Gotowe bibliografie tematyczne / Music criticism

Gotowa bibliografia na temat „Music criticism”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 7 lipca 2024

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Artykuły w czasopismach na temat "Music criticism"

Lanier, Brian N. "Music criticism". Music Educators Journal 75, nr 7 (marzec 1989): 51. http://dx.doi.org/10.2307/3400314.

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Atlas, Gordon D., Terry Taggart i Debra J. Goodell. "The effects of sensitivity to criticism on motivation and performance in music students". British Journal of Music Education 21, nr 1 (marzec 2004): 81–87. http://dx.doi.org/10.1017/s0265051703005540.

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Music education inherently relies on a process of providing and receiving critical feedback. Students who are very sensitive to criticism, however, may present a unique challenge for the music educator. This study investigated the ways in which sensitivity to criticism affects the educational experience of music students. Nineteen students were assessed for sensitivity to criticism, self-reported motivation, and perceived quality of performance early and late in the semester. High scores on the Sensitivity to Criticism Scale (Atlas, 1994) were associated with decreases in ratings of importance of the activity and mildly connected with decreases in enjoyment and confidence levels. Highly sensitive students were more hurt by their instructors’ criticisms, felt they improved less in response to criticism, and found it more difficult to communicate with the instructor following criticism. These results suggest that being sensitive to criticism can have an impact on music students’ motivation and performance – and that instructors should be particularly careful in considering the effects that critical feedback may have on highly sensitive students.

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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook". Korean Association For Learner-Centered Curriculum And Instruction 23, nr 17 (15.09.2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.

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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and Criticism, and proposes improvement directions accordingly. Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization, and Gugak contents were analyzed. Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education is a special subject for students majored in music, it should have more advanced content than general Music textbooks, but there was room to instill musical prejudice. Conclusions The improvement direction for these problems is, first, to understand Korean traditional music universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse way and learning contents were to be converged. When these suggestions for improvement are fully considered and improved, the appreciation and criticism of Gugak can also develop in a creative direction.

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Conner, Thomas, i Steve Jones. "Art to Commerce: The Trajectory of Popular Music Criticism". IASPM Journal 4, nr 2 (31.12.2014): 7–23. http://dx.doi.org/10.5429/ij.v4i2.671.

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This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts.

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Gooley, Dana. "Hanslick and the Institution of Criticism". Journal of Musicology 28, nr 3 (2011): 289–324. http://dx.doi.org/10.1525/jm.2011.28.3.289.

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This article surveys Hanslick’s statements about the purpose and practice of criticism to argue that he viewed music criticism as a medium with the potential to effect political and social change, and not as a practical application of aesthetic principles. Hanslick took up the Enlightenment model of criticism—–which stressed the critic’s role in fostering the public’s independence of judgment through the exercise of reason—–and adapted it to the historical circumstances of post-1848 Vienna. The Enlightenment model had originated from an impetus to emancipate a civil public from top-down, absolute forms of authority. It resonated powerfully with Hanslick because he believed that artistic, social, and political life in Vienna after 1848 was gradually liberating itself from the paralyzing, passive, and repressive ethos of Vormärz, and that the critic could contribute to this historical emancipation. Hanslick thus broke his earlier identification with the Left Hegelian “philosophical” model of criticism, which did not share the Enlightenment’s optimistic conception of the public sphere. His commitment to the critic's public mission manifested as an effort to position his voice as the “silent” inner conscience of the average educated listener. His self-consciousness about aligning his voice with that of the public came to the surface in reviews where his opinion did not match the audience response. Many of Hanslick’s criteria for musical judgment were aimed at defending the listener’s freedom from the interference of external critical authorities as well as from composers and whose musical ideas were turgid or unclear. In service to these freedoms he was willing to criticize composers such as Beethoven, Schumann, and Brahms, as well as conservative classicists and music historians.

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Kivy, Peter. "A New Music Criticism?" Monist 73, nr 2 (1990): 247–68. http://dx.doi.org/10.5840/monist199073223.

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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI". Nasledje Kragujevac XX, nr 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.

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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*". Renaissance Quarterly 41, nr 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.

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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism". arbeitstitel | Forum für Leipziger Promovierende 8, nr 1 (2.04.2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.

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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general association of music with motion, given that people often literally move when they make music and when they listen to music.

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Anderson, Robert, i Stewart Hylton Edwards. "Faded Criticism". Musical Times 126, nr 1711 (wrzesień 1985): 538. http://dx.doi.org/10.2307/964465.

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Rozprawy doktorskie na temat "Music criticism"

Aitken, Shelagh Elizabeth. "Music and the popular press : music criticism in Paris during the First Empire /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598311.

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Diss.--Philosophie--Evanston, Ill., 1987.
Réunit des articles du Journal des débats, du Journal de Paris, du Journal de l'Empire et du Moniteur universel en français avec la trad. anglaise en regard. Bibliogr. p. 433-444.

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Carneiro, Albuquerque Liliana. "Mockumentaries and the music industry : between flattery and criticism". Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/125712.

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This thesis discusses the relationship between mockumentaries and the music industry. Because this subject has yet to be studied in depth, the original contribution to knowledge is to further examine this relationship. To do so, a literature review documenting what has thus far been written about mockumentaries is provided. This audiovisual strategy is also contextualized within contemporary practices. In the next section, the music industry is discussed in broad terms. Firstly, the relationship between cinema and music is addressed. Then, music is depicted as a cultural phenomenon, with recent issues also being brought to light. In the last chapter, four music-related mockumentaries are analysed. Then, extensive conclusions are drawn.
Esta tesis analiza la relación entre la industria de la música y los falsos documentales. Teniendo en cuenta que esta cuestión todavía no se ha estudiado en profundidad, la contribución original al conocimiento es centrarse en el análisis de esta relación. Para ello, una revisión de la literatura se proporciona, discutiendo lo que hasta ahora se ha escrito acerca de falsos documentales. Esta estrategia audiovisual también se estudia en el contexto de otras prácticas audiovisuales contemporáneas. En la siguiente sección, la industria musical es tratada en términos generales. En primer lugar se aborda la relación entre la música y el cine. A continuación, la industria de la música es analizada como un fenómeno cultural, y además se abordan cuestiones actuales. En el último capítulo cuatro falsos documentales relacionados con la música son analizados y por último se presentan una serie conclusiones.

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Titus, Barbara. "Conceptualizing music : Friedrich Theodor Vischer and Hegelian currents in German music criticism, 1848-1887". Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423336.

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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music". Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

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555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
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Flynn, Timothy Scott. "A study in music criticism and historiography : sacred music : journals in France, 1848 to 1870 /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371033947.

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Diss.--Philosophie--Evanston, Ill., 1997.
Contient des analyses d'articles parus dans les périodiques suivants : Revue de musique ancienne et moderne, Le Plain-chant, Revue de musique sacrée ancienne et moderne, le choeur, la Maîtrise. Bibliogr. p. 518-535.

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Harvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis". Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.

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Any composer's writings form an important source for the critical study of his music: they must nevertheless be used with care, Carter's writings are considered as part of a tradition in American music. His musical development up to 1959 is briefly sketched, with particular reference to those elements which with hindsight can be seen to have been most significant in the evolution of a mature musical language - various experimental and non-western musical traditions, influences from other domains of art, and the philosophy of A. N. Vhitehead. In order to avoid the spectre of 'merely technical analysis' of atonal music, we need an analytical approach which can describe the way in which the characteristic properties of a musical surface (principally pitch register and duration; secondarily dynamic and timbre) act to create larger structures in time. Pitch-class Set Theory is rejected as embodying an unacceptable level of abstraction, and failing to account for the dynamic, developmental aspects of musical structure, Instead, a more flexible and sensitive method is developed, drawing on an alternative analytical tradition for twentieth-century music. Precedents and justifications for this method are sought in contemporary accounts of structure in general, and parallels and distinctions are drawn between the hierarchic structures of tonal music, atonal music, and language, This context-sensitive analytical approach is then applied to three of Carter's most characteristic works: the String Quartet no.2 (1959); the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); and the Concerto for Orchestra (1969).

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Scaife, Nigel Clifford. "British music criticism in a new era : studies in critical thought 1894-1945". Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:88dc162f-d759-42f2-a45e-4a5d4c697418.

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The mid 1890s witnessed the start of a new era in British music criticism heralded by George Bernard Shaw. A preliminary study of the nineteenth-century critical context provides some reasons for its emergence. The new temper was defined by two critics: John F. Runciman. the self-appointed leader of the New critics. and the Rationalist Ernest Newman. Henry Hadow's Studies in Modern Music set a new standard and added impetus to discussion of critical theory. Several other critics associated with Oxford, including Parry, Tovey, Walker and Colles, formed a body of opinion that shared common values and continued a tradition stemming from Victorian writers such as Grove and Stainer. Discussions of critical theory, especially those of Newman and M. D. Calvocoressi. are given prominence. Two new trends emerged after the First World War. The first, a reaction against the German repertoire, focused on Stravinsky and the composers associated with Diaghilev's Ballets Russes. Foremost among those who championed the aesthetic of 'objective empiricism' were Edwin Evans and Leigh Henry. A second and more conservative tendency carne predominantly from two composer-critics associated with Philip Heseltine's journal of the 1920s. The Sackbut: Cecil Gray and K. S. Sorabji. Constant Lamben continued along broadly similar lines to Gray during the 1930s, notably in his Music Ho!. and is included as a member of the Sackbut coterie. Contrast between the criticism of Eric Blom and that of the poet W. J. Turner demonstrates the range of independent thought characteristic of the new era. Consideration of individual endeavour rather than collective trends of critical thought provides the method of documentation. The thesis attempts to elucidate the diversity of critical views without refuting a critic or entering into a polemical discourse. while in no way shirking the responsibility of arriving at an assessment of his position and achievement. Certain recurrent issues. including those surrounding Romanticism. nationalism and the rise of modernism. reflect the primary concerns of the period. A table showing music critics of leading British newspapers and a selected chronological list of one hundred books of music criticism published in Britain between 1890 and 1950 are contained in the appendices.

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Ryan-Hirst, Thomas F. "The Elephant In The Concert Hall; Searching for the Postmodern in Music Criticism from 1965 to the Present". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1433765766.

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Yeagley, David Anthony. "Franz Liszt's "Dante Sonata": The origins, the criticism, a selective musical analysis, and commentary". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186883.

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The earliest European Christian (Catholic) music was exclusively vocal. Western music's Renaissance (c.1400-1600) brought about independent instrumental music. However, the idea that religious sentiment could be expressed non-vocally, in non-liturgical contexts, on instruments not associated with religious circumstance, did not develop before Franz Liszt (1811-1886). Though Beethoven (1770-1827) wrote non-liturgical music regarded as "spiritual," (e.g., the late piano sonatas, the late string quartets), Liszt sought to articulate a category of music specifically religious, apart from vocal, liturgical associations. Liszt invented such music at the piano, an instrument incorporating the variety of sounds, gestures, and harmonies he considered evocative of religious sentiment. The Dante Sonata is such a composition. Except for a brief, early moment in the Dante Sonata, the score is void of scales and arpeggios--very basic pianistic musical gestures. The score instead comprises innovative harmonies, creative use of octaves, chords, and original concepts of notation and rhythm. However, scales arpeggios, and indeed the gamut of 19th century pianism, are used by Liszt in other "religious" piano solos. The Legendes de St. Francois, contain substantial use of scales and arpeggiated figures. Other Catholic works, such as Pater noster, Vexilla Regis Prodeunt, Ave Maria, and numerous death-oriented works, though not virtuosic, are not limited in pianistic style. The Harmonies Poetiques et Religious (1845-1852, Nrs. 1-10), contain pieces with both limited and non-limited pianism. The Invocation is void of scales and arpeggios, like the Dante Sonata; but the Benediction and the Cantique d'amour contain much typical arpeggiated accompaniment of melody. The present essay does not identify individual compositional elements as "religious." Each element of the Dante Sonata selected for present analysis, is simply cited as interesting. The Dante Sonata itself is put in the context of religious music. The subjects of religious music and pianistic innovation are both addressed, though neither is interpreted nor defended. That the Dante Sonata is religious music, and pianistically innovative, are the author's judgments a priori. This essay assumes responsibility for circumstantial, pragmatic exemplification of these judgments, not the due process of academic logistics by which they derive. (The latter process requires separate essays.)

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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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Książki na temat "Music criticism"

Savage, Roger W. H. Hermeneutics and music criticism. New York: Routledge, 2009.

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Ballester, Jordi. Music criticism 1900-1950. Turnhout: Brepols, 2018.

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Music Criticism 1950-2000. Turnhout: Brepols, 2019.

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Hermeneutics and music criticism. New York: Routledge, 2010.

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Henry, Pleasants, red. Hanslick's music criticisms. New York: Dover Publications, 1988.

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Einstein, Alfred. Alfred Einstein on music: Selected music criticisms. New York: Greenwood Press, 1990.

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Classical music criticism: With a chapter on reviewing ethnic music. New York: Garland, 1996.

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1954-, Steib Murray, red. Reader's guide to music: History, theory, criticism. Chicago: Fitzroy Dearborn, 1999.

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John Simon on music: Criticism, 1979-2005. New York, NY: Applause Theatre & Cinema Books, 2005.

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Music. Ann Arbor, Mich: Cherry Lake Pub., 2009.

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Części książek na temat "Music criticism"

Zimmermann, Bernhard. "Comedy’s Criticism of Music". W Intertextualität in der griechisch-römischen Komödie, 39–50. Stuttgart: J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-04190-6_4.

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Golding, Rosemary. "Adelos, ‘Amateur Criticism’". W Music in Nineteenth-Century Britain, 38–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-4.

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Hirshberg, Jehoash. "Criticism of Music and Music as Criticism in the Chantilly Codex". W Epitome musical, 133–59. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2664.

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Stallings-Ward, Judith. "Theory and Criticism". W Gerardo Diego’s Creation Myth of Music, 16–30. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003016496-4.

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Lee, Jonathan Rhodes. "Theory and Criticism". W Film Music in the Sound Era, 69–180. [1.] | New York : Routledge, 2020. | Series: Routledge music bibliographies: Routledge, 2020. http://dx.doi.org/10.4324/9781351190794-3.

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Golding, Rosemary. "John F. Runciman, ‘Musical Criticism and the Critics’, and ‘The Gentle Art of Musical Criticism’". W Music in Nineteenth-Century Britain, 107–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-10.

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Ruane, Aileen R. "Shaw and Spanish Music Criticism". W Bernard Shaw and His Contemporaries, 101–20. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97423-7_6.

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Golding, Rosemary. "Edmund Gurney, ‘Musical Criticism’". W Music in Nineteenth-Century Britain, 58–72. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-6.

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Golding, Rosemary. "Frederick J. Crowest, ‘Musical Criticism’". W Music in Nineteenth-Century Britain, 89–100. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-8.

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Brüstle, Christa. "Gender Issues as Criticism Within (New) Music Institutions". W New Music and Institutional Critique, 49–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_3.

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AbstractWhy is the thematisation of gender linked to social criticism and criticism of music institutions as well as criticism of music as institution? Institutions and institutionalised organisations should be regarded as intermediate instances located between society as a whole and the individual. In them, gender relations are created and reproduced, discussed, and transformed. The thematisation of gender and the associated criticism within institutions then means, above all, dealing with gender-specific power relations. Moreover, the spectrum of approaches in art and art studies for thematising gender ranges from criticism of the exclusion of women from history to criticism of the dominance of certain discourses. Therefore, the integration of gender in the field of music implies aspects and measures of institutional gender equality policy as well as fundamental perspectives critical of music discourses, music theory, and musicology, and thus also institutionally critical perspectives.

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Streszczenia konferencji na temat "Music criticism"

Liang, Yao, i Hu Wang. "Sentiment Analysis of Music Criticism Based on Data Mining". W 2018 2nd International Conference on Education, Economics and Management Research (ICEEMR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iceemr-18.2018.84.

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS". W Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.

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Tomić Ferić, Ivana, i Maja Milošević Carić. "The Activity of Ambro Novak (1899–1947) in the Field of Music Criticism: Contemporary Readings and Reflections". W Simpozij Umrežavanje glazbom u "dugom 19. stoljeću" (2021 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, Odsjek za povijest hrvatske glazbe, 2023. http://dx.doi.org/10.21857/y6zolb66jm.

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Knoth, Ina. "Art Criticism and the Professional Perspective: The Functions of Analogies between Music and Painting in Charles Avison’s Essay on Musical Expression and William Hogarth’s Analysis of Beauty". W Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.118.

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Magiru, Anca, i Ionel Magiru. "SUGGESTOPEDIA, A SERIOUS COMPETITIVE GAME". W eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-146.

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The paper aims to show how suggestopedia, a dynamic, full of life class game, can become a way of delivering advanced conversational competence quickly. What makes this game interesting and attractive is that learning occurs through suggestion while the students are in a deeply relaxed state which is induced by music. The instructor should choose what kind of music he/she considers suitable for the topic which is introduced. Although the goal is understanding and not memorisation, the students are required to master prodigious vocabulary lists. This type of game implies initiatives, questions and answers, role play, listening exercises under deep relaxation. From the psychological point of view, and related to the ways of learning, the game matches perfectly with two of the four types of learners, namely: the Player and the Feeler. The Player is the student who likes being with people and enjoys variety and change, prefers listening and speaking to reading and writing, prefers playing games and working in groups to writing exercises, prefers competition and excitement to practice and homework, prefers trying lots of different activities to doing long projects, enjoys participating and performing, hates doing the same thing lesson after lesson, would like to do different things all the time. He/she enjoys vocabulary race. The Feeler is a good language learner who loves interacting and group and pair work and is interested in talking about emotions and personal topics. He/she enjoys being with people and learns through cooperation, prefers taking part in discussions to studying rules and doing exercises, like reading, role play and drama, is very sensitive to criticism and needs individual feedback and prefers speaking to writing. Suggestopedia must maintain a passive state among the students and also allow the materials to work on them rather than vice-versa. The instructor’s role is to create situations in which the students are most suggestible and present materials in a way most likely to encourage positive reception and retention. The instructor must emanate authority and confidence. The texts used should have force, literary quality and interesting characters. What we are going to do is to offer two sample lesson plans, one based on a literay text, the other one on a detective short story in order to prove how suggestopedia works like a way of learning.

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Vikulova, Larissa G. "Music Critics Avoiding Conflicts: Take Five Or Why Stars Matter". W Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.14.

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Bebrišs, Rūdis. "Kas objektu padara par mākslas darbu, skaņu – par mūziku? Artūra Danto mākslas pasaules idejas kritika". W LU Studentu zinātniskā konference "Mundus et". LU Akadēmiskais apgāds, 2021. http://dx.doi.org/10.22364/lu.szk.2.rk.03.

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he article focuses on the critique of the definition of art by the American art philosopher Arthur Coleman Danto (1924–2013). This definition could be called the “missing link” in the understanding of art for people who do not understand why modern art is art, or openly criticize and abnegate it on the basis of such incomprehension. In Danto’s theory, one can point to three criteria that any object must meet in order to become an artwork – aboutness, embodiment and inclusion in the artworld, in other words, being in a social and historical relationship with all the art that exists to date.However, since any definition should adequately describe every subject to which it applies, the definition of art must be able to explain all expressions of art. Although Danto’s idea has proven its competence in defining visual art, is it as successful in embracing other forms of art, for example, music? The aim of the current study is to find an answer to this question. To achieve this goal, firstly, Arthur Danto’s theory is outlined, and secondly, it is weighed against music. By problematizing the cornerstone of Danto’s theory or the question of indiscernible counterparts, it is ultimately argued that Arthur Danto’s definition of art does not have a capacity to adequately define music, and a solution to this problem is proposed.

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