Статті в журналах з теми "Orchestra education"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Orchestra education.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Orchestra education".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Carlson, Alexandra. "The Story of Carora: The Origins of El Sistema." International Journal of Music Education 34, no. 1 (December 8, 2015): 64–73. http://dx.doi.org/10.1177/0255761415617926.
Повний текст джерелаАнотація:
Venezuela’s youth symphony program, the Fundación Musical Simón Bolívar, commonly referred to as “El Sistema,” combines musical achievement with learning important life skills through orchestral practice and performance. Although the history most commonly reported outside Venezuela is of the program’s director, José Antonio Abreu, hosting a rehearsal of music students in a Caracan parking lot in 1975, El Sistema’s origins are equally owed to another orchestra. That same year, arts advocate Juan Martínez founded Venezuela’s first children’s orchestra in the Venezuelan city of Carora alongside three Chileans who previously taught for a similar program in Chile. I show that the two orchestras were frequent collaborators in the 1975–1977 period, a relationship that was essential in securing government and public support for the nascent Venezuelan program. I combine oral history and historiography to detail how the project in Carora began, define its relationship with Abreu’s orchestra in Caracas, and describe its pedagogy, philosophy, and funding. Beyond illuminating a historical narrative that highlights the importance of both national and international cooperation in the development of youth orchestras in Venezuela, this research has broad implications for advocacy and development of musical programs, within and outside schools.
2
[李明晏], Lee Ming-yen. "Performing the South Seas: Singapore Chinese Orchestra and the Making of Nanyang-Style Music." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 9–26. http://dx.doi.org/10.30819/aemr.9-2.
Повний текст джерелаАнотація:
Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore’s diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the “Nanyang-style music” (Nanyang feng huayue 南洋風華樂) of the Singapore Chinese Orchestra. It draws on Tu Wei-Ming’s (1991) concept of ‘Cultural China’ and builds on Brian Bernards’ (2015) work on the ‘Nanyang’ in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra’s Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.
3
Lonnert, Lia. "Amateur orchestras as a learning environment for music academy students." International Journal of Community Music 13, no. 1 (May 1, 2020): 49–63. http://dx.doi.org/10.1386/ijcm_00012_1.
Повний текст джерелаАнотація:
Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student’s overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.
4
Smith, Bret P., and Gail V. Barnes. "Development and Validation of an Orchestra Performance Rating Scale." Journal of Research in Music Education 55, no. 3 (October 2007): 268–80. http://dx.doi.org/10.1177/002242940705500307.
Повний текст джерелаАнотація:
The purpose of this study was to develop a factor-derived measure of orchestra performance achievement and to test its validity and reliability for the evaluation of secondary school orchestras. We assembled a pool of 49 statements used in evaluating middle and high school orchestra performance, paired them with a 9-point Likert-type scale, and asked 63 experienced orchestra teachers to evaluate 63 secondary school orchestras. Factor analyses on data from the 189 completed rating sheets identified seven factors: Ensemble, Left Hand, Position, Rhythm, Tempo, Presentation, and Bow. For the reduced scale, we chose 25 items with factor loadings greater than . 64, which showed Cronbach's alphas ranging from . 73 to . 91. Two rounds of validation showed high correlations with MENC's adjudication form and a ranking task; the initial factor structure was not exactly duplicated, indicating directions for future research.
5
Pope, David A., and James P. Mick. "An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival." String Research Journal 11, no. 1 (July 2021): 67–82. http://dx.doi.org/10.1177/19484992211021012.
Повний текст джерелаАнотація:
The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances ( N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.
6
Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (February 1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.
Повний текст джерелаАнотація:
Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.
7
Hash, Phillip M. "The National School Orchestra Contests." Journal of Research in Music Education 63, no. 4 (December 30, 2015): 397–420. http://dx.doi.org/10.1177/0022429415618373.
Повний текст джерелаАнотація:
The purpose of this study was to examine the National School Orchestra Contests sponsored by the National Bureau for the Advancement of Music and the Committee on Instrumental Affairs (CIA) of Music Supervisors National Conference from 1929 to 1937. Research questions examined contest (a) organization and operation, (b) rules and procedures, (c) participants, and (d) repertoire, as well as (e) the influence of early school orchestra competitions on subsequent large-group assessment. I also made recommendations for the development of these events today based on their counterparts of the 1920s and 1930s. The first national school orchestra contest convened at the State University of Iowa in May 1929 and in other cities throughout the mid United States until 1937. Judges ranked ensembles based on their ability to perform two prepared selections and sight-read unfamiliar music until 1933, when the CIA implemented a rating system to improve the validity of adjudication, emphasize educational values, and reduce competitiveness. Although the number of participants increased substantially with the rating system, the contests never achieved a national scope due to prohibitive expenses for orchestras traveling long distances.
8
Marsden, Hannah. "Symphonies, Status and Soft Power: The Symphony Orchestra of India." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 19–36. http://dx.doi.org/10.30819/aemr.7-2.
Повний текст джерелаАнотація:
The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an orchestra a part of India's wider political and economic development. I point to tensions that are created as India's local and national government resist the notion of the orchestra as a marker of modernity and instead champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks, its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony orchestra.
9
Unver, Zeynep, and Ayse Cakir İlhan. "The assessment of the reasons for choosing their professions of State Opera and Ballet Orchestra artists." Global Journal of Arts Education 9, no. 1 (February 28, 2019): 1–8. http://dx.doi.org/10.18844/gjae.v9i2.4033.
Повний текст джерелаАнотація:
In this study, it is aimed to lay out the factors which lead to the choice of profession of State Opera and Ballet (SOB) artists. In the survey developed to serve this end, 120 out of a total of 493 orchestra artists working at SOB orchestras in Ankara, Istanbul, Izmir, Mersin, Antalya and Samsun have participated. The data obtained were formatted as tables according to frequency and percentage and analysed with descriptive analysis method. It is understood that, when choosing their profession, orchestra artists do not take into consideration of social and economic factors but rather their ability and interests.
Keywords: Choice of profession, musician, musical instrument training, orchestra artist, music education.
10
Rafika, Ageng Setiani, Deviana Ika Putri, and Siskawati Sanusi. "SISTEM PEMBAYARAN RINCIAN BIAYA KULIAH PADA PERGURUAN TINGGI RAHARJA MENGGUNAKAN GO+." Journal CERITA 3, no. 1 (February 1, 2017): 64–74. http://dx.doi.org/10.33050/cerita.v3i1.621.
Повний текст джерелаАнотація:
Along with the development of increasingly sophisticated digital technology, online payment system rife used both government and private agencies. Similarly, in Higher Education. Financial Accounting System on Higher Education Prog is called GO (Green orchesta) is said to be still using the method of effective and efficient because students are required to come to campus first to find out some of the bills that must be paid. Even to know RBR (details Registration Fees) and Yandex (details Tuition) still use the local network that can only be accessed on BoxSiS (Student iLearning Service Box). With the rapid development of existing technologies, systems GO (Green orchesta) need to be made updates to the onlineversions are able to be accessed anytime and anywhere by students. Hence comes the system that has been updated is GO + (Green Orchestra Plus). GO + (Green Orchestra Plus), enables all payment systems pekuliahan student as the student can check the details of tuition anywhere and anytime. Not hasrus come kekampus and queued at the box sis. GO + (Green Orchestra Plus) highly efficient and effective for use as it can support the process online payments.
11
Shumska, Lyudmyla, Mykola Shumskyi, Galyna Savchuk, Yuliia Puchko-Kolesnyk, Nelia Velychko, and Larisa Chincheva. "Features of the applying the information and communication technologies in the conditions of distance master’s training of choir and orchestra conductors." Eduweb 16, no. 3 (September 28, 2022): 205–17. http://dx.doi.org/10.46502/issn.1856-7576/2022.16.03.15.
Повний текст джерелаАнотація:
The purpose of the academic paper, based on the results of the analysis of the viewpoints of scientists regarding the selection and application of information and communication technologies in the conditions of distance education of choir and orchestra conductors and the study of practical aspects of the master’s training of specialists in choral and orchestral conducting, lies in revealing and identifying the main features of the professional training of this type of specialists. Methodology. In the process of conducting the research, an analytical and bibliographic method has been used to study the scientific literature on the issues of distance master’s training of choir and orchestra conductors, as well as a questionnaire to conduct a survey of choral and orchestral conductors. Results. Based on the results of the research conducted, the features of the choice and application of information and communication technologies in the conditions of distance master’s training of choir and orchestra conductors have been analysed, and basic information has been prepared on the effectiveness of using various information.
12
Downs, Dennis, and Ellen Lindquist. "Harp Lessons by Telecommunication." American String Teacher 44, no. 2 (May 1994): 59–62. http://dx.doi.org/10.1177/000313139404400223.
Повний текст джерелаАнотація:
Dennis A. Downs, orchestra instructor at Cedar Falls High School and Peet Junior High School, has taught public school orchestras for 25 years. Past president of the Iowa String Teachers Association and Iowa School Orchestra Association, he is an MENC Certified Music Instructor with a BFAE from Wayne State College, MA from the University of Northern Colorado, and Ed Ad from the University of Nebraska. A cellist in the Waterloo-Cedar Falls Symphony, he also directs the Cedar Falls Municipal Band and performs professionally on guitar, bass, and trombone. Downs is the project facilitator for the distance education program he describes in this article.
13
Rofe, Michael, and David Prior. "Online Orchestra." Journal of Music, Technology and Education 10, no. 2 (December 1, 2017): 145–46. http://dx.doi.org/10.1386/jmte.10.2-3.145_2.
Повний текст джерела
14
Calissendorff, Maria, and Haukur F. Hannesson. "Educating Orchestral Musicians." British Journal of Music Education 34, no. 2 (October 10, 2016): 217–23. http://dx.doi.org/10.1017/s0265051716000255.
Повний текст джерелаАнотація:
This article examines research on the specific training of musicians before they begin work as players in professional orchestras. Most of the research is in the area of education. The present article suggests that little research exists that is specific to the development of a traditional orchestra musician from an early age through the music education system, although considerable research exists on the development and broadening of the actual role of the professional musician in a changing world (portfolio careers).
15
Lytvyshchenko, Oleksandr. "The Student Bayan and Accordion Orchestra at Kharkiv I. P. Kotlyarevsky National University of Arts: specifics of formation and professional development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 89–102. http://dx.doi.org/10.34064/khnum1-59.06.
Повний текст джерелаАнотація:
Statement of the problem. The purpose of this article is to consider the evolution of the creative activity of the student training collective – the Orchestra of Bayans and Accordions – and to determine the role of its founder, Honored Artist of Ukraine, Professor Oleksandr Ivanovych Nazarenko, a conductor, an outstanding representative of the Ukrainian bayan art (second half of the 20th – early 21st centuries). Relevance and scientific novelty of the study. The team under his leadership has existed for over 28 years, it has achieved significant success and acquired its own creative form, and its activities attract the attention of the artistic community and arouse scientific interest, which determines the relevance of this topic. O. Nazarenko’s composer creativity were covered by Kharkiv bayan players and scientists Yu. Dyachenko (2012), M. Plushenko (2017), S. Ptashenko (2013), I. Snedkov (2016), A. Strilets (2018), but the authors did not address to consideration of O. Nazarenko’s activity as an orchestral conductor and the problems of performing skills of the orchestra of bayans and accordions at Kharkiv National University of Arts, the head of which he is. The research methodology is based on a set of historical, genre-style and interpretive approaches. A comprehensive analysis of the activities of the student orchestra and its leader O. Nazarenko allowed to identify certain stages of professional evolution and the main directions of team development. Particular attention is paid to the consideration of O. Nazarenko’s conducting activity and the principles of his work with a student orchestra composed of homogeneous instruments. Based on the analysis of the artist’s work, the issues of specifics of teaching methods, selection of quality repertoire, peculiarities of arrangement for orchestra of bayans and accordions are investigated. Results and conclusions of the study. O. Nazarenko’s multifaceted activity as the director and conductor of the Student Bayan-Accordion Orchestra is very important for preserving in the repertoire and updating works of foreign and Ukrainian, in particular, Kharkiv, composers, and his education of young professional musicians contributes to the development of the Ukrainian folk instrumental performing. Under the guidance of the master, students master a wide range of instrumental capabilities – a bright palette of stroke techniques and techniques of sound production, smooth bellows movement, develop their ideas about working on a piece of music and learn orchestral thinking. Thus, the main task of the Student Bayan and Accordion Orchestra at Kharkiv National University of Arts is to present a qualitative repertoire, master various orchestra arrangement techniques and peculiarities of filigree ensemble performance. For the first time, a complete repertoire list of the orchestra was compiled, which gives an idea of the scale and content of its activities, demonstrates the principles of selection of works that reflect the artistic taste and preferences of the conductor.
16
Miller, David S., Rebecca B. MacLeod, and Jennifer S. Walter. "Status of Band and Orchestra Programs in North Carolina." String Research Journal 11, no. 1 (July 2021): 51–65. http://dx.doi.org/10.1177/19484992211020767.
Повний текст джерелаАнотація:
The purpose of this study was to examine K–12 instrumental music education in North Carolina. Specifically, we investigated course offerings, teacher demographics, teaching responsibilities, and music program funding. We administered a survey to the members of the North Carolina Music Educators Association listserv who indicated band or orchestra as their teaching area. Participants identified themselves as teachers of orchestra ( n = 44), band ( n = 173), or a hybrid of both ( n = 17). Of schools that offered instrumental music, 95% offered band and 36% offered orchestra. More than 20% of orchestra teachers were “very likely to retire within 5 years.” The majority of teachers relied on fundraising to provide adequate music education for students. Results of this study were analyzed and compared to national averages reported in the Give a Note Foundation’s 2017 report: The Status of Music Education in United States Public Schools. Implications for orchestra teachers, music programs, music teacher preparation curriculum, and future research are discussed.
17
Maffioli, Francesco, and Giuliano Augusti. "Tuning engineering education into the European higher education orchestra." European Journal of Engineering Education 28, no. 3 (September 2003): 251–73. http://dx.doi.org/10.1080/0304379031000098832.
Повний текст джерела
18
Joković, Jelena. "The trumpet in a woman's hand in contemporary Serbian traditional and popular music: The case of the "Danijela" trumpet orchestra from Arilje." New Sound 53, no. 1 (2019): 171–93. http://dx.doi.org/10.5937/newso1901171j.
Повний текст джерелаАнотація:
Trumpet orchestra "Danijela" belongs to the type of mixed gender orchestra, in which the women is the leader in men surroundings. This orchestra today mainly plays musical arrangements of the popular music, from folk to pop and rock, jazz and Latin. Danijela and her orchestra do not try to copy already existing interpretation, but they are doing their best to give to their music their personal touch in different musical securements, whether formally or in arrangements. Danijela, herself says that there are not essential difference between male and female trumpet orchestra, all, actually, depends on the personal impact. This personal impact is due to the musical education which helped Danijela's orchestra to, especially in harmony and articulation add its style to already existing interpretation. Regarding the performing of tracks which belong, by its style, to the repertoire of southeast Serbia, it is notable, especially in the aspect of articulation and ornaments marching to the style definitions of the trumpet music in West Serbia, which is general equal for all trumpet orchestras in West Serbia, which play the repertoire of the other trumpet places especially southeast Serbia. This ensemble takes part in most different kind of media, which promotes, not only this orchestra, but also the idea of women's leadership, and the fact, also that the women (in this case a young girl) can play the instrument which up to recently, was considered to be only for men. At the very end, we may conclude that today in Serbia there is no more radical difference in gender regarding musical instruments, the epithet 'male' or 'female' is not explicit any more, as it was before when men had priority. Of course, the prejudices still exist, but they are not any more so important and they are easily overcome, especially if performers get good critics from the audience for their work, no matter what instrument is in question.
19
Hash, Phillip M. "The National High School Orchestra 1926—1938." Journal of Research in Music Education 57, no. 1 (April 2009): 50–72. http://dx.doi.org/10.1177/0022429409333376.
Повний текст джерелаАнотація:
The purpose of this study was to document the history of the National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. Research questions examined the orchestra's (1) origin, performances, and operation; (2) instrumentation and repertoire; (3) influence on music education; and (4) implications for modern practice. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp—the institution known today as the Interlochen Center for the Arts.
20
TOPALOĞLU, Taner. "EFFECTS OF ORCHESTRA COURSE ON INSTRUMENT EDUCATION." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 9, no. 2 (April 25, 2022): 82–98. http://dx.doi.org/10.38064/eurssh.345.
Повний текст джерелаАнотація:
It is aimed with this study to determine the contribution of the orchestra course taken by students in the 3rd and 4th grades in their undergraduate music education to the individual instrument education. The study group consisted of 27 students studying at Harran University, Faculty of Fine Arts, Department of Music Education in the 2021-2022 academic year. In this study utilizing a case study design, one of the qualitative research methods, semi-structured interview form as one of the data collection methods was applied and the obtained data were analyzed by the descriptive analysis method. In the light of the data obtained in the study, the theoretical contributions of the orchestra course to the technical dimension of the individual instrument course of the students were mostly in the subjects of bow techniques, nuance terms, signs, and symbols, position, and periodic features; also, there were practical contributions on the subjects of bow techniques, nuances, and position. It was also understood, in addition to the theoretical and practical contributions to the technical dimension of the individual instrument, to contribute to the subjects such as the ability to perform together, decipher, and play at the right tempo. It was also observed, concerning the musicality of the students, that it mostly affected playing with feelings by paying attention to the nuances. It was observed that the instrument-related motivation of the students increased since the students had fun by playing together in the orchestra course and their experience of their ability to play the instruments. It has been concluded that the increase in the student motivation relating to their instruments increases the time and frequency of practicing with the instruments, and this eventually contributes to the increase of the students' individual instrument success levels.
21
Yao, Cui. "Patterns of Repertoire amongst Toronto Chinese Orchestras." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 39–56. http://dx.doi.org/10.30819/aemr.10-6.
Повний текст джерелаАнотація:
Toronto, among the most diverse cities in the world, is home to a massive Chinese diaspora and hosts no fewer than five Chinese orchestras. Varying in size from 20 to 60 members, and in status from professional to amateur, these orchestras have been providing a home for Chinese instrumentalists and exposing Torontonians to Chinese music since 1993. In this article, I analyze the repertoire choices of three of these orchestras since 1993 to consider how their repertoire relates to their members’ identities and the organizations’ goals. In particular, I argue that the repertoire represents complex negotiations of diasporic communities, both with their audiences and among the orchestra members themselves; for instance, these orchestras’ directors seek the balance between new repertoire and old repertoire without losing audiences. Moreover, these negotiations demonstrate the impact of transnationalism (Zheng Su, 2010) and hybridity (Ang Ien, 2003) on diasporic Chinese communities in Toronto. The city’s multicultural environment enables these Chinese orchestras to collaborate with musicians and music groups from different cultural backgrounds. This article provides insights into how the history of Chinese orchestras in Toronto contributes to our understanding of how Chinese diaspora music history is actually Canadian music history.
22
Tschaikov, Basil D. "Preparation for the Orchestral Profession: Which Kind of Symphony Orchestra Will We Have in 2000?" International Journal of Music Education os-9, no. 1 (May 1987): 3–6. http://dx.doi.org/10.1177/025576148700900101.
Повний текст джерела
23
Fylypchuk, M. S. "Educational orchestral how the object of scientific cognition is." Educational Dimension 18, no. 2 (May 10, 2007): 175–83. http://dx.doi.org/10.31812/educdim.5971.
Повний текст джерелаАнотація:
The important questions of methodological bases of functioning of training pops orchestra are considered. In the article Theauthor approached the problem of teaching and education of students in the pops orchestra guiding by strong scientific knowledge’s.
24
Hanrahan, Fidelma, Ed Hughes, Robin Banerjee, Alice Eldridge, and Chris Kiefer. "Psychological benefits of networking technologies in children’s experience of ensemble music making." International Journal of Music Education 37, no. 1 (October 17, 2018): 59–77. http://dx.doi.org/10.1177/0255761418796864.
Повний текст джерелаАнотація:
Little is currently known about the possible benefits of using networked technology to enhance ensemble performance. This study explored whether the introduction of specially devised technology – networked tablets using traditional music notation – to a primary school orchestra would enhance the experience of ensemble music. Particular emphasis was placed on how the technology could help children to overcome practical problems associated with ensemble playing for early-stage musicians (e.g., keeping in sync with other players), thereby leading to better engagement with the music and ultimately greater enjoyment. Findings from a thematic analysis of responses from a focus group with eight young orchestra players aged 9–11 years and from an interview with the orchestra conductor, together with indications from the statistical analysis of 28 orchestra participants’ questionnaire responses, suggest that the technology did help to reduce the practical problems associated with ensemble playing. This appeared to interrupt the downward spiral of frustration and lack of confidence in playing for some young people, and enhanced the likelihood of feelings of enjoyment and belonging.
25
Cutietta, Robert A. "Does Orchestra Education in Schools Make a Difference?" General Music Today 11, no. 2 (January 1998): 17–20. http://dx.doi.org/10.1177/104837139801100206.
Повний текст джерела
26
Reardon MacLellan, Christin. "Differences in Myers-Briggs Personality Types Among High School Band, Orchestra, and Choir Members." Journal of Research in Music Education 59, no. 1 (February 7, 2011): 85–100. http://dx.doi.org/10.1177/0022429410395579.
Повний текст джерелаАнотація:
The purpose of this study was to explore personality type differences among high school band, string orchestra, and choir students according to ensemble membership. Participants ( N = 355) were high school students who had participated in their school’s band, orchestra, or choir for 1 year or more. The author administered the Myers-Briggs Type Indicator (MBTI) to determine the personality type for each participant. Personality types were compared among the three ensembles as well as with published MBTI high school norms. Results indicated that personality type differences existed among the ensembles and that there were significant differences in the comparisons with MBTI norms. A significant personality type difference was found between orchestra and choir students along the Extraversion-Introversion dichotomy, indicating that choir students were more likely to be Extraverted when compared to orchestra students. There were no significant differences among the ensembles on the Sensing-Intuition, Thinking-Feeling, or Judging-Perceiving scales. Compared to high school norms, the students in each ensemble were significantly more likely to be Intuitive and Feeling. The band students were significantly more likely to be Perceiving, and the choir students were significantly more likely to be Extraverted.
27
Tsaklagkanou, Lina, and Andrea Creech. "Sistema-inspired music education as an agent of change in and beyond the musical lifecourse: Perceptions of the transferable skills and transferability." International Journal of Community Music 14, no. 1 (March 1, 2021): 61–79. http://dx.doi.org/10.1386/ijcm_00038_1.
Повний текст джерелаАнотація:
Within Sistema-inspired music education initiatives, claims have been made relating to the ways in which these experiences may contribute to the musical lifecourse, having lifewide and lifelong implications for young people. For example, a commonly held aspiration amongst Sistema-inspired programmes around the world is to foster participants’ well being, personal development and enhanced academic engagement. This article explores perceptions relating to the wider, transferable competencies derived from participation in one such programme. The National Orchestra for All (NOFA), an inclusive youth orchestra residential programme targeting under-served young people who face diverse barriers to musical participation, seeks to function as an ‘agent of change’ within participants’ lives. NOFA aims to improve the life chances of the young participants using music as means to support the development of personal, social and citizenship skills, their objective being to equip young people for achieving their potential within education, work and community. Our aim in this article is to address whether, and how, a short-term residential orchestral programme is perceived to function as an agent of change in the areas of personal, social or citizenship skills, and whether those skills are thought to be transferable beyond the programme context. Drawing on interviews and focus groups carried out over the course of three years, we present a thematic analysis representing participant perceptions. Overall, a number of transferable ‘life skills’ emerged. However, while some participants indicated that their experiences in NOFA did have an influence that transferred beyond the programme itself, others described persistent challenges that remained outside of the influence of any new skills or competencies gained within NOFA. These findings have implications for developing nuanced understandings of the role that intensive, inclusive orchestra programmes may have in nurturing transferable competencies and wider benefits in the lives of their participants.
28
Ihas, Dijana. "A Mixed Methods Study on the Status of School Orchestra Programs in Oregon: An Explanation of Inhibiting and Promoting Factors." String Research Journal 9, no. 1 (June 25, 2019): 5–22. http://dx.doi.org/10.1177/1948499219851144.
Повний текст джерелаАнотація:
The purpose of this explanatory sequential mixed methods study was to examine the status of school orchestra programs in Oregon and to explain the reasoning behind the descriptive data. The quantitative phase of the study reported the data on the number of school districts and schools by type that offer orchestra instruction as well as the profile of those schools, their orchestra programs, and orchestra teachers. Unexpected findings from the quantitative phase indicated that among the three large school districts that are comparable in size, budget, and students’ demographics, only one offers orchestra instruction in every school within the district ( n = 65) while the other two districts offer orchestra instruction in one high school each. This finding prompted the qualitative phase of the study that illuminated factors that inhibit and promote the quality of education within Oregon schools. The mixed methods findings explained the discrepancy in music offerings among the three large school districts through the perspectives of the three arts administrators, one from each district.
29
Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS." ARTSEDUCA 29, no. 29 (May 12, 2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.
Повний текст джерелаАнотація:
Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor.
Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.
and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.
“classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor.
Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.
exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor.
Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.
30
Grossman, Gary D. "Review: Nature's Orchestra." American Biology Teacher 78, no. 9 (November 1, 2016): 783. http://dx.doi.org/10.1525/abt.2016.78.9.783.
Повний текст джерела
31
MacLeod, Rebecca. "A Comparison of Instructional Strategies Used by Experienced Band and Orchestra Teachers When Teaching a First-Year Class an Unfamiliar Music Excerpt." Bulletin of the Council for Research in Music Education, no. 185 (July 1, 2010): 49–61. http://dx.doi.org/10.2307/41110365.
Повний текст джерелаАнотація:
Abstract The purpose of the study was to compare the instructional strategies used by experienced band and orchestra teachers when teaching a first-year class an unfamiliar music excerpt. Twelve teacher behaviors were identified and operationally defined: echoing technique, question and answer, verbal instruction, co-verbal instruction, modeling with instrument, modeling with instrument during student performance, modeling without instrument, modeling without instrument during student performance, conducting, student performance, pedagogical touch, and classroom management. Significant differences were found for nine out of the twelve behaviors. In general, band teachers used verbal instruction, conducting, question and answer techniques, and student performance with greater frequency than orchestra teachers, while orchestra teachers used echoing technique, co-verbal instruction, modeling, modeling with instrument during student performance, and pedagogical touch with greater frequency. No significant difference was observed between the two groups for classroom management, modeling without an instrument, and modeling without an instrument during student performance.
32
Evans, Judith Petersen, and Michael L. Allen. "Middle School — Where the Action Is!" American String Teacher 44, no. 2 (May 1994): 65–67. http://dx.doi.org/10.1177/000313139404400225.
Повний текст джерелаАнотація:
Judith Petersen Evans received her BME at Baldwin Wallace College, her ME at Florida Atlantic University, and a Specialist Degree in Educational Leadership from Nova University. She has taught for 25 years, first in Ohio and then in Florida. She is currently orchestra director at Pine Ridge Middle School and Barron Collier High School in Naples, Florida. She has appeared as guest conductor or orchestra festivals in a number of states and is a freqwuent adjudicator and consultant to public school orchestra programs. Evans has been active in the music education field as president of the Florida chapters of ASTA and NSOA and of the Florida Orchestra Association. She has recently been elected national secretary of ASTA and is publications editor for NSOA.
33
Gillespie, Robert, and Donald L. Hamann. "Career Choice among String Music Education Students in American Colleges and Universities." Journal of Research in Music Education 47, no. 3 (October 1999): 266–78. http://dx.doi.org/10.2307/3345784.
Повний текст джерелаАнотація:
The objective of this study was to identify teacher strategies for attracting school orchestra students to string teaching. Full-time string music education professors at 17 universities surveyed their music education students who were principally string players. Students were asked to describe their background, reasons for choosing teaching, and recommendations of approaches for teachers to use to interest students in string teaching. Results of the 153 completed surveys revealed that the majority of string music education students are female undergraduates who previously participated in school orchestras. Students chose string education because they liked teaching, music, children, playing their instrument, and being a role model for children. To attract others to teaching, respondents suggested that teachers be teaching role models for their students by showing their love for music and teaching, relating positively to students, giving special teaching opportunities and support to students interested in teaching, discussing the rewards of string teaching, and challenging students musically.
34
Harten, Michael, and Jennifer Rabold. "An Interview with Benjamin Zander: Conductor of the Boston Philharmonic Orchestra and the New England Conservatory Youth Philharmonic Orchestra." Journal of Education 190, no. 1-2 (January 2010): 55–58. http://dx.doi.org/10.1177/0022057410190001-209.
Повний текст джерела
35
Jones, Tzefira R., and Elizabeth Chappell. "Fracturing the Black Nucleus: Reflections on School Desegregation in Texas Through the Lens of Black Orchestra Students." Journal of Historical Research in Music Education 43, no. 2 (April 2022): 185–204. http://dx.doi.org/10.1177/15366006221081884.
Повний текст джерелаАнотація:
Desegregation in the south had many goals, among them was creating equitable opportunities for students in schools. Much of the literature on desegregation efforts are focused on general education and little research has been done on the effects it had on school orchestra programs. Orchestra programs in Texas schools have had a historically strong presence, but opportunities for Black string players had been rare and limited by segregation. It wasn’t until 1963 that Black students could participate in Texas All-State ensembles and 1968 before school ensemble competitions were integrated. Newspaper articles, archives, and voices of individuals that lived through these experiences were examined to gain a better understanding of what occurred during the time of desegregation in Texas schools. The predominantly Black orchestra program at Dunbar High School in Lubbock thrived despite segregation; however, it would later struggle to recover after integration plans were enacted. In an effort to satisfy desegregation laws, Black students and teachers were bussed to white schools dissolving the Black nucleus that contributed to their previous success. A historical examination of Texas string orchestra programs, competitions, and lived experiences of Black stakeholders revealed issues surrounding representation and the importance of strong role models in music.
36
Evans, Paul, and Mark Y. Liu. "Psychological Needs and Motivational Outcomes in a High School Orchestra Program." Journal of Research in Music Education 67, no. 1 (November 30, 2018): 83–105. http://dx.doi.org/10.1177/0022429418812769.
Повний текст джерелаАнотація:
Motivation has formed a core strand of research in music education, reflecting its importance in educational psychology and other skill-based performance domains. Understanding motivation is crucial for explaining students’ achievement, performance, well-being, and intentions to continue participation in (or drop out of) music learning throughout school and into adulthood. In the present study, we addressed the need to better understand motivation in music education by examining the impact of psychological needs satisfaction and frustration in a high school orchestra program. Psychological needs—a core component of self-determination theory—have considerable explanatory power in other life domains and educational settings and are the focus of recent attention in music education. Participants ( N = 704) were surveyed in orchestra programs in three schools in the midwestern United States. Structural equation modeling was used to examine the effects of psychological needs satisfaction and frustration. The model explained substantial variance on three key outcomes: practice time (22%), intentions to continue participating in the orchestra program (45%), and global-self esteem (34%). The results point to psychological needs satisfaction and frustration as key elements of music education in which teachers might intervene to improve these outcomes as well as students’ learning, engagement, and psychological well-being more broadly.
37
Rickels, David A., Wesley D. Brewer, Kimberly H. Councill, William E. Fredrickson, Michelle Hairston, David L. Perry, Ann M. Porter, and Margaret Schmidt. "Career Influences of Music Education Audition Candidates." Journal of Research in Music Education 61, no. 1 (March 5, 2013): 115–34. http://dx.doi.org/10.1177/0022429412474896.
Повний текст джерелаАнотація:
In this descriptive study, we examined the influences and experiences motivating students to enter college-level music schools as reported by a population of precollegiate students auditioning (but not yet accepted) to music education degree programs. As a follow-up to a published pilot study, this research was designed to quantify the various experiences respondents had as part of their precollege school and community programs that related to teaching and music. Results indicate a strong connection between respondents’ primary musical background and future teaching interest. The top three influential experiences were related to high school ensemble membership (band, choir, orchestra), and the most influential group of individuals in the decision to become a music educator were high school ensemble directors. Respondents from all four primary background groups (band, choir, orchestra, and general or other) rated private lesson teaching as their second strongest future teaching interest, just behind teaching at the high school level in their primary background. Respondents rated parents as moderately influential on their desire to become a music teacher.
38
Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.
Повний текст джерелаАнотація:
Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.
39
Yan, Yang. "KEY ASPECTS OF THE DEVELOPMENT OF CONDUCTING PERFORMANCE IN CHINA." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 184–99. http://dx.doi.org/10.34064/khnum1-60.10.
Повний текст джерелаАнотація:
Statement of the problem. Conducting performance in China is still a poorly explored area of the national musical art, which makes it necessary to deeply comprehend its main aspects and determine the originality of this important area of the country’s musical culture. This study is aimed at identifying the influence of the dynamics of historical development in China in the 20th century on the development of a conductor’s profession in the country. The recent researches and publications study the specifics of the conductor’s gesture (M. Mannone, I. Poggi, B. Silvey, L. Reizabal), personal conducting activities of the brightest representatives of this profession in different countries (C. Bongiovanni, J.-C. Branger, J. Orrego Salas, M. Walter and others). However no work mentions the activities of Chinese conductors. This profession is practically not studied among its Chinese representatives, too. Methodology of this research includes the study of scientific works devoted to various aspects of European conducting (R. Komurdzhi, Lee En Zhong, B. Smirnov, O. Tremzina), to the outstanding conductors (S. Bongiovanni, J.-C. Branger, J. Orrego Salas, M. Walter), general problems of connection of conducting with exact sciences (M. Mannone), and, especially, the history of the development of a new type of symphony orchestra in China (Hon-Lun Yang & M. Saffle, Mingyen Lee). Hence, it calls for an integrated approach, which includes historical-typological, comparative, genrestyle and dialectic methods. Results and Conclusions. Active involvement of European music has been taking place in China relatively recently – since the 1920s. In this way, the problems of creating a national conducting school and a symphonic culture of performance in the country became especially acute. The history of the development of the symphony orchestra and conductor’s performance of Chinese musical art of the twentieth century can be imagined as a single culture process that is constantly moving in the same vein encompassing all countries and continents. During the 20th century a new profession of musician-conductor of a new type of orchestra was formed in China, which combined instruments of the European symphony orchestra and national instruments. The formation of national symphonic schools in China is also linked to specific historical events: the modernization of Chinese music, the foreign education of many Chinese musicians, the influence of communist ideology (“exemplary performances”), on the one hand, and Western capitalist (Hong Kong orchestras), on the other. The specificity of the activity of the conductor of a new type of symphony orchestra is directly related to various changes in the quantitative and qualitative composition of the orchestra, special features for use of both individual instruments of the symphony orchestra and whole sections, and to technical capabilities of national and European instruments.
40
Gün, Elvan. "The opinions of the preservice music teachers regarding the teaching of orchestra and chamber music courses during distance education process." Cypriot Journal of Educational Sciences 16, no. 3 (June 30, 2021): 1088–96. http://dx.doi.org/10.18844/cjes.v16i3.5827.
Повний текст джерелаАнотація:
This study was carried out to determine the opinions of preservice music teachers on the processing and efficiency of Orchestra and Chamber Music courses which are based on collective playing and singing, among the online music teaching undergraduate courses conducted in the distance education process that started in Turkey in March 2020 due to the COVID-19 pandemic. The study group of the study consisted of 40 students studying at the 3rd and 4th grades in Mehmet Akif Ersoy University, Fine Arts Education Department, Music Education Department. In this study, the case study method which is one of the qualitative research methods, was used. The study data were collected online with a semi-structured interview form prepared by the researcher based on the literature and current researches, and were tabularized by evaluating with content analysis. According to the results of the study, it was determined that the preservice music teachers thought that the Orchestra and Chamber Music courses were not suitable for distance education and were not taught efficiently, and partition playing and video merging techniques were used in their online courses. In addition, it was concluded that they thought that lesson teaching methods in distance education had no advantage and that the biggest disadvantage was the not being able to play music together. Preservice music teachers suggested that face-to-face education should be initiated in order to teach lessons more efficiently, or that courses should be taught by eliminating connection and technical problems on different online platforms that allow making music together.
Keywords: Distance Education, Music, Orchestra, Chamber Music
41
Lesovichenko, Andrey. "B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan." Musical Art and Education 7, no. 4 (December 30, 2019): 65–81. http://dx.doi.org/10.31862/2309-1428-2019-7-4-65-81.
Повний текст джерелаАнотація:
The article presents an analysis of one of the most interesting orchestral compositions intended to familiarize listeners of symphonic concerts with instruments – compositions by Benjamin Britten “Guide to the orchestra. Variations on Purcell’s theme” The composer created his opus in such a way that it could be played in educational programs. At the same time, the composition has a great artistic value. This allows us to consider it in purely musical and pedagogical aspects. The problems of the variation cycle as a dynamically developing flow of diverse images are determined by intonation segments emanating from the theme borrowed from Henry Purcell, in which the initial idea of the master of the XVII century is deeply rethought. The pedagogical task is connected with the demonstration of the timbres of all instruments in solo, ensemble, orchestral sounds, expressing different semantic facets of the original theme, transformed in the process of development into its own antipode. B. Britten found an organic solution to the problems. The article outlines the options for the use of this work in music lessons in secondary school and in the system of additional musical education in the study of instruments of the Symphony orchestra. For this purpose, the comparative characteristics of the performance of the “Guide” by major conductors of different generations are involved, including the interpretation of the composition by the author of the music, which can be assessed a reference. The characteristic of the film for which the music and contemporary videos of the performance of Britten’s opus are written is given.
42
Budy, Gandhes Sembodro. "Akademi Lalare Orchestra Sebagai Pengembang Kreativitas Musik Pada Anak Di Kabupaten Banyuwangi." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (June 30, 2021): 11. http://dx.doi.org/10.26740/vt.v4n1.p11-19.
Повний текст джерелаАнотація:
Abstract: Creativity is a talent possessed by every individual and can be honed or nurtured through the right educational institutions. In a creativity formation, children need help to build their creativity. Supporting factors and the formation of creativity in children, namely with the full support of the people or the environment around them. The Lalare Orchestra Academy is an educational institution that teaches children to be more creative in playing musical instruments. This research uses descriptive qualitative method with data collection using observation and interview techniques, while the analysis technique uses the stages of reduction, presentation, and drawing conclusions. The research objective was to describe the background of the Lalare Academy Institute for orchestra and the process of developing musical creativity in children. The results showed that the background for the establishment of the Lalare Orchestra Academy was driven by the interest of the chairman of the Blambangan Arts Council, namely Syamsudin and Kadafi Kadiso as art enthusiasts to provide space and opportunities for academic music education to children. In its performances, the Lalare Orchestra Academy always presents Banyuwangi traditional music games with a number of musical instruments that are not only one device, but use many traditional musical instruments so that they are called orchestra music games. In its development, the Lalare Orchestra Academy is in great demand by children because children are given the opportunity to develop game techniques, thus motivating children to be creative. The process of developing creativity is carried out by teaching Banyuwangi traditional music playing techniques, improvisation, and its application when playing music in an orchestra. Thus children will be able to improvise existing songs and be able to play music well.Keywords: Lalare Orchestra Academy, Creativity
43
Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.
Повний текст джерелаАнотація:
The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.
44
Zinkevich, Elena S. "“One-Man-Orchestra” Alexander Nikolayevich Vinogradsky (1855–1912)." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2018): 99–105. http://dx.doi.org/10.17674/1997-0854.2018.4.099-105.
Повний текст джерела
45
Kolar, Emina Berbic, and Vesna Srnic. "Glocal, Holistic and Performative Education." European Journal of Teaching and Education 3, no. 3 (December 20, 2021): 45–50. http://dx.doi.org/10.33422/ejte.v3i3.705.
Повний текст джерелаАнотація:
We look at innovative education through a global and local approach to the philosophy of existence, known as glocalization, and through the psychological Gestalt of experiencing a whole that is inevitably viewed within social science by a sociological holistic principle. Our glocal, holistic, aesthetic practice has been experienced and realized through intensive performative education that enhances the existential capacity in multi / media projects through the humanistic approach, affectively using digital framing. Performative projects are performed in the Media Culture course at the Faculty of Teacher Education in Osijek, Department in Slavonski Brod (FOOZOS), including vertical education of primary and secondary students. The education process is performed through lectures, intensified through e-learning, and finalized by group orchestration in a large project supported by the non-profit organization Culture, Media and Education – Arthea and the Ministry of Culture of the Republic of Croatia. Examples of successfully implemented glocal, holistic and performative education can be seen in the videos: Baroque in Postmodern Glocal Approach, (created for the European Schoolnet Academy, 2019), Situationally Performative Smartphone Orchestra (conducted performance, Slavonski Brod town square, 2018), Post-Modern Dystopic Deconstruction for Mobile Phones Orchestra (FOOZOS, Department in Slavonski Brod, 2017), Project with Mobile phones (mobile learning for the course Contemporary Media in Literature Lectures, FOOZOS, Department in Slavonski Brod, 2016), multimedia poem The Soul of the World (Music Biennale Zagreb, 2007) and New Education Model: Multimedia Art (Christmas in Musical Pictures, 2004, Concert Hall, Slavonski Brod).
46
Gillespie, Robert, and Donald L. Hamann. "The Status of Orchestra Programs in the Public Schools." Journal of Research in Music Education 46, no. 1 (April 1998): 75–86. http://dx.doi.org/10.2307/3345761.
Повний текст джерела
47
Kuuse, Anna-Karin. "“We will fight Goliath”: Negotiation of space for musical agency in children’s music education." Research Studies in Music Education 40, no. 2 (May 23, 2018): 140–56. http://dx.doi.org/10.1177/1321103x18771796.
Повний текст джерелаАнотація:
Following a music philosophy debate deriving from the 1990s, this article puts the extra-musical and social outcomes of situated music educational practices at the fore. The Swedish replica of the choir and orchestra school El Sistema, a programme globally asserting social change and social impact, appeared useful for elaborating such outcomes in practice. Following this, the present study aims to empirically elaborate musical agency as an analytical concept to understand children’s experiences, while at the same time discussing musical agency in relation to a social discursive view on practice. A Swedish El Sistema children’s string orchestra was followed for three months and the material for analysis consists of audio recordings and observation notes from lessons, performances and family events, as well as documents surrounding the activities. Constructions of discipline, empowerment and space are revealed as affecting opportunities for musical agency. The study thus elaborates on discursive constraints and opportunities for agency negotiation while discussing social outcomes with and within music education.
48
Lorenzo de Reizábal, Margarita, and Manuel Benito Gómez. "Latent structure of gestures in orchestra conducting students under self-observation conditions." Research Studies in Music Education 41, no. 2 (July 2019): 236–58. http://dx.doi.org/10.1177/1321103x19843204.
Повний текст джерелаАнотація:
Self-observation has proven to be a powerful medium for personal and professional growth and development. This research makes use of self-observation through video to determine the latent structure that underlies the gestures to be learned and mastered by orchestra conducting students. Exploratory Factorial Analysis (EFA) techniques have been applied to the assessments of the performances of the orchestra conducting students who participated in the experimental group of this study ( N = 13, males: 38.5%, females: 61.5%) before and after a self-observation experience. The results show a better integration of the gestures performed, and an improvement in the awareness of gestural details that go unnoticed if they are not visualized from outside; an improvement in gestural learning and in the self-regulation of learning; gestural maturation and a more selective focus on the gestures that must be corrected, as well as propitiating a vision of the body as a whole.
49
Gorbunova, Marina Yu. "About the Traditional Musical Instruments of the Mehter Military Orchestra." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2016): 27–32. http://dx.doi.org/10.17674/1997-0854.2016.1.027-032.
Повний текст джерела
50
Prior, David, Philip Reeder, Michael Rofe, Ian Biscoe, and Samuel Murray. "Designing a system for Online Orchestra: Peripheral equipment." Journal of Music, Technology and Education 10, no. 2 (December 1, 2017): 197–212. http://dx.doi.org/10.1386/jmte.10.2-3.197_1.
Повний текст джерела