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Journal articles on the topic 'Artist"s education'
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1
Leșe, Ana Cristina. "K. S. Stanislavski and the physical action." Timisoara Physical Education and Rehabilitation Journal 10, no. 19 (2017): 67–72. http://dx.doi.org/10.1515/tperj-2017-0019.
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Abstract We note that the physical action in the K. Stanislavski's system expresses the same meaning as the motor action in the field of Physic Education, consisting in accomplishing a task with the help of the skeletal muscles, mainly, of the physical exercise. We sense here, the link between the Stanislavski's system and the Physical Education, link that is achieved, mainly through physical exercise. And this is how, to the question “What is the first thing in the actor's work of preparing for a role?”, K. Stanislavski is in his right to assert, after a long experience of artist-researcher, that “the most appropriate and efficient procedure for preparing a role is the approach to the role with the help of physical exercise”.
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WAHED, WAN JULIANA EMEIH Juliana. "The MOTIVATIONAL IMPACT OF VISUAL ARTS EDUCATION THROUGH THE 'ARTISTS IN SCHOOLS' (AIS) COLLABORATION PROGRAM AMONG SECONDARY SCHOOL STUDENTS IN MALAYSIA." Asia Proceedings of Social Sciences 4, no. 1 (2019): 94–97. http://dx.doi.org/10.31580/apss.v4i1.606.
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The aim of the paper is to highlight some of the findings on the study on the impact of the 'Artist in Schools' (AiS) collaboration on the motivation of students of selected secondary schools in Malaysia in visual art education. AiS is aimed at establishing a collaboration between the students of nine schools and nine Malaysian artists in order to share their experiences, skills, and knowledge consecutively. The research design of multi-case studies or multisite studies was selected and Keller’s ARCS Motivational Theory has been used for assessment purposes and as the main conceptual framework. The open-ended questionnaires were distributed to obtain the data of the students’ motivation, and the collaboration between the AiS program and the students.
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Gorbunov, I. V. "A. F. Kovalev – Belarusian artist, sculptor, designer, teacher." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 3 (2020): 336–44. http://dx.doi.org/10.29235/2524-2369-2020-65-3-336-344.
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The biography of the Belarusian artist, sculptor, designer, teacher, professor Anatoly Fedorovich Kovalev is considered. A. F. Kovalev was one of the organizers of Belarusian education in the field of fine and decorative arts. He was the author of the first design dissertation in the BSSR, a member of the Union of Artists of theUSSRand Belarusian Union of Artists, a veteran of the Great Patriotic War. During his long career he transferred knowledge and a huge professional experience to more than one generation of talented students, including workers of culture and art ofBelarus– V. K. Lebedko, M. Sakhuto, G. F. Shauro, V. I. Prokoptsov. In1965 A. F. Kovalev, being the head of the department of decorative and applied art of the art and graphic department of the Vitebsk State Pedagogical Institute named after S. M. Kirov (now Vitebsk State University named after P. M. Masherov), made a lot of efforts to transfer technical work into the artwork channel based on traditional techniques of decorative processing of materials, and also influenced the development of history and design theory at the initial stage of its formation. The contribution of A. F. Kovalev to the sphere of culture and art of theRepublicofBelaruswas marked by many state awards.The article is addressed to young designers, artists, sculptors, teachers of the humanities and technical disciplines, research scientists who are interested in the history of design.
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Maravic, Manojlo. "Social constructions of the concept of child art." Zbornik Instituta za pedagoska istrazivanja 46, no. 2 (2014): 385–98. http://dx.doi.org/10.2298/zipi1402385m.
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This text is a theoretical paper based on the method of critical discourse analysis of child art. The paper is aimed at presenting the genesis of this concept in order to reexamine the hitherto approaches and to support the thesis that children?s art is a cultural construct by using the arguments based on a socio-cultural research platform. The defining of this concept will be critically reviewed and the conditions and procedures for proclaiming children?s drawing as art will be pointed out. Once childhood started to be observed as an important separate period of human life in pedagogy and psychology, there consequentially appeared the notions of the uniqueness of children?s drawings, children?s artistic development and child art as a separate category, which is at the same rung of the evolutionary ladder as the art of the ?primitive? peoples. The discourse on the child as an artist was formed in the fields of psychology, theory of art and artistic practice and started to spread in the 20th century. With the development of psychoanalysis it obtained its ideological connotations. Teachers, pedagogues, psychologists and artists construct a set of narratives and theories about child art that reflect humanistic values of free self-expression. The above-mentioned theories still serve as the basis for the development of school practice of art education in the contemporary education systems. Therefore, it is important to offer to art pedagogues the new theoretical approaches that re-examine the hitherto modernist ideas on children?s drawings in order to change their attitude towards practice.
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Sochor, Pavel. "Art Creation as an Instrument in Education of Individuals with Disabilities." Lifelong Learning 6, no. 1 (2016): 56–69. http://dx.doi.org/10.11118/lifele2016060156.
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Theoretical study deals with approaches towards art education of individuals with disabilities. Arts and Education are crucial cultural components and significantly affect the quality of life of people with disabilities in our society. Nowadays both components may serve to promote the ideas od lifelong inclusive education. Intervention in education is influenced by models of disability concepts reflecting different approaches. Art therapy and approach presenting the impact of disability on the basis of social reality is confronted with the presentation of disabled artist´s personality and his diversity. Unique environment of art education centres and art studios provides opportunity for cultivation of personality of a person with disability. The establishment of author with a disablity in artistic style art brut and outsider art in mainstream society can be considered as a form of socialization.
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Frolov, Dmitrii. "The works of August Ivans in the context of development of Latvian art culture in the 1920s – 1930s." Человек и культура, no. 5 (May 2020): 95–103. http://dx.doi.org/10.25136/2409-8744.2020.5.33667.
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The problematic of studying Latvian art culture after declaring independence in 1918 did not receive due coverage in the works of national researchers. Based on the new facts of artistic biography of the prominent cultural figure of Latvia –  the painter August Ivans (1895-1975), analysis is conducted on the isolated phenomena of the Latvian art culture of the 1920s – 1930s, namely the establishment of higher art education in the Republic of Latvia. The preserved sayings of the painter allow revealing the role of graduates of Russian schools of art in formation of the Latvian Academy of Arts. The author highlights the painter’s role in the process of democratization of the country's art life, which consists in his work on illustrations to the satirical magazines. The establishment of art education in Latvia is reviewed on the basis of life and creative path of the Latvian painter August Ivans for the first time. The role of the graduates of Russian art schools in formation of the Latvian Academy of Arts is also noted. In the 1920s – 1930s, the art life in Latvia became more public, and artists acquired more opportunities to exhibit their paintings. More artists were able to sustain themselves by selling their works. Printing numerous satirical publications designed by A. Ivans led to the process of democratization of art life of the country. This article is also first to publish the information on the death and burial place of the artist.
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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, no. 23 (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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Seton, Mark. "Creativity and the Performing Artist: Behind the Mask, by Paula Thomson and S. Victoria Jaque Academic Press, 2017, 500 pages." Theatre, Dance and Performance Training 11, no. 1 (2020): 113–15. http://dx.doi.org/10.1080/19443927.2020.1715624.
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Wang, Jitai. "Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 4 (April 2020): 1–20. http://dx.doi.org/10.25136/2409-8744.2020.4.32802.
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This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.
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Zhao, Wei, Hong Jin, Lili Zhang, et al. "Pictograms to Provide a Better Understanding of Gastroesophageal Reflux Symptoms in Chinese Subjects." Gastroenterology Research and Practice 2017 (2017): 1–7. http://dx.doi.org/10.1155/2017/1214584.
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Objective. To explore whether pictograms could help people understand reflux symptoms. Methods. Gastroenterologists (n=28), non-GI physicians (n=30), healthy people without medical education (n=34), patients with gastrointestinal reflux disease (GERD) (n=45), and general people (n=100) were included. Pictograms denoting classic reflux symptoms (sour regurgitation, heartburn, retrosternal pain, and regurgitation) were created by the joint efforts of an artist and a gastroenterologist. The subjects were asked to tell the meaning of each card within 30 s. Results. Compared with the physicians, healthy people without medical education tended to make mistakes in the understanding of the terms of reflux symptoms. Among GERD patients, all the terms of reflux symptoms could be understood accurately. Compared with that of non-GI physicians, GI physician had a higher accuracy in the understanding of the term regurgitation (P<0.05). Pictograms denoting reflux symptoms could be understood accurately in all four groups. A sample from the general population showed that the recognition of the pictogram was more accurate than the recognition of the terms. Conclusions. Pictograms could help ordinary people who do not have medical education to understand reflux symptoms more accurately in China. Compared with abstract terms, pictograms could be useful for epidemiological studies and diagnosis of GERD in the community.
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Zatonskaya, Olga V. "SAMUEL BECKETT’S GERMAN INCLINATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 65–73. http://dx.doi.org/10.28995/2686-7249-2021-3-65-73.
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The article’s topic is formation of the artistic world of S. Beckett. Along with such factors of the “education” of the Irish writer as the world of the ideas and novels of D. Joyce, as a close acquaintance with traditions of the French drama and poetics of the “absurd” that he himself formed, the influence of the German culture and literature was an important aspect of his becoming a writer. German literature inspired Beckett by phenomena of the everyday culture, language, and the works and philosophical ideas of such thinkers as Schopenhauer, Nietzsche and Hölderlin. From them S. Beckett perceived and artistically reflected in his work an idea of a tragic solitude of an artist, his being misunderstood in love, an ironic distance in regard to the very idea of tragedy and the idea of a “superman” as the final stage in the formation of a “true” person. In the German language, Beckett often borrowed both the colloquial racy vocabulary and the structural organization of his works. The author believes that Beckett’s interest in intellectually close Schopenhauer and Nietzsche lead him to the theme of antiquity, inseparable from German culture. That is why one can see their common views on such fundamental concepts of existence as the cyclicality and inanition, death of God, solitude.
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Kawka, Marta, Kevin Larkin, and Patrick Alan Danaher. "Emergent learning and interactive media artworks: Parameters of interaction for novice groups." International Review of Research in Open and Distributed Learning 12, no. 7 (2011): 40. http://dx.doi.org/10.19173/irrodl.v12i7.1028.
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<p class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">Emergent learning describes learning that occurs when participants interact and distribute knowledge, where learning is self-directed, and where the learning destination of the participants is largely unpredictable (Williams, Karousou, &amp; Mackness, 2011). These notions of learning arise from the topologies of social networks and can be applied to the learning that occurs in educational institutions. However, the question remains whether institutional frameworks can accommodate the opposing notion of “cooperative systems” (Shirky, 2005), systems that facilitate the creation of user-generated content, particularly as first-year education cohorts are novice groups in the sense of not yet having developed university-level knowledge.</p><p class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">This paper theorizes an emergent learning assessment item (Flickr photo-narratives) within a first-year media arts undergraduate education course. It challenges the conventional models of student–lecturer interaction by outlining a methodology of teaching for emergence that will facilitate student-directed and open-ended learning. The paper applies a matrix with four parameters (teacher-directed content/student-directed content; non-interactive learning task/interactive learning framework). This matrix is used as a conceptual space within which to investigate how a learning task might be constructed to afford the best opportunities for emergent learning. It explores the strategies that interactive artists utilize for participant engagement (particularly the relationship between the artist and the audience in the creation of interactive artworks) and suggests how these strategies might be applied to emergent generative outcomes with first-year education students.<br /><br />We build upon Williams et al.’s framework of emergent learning, where “content will not be delivered to learners but co-constructed with them” (De Freitas &amp; Conole, as cited in Williams et al., 2011, p. 40), and the notion that in constructing emergent learning environments “considerable effort is required to ensure an effective balance between openness and constraint” (Williams et al., 2011, p. 39). We assert that for a learning event within a Web 2.0 environment to be considered emergent, not only does there need to be an effective balance between teacher-directed content and student-directed content for knowledge to be open, creative, and distributed by learners (Williams et al., 2011), but there also need to be multiple opportunities for interaction and communication between students within the system and that these “drive the emergence of structures that are more complex than the mere parts of that system” (Sommerer &amp; Mignonneau, 2002, p. 161). <br /><br /></p>
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Bielik-Zolotariova, Nataliia. "Viacheslav Palkin: the road to success (dedicated to the 85th anniversary of his birth)." Aspects of Historical Musicology 23, no. 23 (2021): 125–43. http://dx.doi.org/10.34064/khnum2-23.08.
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Problem statement. One of the most important directions of modern choral studies is the research on the life and creative path of outstanding choirmasters, while understanding their performing experience, pedagogical approaches and taking into account their aesthetic and artistic beliefs. One of the most honorable places among artists is occupied by Viacheslav Palkin (1935–2008), who contributed greatly to the development and prosperity of both, the choral culture of Slobozhanshchyna and Ukraine. The relevance of topic lies in the necessity to study the creative experience of the remarkable choral conductor V. S. Palkin, to understand the contribution of the luminary of the Kharkiv conducting and choral school to the development of national art. Theoretical background includes the articles of O. Batovska (2005), H. Parfonova (2008) and the thesis of H. Savelieva (2012), N. Bielik(2007), which examines Palkin’s pedagogical approaches, his achievements as the head of the Choral Conducting Department of the Kharkiv I. P. Kotlyarevsky Institute of Arts, as well as the performing style of the Сhamber Сhoir led by him as an artistic director and choirmaster. Other sources of study embody the materials of the national conference, methodological works and articles by V. S. Palkin collected and published in I. Palkin’s book “Viacheslav Palkin. By the roads of choral art” (2011). The objective of the work is to define a periodization of Palkin’s life and career to identify the stages of his professional growth to the crowning achievements at the height of his creative career. The research methodology lies in the application of the principles of historicism, phenomenological and acmeocentric approaches, biographical method and the method of typological analysis. The periodization of the life and career of the distinguished choral conductor, teacher and educator V. S. Palkin is presented for the first time in art studies. Conclusions. The analysis of V. Palkin’s life and career resulted in the periodization. The following criteria were taken into account: biographical, geographical, evolutionary-performing and age-specific. The first period (1935–1951) covers childhood, the second one (1951–1960) represents his years of education. This period is characterized by his desire to comprehend and embrace all the subtleties of choir conducting. The third stage (1960–1978) is the accumulation of choirmaster, pedagogical, and life experience. The fourth one (1978–2008) is the culmination of the master’s life and career, his finest hour and acme phase, when he created a chamber choir, which reached the highest level of choral art under his leadership. It was established that choirs led by V. Palkin reflect changes in his artistic career path. The four stages reflect the evolution of the artist as a conductorinterpreter, organizer and leader of numerous choral groups, teacher and educator.
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N., Mikhailova. "Sergiy Prokopov: phenomenon of the creative personality." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 6–21. http://dx.doi.org/10.34064/khnum1-52.01.
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Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flying. The repertoire of the choir is extremely wide and diverse from the Renaissance to contemporary domestic and foreign compositions, different in genres and subjects, which is quite difficult for the amateur team. That is why the professional recognition of the children’s choir under the guidance of S. M. Prokopov is confirmed by many honorary awards of national and international competitions and choral festivals. Following the traditions of Kharkiv choral school, Prokopov S. M., while heading the choir of the students of the Choral Conducting Department of KhNUA named after I. P. Kotlyarevsky, greatly changed not only the repertoire policy of the choir, but also revised the correlation of teaching-educational and concert-performing tasks. The choral class is not only a solid base platform for the professional education of future choirmasters-specialists. The choir of students, under the guidance of S. M. Prokopov, is a full-fledged performing collective, whose power makes it possible to perform compositions of great forms. Working on the sound of the choir, at the stage of a warm-up, he relies on the artistic principles of the sound production, which represent a peculiar emotional and psychological setting for the further professional communication between the choirmaster and the singers. Such accentuation of attention on the complex of psychological tasks during the performance of vocal-choral exercises helps to combine and correlate the emotional and psychological state and technical capabilities of the singers with subsequent performing intentions. The key to the work of the master is a special relation to the interaction of the language and musical intonation. Expressiveness as a conscious singing is impossible without the right intonation, a clear pronunciation, an emotional exaltation in the process of performing a choral composition. The pedagogical activity of S. M. Prokopov continues in the class on conducting and relies on both the methodical foundations, theoretical positions, the generalizations of outstanding teachers, choirmasters, symphony conductors and many years of the own experience of the teacher, the conductor, and the conductor-choirmaster. Actually, his pedagogical style is characterized by a high level of culture, sophisticated taste, and deep knowledge of the specialty and in the related fields of both the humanities and social sciences. The sphere of interests of scientific activity of S. М. Prokopov covers various areas of the choral art. The scientific and methodical works by S. M. Prokopov outlines a range of issues related to the problems of the choral performance, the choral pedagogy and the educational process of formation of conductors-choirmasters at different stages of development. Professor S. M. Prokopov’s active and responsible life position prompts him for the public-education activities. Holding the post of the Head of the Kharkiv branch of the Association called “The Choir Society named after M. Leontovych”, on his initiative the significant competitions and festivals of the choral art take place, and they are known not only within Ukraine but also abroad. Sergiy Mykolayevych presents reports on the relevant issues of the choral art at international and all-Ukrainian conferences, conducts numerous master classes, lectures and concerts. Conclusions and the perspectives of the further research. Sergiy Prokopov is an example of a universal musician. To highlight one, the main of the directions of his activities is impossible. The teacher, choral conductor, scientist, talented organizer and musical-public figure, his work is a vivid example of creative and personal enthusiasm. The prospect of the further development of the topic is related to the in-depth study of the various spectra of S. M. Prokopov’s creative activities, his personal contribution to the development of Ukrainian culture.
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Штефан, М. В. "ЗМІСТ ПОНЯТТЯ ХУДОЖНЬО-ПРОДУКТИВНОЇ ДІЯЛЬНОСТІ ДІТЕЙ СТАРШОГО ДОШКІЛЬНОГО ВІКУ". Теорія та методика навчання та виховання, № 47 (2019): 201–10. http://dx.doi.org/10.34142/23128046.2019.47.18.
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The article is devoted to the analysis of the definition of the key category of the research, which is artistic and productive activity of a senior preschooler. The scientific analysis of the degree of the problem development has been carried out by specialists. It is stated that the formation of competencies of the child’s artistic and productive activity is considered as a priority of the state educational policy. This activity type is the basis of the child’s overall development, influences on the solving of the tasks of all areas of education. In the course of the research the psychological basis of the concept under study has been determined. In particular, attention is drawn to the scientific generalizations of L. Vyhotskyi. It is noted that the activity of a senior preschooler is an active process of interaction of a child with the outside world. Therefore, artistic and productive activity at this age is becoming widely used. In the article, based on the analysis of the scientific works of V. Vorozhbit, the valuable aspect of artistic and productive activity of the child has been highlighted. It is specified that the basis of artistic and productive activity is the creation of a word picture. The world picture in this context is a characteristic of the creative thinking of the artist. It is also stated that the word picture is a kind of summary of this thinking, embedded in the artistic product. In artistic and productive activities, the word picture also manifests itself as the perception and experience of its viewer, reader, listener. The word picture is as an aesthetic, holistic and concrete form of reflection of the real world. The article emphasizes that the educator provides guidance, directs the child to life success, productive activity. The analysis of the research materials has showed that the essence of artistic and productive activity is the use of artistic means. Forms of the expression of artistic and productive activity occur at the intersection of other activities: productive, artistic, subject and practical, artistic and creative, technical, artistic and aesthetic. The result of artistic and productive activity is the final product, which influences the formation of vital competence, permeates all directions of education. The novelty of the definition of "artistic and productive activity" is provided by an integrative approach in defining the essential components. The author states that productive activity is the process of creating the final material product (drawing, plasticine craft, building construction of s). The process of creation involves the construction of an image which includes thinking, imagination, memory. Productive activities include visual and constructive.
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Sueyoshi, Mark, Arthur Olch, Natalie Johns, Jordan Afaga, and Kenneth Wong. "Comics: Educating and introducing children to radiation therapy." Journal of Clinical Oncology 36, no. 34_suppl (2018): 155. http://dx.doi.org/10.1200/jco.2018.36.34_suppl.155.
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155 Background: Comics can address topics in medicine and other facets of life in a format that is widely accessible. Literature suggests that Human-Centered Design strategies can reduce child/caregiver anxiety prior to radiation therapy. Thus, appropriately designed comics can bridge the gap between the practical realities of radiotherapy, like understanding the importance of remaining still in immobilization molds and the pediatric patient's desire for imagination and play. Similar patient-care interventions have been implemented in the form of toys, games, and books. The aim of this project was to draw out best practices in the development of a comic to prepare patients for radiotherapy. Methods: Comic production underwent an iterative process whereby a multidisciplinary team of a radiation oncology department defined a set of principles and goals. An artist then developed several drafts with the input of staff, patients, and family. Readability for the intended audience was assessed by established readability tests. Results: A 25-panel comic draft was produced by the multidisciplinary team that explained in simple terms how radiotherapy is used in a relatable and entertaining way. The dialogue was developed to accommodate the education level of both pediatric patients and caregiver(s) with the intention to be read as a shared experience. The Automated Reliability Index, Flesch Kincaid Grade Level, and Gunning-Fox Index measured readability as fourth, less than sixth, and sixth grade, respectively. The messages included an explanation of radiation, its necessity and likely side effects, the important alliance with the radiation oncology staff, and the central role of the patient. Conclusions: The development of a clear, succinct, and entertaining comic that is relatable to children undergoing radiotherapy is a challenging process, especially in a world awash with competing media. However, a graphic medium can provide an opportunity to convey information and reassurance for both the patient and family. Comics have the potential for greater patient satisfaction over traditional methods of information dissemination. Next steps will involve clinic-wide validation using standardized anxiety and family impact assessment tools.
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Samonigg, H., E. Andritsch, G. Dietmaier, et al. "Healing by design: The influence of an artistic design on the well being of cancer patients—A 10 years follow up." Journal of Clinical Oncology 24, no. 18_suppl (2006): 18615. http://dx.doi.org/10.1200/jco.2006.24.18_suppl.18615.
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18615 Background: The style of the surrounding in which cancer patients, who experience physical as well as high psychological distress are treated, can help them to acquire a sense of security, to reduce their anxiety and depression. Inspired by this model the famous artist F. Hundertwasser created the redesign of the oncological ward with the aim to generate an atmosphere of security by utilizing bright, warm and vivid colours, light and plants. The aim of this study was to investigate in a prospective manner whether the artistic redesign have an influence on the welfare of cancer patients using standardized questionnaires pre and immediately post reconstruction and in a follow up 10 years later. Methods: A total of 261 patients were interviewed (93 before the redesign, 81 immediately and 87 ten years after redesign) to assess the influence of depression (Zerssen Depression Scale, PD-S) quality of life (Spitzer Index)and perceptions of the ward design (semi-structured interview) on wellbeing (Zerrsen Mood Scale, Bf-S). Results: A factor analysis of the semi-structured interview yielded four factors assessed with a MANOVA showing that patients interviewed after redesign reported more positive effects of the ward design (F2;227 = 484.274; p < 0.001). In addition, they were more content with treatment and medical care (F2;227 = 20.103; p < 0.001), more positive in their emotions and thoughts regarding illness (F2;227 = 8.600; p = 0.003) and placed greater importance on the fixtures (F2;227 = 6.067; p = 0.003) than the patients interviewed before the redesign. In a regression analysis depression, the “impact of ward design”, quality of life, gender, “emotions and thoughts regarding illness”, age and education predicted wellbeing with an “R” of 0.0469 (p < 0.05). Conclusions: The results provide important aspects for the discussion if the physical surroundings in which cancer patients are treated serve as a potentially positive factor in the “healing process”. No significant financial relationships to disclose.
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Obukh, Liudmyla. "PSYCHOTECHNICS OF SINGING AS A MODERN DIRECTION OF VOCAL PEDAGOGY." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 106–10. http://dx.doi.org/10.36550/2415-7988-2021-1-195-106-110.
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The aim of the study is to solve the problem of development of vocal abilities and vocal qualities through the development of stress resistance during singing of students of artistic specialties from a psychophysiological point of view, which is still relevant and appropriate in terms of finding and implementing innovative teaching aids. Whereas singing must first and foremost be physiologically correct, a person's voice is a consequence of his or her physical and mental health. The key to the singer's success in the modern hyper-stressful world will be the ability to liberate the body and soul from certain psychophysiological overloads through certain exercises, trainings, etc. Certainly, for each organism of the singer it is necessary to select a separate set of special exercises, look for appropriate methods for educating psychophysiological freedom during singing, as well as to establish an individual singing regime. The article considers certain theoretical and methodological developments in the field of education and upbringing of a music artist, which allow to form an idea of traditions and innovations for effective work with students in the process of learning to sing. The described views of both vocal teachers and psychophysiologists resonate with each other, complementing each other and forming a new modern direction of vocal pedagogy – the psychotechnics of singing. In particular, the use in practice of publicly available trainings by D. Burns, A. Ellis and S. Genyk help to solve certain psychophysiological problems in vocal pedagogy, and the methods and techniques of R. Berkeley and A. Kalabin contribute to the release of psychophysiological feelings of the vocalist, expanding his professional opportunities. Therefore, research and implementation of interesting methods and practices of leading specialists not only in the field of vocal pedagogy, but also psychology, physiology and medicine in the educational process will help not only to expand singing potential and improve the work of the vocal apparatus. The study of such innovations is the prospect of further research to substantiate the psychotechnics of singing as a new direction of vocal pedagogy.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Ilchenko, Petro. "Formation Of The Fundamental Principles Of Lev Venediktov's Creativity In The Performing Activities Of The Song And Dance Ensemble At The Kiev Military District." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 133–47. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233148.
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The little-studied period at the beginning of Lev Venediktov's creative activity in the Song and Dance Ensemble at the Kyiv Military District is considered. The scale of personality and creative work of an outstanding musician, brilliant choirmaster, conductor, teacher, artistic director of a well-known ensemble is studied. The ways of formation of professional skill of the artist, gradual formation of his individual creative method are analyzed. The influence of the Master’s personality on the professional growth of the team, education of a galaxy of talented youth, which is now the golden fund of Ukrainian culture — outstanding choirmasters, conductors, musicians, teachers, state awards, degrees, honorary titles. The peculiarities of the creative atmosphere, the moral climate in the team, the motivation of its participants to achieve significant artistic goals are described. The specific nature of the artistic director's activity during the preparation and conducting of the band's tours in Ukraine and abroad is revealed. The basic principles of the Master 's creative activity, which received their further development in the conditions of the Kyiv Opera House, are determined. His personnel policy, which was distinguished by a personal individual approach to the formation of the team is outlined. The specifics of Lev Venediktov's repertoire policy in the ensemble, its multi-vector approach with the presence of works of army patriotic, modern themes, Ukrainian folk songs, classical repertoire focused on the philharmonic, academic artistically prepared audience are established. It is proved that in the work on the repertoire the colossal erudition of the Master was shown, directed on application of synthesis of various means of stage expression in the context of theatricalization of concert programs. It is noted that Lev Venediktov's professional activity organically combined organizational-managerial, staging-demonstration, pedagogical-educational aspects of work with the team, which contributed to the creative growth and wide popularity of the ensemble in Ukraine and abroad.
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Шокорова, Лариса Владимировна, and Ольга Васильевна Первушина. "INTERDISCIPLINARITY AS THE BASIS OF INTEGRITY OF THE PROCESS OF TEACHING DECORATIVE AND APPLIED ARTS." Pedagogical Review, no. 4(32) (August 31, 2020): 124–30. http://dx.doi.org/10.23951/2307-6127-2020-4-124-130.
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Показаны способы совершенствования профессиональной подготовки художников декоративно-прикладного искусства в системе высшего образования. Определены причины недостаточного усвоения студентами теоретических и практических знаний, среди которых наиболее значимой проблемой является отсутствие межпредметных связей между учебными предметами. Доказано, что разнообразные ассоциативные и диссоциативные связи в видении одного и того же объекта или явления выступают ведущим признаком понимания, формирующего устойчивые системные знания. Выявляются возможности использования методов дискурса и интерпретации в освоении содержания учебного курса «Культурология» и цикла профессиональных дисциплин, направленных на овладение принципами проектирования предметов прикладного искусства и их материализацию. Установлено, что дискурс, как аналитический процесс и метод познания, опосредованный художественно-образным восприятием и интуицией, активизирует речемыслительной диалог, разработку альтернативных вариантов, критический анализ своих действий, формулирует оценочные суждения и авторскую рефлексию, являющихся необходимыми качествами художника-прикладника, способного к самопознанию и саморазвитию. Метод интерпретации углубляет понимание знаков, символов и смыслов в контексте своей профессиональной деятельности. Выявлены и обоснованы условия использования обозначенных методов в образовательном процессе вуза. Делается вывод, что межпредметные связи в обучении декоративно-прикладному искусству стимулируют целостное постижение знаний и увеличивают возможности их применения в новых ситуациях, побуждая к самостоятельности и личностной самореализации. The article is devoted to the identification of ways to improve professional training of artists of decorative and applied arts in the system of higher education. The reasons for the lack of understanding of theoretical and practical knowledge by students have been identified, among which the most significant problem is the absence of interprandial links between educational subjects. A variety of associative and dissociative connections in the vision of the same object or phenomenon have been proven to be a leading sign of understanding that forms sustainable systemic knowledge. Possibilities of using the methods of «discourse» and «interpretation» in mastering the content of the training course «Cultural studies» and the cycle of professional disciplines aimed at mastering the principles of design of applied arts and their materialization are identified. It is shown that discourse, as an analytical process and method of cognition, mediated by artistic-shaped perception and intuition, activates reclusive dialogue, development of alternative options, critical analysis of its actions, formulates assessment judgements and author ‘s reflexion, as necessary qualities of the artist-applied, capable of selfknowledge and self-development. The method of «interpretation» deepens the understanding of signs, symbols and meanings in the context of their professional activities. The conditions for the use of the designated methods in the educational process of the university have been identified and justified. It is concluded that interprandial ties in the teaching of decorative and applied arts intensify the holistic understanding of knowledge and increase the possibilities of their application in new situations, encouraging independence and personal self-realization.
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Katz, Naum Gregory. "Dream and Reality in the Life of Nicholas Lochoff: on the History of the Creation of Nicholas Lochoff’s Pittsburgh Cloister." Przegląd Wschodnioeuropejski 10, no. 1 (2019): 37–46. http://dx.doi.org/10.31648/pw.4501.
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This article recounts the unusual fate of the artist-copyist Nicholas Lochoff. Lochoff, who lived most of his life abroad, in Italy, remains relatively unknown in his Russian homeland. Based on Russian and American historiography, and the periodical press, the author follows Lochoff ’s path from professional revolutionary to self-taught artist who became recognized as one of the leading copyists of the twentieth century. As research shows, the philanthropy of Helen Clay Frick enabled the University of Pittsburgh to acquire Lochoff ’s unclaimed copies of European masterpieces where they became an asset in educating future generations of American art historians.
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Indrayani, Sheira Ayu, and Citra Aulia Johansari. "CYBERBULLYING ON TEENAGE ARTISTS AND ITS IMPLICATIONS ON INCREASING AWARENESS OF BULLYING." LITERA 18, no. 2 (2019): 275–96. http://dx.doi.org/10.21831/ltr.v18i2.21670.
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The cyberbullying in the comment section on social media tends to be a common phenomenon nowadays. Negative comments lead to bully being the dark side of social media, Instagram in particular, which is clearly visible in the comment section. Moreover, in uploaded photos of teen artists that have many followers on their Instagram. This study has three objectives. First, obtaining the lexical meaning of cyberbullying from negative comments in the comment section of some Indonesian teen artists uploaded photos on their personal Instagram. Second, describing the phenomenon of cyberbullying happened. Third, providing implications for increasing awareness of bullying based on findings. Purposive sampling was used to collect data by reading every single comment to get negative comments in the comment section. Semantic components were used to have the lexical meaning of cyberbullying, whereupon the result was classified into Willard (2007)’s cyberbullying types. The result reveals three things. First, the lexical component of cyberbullying consists of negative, rude, and not decent. Second, there are two types of cyberbullying occurred: harassment and cyberstalking. Third, the implication of this study is a tangible, sustainable, and comprehensive character building and sex education at all levels of society could be a solution to reduce cyberbullying. Keywords: cyberbullying, semantic components, social mediaPEMAKNAAN CYBERBULLYING PADA ARTIS REMAJA SERTA IMPLIKASINYA TERHADAP PENINGKATAN KESADARAN AKAN PERUNDUNGAN AbstrakCyberbullying pada kolom komentar di media sosial cenderung menjadi fenomena yang biasa terjadi kini. Komentar negatif mengarah kepada perundungan menjadi sisi kelam media sosial, Instagram khususnya, yang terlihat jelas pada kolom komentar. Terlebih, pada berbagai unggahan foto para artis remaja dimana mereka memiliki banyak pengikut di laman Instagramnya. Penelitian ini memiliki tiga tujuan, yaiu untuk memperoleh makna leksikal cyberbullying dari komentar-komentar negatif pada kolom komentar beberapa foto artis remaja Indonesia yang diunggah di Instagram pribadi mereka; untuk menggambarkan fenomena cyberbullying yang terjadi; dan untuk memberikan implikasi terhadap peningkatan kesadaran akan perundungan berdasarkan temuan. Purposive sampling digunakan untuk mengumpulkan data yaitu dengan membaca satu per satu komentar guna menemukan komentar-komentar negatif pada kolom komentar artis-artis remaja. Analisis komponen makna digunakan untuk mengetahui makna leksikal cyberbullying, hasilnya diklasifikasikan ke dalam jenis cyberbullying Willard (2007). Hasil penelitian menemukan tiga hal. Pertama, komponen makna leksikal cyberbullying yang ditemukan adalah asusila, tidak baik, dan umpatan. Kedua, ada dua jenis cyberbullying yang terjadi: harassment dan flaming. Ketiga, implikasi dari penelitian ini adalah adanya pendidikan karakter dan pendidikan seks yang nyata, berkesinambungan, dan menyeluruh di seluruh lapisan masyarakat menjadi solusi untuk mengurangi cyberbullying. Kata kunci: cyberbullying, komponen makna, media sosial
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Shcherban, A. L. "DIGTYARI WEAVING PROFESSIONAL SCHOOL IN 1926-1929." Sums'ka Starovyna (Ancient Sumy Land), no. 56 (2020): 5–20. http://dx.doi.org/10.21272/starovyna.2020.56.1.
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For the first time, the activity of the weaving vocational school in the village Digtyari (modern Chernihiv region) is analyzed. It was the leading educational institution of the middle level of vocational education of the Ukrainian SSR in the second half of the 1920s, in which the creators of traditional textiles studied. The students learned the skills of making carpets, embroidered shirts, and kerchiefs. On the basis of archival sources, the histories, educational process, composition of the teaching and student groups of the school during 1926-1929 are covered. Established in the fall of 1926, the institution was to train qualified master practitioners for the factory and handicraft arts industry, who had formed an artistic taste. The teaching staff initially consisted of local general education teachers and visiting instructors and teachers of special subjects (O. Reisfeld and M. Dyachenko). The institution was headed by uneducated communists Yu. Kozelev and S. Lutayenko. The students of the first set were mostly non-locals, orphans. But the second set already consisted mostly of children of local peasants and artisans. The school had a significant material base, which remained from the textile educational institutions that operated in Digtyary during the first quarter of the twentieth century. The main rooms were located on the right-wing of the main building of the palace complex of the Galagan estate. As a result of the study of the materials of the minutes of the meetings of the school council, the conflict situations that constantly arose between the managers and their supporters and visiting specialists and led to the departure of the latter from Digtyary were analyzed. The initial stage of the existence of the Digtyari weaving professional school, problems in relations between staff, and the originality of the contingent of the first set of students influenced the quality of their training. As it is clear from the available sources, during the first and the beginning of the second school year students worked both theoretically and practically, but due to lack of raw materials they could not produce a significant amount of full-fledged products. The school’s workshop worked on “factory” and, in part, “peasant” raw materials. At the end of the second year of study, students were already making work suitable for sale. The school operated in two directions. The visiting instructor, an experienced artist M. Dyachenko brought a new vision of teaching graphic literacy into the educational process. Weaving and embroidery instructors who either graduated from the textile schools previously existing in Digtyary (A. Reisfeld, V. Nikolskaya) or worked there for a long time (G. Tsybuleva) broadcast local traditions. During the years under study, about 100 students studying at the institution, and one graduation took place. Troubles in the personal relationship between teachers and school management and insufficient funding have affected the quality of education. But even in such conditions, students not only mastered special and general education subjects but also participated in exhibitions, made marketable products, engaged in research work. Curricula developed by M. Dyachenko and O. Reisfeld became a model for other craft educational institutions. And the textbook was written by O. Reisfeld - the first Ukrainian-language textbook on the technology of folk weaving. Keywords: Digtyari weaving professional school, Mykhaylo Dyachenko, Pryluky region.
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Kucher, L. I. "Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory." Aspects of Historical Musicology 13, no. 13 (2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.
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Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the fathers of professional musical education not only in Lviv, but in Western Ukraine as a whole. Yet, Lviv’s fi rst educational institution – the Higher Musical Institute – was created other than a standard conservatory of Russian Imperial Musical Society with quite a perfect educational system – it was closer to West European establishments on a parallel basis attended by secondary and higher school students, who studied only musical disciplines in the conservatory. A. Vakhnyanin (who taught theory and history of music) has become the fi rst Director of Lviv Higher Musical Institute with O. Bandrovs’ka and L. Ulukhanova teaching solo singing. In the year of 1912, after the death of M. Lysenko, the Higher Musical Institute was given his name. Lviv’s M. Lysenko Higher Musical Institute gained authority and prominence by constantly improving its educational system. Together with the conservatory of Polish Musical Society and K. Shimanovski conservatory, it became one of those educational establishments, on which basis M. Lysenko Lviv State Conservatory was created upon the reunion of West European lands. As of today, it is among our country’s leading musical universities. Vocals faculty exists since the day of Lviv conservatory’s foundation. In this period, they prepared numerous singers for opera and operetta theaters, philharmonic halls, teachers of secondary and higher schools. Having been founded in 1959, the opera studio functions as a training subdivision of the conservatory, being the source of professional growth for outstanding representatives of national vocal arts and opera conductors. The studio’s fi nancial position has been troubled for many years – there is no own premises and full-time soloists. And yet, teachers’ dedication has always allowed the studio to work so as to serve the basis for practical training of the vocals faculty students. The studio was offi cially opened on November 16, 1959 in M. Zan’kovetska Theater. A year later, on November 16, 1960, the premiere performance of “Zaporozhets za Dunayem” opera by S. Gulak-Artemovsky took place (conductor M. Lobaniv, director V. Shevchenko, assistant conductor – 4th year student S. Turchak). The entire faculty worked on the performance – vocals students enthusiastically participated in ballet scenes, their teachers sang leading parts together with students, teaching the mastery lesson to their mentees onstage. But it was emphasized in 1960 annual report by the Director of Lviv State Conservatory professor M. Kolesa that, with opera studio’s certain achievements, there also was a weak point, and namely the absence of creative and organizational contact between solo singing and opera training departments. In autumn 1963, Lviv opera studio performed in Kyiv at the Republican conference dedicated to education of actor singers, representing fragments from “Taras Bulba” (M. Lysenko) and “La traviata” (G. Verdi) performances. The conference stressed the necessity to alter the course of training – to educate actor singers, performer singers, rather than just “sound professional”. By the Order of the Ministry of Culture of Ukraine of January 25, 1966, opera training department was founded in Lviv State Conservatory. The functions of the Head of department were vested in the associate professor of solo singing department V. Kobrzhitsky. In this period, absence of creative contacts between the two departments of the vocals faculty continues to be felt, with their teachers exchanging accusations. They do not show aspiration to do the common cause – to educate actor singers. In the beginning of academic year 1971-72, the department was joined by Ukraine’s Honored Artist conductor O. Gritsak, who already in his fi rst year of work showed himself as a talented manager. It was stated in the department’s annual report that working stability, which is defi nitely a positive factor, is not always typical for the students. The number of performances for students’ practical training is insuffi cient. The repertoire must have at least three performances, so that students could be involved in several parts for a multifaceted disclosure of their creative abilities. The department made the resolution to improve its operation by fundamentally altering its organizational principles and the methodology, for which purpose to replace the department’s management.
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Marrouchi, Ramzi B. Mohamed, and Mohd Nazri Latiff Azmi. "Deconstructing Post-Industrial American Ethos: Decline of Civility and Agony of Artists in Bellow’s Later Novels." International Journal of English Linguistics 9, no. 4 (2019): 152. http://dx.doi.org/10.5539/ijel.v9n4p152.
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This paper sheds light on the way Saul Bellow&rsquo;s (1915&ndash;2005) intellectual protagonists deconstruct post-industrial American ethos which are dominated by the hegemony of capitalism and the values of democracy. These heroes are deeply immersed in European liberal education, the &lsquo;Western Canon&rsquo; to recall Harold Bloom; however, they are marginalized, alienated, degraded and eventually rejected by the masses, junk culture, the dictatorship of the commonplace, and the unqualified individual. Bellow&rsquo;s heroes predict that American culture will be overwhelmed by mass culture after the 1950s characterized by liberal democracy, [ultra capitalism], scientific experimentation, and industrialization, inspite of the high rate of higher education. Deploring a Derridean method of deconstructionism and a Foucauldian epistemic design, they archeologically question the roots of American cultural backdrop, that is, the massive industrialization in the late age of capitalism. They centralize art, humanities, classical books, morality, and religion; and marginalize science, commodity, consumerism, technology, and psychiatry. They deconstruct all makers of culture industry based on analysis, systemization, standardization, and not imagination and creativity. To achieve human and noble norms, they admit a noble life away from the vulgarity and barbarism of the age to cite Zygmunt Bauman. Special focus is on Herzog (1964), Mr. Sammler&rsquo;s Planet (1970), Humboldt&rsquo;s Gift (1975) and The Dean&rsquo;s December (1982) for their common concern with this issue.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
28
Porter, Laura Smith. "Exiled in Paradise: German Refugee Artists and Intellectuals in America from the 1930's to the Present. Anthony Heilbut." American Journal of Education 93, no. 2 (1985): 307–10. http://dx.doi.org/10.1086/443799.
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Piazzoli, Erika, and Elif Kir Cullen. "The meaning(s) of practice: Puzzling through performative language practice with refugee learners." Applied Theatre Research 8, no. 2 (2020): 227–44. http://dx.doi.org/10.1386/atr_00040_1.
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This article features an investigation into the semantics of the term ‘practice’ coexisting in a multidisciplinary research context. The background of the discussion is a government-funded study with refugees and asylum seekers in Ireland, where process drama, music and dance were used to facilitate second language learning – an approach known as performative language pedagogy. The research is framed by exploratory practice, a methodology that considers ‘practice-as-research’ and ‘understanding-for-practice’ in second language education. An investigation of the meaning(s) of the term ‘practice’ was imperative as a semantic gap existed between the use of the term ‘practice’ in exploratory practice (the research methodology underpinning the study) and the concept of ‘practice’ in performative language pedagogy (the teaching approach used in the study). This article presents findings from twelve qualitative interviews with teacher/artists and practitioners that point towards a shared understanding of practice when working with refugees in language education settings.
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KITLV, Redactie. "Book reviews." New West Indian Guide / Nieuwe West-Indische Gids 85, no. 3-4 (2011): 265–339. http://dx.doi.org/10.1163/13822373-90002433.
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Create Dangerously: The Immigrant Artist at Work, by Edwidge Danticat (reviewed by Colin Dayan) Gordon K. Lewis on Race, Class and Ideology in the Caribbean, edited by Anthony P. Maingot (reviewed by Bridget Brereton) Freedom and Constraint in Caribbean Migration and Diaspora, edited by Elizabeth Thomas-Hope (reviewed by Mary Chamberlain) Black Europe and the African Diaspora, edited by Darlene Clark Hine, Trica Danielle Keaton & Stephen Small (reviewed by Gert Oostindie) Caribbean Middlebrow: Leisure Culture and the Middle Class, by Belinda E dmondson (reviewed by Karla Slocum) Global Change and Caribbean Vulnerability: Environment, Economy and Society at Risk, edited by Duncan McGregor, David Dodman & David Barker (reviewed by Bonham C. Richardson) Encountering Revolution: Haiti and the Making of the Early Republic, by Ashli White (reviewed by Matt Clavin) Red and Black in Haiti: Radicalism, Conflict, and Political Change, 1934-1957, by Matthew J. Smith (reviewed by Robert Fatton Jr.) Cuba in the American Imagination: Metaphor and the Imperial Ethos, by Louis A. Pérez Jr. (reviewed by Camillia Cowling) Seeds of Insurrection: Domination and Resistance on Western Cuban Plantations, 1808-1848, by Manuel Barcia (reviewed by Matt D. Childs) Epidemic Invasions: Yellow Fever and the Limits of Cuban Independence, 1878-1930, by Mariola Espinosa (reviewed by Cruz Maria Nazario) The Cuban Connection: Drug Trafficking, Smuggling, and Gambling in Cuba from the 1920s to the Revolution, by Eduardo Sáenz Rovner (reviewed by IvelawLloyd Griffith) Before Fidel: The Cuba I Remember, by Francisco José Moreno, and The Boys from Dolores: Fidel Castro’s Schoolmates from Revolution to Exile, by Patrick Symmes (reviewed by Pedro Pérez Sarduy) Lam, by Jacques Leenhardt & Jean-Louis Paudrat (reviewed by Sally Price) Healing Dramas: Divination and Magic in Modern Puerto Rico, by Raquel Romberg (reviewed by Grant Jewell Rich) Puerto Rican Citizen: History and Political Identity in Twentieth-Century New York City, by Lorrin Thomas (reviewed by Jorge Duany) Livestock, Sugar and Slavery: Contested Terrain in Colonial Jamaica, by Verene A. Shepherd (reviewed by Justin Roberts) Daddy Sharpe: A Narrative of the Life and Adventures of Samuel Sharpe, a West Indian Slave Written by Himself, 1832, by Fred W. Kennedy (reviewed by Gad Heuman) Becoming Rasta: Origins of Rastafari Identity in Jamaica, by Charles Price (reviewed by Jahlani A. Niaah) Reggaeton, edited by Raquel Z. Rivera, Wayne Marshall & Deborah Pacini Hernandez (reviewed by Alexandrine Boudreault-Fournier) Carriacou String Band Serenade: Performing Identity in the Eastern Caribbean, by Rebecca S. Miller (reviewed by Nanette de Jong) Caribbean Visionary: A.R.F. Webber and the Making of the Guyanese Nation, by Selwyn R. Cudjoe (reviewed by Clem Seecharan) Guyana Diaries: Women’s Lives Across Difference, by Kimberely D. Nettles (reviewed by D. Alissa Trotz) Writers of the Caribbean Diaspora: Shifting Homelands, Travelling Identities, edited by Jasbir Jain & Supriya Agarwal (reviewed by Joy Mahabir) Queen of the Virgins: Pageantry and Black Womanhood in the Caribbean, by M. Cynthia Oliver (reviewed by Tami Navarro) Notions of Identity, Diaspora, and Gender in Caribbean Women’s Writing, by Brinda Mehta (reviewed by Marie-Hélène Laforest) Authority and Authorship in V.S. Naipaul, by Imraan Coovadia (reviewed by A shley Tellis) Typo/Topo/Poéthique sur Frankétienne, by Jean Jonassaint (reviewed by Martin Munro) Creoles in Education: An Appraisal of Current Programs and Projects, edited by Bettina Migge, Isabelle Léglise & Angela Bartens (reviewed by Jeff Siegel) Material Culture in Anglo-America: Regional Identity and Urbanity in the Tidewater, Lowcountry, and Caribbean, edited by David S. Shields (reviewed by Susan Kern) Tibes: People, Power, and Ritual at the Center of the Cosmos, edited by L. Antonio Curet & Lisa M. Stringer (reviewed by Frederick H. Smith)
31
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 (2021): 89–102. http://dx.doi.org/10.34064/khnum1-59.06.
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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.
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Temmerman, Nita. "Children's participation in music: connecting the cultural contexts – an Australian perspective." British Journal of Music Education 22, no. 2 (2005): 113–23. http://dx.doi.org/10.1017/s0265051705006091.
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The cultural contexts of home, school and community all have important parts to play in the music education of children, but at present in Australia, these three entities are insufficiently connected on a number of fronts, not the least being an understanding about the purpose(s) of young people's engagement with music. This paper puts forward two specific proposals for action aimed to help build linkages among the three cultural contexts and ensure young people's on-going engagement with music. These proposals, which call on the education sector to assume leadership for action, have implications for policy makers, school personnel, as well as parents, individual artists and community arts organisations.
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Dniprovska, N. S. "Rachmaninov. “Six choirs for children’s or women’s voices”: specific of interpretation of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 105–21. http://dx.doi.org/10.34064/khnum1-55.08.
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Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev on April 13, 1917. By the time the cycle was created, S. Rachmaninov was already the author of a considerable number of works. In the fall of 1894, he was employed by the Mariinsky Women’s School as a teacher of music theory and an accompanist of the choir. Specially for the choir of students, “Six choirs for children’s or women’s voices” were written: 1) “Glory!”, Words by N. Nekrasov; 2) ”Night”, words by V. Ladyzhensky; 3) “Pine”, words by M. Lermontov (from G. Heine); 4) “The waves dozed off”, words by K. Romanov, 5) “Captivity”, words by N. Tsyganov; 6) “Angel”, words by M. Lermontov. The features of S. Rachmaninov’s musical and artistic thinking, which researchers usually note in his romances – the significant role of accompaniment and a simple 3-part form, having their own historical archetype in the baroque three-part aria da capo (Antipov, 2014: 9) – can be found in “Six choirs”. The enormous artistic role of the piano accompaniment, its developed texture and organic unity with the score should be especially paid attention to. The vivid imagery of the cycle owes much to the instrumental part, which the composer not only went far beyond the accompaniment, but often has independent significance too. At first glance, the choral score of the cycle is uncomplicated – mainly with diatonic two-voice. But behind seeming simplicity, inexhaustible performing tasks for the choir and piano part are in favor. The extreme choral plays frame the cycle with themes of deep ethical and spiritual content that had not previously been encountered in children’s choral music. The middle rooms are dominated by bright lyrics, youthfully light sadness, and harmony between the pictures of nature and the states of the human soul reigns. No. 1 “Glory!” – the character of the work conveys pathetic, prayer (appeal to the Almighty for blessing) and lyrical-patriotic feelings. In the 3rd section of the miniatures, the accompaniment fills the music with fanfare intonations, in the last 6 beats, the dynamic tension within the framework of one tonic harmony is steadily increasing, and in the bass of the piano the bell ringing and ceremonial drum beat are imitated, completing the picture of the celebration. In No. 2 “Night”, the author embodies a dreamy-contemplative mood with the help of the choral cantilena. Frettonal ambiguity of the extreme parts (major-minor), functions languidly lasting for several measures, delicate harmonic colors, flexible ligature of figures, masterful techniques of sound-visualization contribute to a special refinement of moods and miniature images and are associated with impressionist music. No. 3 “Pine” – S. Rachmaninov chose M. Lermontov’s translation as the theme of loneliness and dreams of happiness, giving contrast to the musical images of northern Pine and southern Palma. No. 4 “The waves dosed off” – to convey the state of spiritual harmony and dreamy peace S. Rachmaninov found a set of expressive compositional techniques. Here we emphasize the special independence of the piano part, which does not contain a choral theme, but plays an important soundvisual role, enriching the narration of the choir. No. 5 “Captivity” – the image of a gentle bird, imprisoned in a golden cage, is widespread in fairy tales and poetry of the peoples of the world, as well as in choral music. In N. Tsyganov’s verses, the denouement is optimistic – the nightingale is set free. S. Rachmaninov relies intonationally on the Russian peasant cry-lamentation. The melody has a touching colour, the miniature is distinguished by a bright national color. No. 6 “Angel”. The poem tells of the great sacrament of conception in the spiritual world of a new person’s life. The Angel carries this person’s soul from heaven to earth to connect it with the body of the unborn child. In flight, an Angel sings a song about celestial gardens to this yet unincarnated Soul. The composer weaves a fragment of the motive-symbol “Dies irae” into Angel’s theme, entrusting it to a part of the alto and veiling from above the unrecognizabl third major second part of the soprano. The smoothly descending theme of the Soul can be described in this context as “katabasis”. This symbolism gives the miniature a deep philosophical meaning. S. Rachmaninov was the first Russian composer to create an example of concert purpose in The “Six choirs”. He raised to a new level the theme of children’s works, characteristic of the genre of that time. And that is education of a spiritually rich personality. The author revealed the extraordinary rhythmic and intonational richness of musical speech, the mastery of texture, harmony, the sophistication of technical techniques, and the tonal color scheme were rare for children’s choral music of that time. The richness of colors and the layering of the piano part bring it closer to the orchestra. In The “Six choirs for children’s or women’s voices” S. Rachmaninov revealed a new example of children’s choral music for concert purposes, which has high artistic merits, a deep substantive theme, and an aesthetic and educational orientation. The composer first attracted high poetry, revealed a spiritual and moral subtext. The theme of Faith, reflected in the first and last miniatures, “rings” the cycle, like Alpha and Omega, giving special semantics and significance to its figurative content. The essay reflected important artistic principles and writing techniques, characteristic of his subsequent opuses, but new to the children’s genre. Like the First Symphony (1895), created in the same year as the cycle, the “Six choirs” for the first time include the theme “Dies irae” symbolic for S. Rachmaninoff’s art, which further permeates his work up to “Symphonic dances”, as well as the theme “katabasis” revealing the spiritual and philosophical meaning of the work. This cycle was S. Rachmaninov’s only experience in children’s choral music, in which first for the genre he embodied high spiritual and ethical ideas of a romantic artist, his Christian picture of the world, the eternal themes of love for the Fatherland, life and death, good and evil, also actual for modern society and children of the XXI century. Prior to S. Rachmaninov, children’s choral music did not know such a depth of content, mastery of embodiment, aesthetic pleasure. The unsurpassed beauty of “Six choirs for children’s or women’s voices” made them a phenomenon of perfection in musical art for children, which is timeless, of course.
34
Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.
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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.
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Erokhina, Tatiyana I., and Ruslan E. Shamshadinov. "«Soviet school of juggling»: ideological and aesthetic aspects." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 182–89. http://dx.doi.org/10.20323/1813-145x-2021-2-119-182-189.
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The article is devoted to understanding the ideological and aesthetic aspects of the formation of the Soviet circus art. The authors turn to the analysis of the origins of the Soviet circus, noting its genetic connection with pre-revolutionary circus performances, as well as with the attitudes of the Soviet state to the formation of a new Soviet art and Soviet man. The purpose of the study was to understand the genesis of the Soviet school of juggling, the formation of which falls at the beginning of the formation of the Soviet state. The article considers the factors that influenced the ideological and aesthetic specifics of Soviet circus art, as well as the factors that influenced the transformation of the concept of circus performance in Soviet culture. Turning to the history of circus art, the authors analyze the sociocultural context of the formation of the «Soviet school of juggling», noting the synthesis of ideological attitudes that position the Soviet circus as a means of forming and educating a new personality, and aesthetic activities that create a life-affirming image of the Soviet circus artist. The authors note the signs of the «Soviet circus school», focus on thetheatricality of circus performances, the formation of specialized educational institutions in the Soviet state for the training of a new generation of professional circus artists. Referring to the performances and techniques of the most outstanding Soviet jugglers-E. Abert, A. Kiss, S. Ignatov – the authors come to the conclusion that the concept of «Soviet school of juggling» was the result of the aesthetic and ideological attitudes of the Soviet state. The «Soviet School of Juggling» is a metaphor that aims to emphasize the ideological differences between the Soviet state and the capitalist countries, as well as to assert the superiority of Soviet art.
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Kačer, Hrvoje, and Blanka Kačer. "Krizne točke za nastanak štete u vijeku sportaša, posebno s aspekta uloge trenera koji (ne) radi lege artis." Zbornik radova Pravnog fakulteta u Splitu 56, no. 2 (2019): 285–304. http://dx.doi.org/10.31141/zrpfs.2019.56.132.285.
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The legal framework of the coach’s possible damages liability towards the athlete is analysed in this article. Two hypotheses are starting points. The first one is possible responsibility of the athlete due to expert omissions of the coach in the training process. The second is that coaches are not aware of the limits of their liability. It is completely certain that both hypotheses place coaches in grave danger. Namely, it is correct that there is a great number of working coaches who have not satisfied legal regulations and it is even more certain that there are coaches who do not possess minimal legal knowledge. The authors are sure (although it is only exceptionally possible to make such an assumption without specific scientific research) that a very small number of coaches satisfy the legal standard of „ duty of care of a good expert “from the Contracts Act, even where experts with the highest academic and practical tiles and achievements are concerned. This means that the situation with many coaches is really of the utmost concern. In so far as there is no quality education, the picture of a coach training a child surrounded by (and impede work) the police, district attorney, experts, and perhaps a few more people very quickly will soon turn into worrying picture of reality. Unbelievably, will such predictions be looked upon by physicians. It has been shown that the reality very soon was and is, in our opinion, much worse.
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Dills, Patrick, Amy Stevermer, Tony Mancus, Bryan Guarente, Tim Alberta, and Elizabeth Page. "COMET’s Education and Training for the Worldwide Meteorological Satellite User Community: Meeting Evolving Needs with Innovative Instruction." ISPRS International Journal of Geo-Information 8, no. 7 (2019): 311. http://dx.doi.org/10.3390/ijgi8070311.
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Since 1989, the COMET<sup>&#xAE;</sup> Program&#x2019;s staff of instructional designers, scientists, graphic artists, and web developers has been creating targeted, effective, and scientifically sound instructional materials for the geosciences in multiple languages and formats. The majority of COMET training materials and services are available via COMET&#x2019;s online training portal, MetEd. MetEd hosts over 500 self-paced English-language lessons, which are freely available to registered users. The lessons cover a broad array of topics, including satellite meteorology, numerical weather prediction, hydrometeorology, oceanography, aviation weather, climate science, and decision support. Nearly 300 lessons have been translated to other languages. NOAA NESDIS, EUMETSAT, the Meteorological Service of Canada, and the US National Weather Service all provide funding and subject matter expertise for satellite training efforts at COMET. The COMET team is focused on helping our sponsors refine their learning objectives and produce instructional material that is focused on learner engagement, knowledge retention, and measurable performance improvement. The COMET Program has continually transformed its instructional approach to better meet the shifting needs of learners. Our satellite remote sensing educational and training materials provide sound foundational knowledge for existing and new satellite products paired with increasing opportunities to apply that knowledge.
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Thiessen, Elmer J. "R. S. Peters on liberal education—A reconstruction." Interchange 20, no. 4 (1989): 1–8. http://dx.doi.org/10.1007/bf01807372.
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Thomas, Kerry. "The Practice of Collaboration as Ethical Activity in Art/s Education?" International Journal of Art & Design Education 34, no. 3 (2015): 296–308. http://dx.doi.org/10.1111/jade.12085.
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Cantley, Bryan. "Deconstructive Text(s)." Journal of Architectural Education 70, no. 1 (2016): 60–61. http://dx.doi.org/10.1080/10464883.2016.1128264.
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Lee, Seung Chun. "An Integrated Perspective of Humanism and Supernaturalism for Education: C. S. Lewis’s Version of Education." Interchange 43, no. 2 (2013): 95–111. http://dx.doi.org/10.1007/s10780-013-9187-x.
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Kolev, Vasil, and Asya Ivanova. "ART MANAGEMENT: A NEW DISCIPLINE ENTERING THE CULTURAL AND ACADEMIC LIFE IN PLOVDIV." CBU International Conference Proceedings 5 (September 23, 2017): 666–68. http://dx.doi.org/10.12955/cbup.v5.1004.
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This paper presents the conditions of economic and political changes within the 90s in Bulgaria and the necessity of a new way of thinking at managing cultural institutions in the conditions of the market economy. As a response to that problem it was created the first of its kind in Bulgaria master’s degree program „Art management.“For that purpose a brief overview of the formal models of funding the arts worldwide are presented along with the characteristics at regional levels which led to the creation of the new educational programme.The main disciplines studied in the educational module aiming to develop a new set of skills among artists are listed with a brief introduction of their scope. A local survey conducted at the Academy of Music, Dance and Fine Arts – Plovdiv, analyzing the interest of the first of its kind in Bulgaria master’s degree program „Art management“ is presented. The initial result of the evolution of the educational programme based on the number of students enrolled per year are the motivation for the start of a lager research project “ÄRT” funded by the SRF, Ministry of Education and Science.
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Bergonnier-Dupuy, G. "Famille(s) et scolarisation." Revue française de pédagogie 151, no. 1 (2005): 5–16. http://dx.doi.org/10.3406/rfp.2005.3271.
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Kucher, L. I. "Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s." Aspects of Historical Musicology 14, no. 14 (2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
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Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.
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Ştefănescu, Mirela. "12. The Visual Art from Iasi between Tradition and Innovation." Review of Artistic Education 14, no. 1 (2017): 221–26. http://dx.doi.org/10.1515/rae-2017-0028.
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Abstract After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu“ Național University of Arts from Iasi.
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Mazanderani, Fadhila, and Bruno Latour. "The Whole World is Becoming Science Studies: Fadhila Mazanderani Talks with Bruno Latour." Engaging Science, Technology, and Society 4 (July 12, 2018): 284. http://dx.doi.org/10.17351/ests2018.237.
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How to survive in this forest? How to keep it alive? Latour poses these questions in relation to the current global ecological crisis; but they are equally apt when applied to the “forest”––or to use Latour’s own metaphor, “biodiversity”––of STS. In his interview, Latour puts forward a particular vision for STS’s survival; a vision of STS as neither critical of nor ancillary to science, but where a tacit STS sensibility becomes integrated into science through education and collaboration. While Latour acknowledges the many differences of attitude and approach within STS, he also glosses over them, foregrounding as the defining feature of all those “infected” with STS the shared commitment to transforming science with the big “S” into something that can be studied empirically. The picture he paints is, unsurprisingly, a constructivist one, in which social and natural scientists, engineers, artists and politicians, “build worlds” together. A reflection by Fadhila Mazanderani follows the interview.
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Dumon, Alain. "Quelle(s) méthode(s) pour l'enseignement expérimental de la chimie ? (1er cycle universitaire)." Revue française de pédagogie 84, no. 1 (1988): 29–38. http://dx.doi.org/10.3406/rfp.1988.1442.
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Stevanovic, Biljana, and Nicole Mosconi. "Les représentations des métiers des adolescent(e-s) scolarisé(e-s) dans l’enseignement secondaire." Revue française de pédagogie, no. 161 (December 1, 2007): 53–68. http://dx.doi.org/10.4000/rfp.816.
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Schwartzman, Roy. "Unma(s)king Education in the Image of Business: A Vivisection of Educational Consumerism." Cultural Studies ↔ Critical Methodologies 17, no. 4 (2017): 333–46. http://dx.doi.org/10.1177/1532708617706126.
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Configuring students as consumers and higher education as a commodity have been widely suggested as ways to empower students and improve efficiency. This critical autoethnography challenges the assumptions and implications of modeling education after free market economic principles. Personal perspectives on the promotion and tenure process, students confronting the marketplace, and exemplary mentoring accompany poetic reflections on market-infused university life.
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Holmes, Mark. "Requirements for education—a review of S. B. Sarason'sSchooling in America." Interchange 16, no. 3 (1985): 74–81. http://dx.doi.org/10.1007/bf01807387.
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