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Journal articles on the topic 'Jazz Jazz School music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Bogdanowicz, Mariusz. "Nauczanie i propagowanie jazzu w Polsce. Ujęcie syntetyczne." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (2017): 139. http://dx.doi.org/10.17951/l.2017.15.1.139.

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<p>Artykuł ujmuje w sposób syntetyczny problematykę nauczania i propagowania muzyki jazzowej we współczesnej Polsce. Autor przedstawia sytuację jazzu na wszystkich szczeblach edukacyjnych: w szkolnictwie powszechnym (szkoła podstawowa, gimnazjum, liceum), szkolnictwie muzycznym oraz w wyższych uczelniach (akademie muzyczne, uniwersytety), omawia również inne formy nauczania i propagowania jazzu w naszym kraju (m.in. Mała Akademia Jazzu, warsztaty jazzowe, rola mediów)</p><p>SUMMARY</p><p>The article is a synthetic presentation of the problems of teaching and promo

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Warnet, Victoria. "An Investigation of the Music Literature Being Performed at Jazz Band Music Performance Assessments in Florida." Update: Applications of Research in Music Education 38, no. 2 (2019): 29–36. http://dx.doi.org/10.1177/8755123319868827.

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The purpose of this study was to examine the performance trends of middle school, junior/senior high school, and high school ensembles at District Florida Bandmasters Association (FBA) Jazz Band Music Performance Assessments (MPAs) from 2012 to 2017. More specifically, this study investigated the pieces, composers, and arrangers most frequently performed, and how many schools participated. Data were derived from a pool of compositions performed at FBA District Jazz Band MPAs between 2012 and 2017 ( N = 5,664). Of the pieces performed, there were 1,816 different compositions played. The composi

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Grigson, Lionel. "Harmony + Improvisation = Jazz." British Journal of Music Education 2, no. 2 (1985): 187–94. http://dx.doi.org/10.1017/s0265051700004800.

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In the past, jazz musicians such as Miles Davis have had negative experiences of ‘straight’ academies and conservatories, and these institutions have been negative towards jazz. This may represent a conflict between creativity and recreativity. But as a teacher of jazz at the Guildhall School of Music the author is finding that this conflict disappears when students from jazz and classical backgrounds learn to improvise by the same approach. This approach works upwards from the harmonic basis of jazz, which in fact is the same as that of classical music. As, at the outset, both jazz and classi

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McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (2004): 343–56. http://dx.doi.org/10.1177/002242940405200406.

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This study is an examination of the relationship between gender and participation in high school and college instrumental jazz ensembles. Student demographic and attitudinal information was collected using the researcher-designed Instrumental Jazz Participation Survey (IJPS). Undergraduate college band students ( N=628) representing 15 programs offering degrees in music education were surveyed. Gender and jazz ensemble participation were found to be related at both levels; 52% of women and 80% of men surveyed reported playing jazz in high school, and 14% of women and 50% of men played in colle

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Goodrich, Andrew. "Peer Mentoring in a High School Jazz Ensemble." Journal of Research in Music Education 55, no. 2 (2007): 94–114. http://dx.doi.org/10.1177/002242940705500202.

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The use of peer mentoring in a successful high school jazz band was explored during one academic year of instruction using ethnographic techniques. Participants included primary informants (student jazz band members, director, assistant director, adult mentors) and secondary informants (guidance counselor, principal, parents, nonjazz band member students). Data analysis revealed that peer mentoring contributed to the success of a high school jazz band. Five themes emerged: (a) mentoring from the adult perspective, (b) peer mentoring for musicianship, (c) mentoring in rehearsals, (d) mentoring

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Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.

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The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results ind

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West, Chad. "Preparing Middle School Music Teachers to Teach Jazz." Journal of Music Teacher Education 23, no. 2 (2013): 64–78. http://dx.doi.org/10.1177/1057083713487077.

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Sachkova, T. V. "Features of teaching piano in pop-jazz style." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 135–38. http://dx.doi.org/10.30725/2619-0303-2020-3-135-138.

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Russian music school has undergone major changes over the past 20–30 years. The emergence of mass musical styles and genres and their huge popularity, the opening of pop and jazz faculties and training areas, as well as private music schools and studios – all this aff ects the approaches to teaching piano in modern preprofessional music education. The approaches to the development of performing piano skills described in this article include not only traditional methods of studying the academic piano repertoire, but also methods of development in pop and jazz stylistics, using which one can ach

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Coss, Roger G. "Descriptions of expert jazz educators’ experiences teaching improvisation." International Journal of Music Education 36, no. 4 (2018): 521–32. http://dx.doi.org/10.1177/0255761418771093.

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The tensions present in learning jazz improvisation are well recognized given the contextual shift from more informal environments such as jam sessions and apprenticeships towards academic settings such as school bands and college jazz programs. Research suggests that the development of instruction in music education be informed by and modeled after expert practitioners, yet scant evidence exists on the most effective strategies, methods, and/or approaches for teaching jazz improvisation, in particular against the backdrop of this shift in educational paradigms. In response, the purpose of thi

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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relatio

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Piecek, Monika, and Angelika Güsewell. "Jazz education in Western Switzerland in the 1970s and 1980s." European Journal of Musicology 16, no. 1 (2017): 60–80. http://dx.doi.org/10.5450/ejm.2017.16.5779.

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This article aims to complement the understanding of the implementation, expansion, and formalisation of jazz education as well as of how jazz was learnt and taught in the 1970s and 1980s in the Western, French-speaking, part of Switzerland. Focussing on this specific geographical context, it takes a close look at the transition from traditional, informal learning to what are considered as more formal realms of learning in jazz education. Drawing both on documentary analysis and in-depth, semi-structured interviews conducted with former students, directors, and teachers of the first jazz schoo

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Whyton, Tony. "Birth of the school: discursive methodologies in jazz education." Music Education Research 8, no. 1 (2006): 65–81. http://dx.doi.org/10.1080/14613800600570744.

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Diachenko, Yu S. "Pop‑jazz works by Viktor Vlasov: genre and style innovations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 29–43. http://dx.doi.org/10.34064/khnum1-56.02.

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Background. From the second half of the XX century to the present time in the musical culture of the world we observe significant influence of jazz. New trends, styles, genres is appeared due to the interaction of jazz and academic music. Thus, at the beginning of the XX century such phenomenon of musical art rises as a synthesis of features of jazz and pop music. This process leads to the renewal of musical language, experimentation, the emergence of new styles and trends. All mentioned above are largely inherent in variety-jazz accordion art, which has a significant spread from the early XX

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Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.

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The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structu

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Regier, Bradley J. "A Measurement of Self-Efficacy Among Oklahoma Secondary Band Directors in Concert, Marching, and Jazz Ensemble Pedagogy." Update: Applications of Research in Music Education 37, no. 3 (2018): 57–64. http://dx.doi.org/10.1177/8755123318808246.

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The purpose of this study was to examine secondary band directors’ self-efficacy toward concert, marching, and jazz ensemble pedagogy. Secondary purposes were to investigate potential relationships between secondary band directors’ self-efficacy in concert, marching, and jazz ensemble pedagogy and their respective (a) demographics and (b) previous professional and preservice experiences. Oklahoma high school band directors were invited to participate in a researcher-designed survey that included questions pertaining to their professional teaching background and preservice music teaching experi

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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Wehr-Flowers, Erin. "Differences between Male and Female Students' Confidence, Anxiety, and Attitude toward Learning Jazz Improvisation." Journal of Research in Music Education 54, no. 4 (2006): 337–49. http://dx.doi.org/10.1177/002242940605400406.

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The purpose of this study was to examine the gender differences in the social-psychological constructs of confidence, anxiety, and attitude as they relate to jazz improvisation participation. Three subscales of the Fennema-Sherman Mathematics Attitude Survey (1976) were modified for this task, and surveys (N = 332) were given to students of various ages participating in jazz programs. Returned surveys (N = 137, 41 % return rate, 83 men, 54 women) were analyzed using a MANOYA design with gender, school level, and instrument choice as the independent variables. A main effect was found for gender

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Espeland, Magne. "Music in Use: Responsive Music Listening in the Primary School." British Journal of Music Education 4, no. 3 (1987): 283–97. http://dx.doi.org/10.1017/s026505170000615x.

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The author invites us to re-examine the case for ‘music appreciation’ teaching. In a two-year project, ‘Music in Use,’ conducted in Norwegian primary schools, Magne Espeland and his colleagues developed new principles and methods for encouraging children to listen to music of many different styles – including modern instrumental and orchestral music, pop and jazz. Working from the belief that response on the part of the listener is crucial in musical understanding, the project group involved the children with a variety of activities which, while primarily related to the music itself, engaged a

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McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (2004): 343. http://dx.doi.org/10.2307/3345387.

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Silverman, Julian. "WHAT THEORY SAYS AND WHAT MUSICIANS DO – SOME THOUGHTS ON THE GEORGE RUSSELL EVENT." Tempo 57, no. 226 (2003): 32–39. http://dx.doi.org/10.1017/s0040298203000329.

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George Russell is 80. He is a band-leader. No, Tempo is not doing what everybody else is doing: dumbing down or getting on the bandwagon of cheap popularity. Nor are we in the least affected by the recent decisions of the Associated Board of the Royal Schools of Music and their ilk, to try do to jazz what they have been trying to do to classical music: replace musicians with trained dogs. George Russell is one of a very rare company of the most serious musician/misfits, one of the most innovative of jazz composers and theorists.

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Pinto, Marco Túlio de Paula. "Victor Assis Brasil: a importância do período na Berklee School of Music (1969-1974) em seu estilo composicional." Per Musi, no. 23 (June 2011): 45–57. http://dx.doi.org/10.1590/s1517-75992011000100006.

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Discussão sobre o papel do ambiente musical de Boston, especialmente da Berklee School of Music entre 1969 e 1974, no desenvolvimento do estilo composicional e das habilidades como arranjador de Victor Assis Brasil (1945-1981) e seus reflexos na parcela de sua produção musical que apresenta a mistura de elementos de música clássica, jazz e música brasileira.

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Wesolowski, Brian C., Stefanie A. Wind, and George Engelhard. "Examining Rater Precision in Music Performance Assessment." Music Perception 33, no. 5 (2016): 662–78. http://dx.doi.org/10.1525/mp.2016.33.5.662.

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The use of raters as a methodological tool to detect significant differences in performances and as a means to evaluate music performance achievement is a solidly defended practice in music psychology, education, and performance science research. However, psychometric concerns exist in raters’ precision in the use of task-specific scoring criteria. A methodology for managing rater quality in rater-mediated assessment practices has not been systematically developed in the field of music. The purpose of this study was to examine rater precision through the analysis of rating scale category struc

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Cross, Rod. "Pop Music in the Middle School – Some Considerations and Suggestions." British Journal of Music Education 5, no. 3 (1988): 209–16. http://dx.doi.org/10.1017/s026505170000663x.

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Most young people these days enjoy listening to music. It may well be their main interest and one of their favourite pastimes. Some may express a preference for classical music, others for minority interests, such as folk, country, blues, jazz, or big band. For the vast majority, however, it is likely that their taste will be partly, if not exclusively, for pop, i.e. that brand of music which originated with Bill Haley'1956 recording of ‘Rock Around The Clock’, and which now applies to all music loosely associated with the Top Forty charts. In this article the author describes a course, with 1

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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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Williams, Lindsey R. "Effect of Music Training and Musical Complexity on Focus of Attention to Melody or Harmony." Journal of Research in Music Education 53, no. 3 (2005): 210–21. http://dx.doi.org/10.1177/002242940505300303.

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The purpose of this study was to investigate the relationships between music training and musical complexity and focus of attention to melody or harmony. Participants ( N= 192) were divided into four groups: university jazz majors ( n= 64), other university music majors ( n= 64), high school instrumentalists ( n= 32), and junior high instrumentalists ( n= 32). The musical complexity variable consisted of four levels of melodic complexity and four levels of harmonic complexity each paired for a total of 16 possible combinations all heard by each participant. Each trial consisted of a melodic co

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Taylor, Dorothy. "Physical Movement and Memory for Music." British Journal of Music Education 6, no. 3 (1989): 251–60. http://dx.doi.org/10.1017/s026505170000721x.

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This article is concerned with the role of kinaesthesis and bodily movement in promoting musical memory. Seventy-two first-year secondary school children were randomly assigned to experimental and control groups. They were then asked to listen to short extracts of music ranging from jazz through western classical to the Indian tradition, with a view to conveying to a deaf child the import of the music. Results indicated that a kinaestheic strategy significantly affected achievement on an unexpected recognition test taken one week later.

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Coppola. "Musical Humility: An Ethnographic Case Study of a Competitive High School Jazz Band." Bulletin of the Council for Research in Music Education, no. 222 (2019): 7. http://dx.doi.org/10.5406/bulcouresmusedu.222.0007.

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Henoch, Miriam A., and Kris Chesky. "Sound Exposure Levels Experienced by a College Jazz Band Ensemble: Comparison with OSHA Risk Criteria." Medical Problems of Performing Artists 15, no. 1 (2000): 17–22. http://dx.doi.org/10.21091/mppa.2000.1004.

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Jazz education plays a prominent role in the music education of students in secondary and postsecondary schools. Although there is some research relative to health risks posed to professional musicians, little information is available as it relates to young musicians at the collegiate and secondary levels. The primary purpose of this study was to assess the risk of music-induced hearing loss to members of a college jazz band using the currently defined damage risk criteria of the Occupational Safety and Health Administration (OSHA) (1983). Dosimeter measurements were made over a 3-day period f

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Williams, Matthew L., John M. Geringer, and Ruth V. Brittin. "Music Listening Habits and Music Behaviors of Middle and High School Musicians." Update: Applications of Research in Music Education 37, no. 2 (2018): 38–45. http://dx.doi.org/10.1177/8755123318791216.

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The purpose of this study was to explore music listening and performance characteristics of middle and high school students. The questions under investigation addressed reasons for liking a favorite piece, time spent listening, media used to listen, ways in which students discovered new music, and the types of music performed as well as the types that students would like to perform. Results indicated that students liked their favorite pieces for musical reasons and reported listening to music roughly 4 hours each day outside of school. Students listened largely through portable devices and str

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McMillan, Ros. "‘To say something that was me’: developing a personal voice through improvisation." British Journal of Music Education 16, no. 3 (1999): 263–73. http://dx.doi.org/10.1017/s0265051799000352.

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The study and practice of improvisation in music departments of Australian colleges and universities tends to be dominated by jazz and other African-American styles. However, the School of Music of the Victorian College of the Arts in Melbourne has developed a course of study with a different focus. While rooted in the fundamentals of jazz performance, the philosophy of the course is that students at the end of the twentieth century should endeavour to develop their own musical ‘voice’. An important means of assisting this development is the encouragement for students to compose their own musi

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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Inst

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Cardany, Audrey Berger. "Muddy Waters: His Life and Music." General Music Today 31, no. 3 (2018): 73–79. http://dx.doi.org/10.1177/1048371318756626.

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The author reviews Mahin and Turk’s children’s book Muddy: The Story of Blues Legend Muddy Waters. This biography of McKinley Morganfield describes his challenges and successes in music and life. Illustrations reflect African American culture using color palettes to highlight the places Waters lived and the music connected to those places including the Mississippi Delta blues and the electric Chicago blues style. The musical writing of Mahin expresses Muddy’s story in a lyrical fashion, borrowing elements from the jazz idiom. The author includes a selected discography and suggestions for addit

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Norgaard, Martin, Laura A. Stambaugh, and Heston McCranie. "The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students." Journal of Research in Music Education 67, no. 3 (2019): 339–54. http://dx.doi.org/10.1177/0022429419863038.

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Research investigating links between academic achievement and active music instruction has not previously differentiated between different types of instruction. In the current study, 155 seventh- and eighth-grade middle school band students were divided into two groups. Both groups received 2 months of instruction in jazz phrasing, scales, and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on the Wisconsin Card Sorting Task (cognitive flexibility)

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Kontsevych, O. Yu. "Diary of performing mastership: the sphere of universal skills of modern trumpeter." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 174–89. http://dx.doi.org/10.34064/khnum1-54.11.

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At the present stage of development, the musical society has the centuries-long artistic experience. The evolution of educating professionals in the performing sphere has contributed to the creation of musical masterpieces in different genres. The birth and decline of numerous musical styles and trends has led to new requirements for trumpeters and their capabilities. Of course, the development of trumpet playing has always been accompanied by the new techniques and methods aimed at implementing the composer tasks. However, we can often observe the use and borrowing of the same performance tec

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Chen, Jason Chi Wai, and Han Wai Lee. "A pilot study of using jazz warm up exercises in primary school choir in Hong Kong." Music Education Research 15, no. 4 (2013): 435–54. http://dx.doi.org/10.1080/14613808.2013.788142.

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LeBlanc, Albert, Wendy L. Sims, Carolyn Siivola, and Mary Obert. "Music Style Preferences of Different Age Listeners." Journal of Research in Music Education 44, no. 1 (1996): 49–59. http://dx.doi.org/10.2307/3345413.

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We measured the music preference opinions of 2,262 listeners for examples of art musk, traditional jazz, and rock. Our subjects were enrolled in Grades 1 through college, and we also tested adults who were not college students. Participants ranged in age from 6 to 91 years. We found that music preference means for the different styles were comparatively similar across grade levels, and when style subtest scores were pooled to make a general index of music preference, a characteristic pattern of responding across grade levels emerged. Listeners in Grade 1 had a high level of preference, but pre

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Putra Satria Amin, Angga, and Irdhan Epria Darma Putra. "JEMBATAN MERAH." Jurnal Sendratasik 9, no. 4 (2020): 192. http://dx.doi.org/10.24036/jsu.v9i1.109594.

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The song of the red bridge is a national anthem created by Gesang that contains the story of farewell in the fire of struggle. The purpose of this work is to create works in the form of school music arrangements. In this work the arranger worked on a red bridge song in the form of school music, then combined it with a touch of combo band from several musical components in the middle, thus forming a new arransemen to show. The nuances of the arrangement will later transform the emotions of hope and anticipation into something joyous, reinforced by the progress of jazz chords and combined with t

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Biliaieva, N. V. "Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)". Aspects of Historical Musicology 18, № 18 (2019): 171–90. http://dx.doi.org/10.34064/khnum2-18.10.

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Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding m

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Thibeault, Matthew D. "Dewey’s Musical Allergy and the Philosophy of Music Education." Journal of Research in Music Education 68, no. 1 (2020): 31–52. http://dx.doi.org/10.1177/0022429419896792.

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This historical study explores John Dewey’s ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey’s belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and s

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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.

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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar

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Virkkula, Esa. "Communities of practice in the conservatory: learning with a professional musician." British Journal of Music Education 33, no. 1 (2015): 27–42. http://dx.doi.org/10.1017/s026505171500011x.

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This article examines the sociocultural learning of popular and jazz music in communities of practice as part of secondary vocational music education in a Finnish conservatory. The research is based on performance workshops which were implemented as a joint effort between professional musicians and music students. These workshops are suggested as a method of utilising communities of practice. Research outcomes show that the workshops include opportunities for learning and developing musicianship on many levels. The potential of sociocultural learning should be recognised in music schools and t

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Kluth, Andrew John. "The Problematic Role of "Thingliness" in Experimental Music Canon Formation: The New York School, Free Jazz, and Recombinant Ontology." International Journal of New Media, Technology and the Arts 13, no. 1 (2018): 1–6. http://dx.doi.org/10.18848/2326-9987/cgp/v13i01/1-6.

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Hendricks, Karin S., and Tawnya D. Smith. "Eclectic Styles and Classical Performance: Motivation and Self-Efficacy Belief at Two Summer Music Camps." String Research Journal 8, no. 1 (2018): 33–49. http://dx.doi.org/10.1177/1948499218769632.

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String teachers and scholars have suggested that classically trained students may be motivated to engage in eclectic (e.g., rock, pop, jazz, groove, folk) styles. However, we do not fully understand the ways in which students’ motivation to engage in new styles might be influenced by their perceptions of their ability to perform in those styles. In this mixed-method study, we draw upon quantitative, qualitative, and arts-based data from 120 middle and high school students at two camps (one emphasizing classical music, the other emphasizing eclectic styles), to explore various ways in which stu

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ROBERTSON, MARTA. "Ballad for Incarcerated Americans: Second Generation Japanese American Musicking in World War II Camps." Journal of the Society for American Music 11, no. 3 (2017): 284–312. http://dx.doi.org/10.1017/s1752196317000220.

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AbstractDuring World War II, the United States government imprisoned approximately 120,000 Japanese Americans, two-thirds of whom were American-born citizens, half of whom were children. Through ethnographic interviews I explore how fragile youthful memories, trauma, and the soundscape of the War Relocation Authority (WRA) Incarceration Camps shaped the artistic trajectories of three such former “enemy alien” youth: two pianists and a koto player. Counterintuitively, Japanese traditional arts flourished in the hostile environment of dislocation through the high number ofnisei(second generation

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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.

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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of c

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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 (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 Fac

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Anderson, Martin. "London, Cadogan Hall and King's Place: Second London Festival of Bulgarian Culture." Tempo 67, no. 265 (2013): 81–83. http://dx.doi.org/10.1017/s0040298213000557.

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One of the most enjoyable characteristics of London musical life is that it is peopled by a generous number of foreigners who, every so often, take it upon themselves to enlighten the rest of us as to the music we are missing from back home. These can, of course, be hit-and-miss occasions, but it's in the nature of exploring unknown music of any age that you will happily put up with a handful of duds if you come away with a real discovery ringing in your ears. The Second London Festival of Bulgarian Culture (I seem to have missed the First) ran in various venues over the course of November 201

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Grytsun, Yuliia. "The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)." Aspects of Historical Musicology 23, no. 23 (2021): 78–91. http://dx.doi.org/10.34064/khnum2-23.05.

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Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers beco

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Lygina, Elena Vladimirovna. "The principle of modeling as a means of classification of instrumental ensembles with a domra." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 11–19. http://dx.doi.org/10.7256/2453-613x.2021.2.35117.

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The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and s

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Stepanova, Anna. "Features of the modern saxophone." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 3 (132) (2020): 66–70. http://dx.doi.org/10.24195/2617-6688-2020-3-8.

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The relevance of the topic is stipulated by the fact that saxophone performance is becoming widespread nowadays, it substantiates the needs to establish new performing schools and to initiate researches aimed at improving methods of playing the saxophone. The purpose of the article is to pay special attention to the social status of the saxophone, its role in the system of professional music education and the evolution of performing techniques of playing the saxophone. The research methods are as follows: theoretical analysis of scientific and methodological literature, comparative studies. Su

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