in evaluating Arabic language learning, teachers can provide equal opportunities for all students to showcase their intelligence in Arabic language acquisition.

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Kholodkova, Olena. "Rhetoric and semiotic systems in the analysis of Baroque secular instrumental music". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, n. 69 (28 dicembre 2023): 7–39. http://dx.doi.org/10.34064/khnum1-69.01.

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Statement of the problem. The issue of musical rhetoric has not lost its relevance for musicologists for almost a century. Unfortunately, early treatises do not provide a clear definition of this subject. Therefore, during the process of developing perceptions about it, some stereotypes have emerged, which have led to misunderstandings that require analysis and explanation. One of these stereotypes is the consideration of rhetoric as a semiotic system. Recent research and publications. The chosen problematicy has determined the reference to four groups of studies. The first group includes the works focusing on the subject of semiotics, the relationship between semiotics and music, and critical comparative views on the semiotic system (Dunsby, 1983; Turino, 1999; Dahl, 2019). A thorough critical analysis of various methodological approaches to semiotic concepts is presented in the studies of N. Cook (1996) and K. Guczalski (2005). The second group comprises important historical “rhetorical” treatises, without which it is impossible to develop an appropriate approach to the problems of musical rhetoric (Nucius, 1613; Kircher, 1650; Bernhard, 1660; Printz, 1678; Praetorius/Lampl, 1957; Mattheson/Lenneberg, 1958). The third group of researches consists of modern works, in which musical rhetoric is considered as a set of rhetorical figures with certain symbolic sense (Cameron, 2006; Komenda, 2010; Popova, 2015; Zgółka, 2016; Lebedev, 2016; Bashmakova, 2017). And the last group contains research works with a critical approach to stereotypical interpretations of musical rhetorical figures. G. G. Butler (1977) examines the musical processes related to the use of figures taking in account the rules of Dispositio canon. R. Callahan (2010) and B. Karosi (2014) explore the figures as a component of improvisation. B. Vickers (1984) considers it reasonable and logical that the greatest attention of scholars was paid to the rhetorical canon Elocutio, which operates with rhetorical patterns, but takes a critical approach to the use of verbal and rhetorical terminology in music. The analysis and comparison of the aforementioned studies allows to refute the idea of the expediency of absorption of the rhetorical system by the semiotic one. Objectives, methods, and novelty of the research. The purpose of the study is to differ the systems of rhetoric and semiotic through the demonstration that rhetoric is not just a set of rhetorical figures with a certain semantics, but can be interpreted as a system of composition (poetics). Separating the perceptions of rhetoric from the semiotic projections, determining rhetoric as a holistic system and highlighting the differences between these two spheres actualizes the topic of the study. Such an analytical approach is first realized on the example of chamber music and Concerto for violins without bass by G. Ph. Telemann. The study involves the use of historical, comparative, semantic, and typological methods. Results and conclusion. The study has shown that musical rhetoric is a much wider concept than a semiotic system, as it includes the principles of composition, performance issues. It appears to be a clear canonical structure, on the basis of which an appropriate comprehensive analysis of the composition can be made and a convincing performance version can be prepared. Rhetorical figures, the presence of which is not denied, in contrast to a “sign” or “symbol”, do not have a stable semantic meaning, but rather obtain it only in the context of style, genre, harmonic, counterpoint and other forms of expression. Semiotics is currently presented as a collection of methods with numerous options and ways of understanding and interpreting them. Based on the statements above, we come to the conclusion that rhetoric cannot be interpreted as a semiotic system, therefore, in the process of analysis Baroque music, it does not seem necessary to turn to semiotics. However, if a scholar or interpreter considers this approach reasonable, this should not deter them from attempting to gain a deeper knowledge of a musical work and from referring to various concepts, which, nevertheless, are subject to argumentation. We also do not exclude the possibility of further separate research on this particular aspect.

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Lem, Nolan, e Takako Fujioka. "Individual differences of limitation to extract beat from Kuramoto coupled oscillators: Transition from beat-based tapping to frequent tapping with weaker coupling". PLOS ONE 18, n. 10 (9 ottobre 2023): e0292059. http://dx.doi.org/10.1371/journal.pone.0292059.

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Musical performers synchronize to each other despite differences in sound-onset timings which reflect each musician’s sense of the beat. A dynamical system of Kuramoto oscillators can simulate this spread of onsets at varying levels of temporal alignment with a variety of tempo and sound densities which also influence individual abilities for beat extraction. Here, we examined how people’s sense of beat emerges when tapping with Kuramoto oscillators of varying coupling strengths which distribute onsets around periodic moments in time. We hypothesized that people tap regularly close to the sound onset density peaks when coupling is strong. When weaker coupling produces multiple inter-onset intervals that are more widely spread, people may interpret their variety and distributions differently in order to form a sense of beat. Experiment 1 with a small in-person cohort indeed showed a few individuals who responded with high frequency tapping to slightly weak coupled stimuli although the rest found regular beats. Experiment 2 with a larger on-line cohort revealed three groups based on characteristics of inter-tap-intervals analyzed by k-means clustering, namely a Regular group (about 1/3 of the final sample) with the most robust beat extraction, Fast group (1/6) who maintained frequent tapping except for the strongest coupling, and Hybrid group (1/2) who maintained beats except for the weakest coupling. Furthermore, the adaptation time course of tap interval variability was slowest in Regular group. We suggest that people’s internal criterion for forming beats may involve different perceptual timescales where multiple stimulus intervals could be integrated or processed sequentially as is, and that the highly frequent tapping may reflect their approach in actively seeking synchronization. Our study provides the first documentation of the novel limits of sensorimotor synchronization and individual differences using coupled oscillator dynamics as a generative model of collective behavior.

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Czachowski, Hubert. "MARIA ZNAMIEROWSKA-PRÜFFER – AN ETHNOLOGIST AND MUSEOLOGIST". Muzealnictwo 60 (19 luglio 2019): 154–62. http://dx.doi.org/10.5604/01.3001.0013.2974.

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Born in Kybartai, Lithuania, on 13 May 1898, in the 1930s Maria Znamierowska studied ethnology at the Stephen Batory University (USB) in Vilnius under Prof. Cezaria Baudouin de Courtenay-Ehrenkreutz and Prof. Kazimierz Moszyński. She began working at the University Ethnographic Museum established by Prof. Ehrenkreutz; apart from the collection of material culture, the Museum researched into and collected records of oral and musical folklore. M. Znamierowska organized exhibitions on folk construction, and investigated folk fishery, the topic she dealt with in her MA thesis and doctoral dissertation. In 1925, she married the zoologist and entomologist Prof. Jan Prüffer. Following WW II, Znamierowska-Prüffer and a group of USB professors came to Toruń, where she was employed as lecturer at the Chair of Ethnology and Ethnography of the Nicolaus Copernicus University (UMK). She made attempts to establish an ethnographic museum resembling the Vilnius one at her Chair, however, she was only able to set up an ethnographic section at the Toruń City Museum (1946-1958). Having received Professor’s title in 1955, in 1959 she launched a separate Ethnographic Museum in Toruń, additionally establishing an ethnographic park by the museum. Her most important exhibition: ‘Traditional Folk Fishery in Poland’, was mounted in 1963. Committed to creating open-air museums in Poland, M. Znamierowska-Prüffer also released publications on ethnographic museology. Having headed the Toruń institution for 13 years, she left the Museum boasting the collection of 15,000 exhibits and an ample Folklore Archive. In 1958-1963, she headed UMK’s Chair of Ethnography, however giving museology lectures until 1988. She participated in numerous ethnology and museology conferences around Europe. An active member of the Polish Folklore Association, she held various positions in its structures until 1978, when she became its honorary member. Retired, she continued her in-field research, and worked on her last publication meant to recapitulate all her research into fishery (1988). She died in Toruń in 1990, and was buried there. The Toruń Ethnographic Museum has been named after her since 1990.

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Schiavio, Andrea, Michele Biasutti, Dylan van der Schyff e Richard Parncutt. "A matter of presence: A qualitative study on teaching individual and collective music classes". Musicae Scientiae 24, n. 3 (2 novembre 2018): 356–76. http://dx.doi.org/10.1177/1029864918808833.

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In the current study, 11 expert music teachers were asked to reflect on their own practice and compare their experience of individual and collective teaching settings. Adopting an approach based on grounded theory, two interrelated themes were identified in the raw data: teaching issues and professional development. In both categories, the notion of ‘presence’ emerged as a defining feature of the comparison. Teachers reported to be less present in collective settings, whereas one would expect that the higher (cognitive, teaching, etc.) demands associated with more learners would result in teachers being instead more involved in the unfolding dynamics of the lesson. Inspired by the conceptual tools offered by the Extended Mind (ExM) approach, we suggest that in collective settings teachers feel less present because they can offload the cognitive role of ‘teacher’ onto the learners, giving rise to a hybrid extended system that fosters a shared sense of responsibility, where pedagogical dynamics are functionally distributed across the whole group. In reporting excepts from music teachers, and adopting a novel perspective to frame our discussion, our research may contribute to existing literature in (collective) music pedagogy.

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Sutani, Shizuka, e Taichi Akutsu. "The Life History of Performance Anxiety in Japanese Professional Orchestral Players: A Case Series". Medical Problems of Performing Artists 34, n. 2 (1 giugno 2019): 63–71. http://dx.doi.org/10.21091/mppa.2019.2009.

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This study investigated the life history of performance anxiety in Japanese orchestral players. Twenty-nine players in a Japanese orchestra completed the State Trait Anxiety Inventory (STAI) backstage immediately following a concert. Five players with the longest experience in the orchestra were selected for further data collection. Based on the results of the STAI, the researchers conducted semi-structured interviews to construct the life history of these 5 players in relation to their performance anxiety. In the process of narrative construction, a commentary from a psychiatrist was integrated to examine the underlying personality and ability to cope with the anxiety, as well as the contextual influences in the participants’ life-long learning experiences. Results indicated that the anxiety was present throughout the players’ musical development, from childhood and into professional status. However, their performance anxiety was reduced and transformed over time. The study also revealed that these 5 players tended to experience anxiety when playing with others and in large groups. The subjects tended to consider anxiety as a necessary psychological state-of-mind to maintain a professional level of performance and to deal with the uncertainty of group playing. Finally, the individual players found their own specific methods to reduce anxiety by focusing on musical expression and/or simply by gaining experience. Instead of generalizing the result, this study explored the life history of performance anxiety in this series of individual players in Japan.

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N., Mikhailova. "Sergiy Prokopov: phenomenon of the creative personality". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, n. 52 (3 ottobre 2019): 6–21. http://dx.doi.org/10.34064/khnum1-52.01.

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Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flying. The repertoire of the choir is extremely wide and diverse from the Renaissance to contemporary domestic and foreign compositions, different in genres and subjects, which is quite difficult for the amateur team. That is why the professional recognition of the children’s choir under the guidance of S. M. Prokopov is confirmed by many honorary awards of national and international competitions and choral festivals. Following the traditions of Kharkiv choral school, Prokopov S. M., while heading the choir of the students of the Choral Conducting Department of KhNUA named after I. P. Kotlyarevsky, greatly changed not only the repertoire policy of the choir, but also revised the correlation of teaching-educational and concert-performing tasks. The choral class is not only a solid base platform for the professional education of future choirmasters-specialists. The choir of students, under the guidance of S. M. Prokopov, is a full-fledged performing collective, whose power makes it possible to perform compositions of great forms. Working on the sound of the choir, at the stage of a warm-up, he relies on the artistic principles of the sound production, which represent a peculiar emotional and psychological setting for the further professional communication between the choirmaster and the singers. Such accentuation of attention on the complex of psychological tasks during the performance of vocal-choral exercises helps to combine and correlate the emotional and psychological state and technical capabilities of the singers with subsequent performing intentions. The key to the work of the master is a special relation to the interaction of the language and musical intonation. Expressiveness as a conscious singing is impossible without the right intonation, a clear pronunciation, an emotional exaltation in the process of performing a choral composition. The pedagogical activity of S. M. Prokopov continues in the class on conducting and relies on both the methodical foundations, theoretical positions, the generalizations of outstanding teachers, choirmasters, symphony conductors and many years of the own experience of the teacher, the conductor, and the conductor-choirmaster. Actually, his pedagogical style is characterized by a high level of culture, sophisticated taste, and deep knowledge of the specialty and in the related fields of both the humanities and social sciences. The sphere of interests of scientific activity of S. М. Prokopov covers various areas of the choral art. The scientific and methodical works by S. M. Prokopov outlines a range of issues related to the problems of the choral performance, the choral pedagogy and the educational process of formation of conductors-choirmasters at different stages of development. Professor S. M. Prokopov’s active and responsible life position prompts him for the public-education activities. Holding the post of the Head of the Kharkiv branch of the Association called “The Choir Society named after M. Leontovych”, on his initiative the significant competitions and festivals of the choral art take place, and they are known not only within Ukraine but also abroad. Sergiy Mykolayevych presents reports on the relevant issues of the choral art at international and all-Ukrainian conferences, conducts numerous master classes, lectures and concerts. Conclusions and the perspectives of the further research. Sergiy Prokopov is an example of a universal musician. To highlight one, the main of the directions of his activities is impossible. The teacher, choral conductor, scientist, talented organizer and musical-public figure, his work is a vivid example of creative and personal enthusiasm. The prospect of the further development of the topic is related to the in-depth study of the various spectra of S. M. Prokopov’s creative activities, his personal contribution to the development of Ukrainian culture.

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Alekseev, Оleksii. "Rural memoirs of Southern Ukraine of the 20th century : prosopographic approach". Universum Historiae et Archeologiae 4, n. 1 (25 dicembre 2021): 147. http://dx.doi.org/10.15421/26210402.

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The aim : to consider the application of prosopographic approaches in the study of biographies of authors of peasant memoirs in order to identify common features that laid the conditions for the emergence of memoir practices among the peasants of the Southern Ukraine in the 20th century; to analyze the potential of prosopography for researching general processes. The article considers the application of the prosopographic method to the study of biographies of authors of peasant memoirs in order to identify common features that created conditions for the emergence of memoir practices among the peasants of southern Ukraine in the twentieth century. Modern historical science suggests that individuals having their own little life stories are present behind all processes and events. New directions and principles of historical research are becoming increasingly important. The prosopographic method is one of them. Under prosopography we understand the scientific method of studying individual biographies of authors of historical sources in order to create a “collective biography” of a certain social group on their basis. Methods: analytical, historical, comparative, system-structural. The article author uses methods of specific scientific activity, empirical research and general logic. Practical meaning: recommended for use by scholars for historical research; provides opportunities for the use of this issue in theoretical and methodological and source studies. Originality: research, in particular on the choice of research source base and methodology of its analysis. Scientific novelty: creation of a collective portrait of a peasant author of a memoir source. Conclusions: on the basis of the analysis with the involvement of prosopographic research methods we have the opportunity to create a conditional collective portrait of a peasant of the Southern Ukraine of the twentieth century, the author of the memoir. When creating a “biography” of a peasant author, the following features are distinguished: common social origin, primary education, teaching and educational skills, psychological characteristics, propensity for creative activity, external influences. The materials collected by the researchers from the Zaporizhzhia branch of the NASU Institute of Ukrainian Archaeography and Source Studies named after M. S. Hrushevsky and the History Faculty of the Zaporizhzhia National University and published as a part of collections titled “Sources on the History of the Southern Ukraine”, “Antiquities of the Southern Ukraine” and “Ascension Antiquities”, are used as sources in the analysis. The purpose of the current investigation is to identify the causes and conditions that prompted particular peasants of the Southern Ukraine to create their own historical narrative – memoirs. Another goal is to create a “collective portrait” of an average author using prosopographic methods. The article investigates through the analysis of biographies the background of peasant authors, which singled them out from the general mass of peasants. It also highlights an “average author” as a “historical figure” and analyzes his attribution to a particular era, place, social group and culture. The use of prosopographic methods in the study of biographies of Southern Ukrainian peasants, who distinguished themselves by creating their own memoirs, allows to determine those aspects of the era and the position of the little man who chose to create their own historical excursions contrary to general trends and understanding the risks of totalitarian system. The creation of prosopographical (collective biographies) portraits of peasant authors is a very important component of the reproduction of general processes that created the conditions for the emergence of peasant narrative sources. The author tries to highlight the modern era in all its aspects through the prism of individual biographies and works of peasant authors. Type of article: scientific and theoretical.

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Noguchi, Selma Kazumi da Trindade, Andrey Silva Machado, Simone Aguiar da Silva Figueira, Jofre Jacob da Silva Freitas, Thayse Hage Gomes Machado, Marcella Mota Macedo e. Machado, Leonilde Sousa dos Santos e Renato da Costa Teixeira. "The applicability of active teaching-learning methodologies in health: An integrative review". International Journal of Advanced Engineering Research and Science 9, n. 7 (2022): 001–6. http://dx.doi.org/10.22161/ijaers.97.1.

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Abstract (sommario):

Objectives: to identify in the literature the applicability of active teaching-learning methodologies in health. Methodology: integrative review carried out in the Virtual Health Library using the descriptors in health sciences: Active methodologies; Health; Applicability. Results: 31,500 articles were found and, after careful reading, eleven were selected in the Virtual Health Library. The making of the patchwork quilt stood out; Digital Information and Communication Technologies; twine; thematic workshops with practical activities and previous questions for reflection and criticism were also used; patient care, analysis of real cases, role-playing (decision making and competence demonstration); documentaries and television series; mock jury; conversation wheel; movie theater with popcorn; tutorial group; constructivist spiral; flipped classroom and peer instruction, as well as its pedagogical foundations; problematization with the Arch of Charles and Maguerez; Project-Based Learning; the three Pedagogical Moments; Puppet theater and musical parodies; Directed study, flipped classroom, concept map and mind map; interactive dialogued class; case studies; oral presentation of contents; kahoot; Forum; LPAM (Learning Practice Assessment Material); ESCAPE ROOM; Problem Based Learning; Video lessons; theaters and recreational activities. Final Considerations: Reflective teaching, appropriate to the context, of methodological quality has the ability to instigate an expanded and transdisciplinary vision, in addition to promoting social changes resulting from the increase of individual and collective awareness.

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Jomantiene, R. R., J. L. Maas, F. Takeda e R. E. Davis. "Molecular Identification and Classification of Strawberry Phylloid Fruit Phytoplasma in Group 16SrI, New Subgroup". Plant Disease 86, n. 8 (agosto 2002): 920. http://dx.doi.org/10.1094/pdis.2002.86.8.920c.

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Plants of commercial strawberry (Fragaria × ananassa Duch., cv. Camarosa) exhibiting extensive fruit phyllody (development of leafy structures from achenes) were observed in a winter greenhouse production facility in West Virginia. In July 2001, 95 dormant, cold-stored plants were purchased from a California strawberry nursery, potted and grown in this West Virginia facility. Five of the plants developed fruits with phylloid growths. These fruits were assessed for phytoplasma infection using nested polymerase chain reactions (PCRs) in which initial ribosomal (r) DNA amplification was primed by phytoplasma-universal primer pair P1/P7 (2), and rDNA reamplification was primed by primer pair R16F2n/R16R2 (1). Amplification of phytoplasma-characteristic 1.2-kbp 16S rDNA in the nested reactions primed by R16F2n/R16R2 confirmed that the symptomatic plants were infected by a phytoplasma, termed strawberry phylloid fruit (StrawbPhF) phytoplasma. No phytoplasma DNAs were amplified from healthy plants. Restriction fragment length polymorphism (RFLP) patterns of 16S rDNA digested with AluI, KpnI, HhaI, HaeIII, HpaII, MseI, RsaI, and Sau3A1 restriction endonucleases indicated that StrawbPhF phytoplasma belonged to group 16SrI (group I, aster yellows phytoplasma group) according to the phytoplasma classification system of Lee et al. (4). However, the collective patterns distinguished StrawbPhF from its closest known relative, clover phyllody (CPh) phytoplasma, and from all other phytoplasmas classified in group 16SrI. On the basis of the RFLP patterns of 16S rDNA, the StrawbPhF was classified in group 16SrI, new subgroup R. The StrawbPhF phytoplasma 1.2-kbp 16S rDNA PCR product was cloned in Escherichia coli using TOPO TA Cloning Kit (Invitrogen, Carlsbad, CA), sequenced, and the sequence deposited in GenBank under Accession No. AY102275. The StrawbPhF 16S rDNA sequence shared 99.9 and 99.8% similarity with the two sequence heterogeneous operons, rrnA and rrnB, respectively, of CPh phytoplasma, and shared 99.9% similarity with 16S rDNA of the unclassified cirsium yellows (CirY) phytoplasma (GenBank Accession No. AF200431) reported in Cirsium arvense L. in Lithuania (3). The restriction sites in 16S rDNA of StrawbPhF were identical to those in 16S rDNA of CPh rrnA and CirY. Three restriction sites (AluI, HaeIII, and MseI) and three base substitutions distinguished StrawbPhF 16S rDNA from rrnB of CPh phytoplasma. No evidence was obtained for the presence of a second (sequence heterogeneous) rRNA operon in StrawbPhF phytoplasma, as reported in CPh phytoplasma (4), which clearly distinguishes this phytoplasma from CPh phytoplasma. Future studies on StrawbPhF phytoplasma may provide important information on the evolution of phytoplasmas. References: (1) D. E. Gundersen and I.-M. Lee. Phytopathol. Mediterr. 35:144, 1996. (2) R. Jomantiene et al. Int. J. Syst. Bacteriol. 48:269, 1998. (3) R. Jomantiene et al. Phytopathology 90:S39, 2000. (4) I.-M. Lee et al. Int J. Syst. Bacteriol. 48:1153, 1998.

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Василь Семенчук. "IMPLEMENTATION OF INTERSUBJECT COMMUNICATIONS IN THE PROCESS OF STUDYING «MUSIC INFORMATICS»". Psychological and Pedagogical Problems of Modern School, n. 2(4) (4 settembre 2020): 129–39. http://dx.doi.org/10.31499/2706-6258.2(4).2020.223058.

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The article sets the task to consider the interdisciplinary sphere of professional activity related to the creation and use of specialized musical software and hardware – music informatics – which requires knowledge and skills both in the music field and in the field of computer science.The issue of interdisciplinary links and their implementation in the educational process in higher education institutions has been raised in the article. The content of the concept of information competence as a component of professional competence and information culture has been consider.The author argues that the use of intersubject communications contributes to the formation of practical skills and abilities to apply knowledge in one discipline during the study of others.It has been analyzed the importance of pedagogy of cooperation, which uses a variety of forms of learning: group work, collective creative work, work in microgroups, work in variable groups;The result of a scientific article is the conclusion about the feasibility of the high-quality implementation of interdisciplinary connections, the spread of interdisciplinary relations within not only the artistic-aesthetic and related humanitarian cycles in the classes on “Music Informatics”, but also with other, so to speak, deleted subjects; the use of art both as a means of developing special artistic abilities and thinking, and as a universal way of stimulating the creative potential of an individual.Among the prospects for research in this direction, the author identifies a purely practical aspect, in particular, the creation of methodological materials, manuals, the development and implementation of a system that is based on an information technology basis and which takes into account the orientation of students in the use of computer technology in professional and musical pedagogical activities in a subtle combination with other disciplines, the establishment and strengthening of the relationships between them.

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Гюльтекин Байджановна, Шамилли,. "After Reading the Anniversary Edition: “Ethnomusicology of Azerbaijan: 1921-2021”". Музыкальная академия, n. 4(780) (26 dicembre 2022): 214–25. http://dx.doi.org/10.34690/282.

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В связи с выходом в свет коллективной монографии «Этномузыковедение Азербайджана: 1921-2021 годы» в эссе обсуждаются проблемы современной этномузыкологии. На материале истории традиционной азербайджанской музыки в XX столетии демонстрируется ущерб, понесенный устной и устно-профессиональной традицией в результате насильственной европеизации музыкального образования. Формулируется ряд задач, стоящих сегодня перед учеными; в частности, подчеркивается необходимость усовершенствования компьютерных программ для анализа музыки устной традиции — в сочетании со слуховой расшифровкой, обусловленной архитектоникой слуха, воспитанного в собственной культуре исследователя. Подвергаются критике концепции, рассматривающие родство вербального языка у группы народов как важнейший критерий для сравнения их музыкальных культур с последующим механическим объединением этих народов в надцивилизационную общность. В качестве альтернативы такому подходу предлагается метод сравнительного исследования в контексте теории нового универсализма: необходимо учитывать, что в разных сегментах культуры действуют независимые друг от друга механизмы смыслополагания. This essay discusses the problems of modern ethnomusicology in connection with the publication of the collective monograph “Ethnomusicology of Azerbaijan: 1921–2021.” Based on the history of traditional Azerbaijani music in the 20th century article demonstrates the damage suffered by the oral and oral-professional tradition as a result of the forced Europeanization of musical education. Several of tasks facing scholars today are formulated; in particular, the need to improve computer programs for analyzing the music of the oral tradition is emphasized—in combination with the ear’s interpretation, due to the architectonics of hearing, brought up in the researcher’s own culture. Concepts that consider the kinship of verbal language among a group of peoples as the most important criterion for comparing their musical cultures with the subsequent mechanical unification of these peoples into a supracivilizational community are criticized. As an alternative to this approach, a comparative research method is proposed in the context of the theory of new universalism: it is necessary to take into account that in different segments of culture there are independent mechanisms of sense-making.

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BALADELI, Ana Paula Domingos. "A MULTIMODALIDADE DO VIDEOCLIPE MUSICAL: ASPECTOS METODOLÓGICOS PARA O ENSINO DE LÍNGUA INGLESA". Trama 16, n. 39 (1 ottobre 2020): 81–90. http://dx.doi.org/10.48075/rt.v16i39.23784.

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A Teoria dos Multiletramentos enfatiza que a sofisticação das mídias potencializa a variedade de recursos audiovisuais como discurso próprio da contemporaneidade. Em termos educacionais, a multimodalidade amplia o acesso do aluno a significados e, destaca a hibridização das linguagens na composição de textos. O objetivo deste artigo é apresentar os resultados de um projeto de extensão sobre os multiletramentos, com ênfase no uso pedagógico do videoclipe musical. Os resultados do projeto, realizado em uma universidade pública no Brasil indicaram; a necessidade de o professor definir critérios para a seleção de videoclipe musical, a definição de objetivos para o uso do videoclipe, a articulação do videoclipe a conteúdos para aprendizagem em Língua Inglesa. Em linhas gerais, concluímos a relevância do papel das narrativas audiovisuais na formação de leitores críticos e, sobretudo, na aprendizagem de Língua Inglesa.Recebido em: 16-12-2019Revisões requeridas em: 02-03-2020Aceito em: 13-03-2020REFERÊNCIAS:BAGULEY, Margaret; PULLEN, Darren L.; SHORT, Megan. Multiliteracies and the new world order. In: PULLEN, D.L.; COLE, D.R. Multiliteracies and technology enhanced education: social practice and the global classroom. Hershey: IGI Global, 2010. p. 01-17.BALADELI, Ana P.D. Cibercultura e ensino de línguas: um olhar sobre a Teoria dos Multiletramentos. In: COSTA, N. V. S. (org.). A Língua Inglesa e seus desdobramentos na ciência. Bonecker, 2019. p. 11-28.BARBOSA, Vânia S.; ARAÚJO, Antonia D. Multimodalidade e letramento visual: um estudo piloto de atividades de leitura disponíveis em sítio eletrônico. Revista da ANPOLL, Florianópolis, n.37, jul./dez.2014, p.17-36. Disponível em: https://revistadaanpoll.emnuvens.com.br/revista/article/view/824 acesso em 04 dez. 2019.BERK, Ronald A. Multimedia teaching with video clips: TV, Movies, YouTube, and motive in the college classroom. International Journal of Technology in Teaching and Learning, v. 5, n.1, 2009, p. 1-21.BOCHE, Benjamin. Multiliteracies in the classroom: emerging conceptions of first-year teachers. Journal of Language and Literacy Education, v.10, n.1, 2014.BRASIL. Base Nacional Comum Curricular: Ensino Médio. Brasília: MEC/Secretaria de Educação Básica, 2018.BULL, Geoff; ANSTEY, Michele. Elaborating multiliteracies through multimodal texts.London,New York: Routledge, 2019.COPE, Bill; KALANTZIS, Mary. A pedagogy of multiliteracies, learning by design.New York. Palgrave Macmilan, 2015.KRESS, Gunther; VAN LEEUWEN, Theo. Reading images. 2nd.London: Routledge, 2006.MARCHETTI, Lorena; CULLEN, Peter. A multimodal approach in the classroom for creative learning and teaching. Psychological and creative approaches, v.5, n.1, p. 39-51, 2016.McCLAIN, Jordan M. A framework for using popular music videos to teach media literacy. Dialogue: The interdisciplinary Journal of Popular Culture and Pedagogy, v.3, n.1, p.38-46, 2016. Disponível em: http://journaldialogue.org/issues/a-framework-for-using-popular-music-videos-to-teach-media-literacy/ acesso em 03 out. 2019.NEW LONDON GROUP. A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review; 66, 1, Spring, 1996.NICOLESCU, Barasab. Um novo tipo de conhecimento: transdisciplinaridade. In: NICOLESCU, B. et al (org.). Educação e transdisciplinaridade. Brasília: UNESCO, 2000. p. 13-29.ROJO, Roxane; MOURA, Eduardo (orgs.). Multiletramentos na escola. São Paulo: Parábola, 2012.SERAFINI, Frank. Reading multimodal texts: perceptual, structural and ideological perspectives. Children’s Literature in Education, v. 42, 2010, p. 85-104.SERAFINI, Frank. Expanding perspectives for comprehending visual images in multimodal texts. Journal Adolescent and Adult Literacy, v. 54, n.5, p. 342-350, 2011.STREET, Brian V. Eventos de letramento e práticas de letramento: teoria e prática nos novos estudos do letramento. In: MAGALHÃES, I. (org.). Discursos e práticas de letramento. Campinas, SP: Mercado de Letras, 2012. p. 69-92.WARNER, Chantelle; DUPUY, Beatrice. Moving toward multiliteracies in foreign language teaching: past and present perspectives... and beyond. Foreign Language Annals, v. 51, 2017, p. 116-128. Disponível em: https://onlinelibrary.wiley.com/doi/full/10.1111/flan.12316 acesso em 15 nov. 2019.

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Jomantiene, R., R. E. Davis, A. Alminaite, D. Valiunas e R. Jasinskaite. "First Report of Oat as Host of a Phytoplasma Belonging to Group 16SrI, Subgroup A". Plant Disease 86, n. 4 (aprile 2002): 443. http://dx.doi.org/10.1094/pdis.2002.86.4.443b.

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Diseased plants of oat (Avena sativa L.) exhibiting abnormal proliferation of spikelets were observed in the field in Raseniai, Lithuania. The possible association of a phytoplasma with the disease, termed oat proliferation (OatP), was determined using polymerase chain reaction (PCR) for amplification of phytoplasmal ribosomal (r) RNA gene (rDNA) sequences from template DNA extracted from the diseased oats. DNA extractions and nested PCRs were conducted as previously described (2). In the nested PCRs, the first reaction was primed by phytoplasma-universal primer pair P1/P7, and the second (nested) PCR was primed by primer pair R16F2n/R16R2 (F2n/R2). Phytoplasmal rDNA was amplified in the nested PCR, indicating that the plants contained a phytoplasma, designated oat proliferation (OatP) phytoplasma. The OatP phytoplasma was identified and classified according to the system of Lee et al. (2) through restriction fragment length polymorphism (RFLP) analysis of 16S rDNA amplified in the PCR primed by F2n/R2. On the basis of collective RFLP patterns of the 16S rDNA, the OatP phytoplasma was classified as a member of group 16SrI (group I, aster yellows phytoplasma group). The RFLP patterns of the 16S rDNA were indistinguishable from those of 16S rDNA from tomato big bud (BB) phytoplasma and other phytoplasmas classified in group I, subgroup A (subgroup I-A, tomato big bud phytoplasma subgroup). The 1.8-kbp rDNA product of PCR primed by primer pair P1/P7 was cloned, and its nucleotide sequence was determined. The sequence was deposited in GenBank under Accession No. AF453416. Results from putative restriction site analysis of the cloned and sequenced rDNA were in excellent agreement with the results from enzymatic RFLP analysis of uncloned rDNA from OatP-diseased oat plants. Sequence similarity between the 1.8-kbp rDNA of OatP phytoplasma and that of BB phytoplasma (GenBank No. AF222064) was 99.2%; 9 of the 14 base changes were in the 16S-23S rRNA intergenic spacer region. The base differences in rDNA may signal that the OatP and BB phytoplasmas are mutually distinct in their biologies. Phytoplasmas classified in subgroup I-A have previously been reported in a broad range of plant species in North America and Europe, although there are no previous definitive reports of oat as a host of a subgroup I-A phytoplasma (3,4). In 1977, Fedotina (1) reported electron microscopy of a mycoplasma-like organism (phytoplasma) in pseudorosette-diseased oat plants in Siberia, but the identity of that phytoplasma remains unknown. Subgroup I-A phytoplasma strains are geographically widespread and have been found in numerous plant species (3,4). The discovery reported here, of a subgroup I-A phytoplasma in diseased oats in Lithuania, provokes questions concerning possible impacts of this phytoplasma on oat cultivation in central Europe and other regions. References: (1) V. L. Fedotina. Arch. Phytopathol. Pflanzenschutz 13:177, 1977. (2) I.-M. Lee et al. Int. J. Syst. Bacteriol. 48:1153, 1998. (3) C. Marcone et al. Int. J. Syst. Evol. Microbiol. 50:1703, 2000. (4) D. Valiunas et al. Plant Dis. 85:804, 2001.

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Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, n. 50 (3 ottobre 2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.

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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.

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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»". Aspects of Historical Musicology 16, n. 16 (15 settembre 2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.

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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.

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