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Vasiliu, Alex. "15. Antonin Ciolan – The Teacher, The Founder of Orchestras, The Master Conductor." Review of Artistic Education 11, no. 1 (March 1, 2016): 126–32. http://dx.doi.org/10.1515/rae-2016-0015.
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Abstract The founder of a conducting style, who organised orchestras in two important musical centres in Romania (Iaşi and Cluj), “the partriarch of conductors”, respected and praised by George Enescu, Sergiu Celibidache or Erich Bergel, was a multilateral personality of exceptional merits as a teacher of orchestra, orchestra conducting, harmony and counterpoint; having founded several prestigious religious choral ensembles, organised and led musical teaching and concert institutes, Antonin Ciolan deserves to be brought to the awareness of more recent generations of researchers and audiences, as his historic achievements indicate.
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Semenova, N. F. "Topical Problems of Choral and Orchestra Conductors Training in the Russian Far East Region." Higher Education in Russia 27, no. 7 (July 31, 2018): 111–16. http://dx.doi.org/10.31992/0869-3617-2018-27-7-111-116.
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The article covers a wide range of problems connected with choral and orchestra conductors training in the Russian Far East Region. The author focuses on the specificity of the educational process organization for choral and orchestra conductors. The formation of orchestra and choral conductor’s professional skills is a three-dimensional process including educational work, concert-performing and research work. The author describes an experience of Khabarovsk State Institute of Culture in training professionals in choral and orchestra performance. The article describes the content, methodical and didactic aspects of the educational process of students majoring in Conducting. The author dwells on the features of the organization of students’ creative work and ways of cooperation between the Institute and the representatives of the creative and artistic environment.
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Howe, Sondra Wieland. "Julius Eichberg: String and Vocal Instruction in Nineteenth-Century Boston." Journal of Research in Music Education 44, no. 2 (July 1996): 147–59. http://dx.doi.org/10.2307/3345667.
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Julius Eichberg (1824-1893) made valuable contributions to the development of music education through his string and vocal instruction in Boston. Educated in Europe, Eichberg was a violin professor in Geneva before immigrating to the United States in 1857. He directed the Boston Museum Concerts 1859-1866 and composed four operas. In 1867, he founded the Boston Conservatory, developed its string department, and published string method books and chamber music. In the Boston public schools, Eichberg taught high school vocal music, supervised music for the entire school system, and taught teacher-training courses. Boston s school system became a model for other school systems. The annual Music Festivals in Boston, with Eichberg conducting choruses and orchestras, brought the schools positive publicity. Eichberg also composed choral works for his school choruses and edited music textbooks. Eichbergs work in string education and high school choral music laid foundations for programs in the twentieth century.
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Kharakoz, Hаnna. "On the genre and performance peculiarities of J. S. Bach’s choral fugue (on the example of comparative analysis of BWV 131 and BWV 131a)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 164–79. http://dx.doi.org/10.34064/khnum2-21.11.
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Background. Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles. Many researchers have addressed choral polyphony on the material of the works of various composers. However, the problem of identifying the specificity of the choral fugue hasn’t been highlighted yet as a major issue in domestic musicology. Among the most recent works, which include the consideration of the issue of choral fugue, we should mention the capital study by N. Simakova (2007). The author offers a classification of choral fugue, depending on the accompaniment presence or absence. N. Simakova points out the importance of the timbre content of the theme for emphasizing the figurative content of the words, since the most striking in the process of the deployment of the fugue is the register-timbre modus, and the timbre coloring of soprano, alto, tenor and bass gives a relief figurative representation. Objectives. The article’s subject is to reveal genre and performance peculiarities of the choral fugue “Und er wird Israel” from the cantata BWV 131 by Johann Sebastian Bach. The comparative analysis of two editions of the cantata – choral and instrumental (organ fugue BWV 131a) – reveals the determinants of the choral fugue connected with the peculiarities of its performance. Methods. The study is based on systematic-analytical, comparative and semantic musicological approaches. Results. Two factors play a particularly important role in a choral fugue – the verbal text and the timbre coloring of the voices. This way, both themes of the fugue sound vivid and recognizable even to the unaccustomed listener, since they have different text assigned to the theme and each theme is placed in the voice that corresponds to it tonally. The first theme – light and full of hope – is assigned to the timbral voice that corresponds to it, such as the soprano, while the second theme is assigned to the timbral rich, “heavy” bass part. In any section of the cantata fugue, unlike in the organ version, the themes will be well recognizable thanks to the verbal text and the timbre coloring of the various voices, whereas the timbre of the organ, in comparison with the sound of the choral parts, is monolithic, and the sound “attack” is viscous, leading to a lack of separation in the melodic line. Thus, the presence of a verbal text, fixed to a particular theme (or part of it) and the timbral dramaturgy determine particularly the specificity of the choral fugue. However, the potential of the human voice is known to be limited by its tessitura depending the physical capabilities , which in turn affects the structure of the theme and the form in general. For the two-voice fugue theme, in which the author seeks to emphasize contrast, the timbre and tessitura peculiarities is the most convenient solution. It is important to compare the musical material of the two versions, to search for the differences and their causes, which are connected with the possibilities of the instrumental presentation of the fugue. So, in order to adapt it for twohand performance, in the organ work we occasionally observe simplification, “removal”, of the texture, as well as the addition of the musical text in order to “outplay” with the different functions using the manual keyboards and the pedal on the organ. An important feature of the choral fugue is the orchestra presence, its peculiar instrumental double, which gives it a special stability. As a rule, this or that instrument is attached to a particular timbre that is associated with specific parts of the chorus. In most cases, the orchestral part in a given cantata duplicates all of the theme material in the chorus. The orchestra also provides a solid harmonic foundation for the choral parts, especially where tonality could be interpreted in two ways. The alto part plays a passive role throughout the entire fugue, and a thematic lead is assigned to it only twice, and this is not accidental, since the alto part is “hidden” within the texture, and for a varied two-theme fugue, the comparison of different themes and their registers becomes important in the first place. In the cantata, the fugue is the culmination, the emotional climax of the entire cycle, it sounds rich and dense, and the bright timbre richness of the orchestra complements the general majestic character of the sound. In the organ fugue, however, it is vice versa: here one can sense the borders of the sections of the generally accepted fugue form much more clearly, and simplicity and elegance predominate. The presence of episodic moments of the redistribution of the thematic material in one part between two different voices (belonging to one voice in the original choral source) testifies to the secondary nature of the timbre factor in the instrumental fugue; the main thing here is the presence of the thematic voice-conducting itself. Therefore, in the clavier (organ) arrangement, one theme can be observed in different voices. All these examples make it possible to consider the choral fugue as a unique, independent form enriched with its own specific features. Conclusions. Despite the abundance of literature devoted to the fugue theory in general, the phenomenon of the choral fugue has so far received insufficient research attention. In order to understand the nature of the choral fugue, it is necessary to consider the influence that such specifically “choral” factors as timbre, register, tessitura, verbal text, ensemble, and others have on its structure. The comparative analysis of the musical scores of “Und er wird Israel” from Bach’s cantata BWV 131 and the organ fugue BWV 131a revealed differences between the choral primary source and its organ version, which makes it possible to consider them as factors contributing to a better understanding of the choral fugue peculiarities.
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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.
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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.
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Ascenso, Sara, Aaron Williamon, and Rosie Perkins. "Understanding the wellbeing of professional musicians through the lens of Positive Psychology." Psychology of Music 45, no. 1 (July 8, 2016): 65–81. http://dx.doi.org/10.1177/0305735616646864.
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Recognizing the need to include musicians in mainstream wellbeing profiling and to move beyond a focus on debilitating factors of the music profession, this study aimed to understand how professional musicians experience wellbeing in the light of Positive Psychology. Guided by the PERMA model, the goal was to track enhancers and challenges for wellbeing in relation to the model’s five components: positive emotions, engagement, relationships, meaning and accomplishment. Participants included six professional musicians from six activities: solo, orchestral, choral, chamber, conducting and composing. Two interviews were conducted with each participant, separated by two weeks of diary record-keeping. Results point to high wellbeing. A clear sense of self appears as an overarching sustainer of wellbeing and the transition to professional life as the most challenging time regarding musicians’ flourishing. Positive emotions emerged as highly related to musical moments, while varying repertoire and experiencing different ensembles appeared as central sources of engagement. Meaning emerged as linked to the shared nature of music-making, and a sense of accomplishment was built on internal goals and oneness in performance with others. The key processes for positive functioning appeared to involve responses to, and regulation by, relationships. Implications are discussed in relation to the role of holistic training in educational settings.
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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.
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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
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Schertenleib, S., M. Gutierrez, F. Vexo, and D. Thalmann. "Conducting a virtual orchestra." IEEE Multimedia 11, no. 3 (July 2004): 40–49. http://dx.doi.org/10.1109/mmul.2004.5.
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Genes Robles, Carlos Mario, and Frédéric Coin. "Conducting the CTD orchestra." Nature Chemical Biology 15, no. 2 (December 31, 2018): 97–98. http://dx.doi.org/10.1038/s41589-018-0201-6.
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Durrant, Colin. "Developing a choral conducting curriculum." British Journal of Music Education 15, no. 3 (November 1998): 303–16. http://dx.doi.org/10.1017/s0265051700003983.
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The teaching of choral conducting does not feature widely within higher education in the UK (Durrant, 1994, 1997). However, in recent years interest has been shown by the Association of British Choral Directors (ABCD) in the establishment of centres of choral conducting education in particular institutions around the country. Following recent research on the development of a model of effective choral conducting (Durrant, 1996; Apfelstadt, 1997), this article focuses on some of the key learning processes, methods and procedures that would be central to the development of a choral conducting curriculum in existing and potential higher education courses and programmes. The intention in the design and development of such courses is not primarily to create conductors of elite choral ensembles, but rather to ensure that those entering the teaching profession and directing amateur choral groups in churches and the community have the requisite choral conducting knowledge and skills to facilitate systematic and sustained improvement in the quality of choral activity at these levels.
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Palmer, D. Jason. "Conducting in the graphene orchestra." Materials Today 11, no. 1-2 (January 2008): 9. http://dx.doi.org/10.1016/s1369-7021(07)70338-3.
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Civelek, Mete, and Aldons J. Lusis. "Conducting the metabolic syndrome orchestra." Nature Genetics 43, no. 6 (May 26, 2011): 506–8. http://dx.doi.org/10.1038/ng.842.
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Butt, John. "Choral Conducting: A Mythology in Practice." Journal of the Royal Musical Association 135, no. 2 (2010): 419–23. http://dx.doi.org/10.1080/02690403.2010.506278.
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Тeriaieva, L. A. "Pedagogical conditions and innovative technologies in the process of learning discipline “Choral Conducting”." Musical art in the educological discourse, no. 2 (2017): 141–44. http://dx.doi.org/10.28925/2518-766x.20172.14144.
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Innovation of modern education is competence-based approach, which requires the students to receive sturdy theoretical knowledge and practical skills on the basis of interdisciplinary connections between choral conducting with other psycho-pedagogical and related musical academic disciplines. To achieve this goal it is necessary to create the appropriate pedagogical conditions. Creation of conditions depends on the organization of training, competence and experience of the teacher. Favorable pedagogical conditions always have a positive effect on the quality of students’ training in choral conducting, efficiency and intensification of their training. We offer to develop methodological competence of future music teachers in choral conducting classes following these pedagogical conditions: continual self-improvement of teachers; enhancing the motivation of learning through the use of exercises in choral conducting on visual means, multimedia and other modern computer technologies; complete methodological support for choral conducting and related musical disciplines by educational programs; independent work of students on improving their methodological competence; teaching students to be confident in their ability and own conductor’s skills; creative contact at classes on choral conducting between the future music teacher, teacher and accompanist, as well as between the future music teacher and the choir group. This article focuses on the requirement to create favorable conditions for teachers in the classses in choral conducting. It is considered, analysed and proposed pedagogical conditions which reveal psychological and pedagogical problems and highlight the ways to overcome them. Favorable conditions of teaching in choral conducting have a positive impact not only on the development of methodical competence, but also on quality of future music teachers’ training.
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Silvey, Brian A., and Ryan A. Fisher. "Effects of Conducting Plane on Band and Choral Musicians’ Perceptions of Conductor and Ensemble Expressivity." Journal of Research in Music Education 63, no. 3 (August 26, 2015): 369–83. http://dx.doi.org/10.1177/0022429415597888.
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The purpose of this study was to examine whether one aspect of conducting technique, the conducting plane, would affect band and/or choral musicians’ perceptions of conductor and ensemble expressivity. A band and a choral conductor were each videotaped conducting 1-min excerpts from Morten Lauridsen’s O Magnum Mysterium while using a high, medium, and low conducting plane. These six videos then were synchronized with an appropriately corresponding identical high-quality band or choral audio excerpt. College ensemble members ( N = 120; band, n = 60; choral, n = 60) viewed all six videos and rated the expressivity of both the conductor and the ensemble. Through the use of a forced-choice task, they also provided one brief comment about either the conductor or the ensemble. Results indicated that conducting plane significantly affected ratings of both conductor and ensemble expressivity. A significant interaction was found between conducting plane (high, medium, and low) and ensemble type (band or choir audio excerpt heard) with regard to conductor expressivity ratings. Participants found the choir conductor conducting at the medium plane to be slightly more expressive than the band conductor conducting at the same plane. Conversely, participants rated the expressivity of the band conductor slightly higher than the choir conductor at both the high and low conducting planes. Participants’ written comments were directed predominantly at the conductor rather than the ensemble, and the high-conducting-plane videos elicited the most negative comments.
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Savchenko, Regina, and Yulia Savchenko. "Choral Conducting Competence as a Pedagogical System." Journal of History Culture and Art Research 8, no. 4 (December 28, 2019): 382. http://dx.doi.org/10.7596/taksad.v8i4.2339.
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Herbella, Fernando A. M. "Surgical lessons learned by conducting an orchestra." Surgery 167, no. 4 (April 2020): 679–80. http://dx.doi.org/10.1016/j.surg.2019.10.001.
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Varvarigou, Maria. "‘I owe it to my group members…who critically commented on my conducting’ – Cooperative learning in choral conducting education." International Journal of Music Education 34, no. 1 (June 4, 2014): 116–30. http://dx.doi.org/10.1177/0255761414535564.
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This article explores cooperative learning in choral conducting education. The five characteristics of cooperative learning identified by Adams and Hamm ((1996). Cooperative learning: Critical thinking and collaboration across the curriculum (2nd ed.). Springfield, IL: Charles Thomas Publishers): positive interdependence; face-to-face interaction; individual accountability and personal responsibility for reaching groups goals; frequent practice with small-group interpersonal skills; and regular group processing and reflection have been used to structure the discussion on the learners’ perception of their development and their module’s effectiveness. The context in focus was an elective module on choral conducting education at master’s level. Cooperative learning in choral conducting education was shown to support the learners’ motivation for active participation in the teaching and learning process; to increase respect for diversity; to support the learners’ development of interpersonal, communication, leadership and teaching skills at both an individual and at a collective level; and to improve teacher effectiveness.
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T.V., Belinska, and Manita L.M. "METHODICAL FUNDAMENTALS OF CONDUCTING AND CHORAL TRAINING OF FUTURE TEACHERS OF MUSIC ART IN THE CLASS OF CHORAL CONDUCTING." Collection of Research Papers Pedagogical sciences, no. 90 (November 4, 2020): 73–78. http://dx.doi.org/10.32999/ksu2413-1865/2020-90-12.
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У статті сконцентрована увага на основних завданнях диригентської підготовки, які спрямовані на формування образного мислення та розвиток музичних здібностей студентів, навчання методів осво-єння вокально-хорового твору і пошуку диригентського жесту, удосконалення різних видів діяльності диригента, навчання професійного вміння управління хоровим колективом.Метою доповіді є розкриття методів і прийомів роботи над технікою диригування з майбутніми вчителями музичного мистецтва в класі «Хорове диригування». Мета такої дисципліни – формування у студентів системи основних знань, умінь і навичок керування хоровим співом дітей і дорослих, під-готовка до практичної роботи з хоровим колективом. Важливими етапами роботи над диригентською технікою слід вважати підготовчий і початковий періоди, адже саме на них закладаються і формуються всі основні практичні вміння і навички в техніці диригування.Методи. Розглянуті основні методи і прийоми роботи над технікою диригування на підготовчому та початковому етапах роботи.Обґрунтовано ефективність використання комплексу методів (наочний, словесно-пояснювальний, емоційний) для освоєння студентами елементів диригентської техніки почи-наючи з першого етапу постановки апарату.Результати та висновки. У результаті проведеного аналізу виокремлена специфіка диригентсько-хоро-вої підготовки з позиції становлення майбутнього фахівця у практичній діяльності та розглянуто основні завдання дисципліни, які спрямовані на формування образного мислення та розвиток музичних здібностей студентів, навчання методів освоєння вокально-хорового твору і пошуку диригентського жесту, удоскона-лення різних видів діяльності диригента, у тому числі навчання професійних навичок управління хоровим колективом. Саме методичні основи диригентсько-хорової підготовки у класі хорового диригування мають неабияке значення у професійному становлення майбутнього вчителя музичного мистецтва.
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Varvarigou, Maria, and Colin Durrant. "Theoretical perspectives on the education of choral conductors: A suggested framework." British Journal of Music Education 28, no. 3 (October 14, 2011): 325–38. http://dx.doi.org/10.1017/s0265051711000325.
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This paper presents theoretical perspectives for choral conducting education. A wide range of related literature on choral practice and education in higher education contexts, as well as training in the workplace is reviewed. Whilst various attributes for effective choral conducting practice have been identified by research studies, there has been no systematic research on the process of choral conductor education and the contexts in which it occurs, particularly in the UK. The proposed framework consists of six interconnected parameters: (i) the tutor(s), (ii) the learner(s), (iii) the music repertoire and the singers, (iv) the sequence and amount of training, (v) the learning outcomes and (vi) the socio-cultural context(s), including teaching context(s) where practice takes place. The framework itself offers insights and related approaches for the development of choral conducting education.
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Martyniuk, Lyubov. "SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 96–101. http://dx.doi.org/10.36550/2415-7988-2021-1-195-96-101.
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The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.
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Gozdecka, Renata. "Dydaktyka uniwersytecka Beaty Dąbrowskiej. Przywołania chwil minionych." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 25. http://dx.doi.org/10.17951/l.2016.14.2.25.
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<p>The article presents the teaching work of Beata Dąbrowska (1960-2016) at Maria Curie-Skłodowska University, Institute of Music. During over 30 years of her work at the University, Beata Dąbrowska – a conductor and teacher – educated several dozen graduates. As part of her teaching duties, she taught courses in choral conducting, reading the scores, vocal band, methodology of conducting vocal band, and in choir and choral literature. The classes in these subjects focused on choral music, which she liked the most. This text presents the methods and the style of her work during classes in choral conducting, reading the scores and choral literature. The description of her teaching, including, inter alia, manual and technical aspects of conducting, repertoire and interpretative issues, has been complemented with the remembrances by her students: graduates of the Institute of Music: Milena Lis and Izabela Urban and students – Kinga Rdzak and Jagoda Pondel. These memories confirm that Professor Dąbrowska – a person of great personal culture – conducted her classes with extreme calm and self-control. She was a demanding teacher but at the same time she created a warm and cordial atmosphere.</p>
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Martynenko, Ivan. "METHODS OF DIAGNOSING STUDENTS’ KNOWLEDGE OF CONDUCTING AND CHORAL DISCIPLINES." 1 1, no. 1 (September 2020): 36–42. http://dx.doi.org/10.34142/27091805.2020.1.01.06.
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Object. The article covers the issues of diagnostics of academic success of students of the Faculty of Arts in conducting and choral disciplines, in particular in the discipline of «Choral Arrangement». Methods. The study used a set of methods: analysis, synthesis, generalization, classification, comparative, prognostic, which highlighted the problems of diagnosing the success of students of arts faculties in conducting and choral disciplines (including choral arrangement), means and forms of its implementation. Results. Diagnostics is an integral part of the educational process. Thanks to it, the quality of achievement of the set purpose is defined. Without diagnostic, it is impossible to effectively manage the didactic process. The need to consider the problems of organization, structure and content of diagnostics is due to the radical changes taking place in the national higher school: introduction into practice of state standards and credit-modular system of organization of educational process. The author defines the concept of «diagnostics» as a system of accurate determination of the results of the didactic process, highlights the main types of control in higher education. The study analyzes the main forms, methods and pedagogical conditions for the quality of the diagnosis of academic success of students of the Art Faculty in conducting and choral disciplines, especially in «Choral Arrangement». Conclusions. The author describes the methods of control as ways by which the effectiveness of educational and cognitive students` activities and teachers` pedagogical work is determined. The study identifies the place of educational creative discipline «Choral Arrangement» in the system of training a professional music teacher of the school, who has practical skills in translating choral, solo, folk works for different choirs, is familiar with the basic theoretical principles, has principles and means of translating musical works for choirs. a certain composition and level of performance.
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Lorenzo de Reizabal, Margarita, and Manuel Benito. "Gestural Learning in Orchestra Conducting Through Self-observation." Revista de Psicodidáctica (English ed.) 23, no. 2 (July 2018): 144–52. http://dx.doi.org/10.1016/j.psicoe.2017.09.001.
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Kahn, Barbara B., and Luciano Rossetti. "Type 2 diabetes — who is conducting the orchestra?" Nature Genetics 20, no. 3 (November 1998): 223–25. http://dx.doi.org/10.1038/3018.
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Alper VARIŞ, Yakup. "THE EVALUATION OF THE CONDUCTING CAPABILITIES AND ACTIVITIES OF THE STUDENTS IN THE COURSE OF ORCHESTRA OF ORCHESTRA AND CONDUCTING." Ondokuz Mayis Univ. Egitim Fakultesi 30, no. 2 (2011): 1. http://dx.doi.org/10.7822/egt31.
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Juszyńska, Krystyna. "Conducting achievements of Witold Rowicki in Poland and abroad." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 37–55. http://dx.doi.org/10.5604/01.3001.0010.5350.
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Witold Rowicki (1914–1989) was one of the most renowned Polish conductors of the 2nd half of the 20th century who gave unique renditions of symphonic music, based on a careful selection of dynamics, tempo and sound proportions between particular groups of instruments. The range of his artistic achievements as a conductor is impressive and comprises over 600 concerts in Poland (most of them with the Warsaw Philharmonic and the Polish National Radio Symphony Orchestra in Katowice), more than 500 concerts abroad, huge concert repertoire ranging from classicism to contemporary music, performances given alongside a number of outstanding soloists, more than 100 records, compositional output, numerous arrangements and instrumentations, popularization of music, teaching activity. His biggest organizational achievement was the revival of the Polish National Radio Symphony Orchestra in Katowice (1945) and the Warsaw Philharmonic Symphony Orchestra (1951) after the World War II. Witold Rowicki was a conductor of a particular merit for Polish culture.
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Cox, James. "Choral Conducting: More Than a Wave of the Hand." Music Educators Journal 75, no. 9 (May 1989): 26–30. http://dx.doi.org/10.2307/3400327.
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ZABOLOTNYI, IVAN. "CONDUCTING CHORAL PEDAGOGY AS AN ARTISTIC AND EDUCATIONAL PHENOMENON." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 1 (March 31, 2020): 47–53. http://dx.doi.org/10.25128/2415-3605.20.1.7.
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Zaliieva, Leila. "Ways of Choirmaster Art Development in Azerbaijan." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 21–33. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233335.
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The article is devoted to the history of the choral music development in Azerbaijan and to highlighting the ways of choirmaster art formation. The development of choral art in Azerbaijan began, firstly, with the formation of the composer creative activity. The introduction of classical choral samples with the emergence of the first opera and the formation of an ensemble for performing it are considered to be the first step in this area. Later, the emergence of professional choral collectives, the development of the opera genre, as well as the activity of music education institutions included a new stage of development. Therefore, the formation of choral music genres allowed the development of the art of conducting, especially the areas such as an opera choirmaster who leads a choir collective, a chapel choirmaster. The purpose of the research is to highlight the formation of choral conducting in Azerbaijan, to study the ways of high-level development of choirmaster art and to explore the creative path of professional opera choirmasters. The research methodology is based on historical and theoretical principles, with the help of which the position of choral art in the musical culture of Azerbaijan, the history of the formation of choral art is considered. The theoretical and methodological basis of the study was the existing works of Russian and Azerbaijani musicologists in this field. The scientific novelty of the research is connected with the fact that for the first time in Azerbaijan the ways of development of choir art are comprehensively covered. Conclusions. The involvement of Azerbaijani choral art in the research and the study of the issue mainly in terms of the conducting and choirmaster art formation have shown that the development of this art was primarily connected with composer creativity. Since the emergence of classical samples of choral music is associated with the opera genre, the art of conducting and choirmaster has entered its stage of formation, in parallel. The professional development of choirmaster art took place in parallel and mutually with the art of conducting and it was associated with the high-level organization of music education in the country. Consequently, such professional choirmasters as L. V. Frolova, A. A. Yurlov, N. Malikov, L. Atakishiyeva, E. B. Novruzov, B. Vakilova, S. Agayeva, N. Mardanov, N. Nabiyev, Z. Ismayilova, Y. Adigozalov, G. Imanova and L. Mammadova have been trained in Azerbaijan. Besides, areas such as a chapel and opera choirmaster have also developed within choirmaster art.
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Haver, Vincent G., Riemer H. J. A. Slart, Clark J. Zeebregts, Maikel P. Peppelenbosch, and René A. Tio. "Rupture of Vulnerable Atherosclerotic Plaques: MicroRNAs Conducting the Orchestra?" Trends in Cardiovascular Medicine 20, no. 2 (February 2010): 65–71. http://dx.doi.org/10.1016/j.tcm.2010.04.002.
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Lim, Yang Kyu, and Jin Wan Park. "Study on Orchestra Conducting Practice Tool using Doppler Effect." KOREA SCIENCE & ART FORUM 30 (September 30, 2017): 367–76. http://dx.doi.org/10.17548/ksaf.2017.09.30.367.
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Dalal, Kush, and Franck Duong. "The SecY complex: conducting the orchestra of protein translocation." Trends in Cell Biology 21, no. 9 (September 2011): 506–14. http://dx.doi.org/10.1016/j.tcb.2011.04.005.
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Koukis, Anastassios E. "Group Analysis and Music: Similarities and Differences between Conducting a Group-Analytic Group and Conducting an Orchestra." Group Analysis 48, no. 3_suppl (August 27, 2015): 30–48. http://dx.doi.org/10.1177/0533316415597662g.
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Adkins, Mary Rose. "Choral Conducting: Philosophy and Practice, and: A Handbook for Beginning Choral Educators (review)." Notes 61, no. 4 (2005): 1023–25. http://dx.doi.org/10.1353/not.2005.0044.
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Petrenko, M. B. "Formation of future musical art teachers’ conducting and choral competencies." Pedagogical sciences reality and perspectives 2, no. 79 (2021): 39–42. http://dx.doi.org/10.31392/npu-nc.series5.2021.79.2.08.
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Tkach, Y. S. "Yevhen Savchuk’s Individual Performing Style: organization of the process of conducting interpretation." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 126–41. http://dx.doi.org/10.34064/khnum2-13.10.
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Relevance of the study. The individuality of the musician-performer, his performing style were studied both in theoretical and practical aspects. Theoretical musicology vipracyuvalo holistic theory of musical style, a separate kind of which should be considered an individual performing style of musician. The main provisions of the theory of musical style are stated in the works. B. Asafi ev, N. Gorugo, V. Medushevskaya, N. Mikhailov Is. Nazaykinsky, S. Skrebkova, Would. Jaworski and others. Deepening and concretization of the ideas of these scientists is contained in the works of A. Katrich, I. Kohanik, V. Moskalenko, S. Tishka, A. Sokol, etc. The individual performing style of the conductor-choirmaster along with the specifi cs of the conductor’s interpretation is an important part of the modern performing art, which today needs a deep theoretical understanding and systematization. Recently, there is a trend of scientifi c study of practical issues of the performing industry, including the specifi cs of the conductor. Although the study of this issue concerns to a greater extent symphonic conducting. That is why the appeal to the work of the outstanding Ukrainian choral conductor – Evgeny Gerasimovich Savchuk has great scientifi c value. The study of the phenomenon of individual performing style in the conditions of choral performance is impossible without understanding the outstanding phenomena of this fi eld of art. Creativity of the national honored academic chapel of Ukraine “Dumka” and its conductors refers to such phenomena. This is the oldest team of the country with a strong tradition and a strong creative potential became a real standard Patriotic choir performance. The chapel “Dumka” was and is an artistic environment in which a large number of chorus conductors, such as N., grew up and became stronger. Gorodovenko, A. Soroka, P. Muravsky, N. Buckwheat Is. Savchuk. Their performing heritage is of great interest to musicology, particularly in terms of interpretation and individual performing style. Main objective(s) of the study). Based on this, the purpose of the study is the theoretical understanding of the performance processes in the fi eld of choral art. In particular: a) the study of the specifi cs of the conductor’s interpretation of E. Savchuk in work with the choir; b) a detailed analysis of the stages of the conductor’s interpretation: independent, rehearsal, concert; C) understanding of The individual performing style of E. Savchuk in the context of worldview, repertoire, artistic priorities Maestro. Methodology. Various methods have been used. Inductive-research is built from concrete to General. Some characteristics of the conductor’s work lead to a generalized representation of his individual performing style. The method of analysis and synthesis used in the analysis of literature, unpublished sources. The comparative method is used to compare different stages of the process of conducting interpretation. How the study was done. The study has a number of scientifi c results and conclusions. In particular: a) analyzed the stages of the process of the conductor’s interpretation of E. Savchuk in working with the choral team (independent, rehearsal, concert); b) established the relationship between the stages of the conductor’s interpretation with the stages of creation, correction and implementation of individual-collective performance concept of the work; C) investigated the work of outstanding contemporary choral conductor E. Savchuk in the context of the specifi cs of his performing style. Results and conclusions. The research is of great scientifi c and cultural importance: 1) expands the boundaries of choral art as a phenomenon; 2) deepens and structures scientifi c knowledge in a specifi c sphere – choral performance; 3) paves the way to theoretical understanding of important cultural phenomena in the sphere of Ukrainian choral art. The practical signifi cance of this study lies in the possibility of using its provisions in subsequent courses of higher education: choral studies, choral literature, the history of Ukrainian music, the history of music of the twentieth century. A thorough analysis of the performing versions of a number of choral works will contribute to a deeper, conscious interpretation of their conductors – both in working with the team and in class work with students. The experience and peculiarities of the interpretation activity of the Dumka Capella conductors described in the study will help the conductor to find his own performing style.
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Baughman, Melissa. "Shattering the Glass Podium: Successes and Setbacks of Women in Collegiate Choral Conducting." Update: Applications of Research in Music Education 40, no. 1 (May 19, 2021): 10–17. http://dx.doi.org/10.1177/87551233211018395.
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The purpose of this study was to explore the status and experiences of women in collegiate choral conducting positions. Out of all collegiate choral conductors ( N = 992) at institutions accredited by the National Association of Schools of Music in the United States, 68.65% ( n = 681) were men and 31.35% ( n = 311) were women at the time of this study; I invited the women collegiate choral conductors to serve as study participants. Ninety-six respondents completed an online survey, resulting in a response rate of 30.86%. I collected data through a researcher-designed survey. First, I asked respondents to provide demographic information and respond to Likert-type and open-ended prompts related to three domains: gaining entry into the profession, navigating the profession, and issues surrounding gender. I analyzed data through descriptive statistics and qualitative methods of assigning codes, combining codes into themes, and displaying the data. I addressed general discrepancies in the self-reported attitudes of respondents. Although women reported an overall attitude of satisfaction as choral conductors in their Likert-type responses, many respondents detailed several instances of gender discrimination and other challenges in their open-ended responses. Implications for the music profession, including specific strategies to help empower women in collegiate choral conducting settings, are discussed.
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Durrant, Colin. "Towards a Model of Effective Communication: A Case for Structured Teaching of Conducting." British Journal of Music Education 11, no. 1 (March 1994): 57–76. http://dx.doi.org/10.1017/s0265051700002011.
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Recent teaching with PGCE secondary music students has revealed that conducting ensembles is a musical activity in which they have variable knowledge, skills and experience. It is a general expectation, nevertheless, that music teachers still conduct choral and instrumental ensembles as part of their job in schools, and some may also undertake such roles in the wider community. This paper seeks to identify from research literature aspects of effective conducting that warrant greater attention. This forms part of a research project which is exploring definitions of effective conducting and making an analysis and case for more structured teaching in this area within higher education.
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Yajun, Wang. "Pedagogical conditions of the formation of the communicative culture of the future teacher of musical art in the process of conducting and choral education." Musical art in the educological discourse, no. 3 (2018): 125–31. http://dx.doi.org/10.28925/2518-766x.2018.3.125131.
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The article describes pedagogical conditions for the communicative culture formation of a future music art teacher and the process of conducting-choir training. It is noted that the pedagogical condition is a point of the learning process, the result of purposeful selection, design and use of content elements, methods, devices, as well as organized forms of training to achieve specific didactic goals. The pedagogical condition must be the result of a well-thought-out and thorough selection of each of the elements of the educational process. It is emphasized that observance of pedagogical conditions is necessary in connection with the possibility to realize innovative professional training of future music art teachers. The article substantiates feasibility of using the component structure of the communicative culture of a future music art teacher in defining a set of pedagogical conditions, in particular: motivational and value based; emotionally empathic; cognitive-informational; activity-behavioral components.Based on the didactic analysis of the structure and content of the communicative culture of a future music art teacher, four pedagogical conditions have been identified. The first condition is strengthening of value-semantic aspects in the content of conducting-choral training of future music art teachers. Any musical composition exists as a product of culture, independent from a listener but with some known meaning, which depends on the composer, its creator. Inclusion of empathic-creative tasks in the process of conducting-choral training on the basis of a dialogue between cultures (the second pedagogical condition) implies that a unified understanding of interpretative tasks and the content of performance forms an empathic-creative attitude towards music among participants of the educational choral group. The third pedagogical condition is creation of a positive incentive to the collective spiritual and creative interaction of the participants of the educational choral group. It is focused on a «dialogue position», which has a special dynamic character and is aimed at all participants in the dialogue. To create the atmosphere of creativity in classes, maintaining contact with students in the educational choir, it is necessary to stimulate creative self-realization of students in socio-cultural conducting and choir activity. This circumstance has formed the basis for the fourth pedagogical condition for the formation of the communicative culture of a future music art teacher and the process of conducting-choral education.
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Egemkulova, Zhanyl. "MANAGEMENT METHODS OF CHORAL SINGING IN THE CLASS OF CHOIR CONDUCTING." Bulletin of the Kyrgyz State University. I. Arabaev 2 (2019): 101–7. http://dx.doi.org/10.33514/1694-7851-2019-2-101-107.
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Makarova, T. O. "Methods of Future Teachers’ Independent Thinking Development at Choral Conducting Classes." Musical art in the educological discourse, no. 1 (2016): 109–11. http://dx.doi.org/10.28925/2518-766x2016110911.
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Durrant, Colin. "Communicating and accentuating the aesthetic and expressive dimension in choral conducting." International Journal of Music Education 27, no. 4 (November 2009): 326–40. http://dx.doi.org/10.1177/0255761409344374.
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Poggi, Isabella, Loredana Ranieri, Ylenia Leone, and Alessandro Ansani. "The Power of Gaze in Music. Leonard Bernstein’s Conducting Eyes." Multimodal Technologies and Interaction 4, no. 2 (May 20, 2020): 20. http://dx.doi.org/10.3390/mti4020020.
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The paper argues for the importance and richness of gaze communication during orchestra and choir conduction, and presents three studies on this issue. First, an interview with five choir and orchestra conductors reveals that they are not so deeply aware of the potentialities of gaze to convey indications in music performance. A conductor who was utterly conscious of the importance of gaze communication, however, is Leonard Bernstein, who conducted a performance of Haydn’s Symphony No. 88 using his face and gaze only. Therefore, a fragment of this performance is analyzed in an observational study, where a qualitative analysis singles out the items of gaze exploited by Bernstein and their corresponding meanings. Finally, a perception study is presented in which three of these items are submitted to expert, non-expert, and amateur participants. The results show that while the signal for “start” is fairly recognized, the other two, “pay attention” and “crescendo and accelerando” are more difficult to interpret. Furthermore, significant differences in gaze item recognition emerge among participants: experts not only recognize them more, but they also take advantage of viewing the items with audio-visual vs. video-only presentation, while non-experts do not take advantage of audio in their recognition.
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Borchers, Jan, Eric Lee, Wolfgang Samminger, and Max M�hlh�user. "Personal orchestra: a real-time audio/video system for interactive conducting." Multimedia Systems 9, no. 5 (March 1, 2004): 458–65. http://dx.doi.org/10.1007/s00530-003-0119-y.
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Borchers, Jan, Eric Lee, Wolfgang Samminger, and Max M�hlh�user. "Personal orchestra: a real-time audio/video system for interactive conducting." Multimedia Systems 9, no. 6 (June 1, 2004): 594. http://dx.doi.org/10.1007/s00530-004-0139-2.
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Chaves-Cordero, Carlos Fernando, and Catalina Escamilla-Fonseca. "La formación académica del director coral y sus herramientas para el desarrollo de coros infantiles. Situación actual en Costa Rica y España." Revista Electrónica Educare 21, no. 1 (December 5, 2016): 1. http://dx.doi.org/10.15359/ree.21-1.5.
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This qualitative research seeks to understand the current situation of choral conducting studies in Costa Rica and Spain, emphasizing on the tools required to work with children´s choirs. The curriculum of choral conducting careers at the Universidad Nacional de Costa Rica and the Real Conservatorio Superior de Música de Madrid was studied by means of an analysis of documents and an analytic comparison with the SWOT method. The study of plans primarily focused on subjects related to pedagogy and singing as essential foundations in the specific area of children’s choirs. Additionally, an analysis of interviews to choral directors from both countries visualized the experiences of directors in their performance with children´s choirs, what skills were acquired in their undergraduate education, as well their perception of what should change or adjust in the curriculum. Significant shortcomings were perceived in teacher’s training in relation with the subjects of the career. A strengthening with more contents in teaching methodologies and pedagogical resources was suggested.
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Lorenzo de Reizábal, Margarita, and Manuel Benito Gómez. "Latent structure of gestures in orchestra conducting students under self-observation conditions." Research Studies in Music Education 41, no. 2 (July 2019): 236–58. http://dx.doi.org/10.1177/1321103x19843204.
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Self-observation has proven to be a powerful medium for personal and professional growth and development. This research makes use of self-observation through video to determine the latent structure that underlies the gestures to be learned and mastered by orchestra conducting students. Exploratory Factorial Analysis (EFA) techniques have been applied to the assessments of the performances of the orchestra conducting students who participated in the experimental group of this study ( N = 13, males: 38.5%, females: 61.5%) before and after a self-observation experience. The results show a better integration of the gestures performed, and an improvement in the awareness of gestural details that go unnoticed if they are not visualized from outside; an improvement in gestural learning and in the self-regulation of learning; gestural maturation and a more selective focus on the gestures that must be corrected, as well as propitiating a vision of the body as a whole.
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Chernysheva, Tat’yana Alekseevna. "Application of information technologies in education of musician of choral conducting speciality." Vestnik of Saint Petersburg State University of Culture 4 (December 2018): 134–38. http://dx.doi.org/10.30725/2619-0303-2018-4-134-138.
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