Artykuły w czasopismach na temat „Professional artistry”
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KENNERLEY, DAVID. "DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850". Historical Journal 58, nr 4 (29.10.2015): 987–1008. http://dx.doi.org/10.1017/s0018246x14000740.
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AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.
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Brockett, Ralph G. "Professional development, artistry, and style". New Directions for Adult and Continuing Education 1991, nr 51 (1991): 5–13. http://dx.doi.org/10.1002/ace.36719915103.
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Zhdanova, Natalya, Olga Mukhlynina, Natalya Bastrakova, Irina Kondyurina, Tatyana Simakova i Ekaterina Volozhanina. "Pedagogical Artistry as a Professional Feature". Eurasian Journal of Analytical Chemistry 12, nr 7b (1.10.2017): 1275–81. http://dx.doi.org/10.12973/ejac.2017.00253a.
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Yusupova, A. A., i N. A. Kargapolceva. "INTERPRETATION OF A MUSICAL WORK AS A MEANS OF DEVELOPING ARTISTRY IN THE PROCESS OF MUSICAL AND ARTISTIC EDUCATION OF FUTURE MUSIC TEACHERS". Vestnik Orenburgskogo gosudarstvennogo universiteta 230 (2021): 53–57. http://dx.doi.org/10.25198/1814-6457-230-53.
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Artistry plays an important role in the pedagogical activity of any teacher, but it is of particular importance in the activity of a music teacher, since it is the most important professional quality of the personality of a teacher-musician. Pedagogical artistry, as is well known, consists of an external factor (intonation, diction, expressiveness, musicality, gestures, plasticity, etc.), which is developed through vocal art, and an internal one (spirituality, creative and musical-pedagogical thinking, imagination, etc.), associated with performing skills. Work on the interpretation of the work — improving the vocal technique, competent reading of the musical text, compliance with all the author's remarks, creating a musical and artistic image as a whole, is one of the main components of the formation of artistry. The teacher's artistry presupposes his creativity, creativity, and the ability to navigate in any situation, so the actual pedagogical task is the formation of artistic singing skills in the process of musical and artistic education of future music teachers.
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Kerchner, Jody L. "Keeping the Artistry: Modeling the Professional Life". Journal of Music Teacher Education 11, nr 2 (styczeń 2002): 14–21. http://dx.doi.org/10.1177/105708370201100204.
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Ström Lehander, Karin. "Tyra Kleen". Approaching Religion 11, nr 1 (21.03.2021): 174–83. http://dx.doi.org/10.30664/ar.100479.
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The Swedish artist and writer Tyra Kleen (1874–1951) was a professional artist and a constant traveller who had a great interest in different religious questions. This article describes her Symbolist artistry, her interest in Theosophy and her journeys to India and Asia.
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Dementieva, T. "Artistry as a necessary component of a teacher's pedagogical professionalism". New Collegium 3, nr 108 (2.09.2022): 66–69. http://dx.doi.org/10.30837/nc.2022.3.66.
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The article considers the essence of the concept of "pedagogical artistry" as an important component of a teacher's pedagogical skill. That is why the training of pedagogical personnel is so important, as a result of which they must master a high level of professional competence, methodological thinking, general and professional culture, professionally significant personality qualities, and a creative approach to teaching and education.
Integrating, these qualities form the teacher's pedagogical skill, which ensures a high level of his professional and pedagogical activity on a reflective basis. The fulfillment of this historic mission in the training of pedagogical personnel, so that students mastered the special art of teaching and educating others and self-learning throughout life, was directed by an outstanding scientist, a well-known specialist in the field of new pedagogical technologies of learning and education, economic theory, philosophy of education, the rector of the Kharkiv National Pedagogical University named after G. S. Skovorody from 1980 to 2020 Ivan Fedorovich Prokopenko. He believed that every teacher should possess a set of personal qualities that ensure a high level of self-organization of a teacher's professional activity. Among these qualities, artistry occupies a special place as one of the important professional components.
Summarizing the views of the authors on the definition of this phenomenon, it was concluded that the teacher's pedagogical artistry is a high level of pedagogical activity, which is manifested in the teacher's ability to vividly, emotionally, uniquely convey the educational material, using all his experience, competence and pedagogical technologies.
The professional activity of a teacher should include not only friendly communication, harmony of mind and feelings, but also pedagogical mastery at the level of art, which is ensured by a high degree of development of professionally necessary qualities, abilities, skills and, in particular, pedagogical artistry. Therefore, the formation of pedagogical artistry is one of the tasks of training. The result of artistic teaching is the formation of students' motivational and valuable attitude to the content of education. Emotional perception of the material contributes to maintaining sustained attention and interest, deepening the motives of educational cognition, in response to the desire to open up.
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Perepelitsa, Vita V. "Artistry as a Professional and Personal Characteristics of a Librarian". Bibliotekovedenie [Library and Information Science (Russia)], nr 3 (7.06.2011): 121–26. http://dx.doi.org/10.25281/0869-608x-2011-0-3-121-126.
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A first attempt to justify virtuosity as a necessary professional and personal quality of a librarian. Artistry is regarded as a professionalism of librarian’s activity and as a way of creative abilities’ using. The author characterizes such features of a librarian’s artistry like emotionality, openness, spontaneity, etc.
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Sadler-Smith, Eugene, i Peter J. Smith. "Technical rationality and professional artistry in HRD practice". Human Resource Development International 9, nr 2 (czerwiec 2006): 271–81. http://dx.doi.org/10.1080/13678860600616248.
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Okhotnikov, Vladimir E. "About the Development of Artistry in Elementary School Pupils in a Guitar Class". ICONI, nr 3 (2021): 173–81. http://dx.doi.org/10.33779/2658-4824.2021.3.173-181.
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The article dwells upon the necessity of forming artistic qualities in elementary school pupils during the process of teaching performance mastery. The preparation of future performing musicians must be carried out in the context of a theatrical rendition of the performing profession, with the inclusion of elements of vocational psychology. The artistry of the pupils of children’s music schools must be developed inseparably from the process itself of development of performance skills and the skills of reading the musical text and performance technique, otherwise the development artistry acquires an accidental character and is subordinated, albeit, being an inseparable part of a successful concert performance. An analysis of performance working programs in children’s music schools for pupils with a professional inclination shows a lack of a goal-directed systematic work with the pupil in forming artistry as a professionally significant quality, whereas the brightest indicator of creative development is particularly artistry. The discipline of pedagogy recognizes this necessity, but the latter is not realized in the conditions of teaching practice. The overcoming of this contradiction is possible by means of the pupils’ familiarization with artistic techniques and stage organization. The article proposes examples of special exercises directed at the development of artistry and creative imagination of elementary level guitarists.
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Omoruan, Daniel, i Festus Osarumwense Uzzi. "God's Chisel in the Hands of the Carver: An Esoteric View of Joseph Alufa Igbinovia". SCHOLARS: Journal of Arts & Humanities 4, nr 1 (13.02.2022): 44–52. http://dx.doi.org/10.3126/sjah.v4i1.43054.
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The idea of the supernatural influence in the acts of humans in the past and present is indisputable. It is not in contention that beside God, there are divinities, which he created to support humans in their odyssey on earth. The supreme God, the divinities and spirits make up the ethereal world and in their various projections exercise some influences in the life and careers of their chosen persons or devotees. Religion and creativity are two major aspects that the supernatural influence has been popularly expressed. Creativity is not limited to the league of the ‘creative artistes’ in spite of the fact that the people commonly ascribe creativity to the practice of the theatre, literature and fine arts. Architecture, fashion design, interior decoration, carpentry, culinary and a number of other professional practices fall within the domain of creative endeavors. What is unique about the creative artiste is that he or she has a more robust influence of the supernatural or muse. Therefore, the objective of this study is to examine how the artist is inspired by the supernatural in the process of his or her artistry and how he or she responds to this extra-terrestrial impartation in the creation of his or her works. In particular, Joseph Alufa Igbinovia, an African carver, has been discussed and analyzed from the perspective of esoterism. The theoretical framework that has been adopted in this study is artistic communication theory (ACT), which is a means by which artists communicate their messages to the society. Artistic communication refers to a method of communication that uses a wide range of artistic endeavors such as music, drama, dance, speech making, painting, molding, carving and poetry to communicate messages to the audience, which is the hallmark of African art.
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Paterson, Margo, Joy Higgs i Susan Wilcox. "The Artistry of Judgement: A Model for Occupational Therapy Practice". British Journal of Occupational Therapy 68, nr 9 (wrzesień 2005): 409–17. http://dx.doi.org/10.1177/030802260506800905.
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This paper reports on a model developed through qualitative research to examine the intriguing topic of the artistry of judgement in occupational therapy. The construct of professional practice judgement artistry or PPJA was developed (Paterson and Higgs 2001) to explore the cognitive, metacognitive and humanistic aspects of judgement in professional practice. Fifty-three occupational therapy educators and practitioners from four Commonwealth countries (Australia, Canada, New Zealand and the United Kingdom) participated in focus groups and individual interviews over a one-year period in 2001–2. This research identified a number of dimensions and elements that constitute judgement artistry. The model offers a valuable insight into understanding expertise in professional practice in an era when practitioners are struggling with a demand for increased scientific research knowledge to provide evidence for best practice. This research paper recognises the value of the art of occupational therapy and supports a client-centred approach to practice.
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Rutherford, Desmond. "Professional education: A new approach and a new artistry". Higher Education 16, nr 6 (1987): 739–45. http://dx.doi.org/10.1007/bf00139697.
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Batres, Carlota, Aurélie Porcheron, Sandra Courrèges i Richard Russell. "Professional Versus Self-Applied Makeup: Do Makeup Artists Add Value?" Perception 50, nr 8 (2.07.2021): 709–19. http://dx.doi.org/10.1177/03010066211029218.
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While a number of studies have investigated the effects of makeup on how people are perceived, the vast majority have used professionally applied makeup. Here, we tested the hypothesis that professional makeup is more effective than self-applied makeup. We photographed the same target women under controlled conditions wearing no makeup, makeup they applied themselves, and makeup applied by professional makeup artists. Participants rated the faces as appearing more attractive, more feminine, and as having higher status when wearing professional makeup than self-applied makeup. Secondarily, we found that participants perceived the professional makeup as appearing heavier and less natural looking than the self-applied makeup. This work shows that professional makeup is more effective than self-applied makeup and begins to elucidate the nature of makeup artistry. We discuss these findings with respect to personal decoration and physical attractiveness, as well as the notion of artists as experts.
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Yakusheva, Svetlana Dmitrievna. "Artistry as a component of pedagog's creative individuality". Moscow University Pedagogical Education Bulletin, nr 4 (29.12.2010): 67–79. http://dx.doi.org/10.51314/2073-2635-2009-4-67-79.
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The article raises the issues of a pedagog's creative individuality. It defines the way through which creativity based on the achievements of theatrical peda- gogies influences a personality development in future specialists. The author of the article suggests several definitions of artistry, which models the process of professional self-perfection and self-education in teachers. The article regards the pedagogical artistry as a co-creative interaction between the pupil and the teacher and demonstrates the traits common for professional performance of pedagog's, actors and stage directors. The author describes the basic elements necessary for the creative work of an actor as well as a teacher. The article also discloses the value of humour as a tool of a pedagog's acting skill.
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Halliday, Terence C. "BOOKS: Education for Artistry: A Model for Redesigning Professional Education". Change: The Magazine of Higher Learning 19, nr 5 (wrzesień 1987): 58–61. http://dx.doi.org/10.1080/00091383.1987.10570160.
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O’Shea, John, i Simon McGrath. "Contemporary factors shaping the professional identity of occupational therapy lecturers". British Journal of Occupational Therapy 82, nr 3 (18.09.2018): 186–94. http://dx.doi.org/10.1177/0308022618796777.
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Introduction The contemporary factors of neoliberalism and evidence-based practice have implications for professional autonomy and values, education and training, ways of working and construction of knowledge. Occupational therapy lecturers are at the interface between student education and professional practice and therefore have unique insights into the way in which these factors are shaping their professional identity and that of the profession. Method Nine narrative inquiry focused interviews of occupational therapy lecturers from two universities were carried out. Data was interpreted through a Bourdieusian lens of professional habitus, and analysed thematically. Findings The main factors influencing occupational therapy lecturer identity were noted to be relationships between professional identity and artistry; the professional body of knowledge and language; evidencing practice, neoliberalism and changes to teaching and learning. Conclusion The structural factors of neoliberalism, evidence-based practice and associated policies are influencing the occupational therapy professional habitus and, in turn, occupational therapy lecturers’ professional identity. An effective critique of these structural factors is required to maintain the profession’s values and artistry and the knowledge upon which occupational therapy lecturers’ identity is formed and their approaches to teaching and learning are based.
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Lehmann, Jennifer. "Teaching professional health care practice: considering the elements of emotions and artistry". Australian Health Review 32, nr 1 (2008): 127. http://dx.doi.org/10.1071/ah080127.
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This commentary addresses the need to maintain a role for emotions and artistry in human services and health care practice and discusses some approaches to including these issues in teaching at the tertiary level.
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Wagenheim, Gary. "Professional artistry revealed: business professors’ use of reflection in their teaching". Reflective Practice 15, nr 6 (22.08.2014): 836–50. http://dx.doi.org/10.1080/14623943.2014.944140.
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DiLollo, Anthony. "Business: The Crisis of Confidence in Professional Knowledge: Implications for Clinical Education in Speech-Language Pathology". Perspectives on Administration and Supervision 20, nr 3 (październik 2010): 85–91. http://dx.doi.org/10.1044/aas20.3.85.
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There is a growing crisis in the confidence that society places in the professions, of which speech-language pathology is one. One symptom of this crisis is the increase in calls for more person-centered care (PCC) throughout the health-care industry. The provision of PCC has been shown to have positive effects on treatment outcomes and perceived quality of care in a variety of disciplines within the healthcare community. Speech-language pathologists, however, appear to be more task-oriented and provide more structured rather than person-centered therapy. One of the underlying factors responsible for this trend is the almost universal acceptance of technical rationality as the dominant philosophy for professional education. This positivist philosophy places the clinician in the role of instrumental problem solver and leaves little room for the artistry of professional practice. For this trend to change, fundamental transformations in the way professional speech-language pathologists are trained need to occur, with a shift in focus from professional knowledge to the artistry of practice.
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Julia T. Shaw. "Creating Artistry: Pathways to Teacher Growth in a Professional Development Short Course". Bulletin of the Council for Research in Music Education, nr 213 (2017): 27. http://dx.doi.org/10.5406/bulcouresmusedu.213.0027.
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O.I., Bobyr. "IMPLEMENTATION OF THE PEDAGOGICAL CONDITIONS OF THE FORMATION OF THE ARTISTIC AND AESTHETIC MINDSET OF WOULD-BE ARTISTS IN THE PROCESS OF PROFESSIONAL TRAINING". Collection of Research Papers Pedagogical sciences, nr 93 (23.02.2021): 50–55. http://dx.doi.org/10.32999/ksu2413-1865/2020-93-7.
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The article reveals the features of realization of pedagogical conditions of the formation of the artistic and aesthetic mindset of students-artists. The following pedagogical conditions are defined: creating a comfortable artistry environment in the educational process of the institution of higher education; interaction of the content of professional disciplines with the subjects of social and humanitarian cycles, aimed at the formation of components of the artistic and aesthetic mindset of artists; involvement of students in extracurricular artistic and creative activities by activating internal motivation by external stimulation; ensuring the priority of practical activities in solving artistic problems through the study of nature in terms of plein air.The purpose of the article was to describe the implementation of pedagogical conditions for the effective formation of artistic and aesthetic mindset of students of the first (bachelor's) level of education.The implementation of the first condition provided for the creation of a special artistic climate in the educational space of the classical institution of higher education. The implementation of the second condition was aimed at updating and supplementing the content of educational programs with new topics, tasks and the introduction of special courses that will allow deeper acquire the professional competencies within a particular discipline. The implementation of the third condition provided the involvement of students in visiting art museums and galleries; informal meetings-conversations with artists; creating art portfolios; involvement of students in exhibition activities. The implementation of the fourth condition was aimed at obtaining aesthetic and artistic impressions of the surrounding reality in terms of plein air, during which the artist's mindset, its understanding of the interconnection between nature and man are formed.In the process of scientific search, we used the following methods of research: analysis, synthesis, generalization, systematization. The implementation of these pedagogical conditions for the formation of artistic and aesthetic mindset of students-artists in the classical institutions of higher education of the country at the educational and qualification level ‘bachelor’ will increase the structural components of this mindset.Key words: mindset, artistic environment, artistic activities, plein air, exhibitions, educational process. У статті розкрито особливості реалізації педагогічних умов формування художньо-естетичного світобачення студентів-художників. Визначено такі педагогічні умови: створення комфортного художньо-творчого середовища в освітньому процесі ЗВО; інтеракція змісту фахових дисциплін з предметами соціально-гуманітарного циклів, спрямована на формування компонентів художньо-естетичного світобачення художників; залучення студентів до позанавчальної художньо-творчої діяльності шляхом активізації внутрішньої мотивації зовнішнім стимулюванням; забезпечення пріоритету практичної діяльності у вирішенні художніх завдань через вивчення натури в умовах пленеру. Мета статті полягає в описі реалізації педагогічних умов ефективного формування художньо-естетичного світобачення студентів-художників.Реалізація першої умови передбачала створення особливого мистецького клімату в освітньому про-сторі класичного закладу вищої освіти. Реалізація другої умови спрямована на оновлення й доповнення змісту навчальних програм новими темами, завданнями, уведенням спецкурсів, що дасть змогу глибше оволодіти фаховими компетентностями в межах конкретної навчальної дисципліни. Реалізація тре-тьої умови передбачала залучення студентів до відвідування художніх музеїв, галерей; неформальних зустрічей-бесід з митцями; створення творчих портфоліо; залучення студентів до художньо-виставкової діяльності. Реалізація четвертої умови спрямована на отримання естетичних і художніх вражень від навколишньої дійсності в умовах пленеру, під час якого формується світобачення художника, його розуміння взаємозв’язку природи та людини.У процесі наукового пошуку нами використано такі методи дослідження: аналіз, синтез, узагальнення, систематизація. Реалізація визначених нами педагогічних умов формування художньо-естетичного світобачення студентів-художників у класичних закладах вищої освіти країни за освітньо-кваліфікаційним рівнем «бакалавр» сприятиме підвищенню показників структурних компонентів означеного світобачення.Ключові слова: світобачення, художнє середовище, творча діяльність, пленер, виставки, освітній процес.
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Horrocks, Clare. "Crafting the Woman Professional in the Long Nineteenth Century: Artistry and Industry in Britain". Women's Writing 23, nr 3 (29.02.2016): 417–20. http://dx.doi.org/10.1080/09699082.2015.1130996.
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Tkachenko, Tetiana, Viktoriia Prokopchuk, Yuliia Kolisnyk-Humeniuk, Alla Kurinna, Oksana Strikhar i Svitlana Bilozerska. "Artistry as a Factor of the Professionalism of the Future Teacher". Revista Romaneasca pentru Educatie Multidimensionala 14, nr 4 Sup.1 (20.12.2022): 112–27. http://dx.doi.org/10.18662/rrem/14.4sup1/662.
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The article addresses to the modern ideas about pedagogical artistry, briefly discusses the methods of its implementation, lists the main components and highlights its functions and the role in the process of the professionalism formation of the future teacher. The role of the teacher has changed: the modern teacher is a leader not only of information but also of culture, a spiritual mentor. To cope with this task, he needs a developed mindset, the ability to empathize, to imitate, co-create and empathize. He must be able to maintain his creative form. In other words, a creative educator must master artistry. The purpose of the article is to consider the role of artistry in the professional qualities formation of a future teacher at the present stage of education development in Ukraine, as well as to consider and analyze the elements of “theater” pedagogy in the future teachers’ training. In the article the authors make conclusion that pedagogical artistry can be defined as the ability to organic existence and effective action in the pedagogical process. This ability is associated with the knowledge of the teacher and the development of his pedagogical thinking also with mastering the art of self-expression (ability to embody thought and experience in image, behavior, word), improvisation, ability to regulate mental state, constructing “scores of pedagogical communication”.
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Olaide, Nasir, Taofiq, i Bello Olakunle Idris. "Performing Arts and Embodied Designs: An Analysis of Sam Ukala’s The Slave Wife". Journal of Language Teaching and Research 11, nr 4 (1.07.2020): 555. http://dx.doi.org/10.17507/jltr.1104.04.
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Contextually, the theatre is an avenue where various artistic personnel of different professional backgrounds converge with their respective works, with the aim of assessing, evaluating and creating a befitting piece. With Fredrick Hegel’s statement as spring board, this study explicates the various developmental stages involved in the apparent discovery and identification of an art work in most appropriate manner. Thus, reflecting the transformational order and discovery process involved in the realization of an art piece. It is widely believed that performing arts encompass artistry that is expressed either through dance, drama or musical performances among others. However, the realization of what is particularly artistic has several shapes, forms and perhaps stages. This paper analyses Hegel’s philosophical submission on “the rational being rendered sensible” in relation to appearance, form and content. From the stage of conception and performance, we focused on the aesthetics of production in Sam Ukala’s The Slave Wife. It then submit that it’s of great necessity to re-establish the importance of thoughtful coordination among performance arts vendors on professional grounds as gateway to having a good work of arts at the end of the day.
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Adewole, ’Funmi. "The dance artistry of Diane Alison-Mitchell and Paradigmz: Accounting for professional practice between 1993 and 2003". Theatre, Dance and Performance Training 12, nr 2 (3.04.2021): 250–65. http://dx.doi.org/10.1080/19443927.2021.1919420.
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Traduzido por Talita Trizoli, Howardena Pindell. "CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist". arte e ensaios 27, nr 42 (3.01.2022): 336–41. http://dx.doi.org/10.37235/ae.n42.22.
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Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offering some professional advice to young black artists, in order to escape from abusive work relationships, scams and other problems existing in the arts system.Keywords:Artist essay. Art system. Advice.
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York-Pryce, Sonia. "A body of work". Dance, Movement & Spiritualities 6, nr 1-2 (1.07.2020): 133–53. http://dx.doi.org/10.1386/dmas_00007_1.
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This article examines the paradigm of ageing regarding older professional dancers who prolong their careers, challenging the normative standards set down in western dance culture. With interest gaining momentum in introducing dance to an ever-increasing ageing population, it seems ironic that the older professional dancer continues to be undervalued or often invisible. The established aesthetics that persist within classical ballet, but less so within contemporary dance, supports the rejection of the bodies of these disenfranchised dancers, who embody a palimpsest of lived danced experience. It is undoubtedly an example of corporeal politics, the lack of exposure of seeing older dancers performing, a loss of identity tempered with the dilemma of the acceptance of youth and intolerance of decline. The aim is to acknowledge through film documentation and interviews the artistry these older dancers embody and to commend the positives surrounding ageing.
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Watts Belser, Julia. "Vital Wheels: Disability, Relationality, and the Queer Animacy of Vibrant Things". Hypatia 31, nr 1 (2016): 5–21. http://dx.doi.org/10.1111/hypa.12217.
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This article probes the philosophical and political significance of the relationships between wheelchair activists and their wheelchairs. Analyzing disability memoirs and the work of a professional wheelchair dancer, I argue that wheelers frequently experience complex relationality and queer kinships with their wheels. By bringing the artistry of disabled writers and dancers into conversation with the notions of human–material relations in the work of Donna Haraway, Jane Bennett, Stacy Alaimo, and Mel Chen, I show how alternative animacies shape wheelers’ conceptions of interdependence and movement. The sensuous pleasure they take in their wheels queers conventional conceptions of how humans should relate to things. New materialist philosophy has increasingly drawn attention to the porous boundaries between the human and material world. But where posthumanist philosophers have largely aimed to dethrone the sovereignty of the human, disability activists use alternative animacies to raise up a devalued and discounted portion of humanity: to emphasize the agency and capacity of those whose lives are often cast as pitiable and powerless, to express a queer feminist disability culture and politics, and to claim the transgressive vitality and vibrant artistry of life with disability.
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Mokroguz, Inna. "Some aspects of the origin of bandura fingering in the twentieth century as a fundamental basis of performance techniques". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, nr 59 (26.03.2021): 102–16. http://dx.doi.org/10.34064/khnum1-59.07.
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Background. This article studies the stages of formation of bandura fingering in the twentieth century, analyzes the scientific and methodological literature, that has been the basis for the professional growth of the first bandura performers. The paper highlights fundamental methodological principles that contributed to the technical development and professional skills improvement of the future bandura performer. The article defines the main components of the “bandura school” of the past century, analyzes the basic approaches of professional authors to fingering, fingering combinations and fingering inversions on the bandura and highlights the relevance of their application in modern bandura performance. The study defines the significant professional fingering variants from the past and their importance in the present performance. Methods. In the early twentieth century, there has been a need of professional bandura training and educational textbooks that would promote self-learning of the instrument. As a response to the request of M. V. Lysenko, the famous bandura player from Kharkiv Hnat Khotkevych published the first “Bandura textbook” (Lviv), which promotes the ten-finger performing system, the Kharkiv-type of playing and offers a large number of exercises and technical repertoire, paying special attention to various fingering combinations and position of fingers on the string. The activity of M. Opryshko played a significant role in Ukrainian kobzar art. The “Bandura School” by V. Kabachko and E. Yutsevich is a textbook for primary education. Zinovy Shtokalko, a well-known bandura player of his time, created the “Kobzar textbook”, in which he promotes the Kharkiv-way of playing and professional bandura performance. Notably, due to the transition from the Kharkiv-type to the Kyiv-type banduras, both the technical and artistic expressive capabilities of the instrument have significantly deteriorated. While selecting the educational material, there should be an organic link between the development of students’ musical hearing, new performance techniques and familiarity with musical literacy. Of particular importance, here is the work on improving the artistic quality of performances, the development of students’ artistry. Conclusions. The issue of technical development of the bandura instrumental performer is linked to the problem of fingering. During the twentieth century, many teachers and researchers developed the necessary methodological basis, which became the foundation for the gifted generation of bandura performers. That is why, bandura fingering issue requires deep analysis and thorough review of existing developments, the search for new approaches and their practical implementation.
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Shevchenko, Inha. "DEVELOPMENT OF VOCAL-PERFOMANCE SKILLS OF FUTURE TEACHERS-MUSICIANS IN THE STUDY OF EDUCATIONAL DISCIPLINE «METHODOLOGY OF WORK WITH FOLKLORE ENSEMBLES»". Academic Notes Series Pedagogical Science 1, nr 195 (2021): 140–45. http://dx.doi.org/10.36550/2415-7988-2021-1-195-140-145.
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The professional development of a future teacher-musician involves not only the acquisition of knowledge, skills and abilities, but also personal self-improvement. The formation of a new type of teacher is possible only if the higher education approaches to real professional and pedagogical activities. Tasks of training of pedagogical staffs that meet modern requirements actualize the problem of development of vocal and performing skills of the future teachers-musicians during their studies at a higher education institution. To implement this task various forms of collective musical performance, aimed at integrating different areas of artistic life, are created. Among them vocal ensemble is one of the leading varieties of musical creativity. Educational discipline "Methodology of work with folklore ensembles" laid out for the master's students-degrees of musical separation of artistic faculty. Students can learn to manage their own voice, to develop creativity and have prospects for self-expression. Participation in the folk vocal ensemble helps not only to understand the musical material, but also learn to control voice, gestures, facial expressions, plastic body. In the process of activity of folk vocal ensemble developed the logical and creative thinking, musical talent, created some artistic images. Musical and theatrical activity contributes to the disclosure of the individual student identify his individual qualities, raising efficiency and discipline. Work on the culture of sound, breath, a sense of musical phrases possession of the breast and the main cavity, smoothing transitions register, development of natural sounding voice in contrast to imitate him – the basis of vocal and choral singers. This activates the creative process contributes to the education of various technical and performing skills, developing artistry, ability to transform in the performance of music of different genres, styles and character.
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Inna, Synevych. "Structure and content of quasi-professional experience". Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, nr 2 (127) (29.08.2019): 53–60. http://dx.doi.org/10.24195/2617-6688-2019-2-8.
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The content of quasi-professional activity of future teachers of Musical Arts has been disclosed. It has been determined that students’ formation of quasi-professional activity through their quasi-professional activity within the educational process provides the modelling of situations where future specialists can practice in successful implementation of educational functions of the teacher on the basis of gained knowledge and experience. It has been noted that the process of quasi-professional experience formation also contributes to the growth of the creative and cognitive activities, stability of students’ professional motivation providing the development of their positive, value-centre attitudes towards the profession of the Music teacher. The structure of the quasi-professional experience of the future teachers of Musical Arts has been disclosed, the main structure components have been determined, in particular, professional and reflexive, activity-centred and creative, value-centred and motivational, emotional and interpretive. The detailed analysis of each structure component has been carried out. It has been emphasized that the formation of the professional-and-reflexive component of the quasi-professional experience provides influence on the motivational value-centred, intellectual, activity-centred spheres as well as on the improvement of professional skills of the future teachers of Musical Arts. The activity-centred and creative components aimed at obtaining knowledge, practical experience of the musical-and-creative, vocational and pedagogical activities by the students as well as developing of their own proficiency have been considered. The value-centred and motivational components which determine vectors of value orientations, stable motivational sphere, provide increased learning efficiency of the future teachers-musicians, activate the need in professional self-realization have been characterized. It has been proved that the emotional and interpretive components are significant components of the quasi-professional experience which enable the students to master professional skills and develop their personal qualities that determine emotional and personal styles as well as to form an image of the Musical Arts teacher, artistry, musical interpretation that substantially influence their further professional activity. Keywords: experience, structure, quasi-professional experience, future teacher of Musical Arts.
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Miedema, Hessel. "Kunstschilders, gilde en academie Over het probleem van de emancipatie van de kunstschilders in de Noordelijke Nederlanden van de 16de en 17de eeuw". Oud Holland - Quarterly for Dutch Art History 101, nr 1 (1987): 1–33. http://dx.doi.org/10.1163/187501787x00015.
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AbstractThis article is a report on research undertaken in 1984-5 by a working group of art history students of the University of Amsterdam into the problem of the emancipation of artists f rom the craft guilds (Note 1). The research was based on Hoogewerff's excellently documented book on the Guilds of St. Luke and on published source material. The idea that artists and especially painters regarded the guilds as oppressive is a deeply rooted one (Note 2) and people are all too readily inclined to write of 'the artists' gaining their emancipation' from the Guilds of St. Luke. However, it is now clear that professional painters covered such a wide social spectrum that it is impossible to lump them all together under a single heading (Note 5), while a provisional investigation mainly, focussed on the first half of the 17th century even suggested that there could have been no question at all of emancipation. It became clear that the guilds continued to function all over the Northern Netherlands in the 17th century as Protectors of the profession, that there was no evidence of their hampering artistry and that if there was any emancipation, it took place within the guild itself. A factor that makes such research difficult is that the literary sources are by no means unambiguous or even reliable. In contrast to the meaning current in their day qf someone who does something with paint and a brush, Vasari and Van Mander used the term 'painter' only for those who painted scenes and portraits, not, for example, for those who did banners or ornamental work (Notes 7,8). Thus Van Mander's freguently cited tirade against the guild (Note 9) loses much of its force in respect of the emancipation theory. Moreover, it is the only text of that type in the Netherlands. Houbraken twisted the facts to fit his vision of the artist, projecting his idea of the artist's superiority on to the historical situation (Note II). Thus this study moved between two poles : on the one hand it again confirmed (Note 12) that the guilds continued to function until late in the 18th century, while on the other there was a growing need among their more successful members for an enhanced status and regard, which manifested itself in their assuming control of the guild and restructuring it more clearly and also in their uniting in additional groupings, in which the emphasis was laid on more intellectual and theoretical, aspects and links were sought with amateurs. Although both these moves could be regarded as a certain form of emancipation, neither can be ascribed to an urge for artistic freedom which was hampered by the guilds.
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Egginton, Heidi. "Crafting the Woman Professional in the Long Nineteenth Century: artistry and industry in BritainKYRIAKI HADJIAFXENDI & PATRICIA ZAKRESKI (Eds)". Women's History Review 24, nr 4 (27.01.2015): 643–45. http://dx.doi.org/10.1080/09612025.2015.1007637.
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Küpers, Wendelin. "Inter-play(ing) – embodied and relational possibilities of “serious play” at work". Journal of Organizational Change Management 30, nr 7 (13.11.2017): 993–1014. http://dx.doi.org/10.1108/jocm-12-2016-0267.
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Purpose The purpose of this paper is to analyze the role of embodied dimensions and relational possibilities of (serious) play at work. It shows how a phenomenological and processual approach can help in developing an integral understanding of (serious) play and its paradox in relation to work and practical wisdom and professional artistry in organizations. Design/methodology/approach Based on the literature review and phenomenology, the role of embodied dimension, and the nexus of playful practitioners, practices and playgrounds are discussed. Systematically, then the concept of “inter-playing” is proposed as a specific embodied and processual practice. Subsequently, the in-between is shown to be a medium and transrelational nexus for (serious) play that allows a more comprehensive understanding and implications. Findings Based on the phenomenological and relational approach, the concept of (inter-)play allows an extended understanding of serious play and its paradox as a form of an inter-practice. The mediating in-(ter-)between is revealed as decisive for playful practices and playgrounds in organizations. Serious play is linked to practical wisdom and professional artistry in organizations. Research limitations/implications Specific theoretical and methodological implications for exploring and enacting play are offered. It is suggested to take research itself as a form of inter-practice and to enact a more integral epistemology and methodological pluralism, including body-related and art-based approaches and critical issues. Practical implications Some specific practical implications are provided that facilitate and enable embodied play and play-spaces in an ongoing, arts-based learning and development process in organizational and educational contexts. Social implications The corporeality of responsive inter-play is seen as connected to sociality and social interaction as self and others are considered as a nexus. In particular, poetic phrónêsis in professional playful practice is linked to social creativity that includes attention and recognition of others and otherness as well as social inclusivity. Originality/value By extending the existing discourse and using an embodied approach, the paper proposes a novel orientation for re-interpreting serious play. Equally, it offers the new processual concepts of inter-play and inter-practice that allow more explorations and connections to discourses and practices of phronesis and art(istry).
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Lindström, Sofia. "Artists and Multiple Job Holding—Breadwinning Work as Mediating Between Bohemian and Entrepreneurial Identities and Behavior". Nordic Journal of Working Life Studies 6, nr 3 (1.10.2016): 43. http://dx.doi.org/10.19154/njwls.v6i3.5527.
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Artists are known to manage low income and work insecurity by holding multiple jobs. Through an analysis of interview data, this study explores the narratives of 20 visual artists in Sweden regarding breadwinning work. Positive and negative experiences of such work are analyzed in relation to the artists’ work behavior and identity as either ‘bohemian’ or ‘entrepreneurial.’ Breadwinning work may be seen by artists as either enabling autonomy from the market or hindering the construction of a professional identity, depending on these behaviors/identities. However, conditions such as low wage, temporary contracts, and low control over work hours ultimately decides artist’s experiences of breadwinning work. This article adds to the existing knowledge on artistic labour markets by highlighting the role of multiple job holding in mediating between an understanding of the bohemian art for art’s sake artist role and the entrepreneurial role of the artist.
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Turchak, Anatoly, i Olena Markova. "FORMATION OF THE PEDAGOGICAL SKILLS OF THE FUTURE COACH BASED ON THE EDUCATIONAL COMPONENTS OF "BIOMECHANICS" AND "BIOCHEMISTRY"". Academic Notes Series Pedagogical Science 1, nr 204 (październik 2022): 193–200. http://dx.doi.org/10.36550/2415-7988-2022-1-205-193-200.
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The activity of a coach can be varied in nature and depends on the specific pedagogical system: sports teams, sections, clubs, children of the youth sports school, specialization of the children of the youth sports school of the Olympic reserve, sports school of the military. The article discloses certain aspects of the formation of the pedagogical skill of the future coach in professional training in the educational components "Biomechanics" and "Biochemistry". The pedagogical abilities of the future specialist are characterized (gnostic, projective, organizational, constructive, communicative) and their application in professional activity, the levels of the trainer's pedagogical skills (minimum, average, high, highest) and the requirements for his professional individual and psychological characteristics (knowledge, professional -pedagogical abilities and skills, professional and pedagogical orientation, general giftedness, creativity, artistry, improvisation, optimism, erudition). The role of the educational components "Biomechanics" and "Biochemistry" and the peculiarities of the formation of a system of knowledge on biochemical processes occurring in the body during training and competitive activities are determined. It has been established that the biomechanical analysis of sports technique in their own sport by young athletes under the guidance of a coach is an important prerequisite for effective learning and a correct understanding of technical techniques. injuries, reduced performance in competitions when the execution of the technique is perfect. How to quickly restore the body, what should be the diet and drinking regime, the feasibility of using vitamin complexes, biologically active supplements, adaptogens. Relying on biochemical knowledge, the coach has the opportunity to scientifically and methodologically competently ensure the health of the child not independently, but together with the pet.
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Jing, Fei. "Application of Information Technology and Artificial Intelligence in Computer Assisted Costume Design". Journal of Physics: Conference Series 2083, nr 4 (1.11.2021): 042031. http://dx.doi.org/10.1088/1742-6596/2083/4/042031.
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Abstract Costume Design and information technology can be used as a collision between fashion and information technology. As a course that combines artistry and technology, costume and costume design have higher and higher teaching requirements for technical environment on the basis of art display, and attaches equal importance to students’ innovative thinking and practical ability in the teaching process. Compared with traditional teacher-centered, only attach importance to knowledge and neglecting the students’ ability development of teaching mode can meet the demand for professional talents, and reasonable use of the information technology as the guide, give full play to student’s main body role, respect students’ individual differences, according to the diverse learning needs of students, In order to better train out of the garment industry needs high-quality talents.
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Nguyen, Viet Hung. "ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?" UED Journal of Social Sciences, Humanities and Education 10, Special (27.09.2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.
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Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.
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Thomson, Oliver P., Nicola J. Petty i Ann P. Moore. "A qualitative grounded theory study of the conceptions of clinical practice in osteopathy – A continuum from technical rationality to professional artistry". Manual Therapy 19, nr 1 (luty 2014): 37–43. http://dx.doi.org/10.1016/j.math.2013.06.005.
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Davidson, Jane W. "The Activity and Artistry of Solo Vocal Performance: Insights from Investigative Observations and Interviews with Western Classical Singers". Musicae Scientiae 11, nr 2_suppl (lipiec 2007): 109–40. http://dx.doi.org/10.1177/10298649070110s206.
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This paper draws on data collected from four professional solo classical singers as they prepared and performed the same piece, each working with the same accompanist. It examines their thoughts and feelings — inner mental states — as recalled and expressed in interview, and their perceptible outer states as observed in their physical behaviours. Data were collected from both talk-aloud reflections on the activities of practice, rehearsal and performance, and observer evaluations of rehearsals and performance as observed in video recordings. The aims of these reflections were to investigate: I) the nature of mental and bodily action for technical and expressive musical communication; ii) the nature of social interaction within the rehearsal and performing contexts; iii) overall, this work is undertaken to broaden knowledge and understanding of how an expert vocal performance is prepared, delivered and perceived. Results suggest that a subtle interplay of social and musical communication is necessary to achieve a “good performance”. These ideas are discussed in terms of a social theory relating to how inner and outer mental states are displayed through the body in musical performance.
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Pérez Ibáñez, Marta, i Isidro López-Aparicio. "Actividad artística y precariedad laboral en España: análisis a partir de un estudio global". Arte y Políticas de Identidad 19 (30.12.2018): 49–66. http://dx.doi.org/10.6018/reapi.359771.
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Este artículo, fruto de un proyecto de investigación interdisciplinar, pretende contextualizar la actividad profesional de los artistas plásticos y visuales en España, en las actuales circunstancias económicas, sociales y laborales. En primer lugar, ante la compleja problemática sobre la consideración de artista profesional y ante la ausencia de registros y censos específicos que permitan estudiar este sector, delimitamos los criterios que lo definen y la relación entre su identidad, su actividad, su rendimiento económico, y analizamos su conexión con el resto del sistema del arte. Posteriormente, a partir de indicadores económicos y laborales nacionales y europeos, proponemos una primera cuantificación de artistas plásticos y visuales españoles, un dato inexistente y altamente demandado por el sector. Por último, enumeramos algunos de los datos más significativos aportados por esta investigación sobre la situación económica actual del sector, un estudio en el que han participado más de 1.100 artistas españoles, cuyos resultados nos reafirman en nuestra hipótesis sobre la precariedad del trabajo artístico, y en la necesidad de conocer en mayor profundidad las demandas, necesidades y capacidades de los artistas en el actual contexto social, económico y cultural español. This article, the result of an interdisciplinary research project, aims to contextualize the professional activity of visual and visual artists in Spain, in the current economic, social and labor circumstances. In the first place, due to the complex issue regarding the consideration of professional artist and in the absence of specific censuses that allow us to study this sector, we delimit the criteria that define it and the relationship between their identity, activity, economic performance, and connection with the rest of the art system. Next, based on national and European economic and labor indicators, we propose a first quantification of Spanish visual and visual artists, a nonexistent fact and highly demanded by the sector. Finally, we list some of the most significant data provided by this research on the current economic situation of the sector, a study in which more than 1,100 Spanish artists have participated. The results reaffirm our hypothesis about the precariousness of artistic work, and the need to know in greater depth the demands, needs and capacities of artists in the current Spanish social, economic and cultural context.
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Fischer, Clara, Andersen Gracio Fagundes i Roberto Poton. "Analysis of Current Tests for Assessing Dance Aesthetic Performance". International Journal of Art, Culture, Design, and Technology 11, nr 2 (1.07.2022): 1–9. http://dx.doi.org/10.4018/ijacdt.305796.
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Dance has artistry and expression as its primary performance goals. In contrast with sports, measuring dancers' proficiency in the art form involves a subjective aesthetic component, rather more challenging to quantify and score. Qualitative measurement tools for assessing dance aesthetic performance have been previously proposed. This systematic review aims to examine the different test protocols that assessed aesthetic performance in modern or ballet dancers at vocational or professional levels in order to discuss methodological approaches for future development and application of dance aesthetic performance tools. The investigation followed the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines Eight studies met the inclusion criteria. Quality of evidence was moderate and methodological limitations in protocols were found. Accounting for genre-specificity and assessing for reliability, specificity and sensibility could further develop dance aesthetic tools in future studies.
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Carter, Michelle, i Chris Carter. "The Creative Business Model Canvas". Social Enterprise Journal 16, nr 2 (11.03.2020): 141–58. http://dx.doi.org/10.1108/sej-03-2019-0018.
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Purpose Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur’s CBMC (2010), for the benefit of a visual artist’s business planning. Design/methodology/approach This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur’s BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value. Findings This study found that the symbolic value of an artist’s practice is difficult to capture using Osterwalder and Pigneur’s CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist’s identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist’s authenticity. Originality/value This study builds on Osterwalder and Pigneur’s CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.
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Razumova, Irina A., i Antonina G. Samorukova. "Genre and specific features of the book of memoirs by E. B. Khalezova. Part 1. Autobiography". Transaction Kola Science Centre 13, nr 2-2022 (1.07.2022): 32–48. http://dx.doi.org/10.37614/2307-5252.2022.2.13.22.003.
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The book “The Road of a Lifetime” (2020) was written by a geologist, candidate of sciences E. B. Khalezova (1924–1921), daughter of I. D. Borneman-Starynkevich (1891–1988), prominent chemist and mineralogist. The article presents the first part of a comprehensive study of this text as a work of factual literature and a historical source. The purpose of the article is to determine the genre nature of the text of factual literature as a set of properties. Autobiography is the dominant feature of the work. It defines the general meaning, content and construction. The narrative construction corresponds to a specific biographical model of a field researcher, whose life world is divided into two halves in terms of space, time, events and other aspects. In the literary reality and in the case under consideration, autobiography is consistently combined with signs of memoirs and family history. The plot-generating possibilities of family and professional trajectories are realized at the level of discrete units of a cumulative plot. The biographical model is consistent with a number of features of the travelogue. The work has the properties of artistry due to colorful descriptions, the inclusion of poems in the narrative and other techniques. In general, it can serve as an example of factual literature with an enhanced artistic function
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Ma, Liwen, Wen-Lung Chang, Clive Holmwood i Joseph L. Subbiondo. "Playback Theater as Pedagogy: A Qualitative Research Study on the Use of PT in Education toward the Self-development of Future Teachers". Creative Arts in Education and Therapy 8, nr 2 (13.01.2023): 225–36. http://dx.doi.org/10.15212/caet/2022/8/25.
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Self-development is an important basis for the professional development of teachers and future teachers. In this study, future teachers are graduate students whose majors are school counseling and mental health education. The performance of playback theater (PT) in the classroom has become an integral part of teaching, especially for teaching integral drama-based pedagogy (IDBP). Using qualitative research methods, researchers found that PT enables future teachers to deeply develop and experience “respect” and “empathy.” PT actively promotes self-development by using empathy as the main factor for promoting change in self-cognition, behavior, and emotional release. The improvisational action presents storytellers with accessible forms of empathic reaction. Researchers have discovered that the use of theater ritual and artistry are the external conditions for inspiring empathy by creating an atmosphere of equality, respect, and inclusion. Moreover, this atmosphere also promotes dialogue. Having learned empathy, individuals connect better with each and become more open to self-development through reflection.
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Semergeev, Valery B., i Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
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The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
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Smirnova, Tetyana. "THE SPECIFICITY OF STUDENTS’ CREATIVE SELF-EXPRESSION IN THE PROCESS OF CONDUCTOR-CHORAL EDUCATION". 1 1, nr 1 (wrzesień 2020): 10–16. http://dx.doi.org/10.34142/27091805.2020.1.01.02.
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Object. The article considers the issues of the future singers` and choral conductors` creative self-expression in the process of conductor-choral education. Methods. Analytical, historical-comparative, retrospective method was used in writing the article. Results. As a result of the analysis and generalization of scientific psychological-pedagogical and art-literary literature, comparison, comparison of different opinions the definition of the concept «creative self-expression of students» is presents. It means a conscious act of discovering and affirming the individual, personal and subjective capabilities of the «I am» as a professional, defining himself as a creative person and individuality. The advantages of the study are to identify the specifics of future singers` and choir conductors` creative self-expression as students of higher education. The success of individual psychological self-expression is determined by good health, muscle activity, development of singing and conducting apparatus, students` cognitive and emotional sphere. A positive factor in the student` personal and professional self-expression is the formation cognitive and professional interests, spiritual values, character traits that are regulators of singers` and conductors` professional growth as creative individuals. Prominent indicators of the growth of singers` and choir conductors` creative self-expressio, their leading professionally important qualities are musicality as an integrative musical ability (musical hearing, metro-rhythmic ability, musical memory, musical thinking, musical imagination) and performing skills (performing reliability, artistry, instrumental, vocal and choral, conducting skills). The specifics of future singers` and choir conductors` personal self-expression are determined (on the basis of diagnosis) as a level of cognitive and professional interests, ideals and value orientations on spiritual and national-civic values. Conclusions. The study summarizes a set of character traits that form the basis of singers` and choir conductors` professional success of (honesty, loyalty to the beauty, the ability to consciously and artistically embody it in the choral sound; friendliness, responsibility, optimism). It was found that the level of students` creative self-expression as a subject of his own professional development depends on the timely diagnosis, stimulation, content and procedural support the process of his professional «I am» –concept formation. It is proved that the contradiction between the real and the ideal «I am» becomes the source of the singers` or choir conductors` personal and professional development. On the basis of scientific research on professional acmeology the ways of singers` and choir conductors` creative self-expression as bright individuals (integration of individual, personal, subjective structures into integrity, identification of specificity of individuality, selection of content of own «I am», systematization and generalization of individual and specificity self-expression taking into account all factors, identifying the uniqueness of the relationship of all substructures, determining the social orientation of their own self-expression in further professional activities).
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Kucher, Liudmyla. "“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman". Aspects of Historical Musicology 23, nr 23 (26.03.2021): 108–24. http://dx.doi.org/10.34064/khnum2-23.07.
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Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.
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Szostak, Michał, i Łukasz Sułkowski. "The identity and self-perception of artists-managers". Problems and Perspectives in Management 19, nr 1 (25.03.2021): 372–86. http://dx.doi.org/10.21511/ppm.19(1).2021.32.
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Manager’s and artist’s professional identities seem to be opposite, but there are many indications that this understanding is not justified in reality. Despite the contradictions, these two identities can intersect. The paper aims to define the characteristics of the artists-managers’ identity. The object of the study was qualitative research (n = 22) conducted in the form of in-depth interviews with key informants from the international environment. The practical objective was to verify common and contradicted features of the artist’s and the manager’s identities among artists-managers to understand the possibilities of reducing the intra-psychic tensions and ways of fruitful paradoxical thinking among managers and negative consequences for personalities and organizations. The study reveals common characteristics between the artist’s and manager’s identities and describes artists-managers’ identity. Although artists-managers experience diversity between both identities, they do not see them as contrary; they use paradoxical thinking, being experts in using personal seemingly contradictory characteristics to achieve outstanding performance. Acting in paradoxical contexts and focusing on the positive aspects of seemingly contradictory personal qualities, they find nonstandard creative solutions. By trying to understand and implement their self-construction, there is the possibility to reduce the intra-psychic tensions and negative consequences of seemingly opposite identities or goals among individuals in organizations. There is a synergy between the manager’s and artist’s identities. Understanding the nature and attributes of artistic creativity, aesthetic theories and the phenomenon of artist-manager’s identity can be a valuable contribution to the practice of management and organizational life.