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Journal articles on the topic 'Kabalevsky'
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Trifonova, Anna Aleksandrovna. "Variety of director's interpretations of the opera «Katerina Izmailova» by Dmitry Shostakovich in the modern opera art." Culture. Art. Education 2, no. 4 (December 25, 2023): 95–114. http://dx.doi.org/10.37816/2949-1762-2023-2-4-95-114.
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The article is devoted to the vocal cycle "Ten Sonnets of Shakespeare in translation by S. Marshak" by Dmitrii Borisovich Kabalevsky. A brief general characteristic of Kabalevsky's vocal music style and its role in the composer's creative work is given, "Sonnets" are considered in the historical context. Sonnets" melodic language and piano texture are described, the influences of different composers on Kabalevsky are studied. Each number of the cycle is analysed individually, the most outstanding intonations, harmonies, elements of the texture and melodic passages are highlighted. The interpretation by Sergei Leiferkus (baritone) and the author (piano) as one of the few surviving interpretations is analysed. The article will be useful both for musicologists who study the creative legacy of Kabalevsky and for singers and pianists who perform the cycle and other vocal works, as well as for their teachers.
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Smirnova, Marina V., and Anna A. Shtrom. "The Enduring Value of Children’s Music by D. B. Kabalevsky as a Subject of Mastering by Young Pianists." Musical Art and Education 7, no. 3 (2019): 94–104. http://dx.doi.org/10.31862/2309-1428-2019-7-3-94-104.
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This article analyzes pages from the piano heritage of D. Kabalevsky, which is addressed to the children studying in children musical schools and art schools. The creative image of the musician is revealed through the prism of his multifaceted artistic and social activity, the assessment of which has undergone some revision nowadays. The article also discusses the reasons of why many previously popular works of famous Soviet composers have faded into the shadow. It is emphasized that Kabalevsky was a graduate of the Piano Faculty of the State Moscow Conservatory and has inherited the wonderful traditions of his teacher, A. B. Goldenweiser. The best traditions of the Moscow piano school are used by Kabalevsky as bases in his creative activity, which acquires specific value in the field of music. Today, when the method of young musicians training is going through innovative transformations, this aspect should be especially considered. The high artistic and instructive value of the composer’s piano heritage is noted. The pieces of the piano cycle “From the Pioneer Life,” op. 14, are methodologically analyzed. It is concluded that Kabalevsky’s cycles addressed to children have not lost their artistic and pedagogical value and therefore can be used in the modern pedagogical practice in their entirety. As for the cycles dedicated to the pioneers’ life, they could play an important educational role by raising the younger generation’s interest in one of the most captivating pages of the country’s past.
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Mishina, Anastasia V., Zilia M. Yavgildina, Rufina Ildarovna Samigullina, and Tamara Yu Melnik. "Comparative analysis of musical-enlightenment concepts of L. Bernstein and D. Kabalevsky in Russian music education." Cypriot Journal of Educational Sciences 13, no. 4 (December 26, 2018): 625–30. http://dx.doi.org/10.18844/cjes.v13i4.3894.
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The aim of this study is to compare the activities of Kabalevsky and Bernstein—two musicians who made a significant contribution to the musical education of the younger generation, reveals the principles, methods, forms of educational work and covers the subject of television programmes. In particular, the pedagogical and musical-enlightenment concept of the outstanding composer, scientist Dmitry Kabalevsky was widely spread in our country. Also, the achievements of American composer, lecturer, teacher Leonard Bernstein in the field of musical enlightenment differ in originality and are rarely used in Russian musical pedagogical practice. In accordance with the aim of the study, the following theoretical methods were used: analysis of the literature, epistolary texts, the repertoire of the concert programmes of the New York Philharmonic orchestra; generalisation of historical data on musical and educational activities of Kabalevsky and Bernstein, comparison of methods and techniques of music education, biographical method.
 
 Keywords: Conversation, enlightenment, Dmitry Kabalevsky, Leonard Bernstein, TV
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Karadeniz, Ismet. "RondoSquared • Kabalevsky, Op. 59." Journal for the Interdisciplinary Art and Education 6, no. 2 (June 30, 2025): 89–115. https://doi.org/10.5281/zenodo.15510392.
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Forrest, David. "Dmitri Borisovich Kabalevsky 1904-1987." International Journal of Music Education 22, no. 2 (August 2004): 149–62. http://dx.doi.org/10.1177/0255761404044016.
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Го, Ц. "The influence of the piano work of D.B. Kabalevsky on modern music education in China." Management of Education 14, no. 3-1(78) (March 15, 2024): 248–53. http://dx.doi.org/10.25726/p3055-6183-2027-c.
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Китайская музыка на протяжении своего существования сохраняла своеобразие и особенности, однако она постепенно включается в процесс глобальной эволюции мирового музыкального пространства. Русская фортепианная культура оказала глубокое и продолжительное воздействие на формирование и развитие фортепианной культуры и образования Китая. В рамках статьи осуществляется анализ влияния концепции музыкального воспитания Кабалевского на создание китайских фортепианных произведений. Кабалевский работал во многих областях. Он написал большое количество произведений, в том числе фортепианную музыку, концерты, камерную музыку, оперы, музыку для кино и революционные песни. Конечно, помимо композиции, он внес также важный вклад в музыкальное образование. Во время своего обучения он устал от жесткой и старой модели преподавания и, таким образом, потерял интерес к музыке. Именно из-за этого опыта он решил окончить Московскую консерваторию, и посвятить себя педагогике, чтобы изменить этот скучный, жесткий и консервативный подход. Эти идеи были приняты и в Китае, а потому можно утверждать, что творчество и педагогические принципы Кабалевского, сыграли важную роль в фортепианном образовании и искусстве Поднебесной. Chinese music throughout its existence has retained its originality and characteristics, but it is gradually being included in the process of global evolution of the world musical space. Russian piano culture had a deep and lasting impact on the formation and development of piano culture and education in China. The article analyzes the influence of Kabalevsky's concept of musical education on the creation of Chinese piano works. Kabalevsky worked in many areas. He composed a large number of works, including piano music, concertos, chamber music, operas, film scores and revolutionary songs. Of course, in addition to composition, he also made important contributions to music education. During his studies, he became tired of the rigid and old teaching model and thus lost interest in music. It was because of this experience that he decided to graduate from the Moscow Conservatory and devote himself to pedagogy in order to change this boring, rigid and conservative approach. These ideas were also accepted in China, and therefore it can be argued that Kabalevsky’s creativity and pedagogical principles played an important role in piano education and art in the Middle Kingdom.
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Xudayberdiyeva, Mushtariy. "DMITRY ALEKSEYEVICH KABALEVSKY FOUNDER OF SCIENTIFIC SCHOOL OF MUSIC AND AESTHETIC EDUCATION." ACADEMIC RESEARCH IN MODERN SCIENCE 1, no. 13 (September 12, 2022): 51–54. https://doi.org/10.5281/zenodo.7069222.
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Sweeney-Turner, Steve. "Dmitri Kabalevsky: Complete Edition Vols. 1-8." Musical Times 135, no. 1815 (May 1994): 298. http://dx.doi.org/10.2307/1003179.
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Callaway, Frank. "Dmitri Kabalevsky and ISME: A Personal Memoir." International Journal of Music Education os-10, no. 1 (November 1987): 46–48. http://dx.doi.org/10.1177/025576148701000113.
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Nilüfer, Özer. "A General Evaluation on the Piano Works of the Soviet Composer Dmitry Kabalevsky for Children and the Sample of the Piano Album "Thirty Pieces for Kids Op.27"." Education Quarterly Reviews 5, Special Issue 2 (December 12, 2022): 98–107. https://doi.org/10.31014/aior.1993.05.04.608.
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While it is aimed to form basic behaviors for students in piano education, it is important to develop piano playing skills in a way that will attract the attention of children, with materials suitable for the individual characteristics, age group, perception level, and level of the students. Therefore, it is necessary to choose a balanced and correct repertoire suitable for the level of the student. Choosing the appropriate repertoire is about a careful balancing of skills, physical competence, musical interest, pedagogical value, and the student's emotional maturity. There are many works written for this purpose in our country and the world. In this context, this study aims to examine the place of the piano album "30 pieces for children Op.27" in piano education by making a general evaluation on the piano works for children by Kabalevsky, who has made great contributions to piano education as a composer and educator. The research is a qualitative study and the relevant literature was examined through document analysis and Kabalevsky's piano albums for children, which are used in piano education, were reached. In addition, the composer's piano album “30 pieces for children Op.27” was examined and interpreted in terms of content and technical studies. As a result of the study, Kabalevsky's piano works for children in terms of gaining the behaviors that form the basis of piano education were evaluated and suggestions that could guide piano educators were tried to be developed. Furthermore, it is thought that these works will contribute to the use of piano education, to the introduction of the works, and to diversify the educational repertoire.
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Taruskin, Richard. "Two Serendipities." Journal of Musicology 33, no. 3 (2016): 401–31. http://dx.doi.org/10.1525/jm.2016.33.3.401.
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The purpose of the discussion, which served as keynote at a conference convened under the title “Music and Power,” is to complicate what is often a simplified and overly dichotomized view of that relationship. Two figures, Dmitry Kabalevsky and Tikhon Khrennikov, are singled out for commentary as musicians who wielded political power or conspicuously benefited from it under the Soviet regime. The titular serendipities were occasions through which the author was made unexpectedly aware of the ambiguities and nuances that attended the interactions of music and musicians with the Soviet state.
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Г. П., Овсянкина, та Санжеева Л. В. "МЕТОД З. КОДАЯ В ОБУЧЕНИИ СТУДЕНТОВ-МУЗЫКАНТОВ ПЕДАГОГИЧЕСКИХ ВУЗОВ". Человеческий капитал, № 11(167) (27 листопада 2022): 229–33. http://dx.doi.org/10.25629/hc.2022.11.27.
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В ХХ веке были разработаны системы музыкального воспитания, ставшие основой развития педагогики на всех уровнях образования. В музыкально-педагогическом образовании идеи З. Кодая, К. Орфа, Э. Жак-Далькроза, Д. Б. Кабалевского, изначально предназначенные для системы общего начального музыкального образования, в адаптированном виде стали применяться в обучении студентов-музыкантов. Метод З. Кодая используется как средство формирования педагогических компетенций будущего учителя музыки. Включение в музыкальное образование метода З. Кодая ведет к дальнейшему развитию чувства музыкального ритма, всех сторон музыкального слуха, музыкального восприятия, музыкального мышления и к глубокому пониманию всех интонационных структур, так как качества звука, интонации, а также музыкально-языковая компетентность осваиваются быстрее и лучше в комплексном взаимодействии пентатонического и диатонического звукорядов. In the twentieth century, musical education systems were developed, which became the basis for the development of pedagogy at all levels of education. In pedagogical education the ideas of Z. Kodai, K. Orf, E. Jacques-Dalcroz, D. B. Kabalevsky are used in teaching music students. In musical pedagogical education, the ideas of Z. Kodai, K. Orfa, E. Jacques-Dalcroza, D. B. Kabalevsky, originally intended for the system of general primary music education, began to be used in an adapted form in the training of musical students. Method Z. Kodai is used as a means of forming the pedagogical competencies of a future music teacher. The inclusion of Z. Kodai's method in music education leads to the further development of all aspects of musical hearing, the sense of musical rhythm, musical perception, musical thinking and to a deep understanding of all intonation structures, since sound qualities, intonation, as well as musical and linguistic competence are mastered faster and better in the complex interaction of pentatonic and diatonic sounds.
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Charkiolakis, Alexandros. "The war requiems by Benjamin Britten and Dmitri Kabalevsky: A story of differences." New Sound, no. 37-1 (2011): 15–23. http://dx.doi.org/10.5937/newso1101015c.
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Shevchuk, L. E., and E. B. Pokivaylova. "Modernity of an Unmodernity Technique of Musical Education of Children By D.B. Kabalevsky." Uchenye Zapiski RGSU 18, no. 2 (2019): 148–54. http://dx.doi.org/10.17922/2071-5323-2019-18-2-148-154.
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Shevchuk, L. E., and E. B. Pokivaylova. "Modernity of an Unmodernity Technique of Musical Education of Children By D.B. Kabalevsky." Uchenye Zapiski RGSU 18, no. 2 (2019): 148–54. http://dx.doi.org/10.17922/2071-5323-2019-2-148-154.
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Yang, Zhang. "The Music Style and Performance Analysis of the First Movement of Kabalevsky's Piano Sonata No. 3 in F Major (Op.46)." Journal of Social Science and Humanities 6, no. 6 (June 30, 2024): 115–18. http://dx.doi.org/10.53469/jssh.2024.6(06).24.
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The Piano Sonata No. 3 in F Major (Op.46) stands as a representative work of Soviet composer Kabalevsky. This piece was composed during the 20th century, a time marked by a push to break away from conventions and experiment with the full spectrum of musical possibilities. Nonetheless, the musical style of the piece is a mix of traditional classical sonata form and modern musical expression. The melody is beautifully crafted and infuses modern musical nuances. This article uses this work as an example. By analyzing the creative background and musical writing style of the piece, it explores how to understand the musical performance style and the 20th century music style from the aspects of key touch, pedal, rhythm, speed, and force.
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Lepherd, Laurence. "Glasnost and Perestroika in Russian Soviet Music Education." British Journal of Music Education 7, no. 3 (November 1990): 205–12. http://dx.doi.org/10.1017/s0265051700007798.
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There is considerable concern in the Russian Federation of the Soviet Union about the state of music education in general schools, the schools most children attend. Many observers draw attention to the decline in musical standards in these schools since the Revolution of 1917. Glasnost – ‘openness’ and Perestroika – ‘reconstruction’, are key factors in contemporary Soviet society which are affecting attempts to raise the standard. In particular, the Kabalevsky system developed in the 1970s and implemented in the 1980s is the focal point of reconstruction and, because of openness, is also the focal point of criticism.In this article the author outlines some of the features of current music education in general schools. The influences of glasnost and perestroika on development are discussed and some international implications are suggested.
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Samigullina, Rufina Ildarovna. "Features of musical enlightenment in Russia in the second half of the twentieth century." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 11, 2018): 205–11. http://dx.doi.org/10.18844/prosoc.v4i8.3051.
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Musical enlightenment is an actual problem of modern education. It involves dissemination of knowledges among the audience, the development of artistic needs, interest in music. By the second part of the 20th century, Russia has accumulated a wealth of experience of musical enlightenment activities. The Russian experience in the training of musicians has become an example for other countries, the concept of mass musical education developed by Kabalevsky, is the basis of many contemporary programs in music, various forms of musical education (people's universities, television & radio concerts, competitions, festivals and lectures) are widespread and practiced at the present time. The study used theoretical methods: analysis of the training programs, pedagogical literature, regulatory documents, the activities of educational institutions, musical enlightenment organizations, and systematization of the repertoire of musical collectives. Keywords: Musical education, mass culture, musical enlightenment, musical enlightenment organizations.
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Muckle, James. "Dmitriy Kabalevsky and the Three Whales. Recent Developments in Music Education in the Soviet General Education School." British Journal of Music Education 4, no. 1 (March 1987): 53–70. http://dx.doi.org/10.1017/s0265051700005726.
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Since January 1984 a thoroughgoing reform in Soviet education has been under discussion, and decisive steps have already been taken. The ‘Guidelines for Reform of General and Vocational Schools’, approved by the Supreme Soviet on 12 April 1984, indicated a firm intention to improve curricula, teaching methods and materials in all subjects. The arts figure prominently in the new proposals, and it is the purpose of this article to examine what is happening in music education, which has been a leader in the field.
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Rakhmanova, M. P. "Reading Memoirs by T.N. Livanova: Portraits of Contemporaries. Part I." Art & Culture Studies, no. 3 (September 2023): 318–53. http://dx.doi.org/10.51678/2226-0072-2023-3-318-353.
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For the first time, the article attempts to analyse some aspects of the content of T.N. Livanova’s Memoirs (1974-1983), a three-volume text corpus preserved in the archives of the Russian National Museum of Music (RNMM). Memoirs are being prepared for publication as a planned work of the State Institute for Art Studies. This article continues a series of materials devoted to this valuable source. A significant place in it is occupied by the portraits of the author’s contemporaries. The article discusses different types of such verbal portraits — from more detailed generalized characteristics to “instantaneous” and very vivid ones consisting of literally a few words. The gallery of the portrayed is represented by people of different generations. The narrative begins with family chronicles — the portraits of Livanova’s relatives on the mother’s and father’s side, as well as her husband V.E. Ferman, and continues with the characteristics of friends and employees. Among them are composers D.B. Kabalevsky, N.Ya. Myaskovsky, V.Ya. Shebalin, and V.G. Zakharov, researchers B.V. Asafiev, M.V. Ivanov-Boretsky, V.V. Protopopov, Yu.V. Keldysh, Yu.K. Evdokimova, Yu.N. Kholopov and others.
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Ritterman, Janet. "Music and Education: a Composer Writes about Music Education by D. B. Kabalevsky. London: Jessica Kingsley Publishers, in association with UNESCO, 1988. 160 pp." British Journal of Music Education 6, no. 2 (July 1989): 222–24. http://dx.doi.org/10.1017/s0265051700007087.
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Н.Ю., Плотникова. "К вопросу об авторстве «Антифонов из „Чина архиерейского отпевания“»". Музыкальная академия, № 3(787) (27 вересня 2024): 24–33. http://dx.doi.org/10.34690/410.
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В статье рассматривается проблема авторства хоровых «Антифонов» из редкого богослужебного чина отпевания архиереев, изучаются и развиваются положения и доводы, представленные в статье М. П. Рахмановой на ту же тему. По материалам переписки митрополита Мануила (Лемешевского), автора текста «Чина», и воспоминаний о нем восстанавливается процесс создания «Антифонов», завершенный к марту 1957 года. В результате анализа гармонии, фактуры, динамики сделаны выводы о том, что сочинение демонстрирует определенную ограниченность средств выразительности и в то же время некоторые отличия от традиций православного богослужебного пения, певческого обихода. Статья вводит в научный оборот новые материалы об авторе цикла — Николае Львовиче Качалове (1911–1997). Гипотеза об авторстве Д. Б. Кабалевского признана несостоятельной. The article examines the problem of the choral “Antiphons” authorship from the rare liturgical rite of funeral services for bishops. The author surveys and develops the theses and arguments presented in the article by M. P. Rakhmanova on the same topic. The process of creating the “Antiphons,” completed by March 1957, is restored on the basis of the correspondence of Metropolitan Manuel (Lemeshevsky) who wrote the text of the Rite, as well as on recollections of him. As a result of the harmony, texture, and dynamic profile analysis, it was concluded that the composition shows a certain limitation of the means of expression, as well as some deviations from the traditions of Orthodox liturgical singing practice. The article contains new materials concerning the author of the cycle, Nikolai L’vovich Kachalov (1911–1997). The hypothesis about the authorship of D. B. Kabalevsky is recognized as untenable.
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М.П., Рахманова. "Загадка «Чина» / публикация С. А. Петуховой". Музыкальная академия, № 3(787) (27 вересня 2024): 16–23. http://dx.doi.org/10.34690/409.
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В статье впервые сделана попытка рассмотрения неизвестного специалистам, никогда ранее не публиковавшегося источника — Десяти антифонов из «Чина архиерейского отпевания». Поскольку местонахождение автографа этих песнопений не установлено и наличествует только копия, определение ее авторства закономерно связано с персоной Д. Б. Кабалевского, чье имя указано на титульном листе источника вместе с датой (1964). Данная копия в настоящее время хранится в семейном архиве композитора, что, однако, не приближает к установлению его возможных связей с возникновением Антифонов. Вторая сюжетная линия повествования связана с автором их словесного текста — митрополитом Мануилом (Лемешевским, 1884–1968), который на протяжении почти десятилетия упорно стремился получить благословение Патриархом этого текста и в результате добился своего. The present article is the first attempt to consider a source unknown to specialists, never previously published—the Ten Antiphons from the “Funeral Rite for Bishops.” Since the location of the autograph of these chants has not been established and only a copy is available, the determination of its authorship is naturally associated with the person of D. B. Kabalevsky, whose name is indicated on the title page of the source along with the date (1964). This copy is currently stored in the composer’s family archive, which, however, does not bring him any closer to establishing his possible connections with the emergence of Antiphon. The second storyline of the narration is connected with the author of their verbal text—Metropolitan Manuel (Lemeshevsky, 1884–1968), who throughout almost persistently sought to receive the blessing of the Patriarch of this text and as a result achieved his goal.
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Burlina, E. Ya. "CITY AS A STAGE: «STARYY» - «BEZYMYANKA» - «KREATIVNYY»." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 77 (2021): 57–64. http://dx.doi.org/10.37313/2413-9645-2021-23-77-57-64.
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The relevance of research. In 2007, the industrial city of Essen, Germany, and the accompanying "ring" of mining towns in the Ruhr Valley, quite unexpectedly became the European Capital of Culture. Essen did not lose in a number of such senior cities as Athens and Florence, world centers like Paris, Amsterdam, Brussels. On the contrary, the project of an industrial city has generated creative interest. The aim of the project was to solve such problems of industrial cities as the ecology of an industrial city, monuments of factory culture. The core of the project was mining biographies and the memory of the profession. The article provides links to similar transformations of the "Soviet Magnitka" - Uralmash in Yekaterinburg and other industrial cities of Russia. The “case of Samara” is considered in most 62 Гуманитарные науки Humanitarian Sciences ________________________________________________________________________________________________ detail. The author's hypothesis is that there is a rift in Samara between the "old" and "industrial city". This is confirmed by the analysis of chronotopes of different parts of the city and the proposed hypothesis of urban archetypes. Research methodology. The article uses the analysis of biographies and the go-along method. The author's concept of the chronotopic fault of the city became the substantive basis of this article. The cultural projects that the industrial "Bezymyanka" gave birth to give a high assessment of their projectivity, which has outstripped its time. Among the "nameless cultural projects" there is a unique mathematical and aesthetic school, a competition for young musicians named after D. B. Kabalevsky, the Valery Grushin International Festival is the world's largest festival of art songs. The city needed creative projects and it deserves study and further development. Conclusion: the problem of different cultural territories within one city inevitably leads to the division of territories and the inhibition of the creative development of the city as a whole.
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Prysyazhnyy, Vitaly. "FORMING A CREATIVE DEVELOPMENT OF SPECIFICITY BY THE TECHNIQUES OF LISTENING TO MUSIC IN REFLECTIONS SUCCESSFUL EDUCATIONS." Academic Notes Series Pedagogical Science 1, no. 206 (January 2022): 193–97. http://dx.doi.org/10.36550/2415-7988-2022-1-206-193-197.
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The priority role for the development of creative specialty lies in musical development and one of the most important tasks, which stands before the teacher in the pledge of the main middle education - musical and aesthetic and creative development of specialty, the formation of musical zdіbnosti. In the article, there are some aspects of musical spriymanya and yoga space and the role of molding creativity in the reflections of modern scientists. An analysis of the current musical and pedagogical studies should be noted about the growing respect of students to the problem of shaping the musical acceptance of schoolchildren. Significant scientific and factual material is heaped up, which is without a middle and indirectly in the middle, breaking through various facets. The main significance was the provision about the main role of musical spriymannya for shaping the current musical activity and musical culture as a whole (Y. Abdulin, O. Apraksina, N. Vetlugina, D. Kabalevsky, O. Rostovsky, V. Cherkasov and іn.). The study of the regularities of musical inspiration and its development is one of the most important directions in the theory and practice of musical development. Until now, musicians-teachers and psychologists have accumulated data, like the specifics of musical reception, the laws of yoga molding in the process of purposeful education of children. In the reflections of the present-day past stories, there are various aspects of this folding kind of activity, which are worthy of the wholeness and figurativeness of the musical spriymannya, and the connection with the vibratory vibrances, the mentions and the habits. The analysis of scientific findings is remarkable that the formation of the musical inspiration of schoolchildren is a real problem of modern musical pedagogy. A teacher of musical art can raise the sensitivity of children to music, introduce them to the world of beauty and goodness, bring life-giving music into the life of human feelings and experiences. Of great significance to this process is the teacher's musical and spiritual work. It is clear that the scientific discourse lacks insight into the laws, principles and methods of shaping the musical spriymann, think, as if it were safe to esthetically exalt the musical art, not to explain the mechanism of the injection of music on children, the possibility of pedagogical mediation in the middle.
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Зубаркина, Е. С. "CHILDREN’S RADIO DISCOURSE OF THE SOVIET PERIOD: HUMANISTIC PARADIGM OF PERSONALITY DEVELOPMENT." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 1(122) (April 1, 2024): 028–38. http://dx.doi.org/10.37972/chgpu.2024.122.1.004.
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Российское радиовещание накопило значительный опыт в создании программ разных форматов и жанров, посвященных теме детства. При этом советские радиотексты, выпускаемые для взрослых и подчеркивающие аксиологическую основу педагогики, пока не нашли детального отражения в научных трудах. Сегодня в программные сетки крупных отечественных станций, таких как «Радио России», «Орфей», «Авторадио» и другие, интегрировано немалое количество программ, которые способствуют формированию гуманистически ориентированной личности, акцентируют внимание на самоценности детства, правах и достоинстве детей и других гуманистических идеалах. Обращение и рецепция опыта советского эфира могли бы совершенствовать современный подход к освещению вопросов педагогики, коммуникации взрослых и детей, что особенно актуально в рамках текущего Года семьи в Российской Федерации. В данной статье исследуются радиотексты советского времени, преимущественно транслировавшиеся во второй половине ХХ века, в том числе авторства Е. Аэурбах, Д, Кабалевского, И. Гамаюнова. Используя историко-культурный, сравнительный, исторический методы, метод контекстуального анализа, автор приходит к выводу, что конструирование образа ребенка в советском радиовещании происходило в том числе в парадигме гуманистических взглядов Я. Корчака, Д. Дьюи, Ф. Дольто, А. Швейцера. Радиопублицистами поднимались важнейшие и сегодня темы детского одиночества, семейного неблагополучия, социального сиротства. Диалог, игра, свобода творческого и личностного самовыражения рассматривались как основополагающие аксиологические аспекты в воспитании. Russian radio broadcasting has accumulated significant experience in creating programs of various formats and genres dedicated to the topic of childhood. At the same time, Soviet radio texts produced for adults and emphasizing the axiological basis of pedagogy have not yet been reflected in detail in scientific works. Today, some programs are integrated into the program networks, such as “Radio Russia”, “Orpheus”, “Avtoradio” and others, which contribute to the formation of a humanistically oriented personality, focusing on the intrinsic value of childhood, the rights and dignity of children. The circulation and reception of the experience of the Soviet broadcasting could improve the modern approach to covering issues of pedagogy, communication between adults and children, which is especially important within the framework of the current Year of the Family in the Russian Federation. In this article, the author examines radio texts of the Soviet era, mainly broadcast in the second half of the 20th century, including those by E. Aeurbakh, D. Kabalevsky, I. Gamayunov. Using historical-cultural, comparative, historical methods, the method of contextual analysis, the author comes to the conclusion that the formation of the image of a child in Soviet radio broadcasting took place, among other things, in the paradigm of the humanistic views of J. Korczak, D. Dewey, F. Dolto, A. Schweitzer. Radio journalists raised the most important topics of childhood loneliness, family troubles, and social orphanhood. Dialogue, play, freedom of creative and personal expression were considered as fundamental axiological aspects in education.
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Omelchenko, Tetyana. "Valeriy Sagaydachny: unknown pages of biography." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 191–202. https://doi.org/10.31318/2522-4190.2025.142.327893.
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The relevance of the study. The 85th anniversary of the birth of the outstanding Ukrainian pianist, Honored Artist of Ukraine, Professor of the Kyiv Conservatory Valery Mikhailovich Sahaidachny (1939–2009) has brought to the fore the issue of studying and clarifying some facts of his creative biography. The name of the Ukrainian pianist Valeriy Sahaidachny is rightfully included in the book “2000 Outstanding Musicians of the 20th Century”. He was a bright performer, a subtle and thoughtful musician, who possessed a strong artistic temperament, an outstanding level of pianistic skill. During his creative life, he successfully performed in Ukraine, Spain, Germany, Poland, Greece, the USA, Canada,. He included the most complex works of a wide stylistic range in his solo programs, but he especially skillfully performed and interpreted the works of Chopin. Valeriy Sahaidachny raised a whole galaxy of bright students, many of whom are the pride of the Ukrainian piano school. The main objective of the study is to find out the circumstances of Sahaidachny’s life and education, in particular, the period of the artist’s initial musical education, which had not previously been covered in autobiographical materials. The methodology includes the method of biographical reconstruction. Based on archival documents from a private collection and the memoirs of Sahaidachny’s friends, it was possible to reconstruct this important chronological period in the formation of the musician, and for the first time to publish the name of his first teacher. In was Olga Antonivna Skoropostyzhna, student of Volodymyr Puhalsky. The memoirs of contemporaries and archival documents are presented, which testify to the progressiveness of her methodology for teaching piano, focused on involving the child in music lessons in early childhood. The level of her professional competence allowed to prepare the student for admission to secondary and higher musical educational institutions. The personality of Olga Skoropostyzhna is presented in the context of her friendly and professional ties with famous representatives of the national artistic elite: A. Artobolevska, S. Richter, D. Kabalevsky, the family of artists and art historians Prakhov. Results and conclusions. It is assumed that the name of Olga Skoropostyzhna was not made public by Valery Sahaidachny because of her husband, a priest — the rector of the Volodymyr Cathedral in Kyiv, the teacher at the Kyiv Theological Seminary: in the Soviet era of ideological persecution of the church and believers, such close communication with the priest’s family could have negative consequences for the person. Thus, a holistic idea is formed about the fundamental nature of Valery Sahaidachny’s primary and secondary musical education, the roots of which are closely connected with the Kyiv Piano School and its founder — Volodymyr Puhalsky.
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Caliga, Marina. "The Development of Dm. Kabalevskii Ideas in Contemporary Musical Pedagogy." Review of Artistic Education 17, no. 1 (March 1, 2019): 118–25. http://dx.doi.org/10.2478/rae-2019-0013.
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Abstract Musical pedagogy has a long way of training and development. Over the decades, we can follow schools, systems and personalities through which this area is grounded. Based on various factors, such as the geographical location, the purpose of the system or school pursued, the possibilities of interpretation, the contemporary musical pedagogy enumerates well-known personalities, on whose researches this field is based. Dm. Kabalevsky’s name and his successors notably record in the musical-educational system of the Republic of Moldova.
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Ge, Chang. "D. D. Kabalevsky’s Piano Suite “In the Pioneer Camp” Op. 3/86." Университетский научный журнал, no. 59 (2020): 116–21. http://dx.doi.org/10.25807/pbh.22225064.2020.59.116.121.
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Ge, Chang. "D. B. Kabalevsky’s Piano Sonata No. 1 and Problems of its Interpretation." Университетский научный журнал, no. 63 (2021): 147–53. http://dx.doi.org/10.25807/22225064_2021_63_147.
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Forrest, David. "The Relationship of Art and Education for the Development of Society: Reconsidering Kabalevsky’s Contribution." International Journal of Arts Education 7, no. 1 (2013): 17–24. http://dx.doi.org/10.18848/2326-9944/cgp/v07i01/36167.
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Paşca, Eugenia Maria. "Number 13 / Part I. Music. 9. A Research of The Musical Education at George Breazul and Dmitri Borisovich Kabalevski." Review of Artistic Education 13, no. 1 (March 1, 2017): 79–85. http://dx.doi.org/10.1515/rae-2017-0009.
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Abstract The musical language structure consists of living elements (because inside them the human`s musical language is synthesized), rich elements (because through them, people expressed their ideas and feelings), various elements ( as all cultures have formed and developed throughout history, their own and inexhaustible structures, transmitted through the ages, taken over, selected, enriched, extended). George Breazul was the first Romanian musician, who tried to conceptualize the embodiment of musical education through song, music play, and listening, starting from the specific acoustic universe, namely, children‟s folklore. Dmitri Kabalevski propsed the accomplishment of the musical education, based on the interpretation and listening of songs, belonging to a group of genders, which could represent musical styles and forms organized on themes. Originality and viability of the two visions, can be further noticed, because the logical organization of the acoustic material creates the circumstances for the listener‟s emotional auditory perception of the artistic message. The mutual interrelation and conditioning of elements which form the musical language generated the emphasizing and prominence of each one, within the musical speech, which is reflected in the educational process.
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Smirnova, M. V., and C. Ge. "Kabalevsky’s 24 Preludes for Piano and their Meaning for the Performing and Teaching Practice of China." Университетский научный журнал, no. 51 (2019): 55–62. http://dx.doi.org/10.25807/pbh.22225064.2019.51.55.62.
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Jing, Wang. "“YOUTH CONCERTO” FOR PIANO AND ORCHESTRA BY LIU SHIKUN AND A GROUP OF COMPOSERS: IMPLEMENTATION OF GENRE TRADITIONS." Arts education and science 2, no. 39 (2024): 147–55. http://dx.doi.org/10.36871/hon.202402147.
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The article is devoted to the “Youth Concerto”, one of the first examples of the genre in Chinese musical art, created by a group of Chinese composers: Huang Xiaofei, Pan Yiming and Song Yiling, led by composer and pianist, winner of the second prize of the First International Tchaikovsky Competition Liu Shikun. The Concerto complements a number of works for young people, initiated by the USSR, where D. B. Kabalevsky’s triad of instrumental concerts appeared at the turn of the 1940–50s. “Youth Concerto” is analysed from the perspective of the specifics of the implementation of the immanent features of the genre — game logic, virtuosity, competitiveness, concertation and improvisation. The musical text of the composition is also considered in terms of its content and formative features. There is a leveling of contrasts in it, both in thematic and ladotonal aspects. It is noted that the composers strive in the Concerto not so much to compare the parts of the soloist and orchestra, as to smooth out the contrasts between them, achieving parity in this regard. Stylistically, the Concerto belongs to the Classical-Romantic direction. It is emphasized that the influence of the Russian school of composition and, in particular, of P. I. Tchaikovsky is noticeable, which is especially evident in the second movement and the finale of the Concerto.
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Radzetskaya, E. A. "The genre of the cello sonata in the works of Soviet composers (on the example of D. Kabalevsky's Sonata for Cello and Piano)." Искусство и образование, no. 6 (2021): 62–67. http://dx.doi.org/10.51631/2072-0432_2021_134_6_62.
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Gatezh, Natalia. "CHARACTERISTICS OF THE BASIC FORMS AND METHODS OF TEACHING AESTHETIC CULTURE TO STUDENTS OF GENERAL SECONDARY SCHOOLS." Aesthetics and Ethics of Pedagogical Action, no. 16 (September 9, 2017): 147–56. http://dx.doi.org/10.33989/2226-4051.2017.16.175999.
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Today, the issue of cultural development of the younger generation as the future productive part of society is of particular relevance. An aesthetic culture of society, which in its turn influences the formation of elements of the aesthetic culture of the younger generation, plays an important role in the formation of a harmoniously developed personality. The education of a child's aesthetic culture begins in the process of socializing a young person with the help of traditional means, methods and forms of education.This problem is very well represented in the works of national and foreign educators and psychologists, such as, D. Jol, D. Kabalevskyi, N. Kiyaschenko, B. Likhachev, A. Makarenko, B. Nemenskyi, N. Pylypenko, I. Revenko, V. Sukhomlinskyi, G. Sotska, M. Taboridze, V. Shatska, A. Shcherbo and others. Methods of training and upbringing are studied by A. Aleksyuk, S. Arkhangelskyi, Yu. Babanskyi, V. Krayevskiy, I. Lerner, M. Makhmutov, V. Okon, V. Palamarchuk, M. Skatkin, V. Onyshchuk, A. Khutorsky and others The purpose of this research is a scientific theoretical substantiation of the basic forms and methods of education of aesthetic culture of students in the professional activity of the teacher of fine arts.Organizational forms of education of aesthetic culture include mass, group and individual; complex and simple; perception and study of aesthetic objects of reality and art, aimed at aesthetic creativity; management of the process of aesthetic education and teaching upbringing.Much of the literature considers acquaintance with works of art the basic method of aesthetic education, but the most appropriate and optimal are the methods described by B. Likhachev, who divided them into groups of methods of artistic and moral (pedagogical) influence. The artistic methods of aesthetic education include various ways of practical training of personality perception of a particular type of art. The second group of methods that provide aesthetic development and education of the aesthetic taste of the individual are methods related to the perception and analysis of artistic works. The third group of methods of aesthetic perception includes methods of organizing independent artistic and creative activity of the individual.Thus, education of the aesthetic culture of students of a general education school is a complex, multifaceted, purposeful systematic process that has its own peculiarities, principles, criteria and indicators. It is proved that achieving a high level of aesthetic education can only be done through thoughtful and appropriate use of appropriate forms and methods of education.
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Баева, А. А. "Kabalevsky, opera, time." Музыковедение, no. 6 (June 1, 2020). http://dx.doi.org/10.25791/musicology.06.2020.1129.
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Статья посвящена творчеству Д.Б. Кабалевского; основное внимание уделено его первому оперному опусу – примечательному явлению отечественного музыкального театра ХХ столетия. «Мастер из Кламси» и «Кола Брюньон» – таковы названия двух редакций оперы, в которых получили отражение характерные тенденции времени 1930-х–1960-х годов и претворились черты творческого дарования композитора. В статье поднимаются вопросы, имеющие отношение к обеим редакциям: Кабалевский и опера; связь с классическим русским искусством и освоение опыта современного композиторского творчества; особенности музыкальной драматургии; принципы подхода либреттиста (писателя и драматурга В. Брагина) и композитора к воплощению сюжета повести Р. Роллана «Кола Брюньон». The article is dedicated to D.B. Kabalevsky’s creative work; the main attention is paid to his first opera opus – a remarkable phenomenon in Russian musical theatre of the XX century. «The Craftsman of Clamecy» and «Colas Breugnon» – these are the names of two editions of the opera, in which the characteristic tendencies of the 1930s–1960s are reflected and the features of the composer’s creative talent have been brought to life. The article raises questions related to both editions: Kabalevsky and opera; connection with classical Russian art and mastering the experience of modern compositional creativity; the peculiarities of the musical dramaturgy; the principles of the librettist and composer’s approach to the plot implementation of R. Rolland’s novel «Colas Breugnon».
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"Sonnet VIII by William Shakespeare in Songs of Kabalevsky, Stravinsky and Mykietyn." Kwartalnik Młodych Muzykologów UJ 33ENG, no. 2 (2017). http://dx.doi.org/10.4467/23537094kmmuj.17.023.7852.
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Özer, Nilüfer. "A General Evaluation on the Piano Works of the Soviet Composer Dmitry Kabalevsky for Children and the Sample of the Piano Album “Thirty Pieces for Kids Op.27”." Education Quarterly Reviews 5, no. 4 (December 30, 2022). http://dx.doi.org/10.31014/aior.1993.05.04.608.
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Сафонова, Е. Л. "On the performing style of the Moscow violin school of the mid-20th century." Музыковедение, no. 6 (June 1, 2020). http://dx.doi.org/10.25791/musicology.06.2020.1130.
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Статья посвящена одному из главнейших аспектов московской скрипичной школы прошлого столетия. Она является кратким обобщением эстетико-стилевого феномена, воплощенного в музыкальном исполнительстве. Сам феномен московской школы обусловлен новым уровнем осмысления исполнительского процесса, глубоким осознанием взаимосвязи и взаимозависимости его различных компонентов. Цель исследования – показать, каким образом стилистика этого творческого направления сопряжена с историей и особенностями его становления, с традицией русской скрипичной школы Леопольда Ауэра. Системный анализ имеющихся звукозаписей скрипичных произведений (важнейшего источника исследования поставленной проблемы) выявляет богатую палитру индивидуальных исполнительских почерков и многообразие вариантов интерпретаций. Особое место в формировании современного скрипичного репертуара и обусловленных этим новых артистических признаков принадлежит сотворчеству крупнейших отечественных исполнителей и композиторов (Д. Ойстрах, Л. Коган, Д. Цыганов, Н. Мясковский, А. Хачатурян, С. Прокофьев, Д. Шостакович, Д. Кабалевский, Н. Раков, Э. Денисов, Т. Хренников и др.). The article is devoted to one of the most important aspects of the Moscow violin school of the last century. It is a brief generalization of the aesthetic-style phenomenon embodied in musical performance. The phenomenon of the Moscow school itself is due to a new level of understanding of the performing process, a deep awareness of the interconnectedness and interdependence of its various components. The purpose of the study is to show how the style of this creative direction is associated with the history and features of its formation, with the tradition of the Russian violin school of Leopold Auer. A systematic analysis of the available sound recordings of violin works (the most important source of research into the problem posed) reveals a rich palette of individual performing handwriting and a variety of interpretation options. A special place in the formation of the modern violin repertoire and the resulting new artistic features belongs to the co-creation of the largest domestic artists and composers (D. Oistrakh, L. Kogan, D. Tsyganov, N. Myaskovsky, A. Khachaturian, S. Prokofi ev, D. Shostakovich, D Kabalevsky, N. Rakov, E. Denisov, T. Khrennikov, etc.).
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Shishlyannikova, Nina. "МУЗЫКАЛЬНОЕ ОБРАЗОВАНИЕ В СОВРЕМЕННЫХ УСЛОВИЯХ: ТРАДИЦИИ, ПРОБЛЕМЫ, ПЕРСПЕКТИВЫ". Pedagogical Review, № 2(30) (16 квітня 2020). http://dx.doi.org/10.23951/2307-6127-2020-2-60-65.
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Обозначена проблема сохранения и развития традиций системы массового музыкального воспитания, созданной под руководством Д. Б. Кабалевского. Сформулированы ее достоинства и актуализирована необходимость поддержки музыкального и музыкально-педагогического образования в целях сохранения лучших традиций прошлого и внедрения инновационных технологий, в том числе с использованием цифрового инструментария для стимулирования формирования музыкальной культуры современных школьников средствами интерактивного музицирования. Выделена основополагающая характеристика профессии педагога-музыканта российской общеобразовательной школы – многопрофильность. Помимо общепедагогической подготовки, он обязательно должен владеть игрой на инструменте, четкой и выразительной дирижерско-хоровой техникой, профессиональным вокальным показом произведения, предназначенного для разучивания с учащимися; иметь основательную подготовку в области истории и теории музыки. Такую совокупность компетенций учителя музыки не формирует ни одна страна в мире. Данная многопрофильность, с одной стороны, создает трудности при подготовке будущего педагога-музыканта, с другой – обеспечивает возможность быть востребованным на рынке труда в качестве учителя музыки в общеобразовательной и музыкальной школе, музыкальным руководителем в дошкольном учреждении, руководителем хорового коллектива, исполнителем на музыкальном инструменте в оркестре.The problem of the preservation and development of the traditions of the system of mass musical education, created under the direction of D. B. Kabalevsky, is outlined. Its advantages are formulated and the need to support music and music-teacher education is updated in order to preserve the best traditions of the past and introduce innovative technologies, including using digital tools to stimulate the formation of the musical culture of modern students by means of interactive music making. Multidisciplinary is highlighted as the basic characteristic of the profession of a teacher-musician in Russian comprehensive school. Beside pedagogical training, a teacher-musician must play musical instrument, have expressive and clear choirconductor technique, be able to show vocal creations professionally in the sphere of school repertoire. Teacher-musician must have a profound background in the sphere of history and theory of music. Such a set of competencies of a music teacher is not formed by any country in the world. This versatility, on the one hand, creates difficulties in preparing a future teacher-musician, on the other hand, it makes it possible to be in demand on the labor market as a music teacher in a comprehensive school and music school, as a music director in a preschool institution, as a leader of a choir, and as a musician in the orchestra.
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Чжан, Ч. "МУЗЫКАЛЬНЫЕ КОНКУРСЫ И ФЕСТИВАЛИ ДЛЯ ДЕТЕЙ И ЮНОШЕСТВА В РОССИИ И КНР ВО ВТОРОЙ ПОЛОВИНЕ ХХ – НАЧАЛЕ ХХI ВЕКА". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 3(57) (30 вересня 2020). https://doi.org/10.26086/nk.2020.57.3.014.
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В данной статье рассматривается история становления музыкальных конкурсов и фестивалей, а также их организация и реализация на территории России и Китая, начиная со второй половины XX века и до начала XXI века. Также предлагается краткий экскурс в историю конкурсов и фестивалей, прослеживается их становление как культурной институции. Сравниваются подходы и цели организации музыкальных конкурсов, фестивалей и конкурсов-фестивалей. Проанализированы некоторые аспекты таких крупнейших конкурсов как юношеский конкурс им. П. И. Чайковского, международный конкурс молодых музыкантов им. Д. Б. Кабалевского, открытый юношеский фестиваль им. Гнесиных, Всекитайский детский и юношеский конкурс пианистов «Кубок Синхай», Шанхайский международный конкурс молодых пианистов и конкурс-фестиваль «Жемчужина Востока». На основе проанализированных данных сделаны выводы о различиях подходов к конкурсам в Китае и в России. В частности, для китайских организаторов важнее привлечь как можно больше участников и распространить искусство в широких кругах любителей на территории Китая. В России же конкурсы в первую очередь направлены на профессионалов, что привлекает меньше участников, но более высокого уровня, и вызывает интерес слушателей не только в России, но и за рубежом. This article analyzes the history of musical competitions and festivals as well as some aspects of the organization of such events in Russia and China from the second part of the 20th century till the beginning of the 21 st century. It is also given a short historical review of the children musical competitions and festivals as cultural institutions. Approaches and goals of organization of musical competitions, festivals and competition-festivals as combinations of both types of events in Russia and China will be compared. There were analyzed several aspects of the well-known competitions such as Tchaikovsky Youth Competition, Kabalevsky International Competition for Young Musicians, Gnessin Open Youth Festival, Chinese National Children and Youth Piano Competition «Xinghai cup», Shanghai International Music Festival and Piano Competition for Young Artists, and competition-festival «The Pearl of East». The analysis showed that Chinese and Russian approach to the competitions is quite different. Chinese organizers are focused on attracting as many participants as possible and expanding the popularity of piano playing through the nation. Contrary, in Russia competitions are organized in the first place for professional young musicians, what leads to less participants but of higher professional layer what arose huge interest in Russia and abroad as well.
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Uzunboylu, Prof Dr Huseyin. "Message from Editor." Cypriot Journal of Educational Sciences 13, no. 4 (December 26, 2018). http://dx.doi.org/10.18844/cjes.v13i4.3929.
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Dear Colleagues;
 It is a great honour for us to welcome you as Editor of Cypriot Journal of Educational Sciences, which has accepted publications indexed in qualified databases since 2006. Our main aim is to increase the quality of the journal day by day. We are ready to publish the new issue of Cypriot Journal of Educational Sciences, which has eight articles with authors from various countries. The aim of this issue is to give the researchers an opportunity to share their academic studies.
 A total number of forty-five (45) manuscripts were submitted for this issue and each paper has been subjected to double-blind peer review process by the reviewers specialized in the related field. At the end of the review process, a total number of twenty one (21) high quality research papers were selected and accepted for publication.
 
 First of all, I would like to thank all authors who have contributed to this issue . The focuses of the articles are varied. Investigating the Relationship Between Task Complexity, Cognitive Ability and Disorientation in Hypertext Navigation, Alper Bayazıt, Servet Bayram, Gonca Kızılkaya Cumaoğlu. Problem-based learning in secondary school: Status and prospects, Haris KH. Abushkin, Anna A. Kharitonova, Nikolay N. Khvastunov, Maksim V. Gorshunov. , Shadreck Mandina, Eshiwet Dube. Project technology in the development of communicative competence in schoolchildren: Extracurricular classes of Russian language, Guzel M. Nurullina, Alexandr F. Muraviyov, Anastasiya A. Martyanova, Iskander E. Yarmakeev. Can the storytelling strategy improve students story writing skills? An empirical study, Fatma Mohammed Alkaaf. Using wiki in the design of bilingual online course, Andrew V. Danilov, Rinata R. Zaripova, Nnamdi Anyameluhor. The Effect of Using Performance-based assessment Strategies to Tenth-Grade Students’ Achievement and Self-Efficacy in Jordan, Mohammad Ahmad Alkhateeb. Improving educational process quality in the lessons of natural and mathematical cycle by means of stem-training, Svetlana D. Chernyavskikh, Maxim A. Velichko, Irina B. Kostina, Yulia P. Gladkikh, Lyudmila V. Krasovskaya, Olga N. Satler. Classroom Management Problems Pre-Service Teachers Encounter In Elt, Kübra Keser. The Effect of Learning Styles on Prospective Chemistry and Science Teachers’ Self-Regulated Learning Skills, Sinem Dincol Ozgur. Subjectivity functions in reflexive and intercultural process of linguistic development, Irina Kondrateva, Diana Sabirova, Nailya Plotnikova. Primary School Students’ Mathematics Motivation and Anxieties, Yasemin Deringöl. Relationship between nomophobia and fear of missing out among Turkish university students, Nazire Burcin Hamutoglu, Deniz Mertkan Gezgin, Gozde Sezen-Gultekin, Orhan Gemikonakli. Discovering Learning Style with Active Music Education Practices, Kıvanç Aycan. Augmented reality in education researches (2012–2017): A content analysis, Mustafa Fidan, Meriç Tuncel. Meta-analysis of school leadership effects on student achievement in USA and Turkey, Sengul Uysal, Yılmaz Sarıer. Killing more than two birds with one stone: Teaching topical vocabulary through idioms, Anastasia S. Syunina, Iskander E. Yarmakeev, Tatiana S. Pimenova, Albina R. Abdrafikova. Examining self-regulation skills of elementary school students, Oktay Kızkapan, Oktay Bektaş, Aslı Saylan. Comparative analysis of musical-enlightenment concepts of L. Bernstein and D. Kabalevsky in Russian music education, Anastasia V. Mishina, Zilia M. Yavgildina, Rufina Ildarovna Samigullina, Tamara Yu. Melnik. Comparison of private-institute and public-school English teachers’ motivation towards teaching English in Iran, Shahram Alipour. Humour as a pedagogical tool in the teaching of English and German equivocal words, Alfonso Corbacho Sánchez, Luis Javier Conejero Magro.
 The topics of the next issue will be different. You can make sure that we will be trying to serve you with our journal with a rich knowledge in which different kinds of topics are discussed in 2018 Volume 13 Issue 4.
 I would like to present many thanks to all the contributors who helped to publish this issue.
 Best Regards, 
 
 Prof. Dr. Huseyin Uzunboylu 
 Editor in Chief
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Tetelea, Margarita. "Dimensiunea hermeneutică a educaţiei muzicale." December 18, 2019. https://doi.org/10.5281/zenodo.3582540.
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Hermeneutic interpretation of a musical image requires not only the pupil's intellectual background, but also the emotional and psychological affective, thereby building a beautiful soul. These problems were revealed in the creation of great teachers, musicians Hermann Kretzschmar (Germany) and Kabalevskii Dmitry (Russia).Comparative approach to music education concepts of these great personalities give us opportunity to see that both systems created, both in Germany in the early twentieth century and in Russia in the late twentieth century have the idea of a hermeneutic dimension of the process of establishing the music-pupil relationship. A hermeneutical analysis of the music claims a mixed landing: historical – the students will be able to determine the historical period, the aesthetical current of the musical work, important biographical data of the composer, circumstances that influenced the appearance of the musical work if necessary; musicological – the musical style, musical form, the content of the musical form, the elements of the musical language are studied; aesthetical aspects – that is able to form a personal attitude regarding the musical work.