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Rucsanda, Mădălina Dana, Ana-Maria Cazan e Camelia Truța. "Musical performance and emotions in children: The case of musical competitions". Psychology of Music 48, n. 4 (19 novembre 2018): 480–94. http://dx.doi.org/10.1177/0305735618810791.
Testo completoAbstract (sommario):
Emotion is a condition that facilitates or inhibits music performance. Our research aimed to explore emotions of young musicians performing in music competitions. We tried to highlight the possible differences in terms of emotions between young singers who obtained prizes in musical competitions and those who did not. Another aim of the study was to explore the relationship between pre-competition emotions and music performance, focusing on the mediating role of singing experience. The sample consisted of 146 participants in international music competitions for young musicians. A nonverbal pictorial assessment technique measuring the valence, arousal and dominance dimensions of emotions was administered just before and immediately after each participant’s performance in the competition. Our study revealed that negative emotions were associated with lower performance quality while positive emotions, low arousal and increased dominance were associated with higher performance quality. Experienced young singers reported more positive emotions, low arousal and high dominance. Our results also revealed that experience in music competitions could mediate the associations between emotions and music performance in competition. The implications of the results support the inclusion of psychological/emotional training in music education of young singers.
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Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue". Culturology Ideas, n. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.
Testo completoAbstract (sommario):
The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competitions for Youth, Alink-Argerich Foundation, etc. The study of information materials of Ukrainian international piano competitions, which are the members of these prestigious international organizations, revealed global trends in the development of the competition and festival movement. Specific examples of international music festivals and other art projects initiated by the organizing committees of Ukrainian piano competitions have shown that they contribute to the development and promotion of Ukraine's cultural identity globally, help spread the best national traditions of musical performance in the world and are one of the best forms of cultural diplomacy.
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Morton, Melissa. "‘Where Did That Voice Come From?’". MUSIC.OLOGY.ECA 1 (11 settembre 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.
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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?
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Ako, Mashino. "Competition as a New Context for the Performance of Balinese Gender Wayang". Yearbook for Traditional Music 41 (2009): 111–37. http://dx.doi.org/10.1017/s0740155800004161.
Testo completoAbstract (sommario):
A musical competition is a social event as well as a musical one, raising great interest in the community. Its particularly exciting atmosphere, the enthusiasm of both participants and observers, and the social honour bestowed upon the winners encourage the musicians to polish and elaborate their competence and performance styles, and sometimes to create new performance tactics. Previous studies of musical competitions suggest that rivalry and competition in the performing arts—which are deeply rooted in their social settings and carry the creative impulse to transform performing styles—can be found around the world, although their cultural, social, and historical contexts, as well as the changes that result from the competitions, are widely divergent (see Gunderson and Barz 2000; Gunderson 2003). Competitions have also had a significant impact on the development of music in Indonesia, especially in conjunction with official cultural policy. In President Suharto's New Order (Orde Baru) Indonesia, various levels of government held competitions to preserve (melestarikan) and develop (perkembangkan) the traditional performing arts, in accordance with the national cultural policy (Sutton 1991, 1995; Lindsay 1995; Yampolsky 1995; Bakan 1999; Tenzer 2000; Williams 1999,2003; Harnish 2007). This focus on the arts has continued into the period of political reformation (reformasi) since 1998. Competition has been an effective vehicle of cultural ideology through its potential to transform performing style and to change aesthetic value. However, the results of the competition do not always conform to the intentions of the government. A competition involves people with a wide range of purposes and viewpoints, who interpret the event and react to it differently according to their positions, whether as participants, teachers, judges, organizers, or audience members. As R. Anderson Sutton reported regarding the Pekan Kebudayaan Sulawesi Selatan (South Sulawesi Cultural Week) in 1993, festivals or competitions “have contrasting, even conflicting meanings for the different people involved” (Sutton 1995:687). In reality, these various interpretations of the event intertwine to create a tense but influential context for the performing arts.
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Jones, Peter Blundell. "Reflections on the competition for National Centre for Popular Music, Sheffield". Architectural Research Quarterly 1, n. 4 (1996): 16–27. http://dx.doi.org/10.1017/s1359135500003043.
Testo completoAbstract (sommario):
For many years, architects in the United Kingdom have looked enviously at the competition system in the German speaking countries and Scandinavia. Now, with the introduction of a major public buildings programme partially funded by the new National Lottery, competitions are becoming more common in Britain. This paper opens with some reflections on the advantages and disadvantages of competitions. It then describes the conduct and outcome of a single Lottery-funded competition for the design of a building for which there were no precedents and in which issues of content and image were major preoccupations for both designers and assessors.
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Untung, Rachel Mediana. "Investigating the Indonesia Folk Song Arrangement in Six Choir Competition, 2019". Resital: Jurnal Seni Pertunjukan 21, n. 2 (1 giugno 2021): 85–98. http://dx.doi.org/10.24821/resital.v21i2.4357.
Testo completoAbstract (sommario):
This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.
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McDow, George H., e Daniel L. Stiffler. "Statewide Public School Music Competitions/Festivals in Kansas and Oklahoma: The Beginnings of the School Music Contest Movement in the United States". Journal of Historical Research in Music Education 41, n. 2 (19 novembre 2018): 132–55. http://dx.doi.org/10.1177/1536600618810783.
Testo completoAbstract (sommario):
Music competitions have an ancient history dating back some two thousand years. In the United States, early music contests mimicked the German Saengerfests and Welsh Eistoddfods; however, some of the earliest continuously running music competitions held in America are the state contests for secondary school students. This article identifies for the first time Kansas and Oklahoma as holding the two earliest state school music competitions and corrects some long-standing erroneous information. It studies these two state events through historical analysis of primary sources and triangulates the data with secondary sources. Frank Beach at Kansas State Normal School in Emporia and Fredrik Holmberg at the University of Oklahoma were found to be the two initiators. These two state music contests were influenced by several things including the state track and field meets, previous music contests, the western pioneering spirit, European music systems, and the music specialties of the founders. In the end both contests were seen as promoting the cause of public school music by increasing both the quality and numbers of music education programs and as leading to the exponential growth of state music competitions throughout the United States.
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GILMAN, LISA, e JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga". Popular Music 25, n. 3 (11 settembre 2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.
Testo completoAbstract (sommario):
Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.
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Klett, Joseph. "Performing Civility: International Competitions in Classical Music". Contemporary Sociology: A Journal of Reviews 46, n. 3 (27 aprile 2017): 334–35. http://dx.doi.org/10.1177/0094306117705871bb.
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Tokay, Dilbağ. "Impact of Online Music Competitions on the Young Musicians’ Professional Skills and Their Musical Development During the Covid-19 Pandemic". European Journal of Social Science Education and Research 7, n. 3 (12 dicembre 2020): 80. http://dx.doi.org/10.26417/466ven59n.
Testo completoAbstract (sommario):
Classical music competitions present a medium for the development and motivation of young musicians. In this context, they prepare young musicians to professional life and play an important role in their career. Online competitions became more popular due to the Covid-19 pandemic with an increasing number of high professional quality applicants. This research aims to focus on the impact of online music competitions on the young musicians’ professional skills and their musical development. The research will set forth the differences between online competitions and real life competitions from various aspects such as application process, video presentations, and efficiency of the young musicians in using available technology, jury formation, evaluation of the applicants' performances by the jury as well as the applicants' evaluation of their own performance among other applicants.
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Odello, Denise. "Ritualized performance and community identity: A historical examination of drum corps competition in the United States". International Journal of Community Music 13, n. 1 (1 maggio 2020): 65–79. http://dx.doi.org/10.1386/ijcm_00010_1.
Testo completoAbstract (sommario):
What structures bind musical communities that reach over distances? This article examines the musical community of youth drum corps in the United States and, in particular, the changing performance practices at competitions over time and how those changes influence the identity of the community. Drum corps is a community that exists over increasingly greater distances, yet the identity of this musical community is strong. An important site for discovering this communal identity is in competitive performance. Drum corps performances are strictly regulated because of this competitive context, and the values seen in those competitive regulations reflect the identity of the community. Ritual theory helps to examine the mechanisms by which members of this musical community renegotiate these identity values over decades. This article discusses shifts in performance practices such as instrumentation, repertoire and motion, all of which are reflected in changing competition judging guidelines. Ritual theory is used to understand how members of the drum corps community understood the implementation and official recognition of these changes in competitions as changes to the community’s identity.
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Lajic-Mihajlovic, Danka. "Competitions as a form of public gusle playing performance". Muzikologija, n. 11 (2011): 183–202. http://dx.doi.org/10.2298/muz1111183l.
Testo completoAbstract (sommario):
This paper offers an ethnomusicological perspective on competitions of guslars (players of a single-stringed musical instrument gusle predominantly used to accompany the voice of a singer reciting epic poetry), here interpreted as a specific form of public music performance. First competitions were organized between World Wars (1924-1933), afterwards being established in 1971 and since then organized (with a short interruption) in Serbia, Montenegro and the Republic of Srpska. Apart from gusle players and the audience participating in this interaction, these competitions introduced into the focus the very organizers as well. The importance of collectivity as an idea interwoven into epic ethos has become a powerful means of manipulation used by authorities. Their interests have been put forward primarily through the poetic content of new songs. Ideology, though, is not only reflected in the competition repertoire. It is also felt in other forms of public gusle playing practice (such as performances with miscellaneous programme, concerts etc.). The sense of competitiveness, as a type of communicational situation, is far strongly felt in the music dimension. Limited in duration, the performance was reduced to only fragments of songs, which, on the other side, caused a change in gusle playing. The traditional style implied economizing with player?s energy and dramatization tailored to suit the context of long-lasting songs, whereas per-forming of fragments resulted in a more grandiose style aimed at making momentary impression: intensive, vigorous singing in the upper vocal register, using a wide range of expressive devices within short time etc. After studying the competition rules, key formal regulations, and the organization of competitions so far, I discerned that those epic poems have been dominantly regarded as poetry. One of crucial reasons for this is wider communicability of verbal to music discourse, but also more straightforward conveyance of ideological messages through words. Syncretism, which is quintessence of artistic expression in epic poetry, demands paying more attention to the musical component. This artistic expression has always been the domain of players? creativity, in contrast to the poetic component which is standardized, fixed, and which a contemporary gusle player is only presenting. The contribution of competition to the evolution of gusle playing practice, especially in regard to its role in the shaping of collective identity, demands reconceptualization of such cultural events in which guslars associations, state institutions and experts would also take part.
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Von Benda-Beckmann, Keebet. "Incommensurable ideals - the enigma of music competitions - Lisa McCormick, Performing Civility: International Competitions in Classical Music (Cambridge University Press, 2015)". European Journal of Sociology 57, n. 3 (dicembre 2016): 541–45. http://dx.doi.org/10.1017/s0003975616000333.
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Takacs, Peter, e Gustav A. Alink. "International Piano Competitions". Notes 51, n. 2 (dicembre 1994): 616. http://dx.doi.org/10.2307/898896.
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Gronow, Pekka, e Jānis Daugavietis. "Pie laika … Now is the time. The singing revolution on Latvian radio and television". Popular Music 39, n. 2 (maggio 2020): 270–93. http://dx.doi.org/10.1017/s0261143020000380.
Testo completoAbstract (sommario):
AbstractIn the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.
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Ло, Юаньвень. "ТВОРЧЕ САМОВИРАЖЕННЯ МАЙБУТНІХ МУЗИЧНО-ПЕДАГОГІЧНИХ ПРАЦІВНИКІВ В СИСТЕМІ ВИЩОЇ ОСВІТИ КНР". Spiritual-intellectual upbringing and teaching of youth in the 21st century, n. 4 (2022): 807–11. http://dx.doi.org/10.34142//2708-4809.siuty.2022.201.
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The article reveals the creative self-expression of music-pedagogical workers as an individual’s ability to publicly reveal their own talents, have supporters and inspire them with beautiful and spiritual things. It is noted that Chinese popular music inspires creativity, development of spiritual values, aesthetic perception of the surrounding world. Examples of stimulation of creative self-expression of Chinese singers due to participation in music competitions of various levels are given
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Ergashevna, Tursunova Laylo. "The Impac Of The Global Environment And Its Spiritual Factors On The Musical Culture Of Youth". American Journal of Social Science and Education Innovations 03, n. 01 (30 gennaio 2021): 244–48. http://dx.doi.org/10.37547/tajssei/volume03issue01-47.
Testo completoAbstract (sommario):
Continuing the traditions of our great ancestors, programs and plans aimed at the development of music in our country are being implementedduring the years of independence. In particular, in order to preserve and study our musical heritage, to pass it on to the younger generation, many competitions and prestigious international music conferences are held regularly.
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Takacs, Peter, e Joseph Horowitz. "The Ivory Trade: Piano Competitions and the Business of Music". Notes 49, n. 4 (giugno 1993): 1482. http://dx.doi.org/10.2307/899403.
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Cottrell, Stephen. "Performing Civility: International Competitions in Classical Music. By Lisa McCormick." Music and Letters 98, n. 2 (1 maggio 2017): 322–24. http://dx.doi.org/10.1093/ml/gcx032.
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Ballengee, Christopher L. "Music competitions, public pedagogy and decolonisation in Trinidad and Tobago". South Asian Diaspora 11, n. 2 (17 gennaio 2019): 145–61. http://dx.doi.org/10.1080/19438192.2019.1568506.
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Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century". Culturology Ideas, n. 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.
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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.
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Morrow, Jean. "Concert Artists Guild's Guide to Competitions". Notes 52, n. 2 (dicembre 1995): 450. http://dx.doi.org/10.2307/899041.
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Cocca, Michaela, Armando Cocca, Ney Augusto Da Silva e Luis Tomas Rodenas Cuenca. "Impact Of Music On Athletes’ Motivation And Flow State During Competitions". Medicine & Science in Sports & Exercise 50, n. 5S (maggio 2018): 324–25. http://dx.doi.org/10.1249/01.mss.0000536149.71884.7a.
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Franceschi, Ivana, e Ina Ercegovac. "Personal and motivational determinants of piano student performance in the context of self-determination theory". Humanities and Cultural Studies 3, n. 2 (26 luglio 2022): 37–53. http://dx.doi.org/10.55225/hcs.377.
Testo completoAbstract (sommario):
The aim of this study was to examine the contribution of personality traits and different types of motivation to explaining individual differences in piano student performance and satisfaction of basic psychological needs in an academic context. The research was conducted in 2017 on a sample of piano students (N = 92) attending four music academies (Music Academy in Zagreb, Arts Academy in Split, Music Academy in Osijek, and Music Academy in Pula), making up about 90% of the whole piano-student population in Croatia. Self-assessment instruments were used to examine five personality traits from the Big Five Model, types of motivation according to the continuum of self-determination, the satisfaction of three psychological needs according to the self-determination theory in the context of music academies, and three categories of performance – piano success in the academic year, piano competition achievements, and public performances. The results showed that personality traits and motivational determinants could not predict piano success at the academy. Still, conscientiousness and emotional stability do play a significant role in public performances and piano competitions. Identified motivation proved to be important for these criteria as well. The relationship between psychological needs, motivation, and personality traits pointed to the significant role of the intellect, agreeableness, and intrinsic motivation, which proved to be important for satisfying the needs for relatedness and autonomy.
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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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Rawlings, Jared R. "Benefits and Challenges of Large-Ensemble Instrumental Music Adjudicated Events: Insights From Experienced Music Teachers". Update: Applications of Research in Music Education 37, n. 2 (30 maggio 2018): 46–53. http://dx.doi.org/10.1177/8755123318777824.
Testo completoAbstract (sommario):
Adjudicated events, including music festivals, contests, and competitions, are performance opportunities for American instrumental music programs. The purpose of this study was to examine the benefits and challenges of participating in large-group instrumental adjudicated events in three Kansas high school programs. Data analysis followed cross-case procedures for coding data, as well as strategies for trustworthiness. Select findings revealed that participants (a) valued the process of preparing for adjudicated events, (b) valued and sought out additional instructional staff as a means of enriching the process of preparation for adjudicated events, (c) identified multiple logistical challenges associated with preparing for and attending adjudicated events, and (d) identified music considerations associated with attending large-group adjudicated events. These are likely pivotal factors in attending adjudicated events and thus can help us further understand how and why adjudicated events hold an important place in the history of American music education.
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Maestro, Esy, e Mudjiran Mudjiran. "MINAT BELAJAR MUSIK INSTANT AKIBAT RESPON BERULANG DAN MENYENANGKAN PADA AJANG PENTAS KOMPETISI MUSIK POPULER “Studi Kasus Pendidikan Musik Nonformal dalam Sudut Pandang Teori Belajar Operant Conditioning BF. Skinner”". Jurnal Sendratasik 10, n. 1 (5 dicembre 2020): 308. http://dx.doi.org/10.24036/jsu.v9i2.111100.
Testo completoAbstract (sommario):
Thedevelopment of music in modern and urban society today is not always driven by the awareness of the importance of formal education in the field of music itself. The behavior of the community that develops in the surrounding environment, psychologically has triggered the interest of some individuals to engage in the phenomenon of populist music culture, one of which is budaya K-pop who participated in fertilizing music talent search competitions such astelevision, initiated bylocalgovernments, and certain nongovernmental organizations. Many parents consider that their children need to take part either as serious participants or just perform in the event. Many young people and their parents are willingto spendmoney, time, energy, and cost in order to be exposed to the event that is considered prestigious. The continuation is predictable, while the prizes are obtained,of coursepopularity follows, because they will be widely published by the services of the media and television. A number of thesefinancial r ewards and popularity will be enjoyable. The behavior to repeat and keep repeating the participation ofchildren in this event , aslong asitcauses them to havebeen trapped in the behavior of operant conditioning. So BF. Skinner has explained that if a stimulus produces a pleasant reward support capacity,there will be consequences for repeated behavioral responses. Because it will repeat itself, some young people are trying to develop their musical interests by learning music from an early age or studying it in formal education. But the irony for some of them is that it synergizes with the impatience of their parents, to learn music in more results-oriented and instantaneous music courses. The managers of this kind of non-formal music education institutions seem to also care about the quality of music education, unless they also feel equally profiting momentarily from this phenomenon. Eventually many participants of the courseand tutors were disappointed at the incompatibility of the results obtained with all the power that had been sacrificed. In fact, it is still the really talented children who continue to advance to win this talent search competition, even though there are actually some of these champions who learn or do not need to study in courses and less private music.Keywords:Music Competition, Blessing, Operant Conditioning
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Monique Giroux. "Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions". Ethnomusicology 62, n. 2 (2018): 265. http://dx.doi.org/10.5406/ethnomusicology.62.2.0265.
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Tsibanyuk, O., e Yu Kurnyshev. "Features of postgraduate pedagogical education in Bukovina (physical education) of the first half of the twentieth century". Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), n. 12(120) (25 dicembre 2019): 113–17. http://dx.doi.org/10.31392/npu-nc.series15.2019.12(120)19.23.
Testo completoAbstract (sommario):
Features of postgraduate pedagogical education of Bukovina in the field of physical education of the first half of the twentieth century. The need for highly qualified personnel both for the education system and for public organizations of the physical and sports orientation operating on the territory of the region became formed. In addition, a powerful system of legislative regulation for the training of specialists in the field of physical culture and sports, including gymnastics teachers, was created.
Community societies that have worked productively in the region also needed professional staff. It was their lack that forced public activists to organize various forms of training of gymnastics teachers, general physical training instructors, fire-sich. In the capital of the region systematically held "gymnastics-fire" courses, in the popularization of which actively participated Bukovina press. But unification of all forms of professional development into a single state system, registration of the institution concerned and systematic activity became possible only in the 1940s.
The author distinguishes forms of advanced training of the studied period: studying of advanced pedagogical experience, attending lessons, methodical recommendations, competitions, sports competitions. In the early 50's of the twentieth century. considerable attention was paid to physical education and military training: systematic Olympiads, competitions and expeditions, various sports competitions, military sports games, etc. were systematically conducted. In order to study the status of teaching subjects, Methodists of the Institute, along with lessons in Ukrainian language and literature, history, mathematics and geography, chemistry and biology, attended lessons and extracurricular activities in military training in 4 schools, physical education ‒ in 4 institutions, music ‒ in 4 institutions, music educational institutions.
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Ogawa, Masafumi. "Music Education for “Musically Talented Children” in Japan: A Career Path Toward Professionals and Three Music Education Organizations". International Journal of Social Sciences and Artistic Innovations 1, n. 1 (30 settembre 2021): 7–17. http://dx.doi.org/10.35745/ijssai2021v01.01.0003.
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Japan has been one of the leading countries in Asia, where many world-class music professionals are continually produced. As an insider, the author has witnessed and experienced how “musically talented children” are raised in Japan for more than three decades. The purpose of this paper is, therefore, to articulate the career path for becoming professional classical musicians from infants through college period. The findings are four folds: (1) piano is the most popular instrument, to begin with from early age, (2) most young children participate in music competitions, (3) there are three critical periods when young children have to decide whether they continue to study music or quit, (4) Two music universities, the Tōhō Gakuen Music School and the Tokyo National University of the Arts are the top schools in producing professional musicians, particularly in the piano, the violin, and the composition fields. In addition, the systems of three notable music education organizations, the Suzuki Methods, the Tōhō Music School for Children, and the PTNA, are explained.
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Franceschi, Ivana. "The Influence of Piano Students’ Sociodemographic Characteristics, Motivation, and Self-Efficacy on Their Achievements and Aspirations for Continuing Music Education". Nova prisutnost XX, n. 3 (16 novembre 2022): 587–601. http://dx.doi.org/10.31192/np.20.3.8.
Testo completoAbstract (sommario):
Motivation, self-efficacy and certain personality traits are important factors for the success of piano students, and they also influence student aspirations for further music education. In addition to these factors, the paper studies certain sociodemographic characteristics, as predictors of the continuation of music education. The aim of the research was to examine the aspirations and predictors of piano pupils to pursue music education. The research was conducted in the following schools: »Josip Hatze« Music School in Split, »Ivan Matetić Ronjgov« Music School in Rijeka, and the three largest music schools in Zagreb, »Pavao Markovac« Music School, »Vatroslav Lisinski« Music School, and »Elly Bašić« Music School. The respondents were 215 piano students aged 12‒18. The closedended research questionnaires included five subscales adapted for the purposes of this research, along with a new scale of piano practice efficacy, which represents a contribution to piano pedagogy. This paper explains many motivational factors, self-effective practice, and certain sociodemographic characteristics that affect students’ performance and aspirations, while participation in school competitions and international awards were found to be the most important factors for enrolling at music academies. Finally, in terms of explaining success and aspirations for further education, we can also highlight the importance of educational structure, parental support, and primary school performance.
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Heyman, Matthias. "The role and function of jazz competitions in Belgium, 1932–1939". Popular Music 39, n. 3-4 (dicembre 2020): 439–58. http://dx.doi.org/10.1017/s0261143020000422.
Testo completoAbstract (sommario):
AbstractThis article focuses on a series of regional, national and international jazz competitions organised by the Jazz Club de Belgique between 1932 and 1939. In the early 1930s, contests for amateur jazz bands began to emerge in various European countries such as the UK, the Netherlands, and Belgium. Using the Belgian competitions as a case study, this article demonstrates that these were instrumental in the development of certain local jazz scenes, not only by offering budding talents an opportunity to be discovered, but more importantly in establishing a much-needed network of amateur and professional musicians, intermediaries, critics and fans. Furthermore, the argument is made that these events foreshadowed the first European jazz festivals to appear in the 1950s. Overall, it aims to demonstrate that the jazz contest is a valuable yet under-researched site for the promotion, socialisation, mediation, dissemination and popularisation of this music.
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Nagel, Julie Jaffee. "How to Destroy Creativity in Music Students: The Need for Emotional and Psychological Support Services in Music Schools". Medical Problems of Performing Artists 24, n. 1 (1 marzo 2009): 15–17. http://dx.doi.org/10.21091/mppa.2009.1004.
Testo completoAbstract (sommario):
A decision to pursue a career in the performing arts is a lifelong and complex undertaking. Musicians begin instrument lessons in early childhood, when the ego and talent are developing simultaneously. In these vulnerable years and at any age, music teachers and schools can inhibit the creativity, musical and personal growth, and careers of their students by various common attitudes: e.g., overemphasis on improving technique and winning competitions; stress on prestigious performance careers; denial of the psychological implications of playing-related injury; or failure to promote other professional outlets in music as well as other professions. Sometimes, a musician's career plans are altered or aborted altogether. The author advocates the establishment of psychological and physical interdisciplinary programs and courses in the curriculum as important aspects of healthy music programs as well as career services programs to assist students with both performance and non-performance careers.
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Аманова, Роза Асановна. "Tradition of Aytysh and Kyuu Chertish performing competitions in the Kyrgyz musical heritage". Музыкальное искусство Евразии. Традиции и современность, n. 3(8) (5 ottobre 2022): 23–30. http://dx.doi.org/10.26176/maetam.2022.8.3.002.
Testo completoAbstract (sommario):
Статья посвящена актуальной проблеме кыргызского устно- профессионального музыкального искусства - особенностям бытования традиционных исполнительских состязаний айтыш и кюу чертиш, историко-культурным аспектам их формирования, а также синкрезису музыки и языка жестов в комузовых кюях. Отмечается важность сохранения состязаний как национальной формы развития исполнительского мастерства народных музыкантов. The article is devoted to the actual problem of the Kyrgyz oral-professional musical art - the peculiarities of the existence of the traditional performing competitions Aitysh and Kyuu Chertish, the historical and cultural aspects of their formation, as well as the syncresis of music and sign language in komuz kyuis. The importance of preserving competitions as a national form of developing of the performing skills of folk musicians is noted.
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Kondratenko, Iryna, Tamara Skoryk, Nataliya Drozhzhina e Iryna Tsurkanenko. "Art Competitions as a Means of Students' Creative Growth". Revista Romaneasca pentru Educatie Multidimensionala 14, n. 4 Sup.1 (20 dicembre 2022): 58–67. http://dx.doi.org/10.18662/rrem/14.4sup1/659.
Testo completoAbstract (sommario):
The article presents a theoretical analysis of art competitions as a means of creative development of individual abilities, in particular in the process of obtaining professional education. The article reflects the main theoretical and methodological approaches to determine essential features of the art competition in the context of organization, functional characteristics, the formation of professional competence in students. The types of art as an aspect of creating a competitive task are studied.
The results of the study form an idea of the historical and cultural phenomenon of the formation of arts and the formation of the worldview of mankind, which is reflected in works of art that develop during the evolution of man.
The relevance of the study is due to innovative approaches in the process of creating and displaying a work of art, in the context of the modern information society. In the course of the research the importance of holding an art competition was determined, the concepts and structural components were specified. Scientific publications are analyzed and the characteristic features of the art competition are determined. The article establishes the functions of education in the field of art, identifies the impact of education on students, the formation of their professional competence and values of art.
In the course of the research the method of abstraction was used in the study of artistic bases of creative interpretation, a descriptive and research method, the method of analysis and synthesis in theoretical substantiation of the topic, characteristics of music and game activity. To determine the results of the study, the method of generalization and systematization was used. The results confirmed the importance of the art competition in shaping the creative growth of students.
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Sosnowska, Honorata, e Paweł Zawiślak. "Differences between jurors in classical music competitions: the MCDM and Network Theory approaches". Multiple Criteria Decision Making 14 (2019): 93–107. http://dx.doi.org/10.22367/mcdm.2019.14.06.
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Shansky, Carol L. "“We Are Aiming for Quality and Good Music”: The Hebrew Orphan Asylum Harmonica band (NYC) and Music Education, 1924–1930". Journal of Historical Research in Music Education 42, n. 1 (9 giugno 2019): 46–70. http://dx.doi.org/10.1177/1536600619853885.
Testo completoAbstract (sommario):
Once referred to as “the most maligned musical instrument on earth,” the harmonica holds an important historical place in music education as an instrument around which bands were formed, solo and ensemble competitions were held, and in some cases, careers were born. Much of this activity centered itself on city recreation programs as well as public schools. The instrument’s size, low price, and relative ease of sound production were appealing for these organizations. The boys and girls that lived and studied at the Hebrew Orphan Asylum of New York City were engaged participants in these contests as well as performing in radio broadcasts of harmonica band playing. This paper examines the history of this ensemble as a representative of the incredible activity in this underresearched area of music education.
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Andreeva, Victoria, e Diana Karanauskienė. "PRECOMPETITIVE EMOTIONAL STATE OF DANCESPORT ATHLETES". Baltic Journal of Sport and Health Sciences 2, n. 105 (2017): 2–13. http://dx.doi.org/10.33607/bjshs.v2i105.19.
Testo completoAbstract (sommario):
Background. The paper deals with the precompetitive emotional state of dancesport athletes before competition. Research aim was to analyze pre-competition emotional state of dancesport athletes. Methods. The pre-competition emotional state of dancesport athletes was established using methods of in- depth interview and participant observation. The main reasons for different types of emotional states were identified, and finally, recommendations for athletes and coaches how to overcome immoderate anxiety interfering with good competition results were developed. Results. Precompetitive emotional state before competition may be described as a complex multi-faceted phenomenon which consists of different psychological categories such as: anxiety, arousal, stress, self-confidence, concentration. The results of the interviews and participant observation showed that precompetitive emotional states of the dancesport athletes were both positive and negative. Positive emotional state was shown by the majority of participants. There were found six reasons of positive emotional state and five reasons of negative emotional state as well. Conclusion. To overcome the negative emotional state or reinforce positive emotional state before the competitions it is suggested to listen to pleasant music, do breathing exercises or do the mental exercise. The choice depends on the personal characteristics of athletes.
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Babayeva, Minakhanim. "AYAZ GAMBARLİ’ NİN PİYANO İÇİN “OBRAZLAR” ESERİ". SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, n. 33 (15 settembre 2022): 34–42. http://dx.doi.org/10.31567/ssd.743.
Testo completoAbstract (sommario):
The given article provides extensive information about the creativity of the composer A. Gambarli who is the laureate of International Competitions. Here we take a look at the examples of piano music which composer wrote in different years, especially the "Images" series. He tried his talent in several genres and forms of music. Piano music occupies a special place in the composer's career. A number of his works have been successfully performed at International Music Festivals and in many countries around the world. "Six Sketches" (piano, 2003), "Resistance of the Elements" (piano trio, 2013-2014), Suprematistic Figures" (piano trio, 2014), "Resonance" (solo piano, 2015), "September Clouds" (solo) piano, 2015), "Illusion" (solo piano, 2018), "Sadness" (solo piano, 2019), "Riga in the rain" (solo piano, 2020) enriches the composer's piano creativity. The article analyzes the "Images" series written by A.Gambarli in 2015-2018 and explains the modern writing techniques that are touched upon here. A. Gambarli is known in the music community as a composer who is constantly working on himself and sets serious goals. We should note that A. Gambarli was a student of A. Malikov's class and learned many secrets of composition from his great teacher. The modernity observed in his works and he demonstrates a well-thought-out, measured writing style on the subject. In the "Images" series analyzed in the presented article, the composer mainly uses the variety of register capabilities as much as possible. Dynamic signs, changing meter-rhythm, breaks (pauses), different timbres, modern writing techniques, clusters, wide possibilities of the piano, etc. are the features that attract attention in the series. The programmatic idea given by the composer to the title of the work arouses great interest in the listener. Our main goal in the article is to reveal some points related to the application of new writing methods by the 21st century composer. Keywords: Ayaz Gambarli, music, modern writing, registration, Timbre, young composers, international competition, festival, talent, piano music.
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Škoda, Zdeněk. "Art competitions at the Olympic Games 1912-1948 and the Czechoslovak participation". Studia sportiva 14, n. 1 (1 settembre 2020): 42–46. http://dx.doi.org/10.5817/sts2020-1-5.
Testo completoAbstract (sommario):
The article deals with the art competitions that appeared on the program of modern Olympic Games between 1912 and 1948. It reveals the philosophical background of their existence within the Summer Olympics and their relation to the idea of kalokagathia. The article describes the reasons for their origin and how the founder of the modern Olympic movement Pierre de Coubertin succeeded in pushing this idea forward. There were five artistic disciplines: fine arts, music, sculpture, literature, and architecture. I will briefly introduce the history of art competitions in chronological order, show how their popularity gradually increased but I will also reveal the reasons the art competitions were removed from the program of the Olympic Games in the 1950s of the 20th century. Czech and Czechoslovak artists were frequent participants in the competitions. Except for Antwerp 1920 and Amsterdam 1928, they represented Czechoslovakia in large numbers until the time of the first Olympic Games after World War II in London 1948. In total, works by more than 50 Czechoslovak artists were presented and some were remarkably successful. Two composers Josef Suk and Jaroslav Křička and a sculptor Jakub Obrovský were even awarded Olympic medals in the 1930s. We will take a closer look at these achievements and present their works. The article aims to present a lesser known but important place of art competitions in the history of the modern Olympic movement and to recall the achievements of Czech and Czechoslovak artists.
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van Wyk, Adri, e Frelét de Villiers. "Psychological Attributes of Primary School Piano Learners Preparing for Regional and National Music Competitions in South Africa". Muziki 18, n. 2 (3 luglio 2021): 120–35. http://dx.doi.org/10.1080/18125980.2021.2015246.
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García-Ucha, Francisco Enrique, e Leopoldo Ferrer-Maldonado. "Utilidad de la música en la preparación psicólogica de los deportistas / Usefulness of Music in the Psychological Preparation of Athletes". Revista Costarricense de Psicología 34, n. 2 (16 dicembre 2015): 79. http://dx.doi.org/10.22544/rcps.v34i02.03.
Testo completoAbstract (sommario):
<p>Resumen:</p><p>El presente estudio es una revisión teórica que tiene como objetivo presentar las formas de utilizar la música como método de intervención en la preparación psicológica para las competencias deportivas. Se describe que la música contiene una influencia explícita y directa sobre los procesos afectivos, cognitivos y conductuales en los deportistas, que permiten ajustar la motivación y la emoción, así como reducir el esfuerzo percibido, acrecentar la cantidad de ejercicio realizado, focalizar la atención y mejorar la recuperación posejercicio. En el trabajo se señalan las ventajas y también las posibles desventajas y las limitaciones del uso de la música en el deporte. Se constató que la música es un elemento importante en la regulación de los estados emocionales previos a las competencias. Los resultados muestran la complejidad de los métodos de selección de la música y los relacionados para evaluar sus repercusiones. Adicionalmente, sugieren que se requiere un modelo teórico que resuelva las contradicciones sobre las tendencias del empleo de la música en el deporte. Finalmente, también demuestran que se ha estudiado poco sobre temas como el uso de la música acompañada de otras intervenciones psicológicas, el efecto de la letra de las canciones y las consecuencias de la música sobre el desempeño deportivo al combinarla con tareas adicionales de la musicoterapia.</p><p> </p><p>Abstract:</p><p>This article is a theoretical review. It is intended to present the ways of using music as an intervention in psychological preparation for sports competitions. Music is described as holding an explicit and direct influence on affective, cognitive and behavioral processes in athletes. It allows regulation of motivation and emotion, reduces perceived exertion, increases the amount of exercise performed, focuses the attention and improves recovery after exercise. The paper points out the advantages, possible disadvantages and limitations to the use of music in sports. It was found that music is an important element for regulation of emotional states before competitions. The results show the complexity of the methods for selecting music, as well as the instruments for assessing their impact. Additionally, they suggest that a theoretical model is required to resolve the contradictions in music use trends in sports. Finally, it also demonstrates that some topics have hitherto been poorly investigated. These subjects are the use of music in combination with other psychological interventions, the effect of song lyrics and the consequences of music on athletic performance when combined with additional tasks related to music therapy.</p>
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Yulita, Birgita Iyona, Bagus Susetyo e Irfanda Riski Harmono Sejati. "Exploration Of Lampung Traditional Music In Efforts To Preserve Culture By Kulit Tipis Community In Bandar Lampung". Jurnal Seni Musik 10, n. 1 (27 giugno 2021): 47–56. http://dx.doi.org/10.15294/jsm.v10i1.46898.
Testo completoAbstract (sommario):
Traditional music is one of the elements of culture keeping the continuity, dynamics, cultural identity and also becoming a vehicle for transmitting the cultural values inherited from generation to generation. This study aims to identify and describe the exploration of traditional music Lampung as an effort to preserve music culture by the Kulit Tipis community in Bandar Lampung. This research was conducted using qualitative methods. Data collection techniques used literature study, observation, interviews, and documentation studies. The results showed that there were efforts to preserve Lampung traditional music by Kulit Tipis community in Bandar Lampung, namely: (1) Collaborating traditional Lampung musical instruments with modern musical instruments or traditional musical instruments from other regions. (2) Making musical compositions from Lampung folk songs or modern pop songs today. (3) Performing musical exploration performances in various festivals, regular bands, and competitions in Lampung or outside the Lampung area. (4) Creating and uploading their video recordings of musical composition performances from the Kulit Tipis community through social media, such as YouTube.
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Vorotnoi, M. V. "Specifics of the vote counting system at international music competitions, including on-line mode". Искусство и образование, n. 4 (2022): 97–104. http://dx.doi.org/10.51631/2072-0432_2022_138_4_97.
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Després, Jean-Philippe, Pamela Burnard, Francis Dubé e Sophie Stévance. "Expert Western Classical Music Improvisers’ Strategies". Journal of Research in Music Education 65, n. 2 (2 giugno 2017): 139–62. http://dx.doi.org/10.1177/0022429417710777.
Testo completoAbstract (sommario):
The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice’s aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers’ thinking processes are not yet thoroughly documented. As a result of this gap, our research addresses the following question: What strategies are implemented in the course of performance by Western classical music improvisers? To answer this question, semistructured interviews were conducted with five internationally recognized Western classical music expert improvisers. Each participant improvised, and immediately afterward, a retrospective verbal protocol with subjective aided recall data collection strategy was used to elicit the improvising musician’s strategies. After transcription, the interviews were coded and analyzed using NVivo 10 software, with a mixed (i.e., combining inductive and deductive coding) category approach. Our data revealed 46 improvisation strategies that were subsequently organized into five categories: preplanning, conceptual, structural, atmospheric and stylistic, and real time. Pedagogical implications arising from these findings are that (a) learners should be guided toward implementing various strategies and (b) the capacity to switch from one strategy to another according to the circumstances should be promoted.
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Fernando, K. N. N., e A. M. G. C. P. Adikari. "The acute effect of arousing and relaxing music on athletes’ mood: A study to identify the difference between contact and non-contact sports". International Journal of Sport, Exercise and Health Research 6, n. 1 (25 giugno 2022): 70–73. http://dx.doi.org/10.31254/sportmed.6111.
Testo completoAbstract (sommario):
The purpose of this study is to determine the acute effect of arousing and relaxing music on mood variables among contact and non-contact sports participants. This experimental study was conducted recruiting 52 male athletes from contact sports (n=26) and non-contact sports (n=26) aged range from 23 to 26 years with more than five years of experience in their sports. Participants listen to either arousing or relaxing music for 15 minutes before they complete the Brunel Mood Scale which measured their mood. Each athlete listened to both music types randomly on two consecutive dates. Data were not normally distributed (P < 0.05). Hence, non-parametric tests were used to analyse the data. To analyse the effect of arousing and relaxing music on all participants, Wilcoxon signed-rank test was used, and results showed that vigour is significantly high after listening to arousing music, and tension and depression mood variables were significantly high with relaxing music (p < 0.00). To find the effect of both music types on contact and non-contact sport athletes, the Mann-Whitney U test was used, and results revealed that there is a significant difference between contact and non-contact sport athletes on fatigue (p = 0.01) and confusion (p = 0.02) mood variables after listening to the arousing music. The findings indicate that there is an acute effect of music type on some mood variables among the athletes. Hence, listening to music can rapidly change athletes’ mood and music can be used to increase arousal or relax athletes during competitions. More research is needed to confirm the outcome of this study.
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Zwiercan, Halina. "Wpływ kształcenia muzycznego na rozwój właściwości osobowościowych i zachowań prospołecznych ucznia". Studia Gdańskie. Wizje i rzeczywistość XIV (3 giugno 2018): 153–63. http://dx.doi.org/10.5604/01.3001.0014.2561.
Testo completoAbstract (sommario):
The subject matter is characterized by showing how learning to play an instrument builds the self-esteem of students. The development of appropriate prosocial behavior, associated with performances at concerts and competitions, is also presented. Then the author describes the impact of playing in a band to feel empathy and development of interaction skills. At the end there is an analysis of the educational role of music classes, conducted in the form of team games using balls.
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Kigozi, Benon. "School Music Festivals and the Rights of Children: The Case of Uganda". PAN African Journal of Musical Arts Education 1, n. 1 (30 dicembre 2014): 36–43. http://dx.doi.org/10.58721/pajmae.v1i1.134.
Testo completoAbstract (sommario):
In order to make up for the social effects caused by many years of under-development as a result of dictatorship, ethnic conflict and civil wars, the current government of Uganda decided to promote national unity and national pride through primary school music festivals as part of reforms in the education sector. The government, through the Ministry of Education and Sports (MoES) sponsored music competitions amongst schools whose objective is described by the mutual process of socialization and educating the masses about children rights and the country’s constitution. With a total of 198 participants (n=198), including music teachers (n=60), students (n=80), parents (n=40), and administrators (n=18), this research examines the role of school music festivals in fostering awareness and advocacy for children’s rights. It illustrates how music festivals accord children the opportunity to participate in social change and in developing a new culture nationally by introducing a development discourse nationally. Ethnographic research design was applied, combining both qualitative and quantitative research methods constituting a wide array of observations over a period of time. Interviews and questionnaires were used to ascertain how music festivals create a culture of constitutionalism, raising children rights awareness, and advocacy. In addition to the searched literature, the researcher’s personal experiences as participant observer and his interaction with stake holders offer insight and understanding of how music festivals allow children to use the performance stage as space to evaluate inconsistencies associated with claiming their rights.
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Jones, Tzefira R., e Elizabeth Chappell. "Fracturing the Black Nucleus: Reflections on School Desegregation in Texas Through the Lens of Black Orchestra Students". Journal of Historical Research in Music Education 43, n. 2 (aprile 2022): 185–204. http://dx.doi.org/10.1177/15366006221081884.
Testo completoAbstract (sommario):
Desegregation in the south had many goals, among them was creating equitable opportunities for students in schools. Much of the literature on desegregation efforts are focused on general education and little research has been done on the effects it had on school orchestra programs. Orchestra programs in Texas schools have had a historically strong presence, but opportunities for Black string players had been rare and limited by segregation. It wasn’t until 1963 that Black students could participate in Texas All-State ensembles and 1968 before school ensemble competitions were integrated. Newspaper articles, archives, and voices of individuals that lived through these experiences were examined to gain a better understanding of what occurred during the time of desegregation in Texas schools. The predominantly Black orchestra program at Dunbar High School in Lubbock thrived despite segregation; however, it would later struggle to recover after integration plans were enacted. In an effort to satisfy desegregation laws, Black students and teachers were bussed to white schools dissolving the Black nucleus that contributed to their previous success. A historical examination of Texas string orchestra programs, competitions, and lived experiences of Black stakeholders revealed issues surrounding representation and the importance of strong role models in music.
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Wołoch, Paulina. "Chór Kameralny Towarzystwa Muzycznego im. Henryka Wieniawskiego w Lublinie. Beaty Dąbrowskiej dzieło życia". Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, n. 2 (12 gennaio 2017): 59. http://dx.doi.org/10.17951/l.2016.14.2.59.
Testo completoAbstract (sommario):
<p>The Chamber Choir of the Henryk Wieniawski Music Society of Lublin was founded in 1987. Beata Dąbrowska (1960-2016) was its founder and conductor. The article consecutively describes special concerts of the Choir (inter alia on the occasion of national, religious holidays, various anniversaries and jubilees), its participation in cyclic concerts organized in Lublin, its journeys abroad (festivals and competitions, inter alia, in Belgium, Austria, France, Germany, Switzerland, Sweden), participation in diploma concerts of students of the Maria Curie-Skłodowska University’s Institute of Music, as well as its album and TV records. The appendix contains: the register of members of the Chamber Choir (1987-2015), its repertoire, and illustrations documenting the Choir’s activity.</p><p> The accomplishments of the Chamber Choir of the Henryk Wieniawski Music Society have significantly enriched Lublin’s music culture of the last thirty years and become the pride of our town. These achievements must be attributed to Professor Beata Dąbrowska, who worked on the Choir’s artistic development with utter dedication and exceptional consistency. This was Her <em>opus vitae.</em></p>