Relevant bibliographies by topics / Modern music education

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Modern music education'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Modern music education"

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Akbarov, Bakhtiyor, and Mohicheha Abdulboqiyeva. "Factors For The Development Of Aesthetic Education In Modern Pedagogy." American Journal of Interdisciplinary Innovations and Research 02, no. 12 (December 30, 2020): 98–101. http://dx.doi.org/10.37547/tajiir/volume02issue12-14.

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The music lesson is a leading scholar in the system of music education, because it covers sounds in a general way. Music lessons are different from other science lessons in that they are less artistically interesting and give children more creative pleasure, arousing emotional feelings and figurative experiences. Music, in particular, has a great positive effect on the mental and moral development of children.
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Rybakova, E. L. "WORLD PRACTICES IN MODERN MUSIC EDUCATION." Научное мнение, no. 12 (2018): 38–41. http://dx.doi.org/10.25807/pbh.22224378.2018.12.38.41.

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Sinsabaugh, Katherine. "Music Partnerships— The Face of Music in Modern Education." Teaching Artist Journal 4, no. 3 (July 2006): 176–81. http://dx.doi.org/10.1207/s1541180xtaj0403_5.

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Ціхуей, Ван. "СУЧАСНІ МУЗИЧНО-КОМП’ЮТЕРНІ ТЕХНОЛОГІЇ: СУТЬ, РОЛЬ ТА ЗНАЧЕННЯ В СУЧАСНІЙ ПРОФЕСІЙНІЙ МУЗИЧНІЙ ОСВІТІ." Теорія та методика навчання та виховання, no. 47 (2019): 9–16. http://dx.doi.org/10.34142/23128046.2019.47.01.

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It was defined in the article that in recent years, the computer technology has been used in all areas of the profession, including the music industry. In light of this, there is a relevant need to study the problem of using music and the computer technology in the training of future musicians. Thus, some issues of the implementation of these technologies in the educational process were studied by I. Haydenko, I. Zabolotskaya, A. Markov, M. Podrazhanskaya, Sanyu Juan, M. Owl, Chen Zhuin, and others. However, the analysis of the scientific literature shows that the scientists interpret a concept of the computer and music technology ambiguously. Therefore, the research of the problem of the use of music and computer technology in the training of future musicians requires the clarification of the author’s point of view in understanding the meaning of the concept mentioned above. The purpose and the task of the article: to analyze the essence of the music and computer technologies, to reveal their role and meaning in the professional music education, based on the analysis of scientific literature. During the scientific research have been used the following research methods: general scientific methods (analysis, comparison, generalization) in order to study the scientific literature on the outlined problem and to determine the author’s point of view regarding the interpretation of the key concepts of the study, the disclosure of the role and importance of the music-computer technology in the music professional education. Based on the work of modern scientific works of Ukrainian and Chinese scientists, it has been established that the music-computer technologies are modern information technologies used in the field of music and, in particular, in the system of music education. These technologies play an important role in professional music education today, as they make it possible to significantly improve its effectiveness and to update a communication model between all participants in the educational process. It has also been found that the value of these technologies in the music industry is increasing year by year.
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Ivanovic, Marija. "Savremeni mediji u nastavi muzike – didaktičke specifičnosti i potencijali." Zbornik radova, no. 21 (December 2019): 227–42. http://dx.doi.org/10.46793/zbradova21.227i.

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The paper discusses the phenomenon of modern media today, as well as the possibility of their application in education, with particular reference to the technologies and potential of the Internet, social networks and applications in teaching music and learning musical contents. There was talk about didactic specifics and poten­tials of modern media in teaching music and how they can be integrated into teaching music. The aim of the paper is to provide an overview of the modern media that can serve the development and improvement of the quality of music education.
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Jun, Chen. "Music Education Research at the Impact of Modern IT." Advanced Materials Research 1044-1045 (October 2014): 1627–30. http://dx.doi.org/10.4028/www.scientific.net/amr.1044-1045.1627.

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Modern information technology to contemporary music education brings new wave of reform, the continuous improvement of music education plays an important role. Through changes in music education are analyzed to explore the impact of music education in the modern information technology under.
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Knapp, David. "Modern Band and Special Learners." General Music Today 34, no. 1 (July 18, 2020): 49–52. http://dx.doi.org/10.1177/1048371320942279.

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For the greater part of the past 50 years, music educators have advocated for contemporary approaches to music education that reflect the interests of students. This has recently manifested in an approach to music education that scholars call Modern Band. Though the term lacks any one definition, Modern Band classes typically involve popular music making with guitars, drum set, electric bass, and keyboard. Among the features of this approach is a student-centered orientation that is focused on the individual learner. Additionally, Modern Band is rooted in informal music-learning theory, which easily lends itself to the inclusive principles of universal design for learning and differentiated instruction. Because of this, Modern Band may be a perfect fit for inclusive music classrooms.
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Molzinsky, V. V. "Music education in modern Russia: problems and paradoxes." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 160–65. http://dx.doi.org/10.30725/2619-0303-2017-2-160-165.

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The system of musical education in Russia in 20th–21st centuries is analyzed from the perspective of the modern view of science. The basis of this research is based on the methods of historical, musicological and music-sociological analysis
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Huang, Hai Yan, and Zhong Chen. "Application Research of Information Technology in Music Education." Advanced Materials Research 1044-1045 (October 2014): 1577–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1044-1045.1577.

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The continuous development of information technology has been widely used in modern education sector. Music is in change mode of education reform period, the use of media technology in teaching effectiveness, improving fit and modern music teaching information, teaching resources are fully utilized. Information technology can be applied to many music teaching resources, especially the Internet and multimedia technologies, to expand the field of music teaching resources provide great help, plus many support computer hardware and software, will be the main future of music education reform measures.
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Byo, James L. "“Modern Band” as school music: A case study." International Journal of Music Education 36, no. 2 (September 16, 2017): 259–69. http://dx.doi.org/10.1177/0255761417729546.

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This purpose of this study was to uncover the nature and value associated with involvement in “Modern Band” (rock band), the primary, not supplemental, means to music education in one US school. The values that emerged—music, community, identity, teacher, and classroom management—overlap considerably with the benefits and values identified by adolescents in traditional concert band, orchestra, and choir. These results provide data worthy of consideration as readers ponder the viability of rock band as a medium of school-based music education and a way to connect meaningfully with more secondary-school students. Evidence suggests that if there are reasons to reject the rock band, the source for the skepticism should not be the values accrued and identified by its participants. This case is an example of meaningful, authentic, and valuable music education that is positioned between the extremes of formal and informal learning, process and product orientation, and teacher- and student-centered pedagogy.
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Dissertations / Theses on the topic "Modern music education"

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Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.

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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.
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Sieg, Morgan E. "Changing Tensions: The Use of Percussion in the Modern Dance Pedagogy of Franziska Boas." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587732772039277.

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Hwang, Shine S. "An Investigation of Intrinsic and Extrinsic Motivations in Middle School Modern Band and Advanced Choir." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978100.

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The purpose of the study was to investigate intrinsic and extrinsic motivational factors that influence middle school students’ enrollment decisions in either alternative (Modern Band) or traditional (Advanced Choir) music ensembles, as well as to explore external influences (peers, parents/family members, and the music teacher) on students’ performance and learning skills. The data revealed that common intrinsic motivators described by students from both ensembles included interest in music, developing playing/singing skills and improving performance skills, emotions toward performing, desire of career and personal enjoyment, and self-encouragement.

The participants included two eighth-grade students enrolled in Modern Band and two eighth-grade students from Advanced Choir, and both ensembles were taught by the same teacher in the same school in an urban area on the West Coast. The results indicate whether the motivations were internal or external, different levels of impact were seen on each student regarding decision-making, learning process, and performance skills.

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Ni, Yuan. "The Modern Erhu: Perspectives on Education, Gender, and Society in the Development of Erhu Performance." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1623253987334659.

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Davis, John Edward 1954. "The extended alto flute: The history and development of the alto flute, with a study of modern alto flute design and its effect on extended techniques in alto flute repertoire and pedagogical materials." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288758.

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The purpose of this document is to trace the origin of the modern alto flute from its beginning through Theobald Boehm's design, compare the designs and acoustical qualities of modern alto and c-flutes; identify the various types of extended techniques found in contemporary alto and c-flute repertoire with attention as to how the realizion of these techniques may differ for alto and c-flute; and survey representative works for alto flute that incorporate extended techniques. Chapter I follows the development of larger flutes from examples found in Renaissance-period sources up to the early nineteenth century. Chapters II and III discuss Boehm's design innovations, identify specific parts of alto flute design that distinguish it from the c-flute, in in aspects such as air column diameter and volume, tone hole location and diameter, and head joint design. Chapters IV through VII investigate the origins of extended techniques on alto and c-flute and include explanation of various monophonic, microtonal and multiphonic techniques, and identify differences between alto and c-flute responses in these areas. Chapter VIII examines representative solo and chamber works for alto flute that incorporate extended techniques, with descriptions of the techniques and a grading system that rates these works on their level of extended technique difficulty. Three appendices are included: Appendix A is a quarter-tone fingering chart for the alto flute; Appendix B is a listing of alto flute multiphonic fingerings: Appendix C is a listing of descriptive notes for the multiphonics in Appendix B.
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Nkosi, A. D. "Modern African classical drumming : a potential instrumental option for South African school Music curriculum." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43292.

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The Curriculum and Assessment Policy Statement or CAPS (which is the modified extension of the National Curriculum Statement policy), Music learning area, gives an option for Music learners to follow the Indigenous African Music (IAM) stream. This caters for them to be examined in African instruments. Currently, there are no available prescribed instrumental curricula in any IAM instrumental practices that learners can follow should they choose the IAM stream. Therefore, this research was prompted by the need for graded curriculum in IAM instruments for Music learners at the Further Education and Training (FET) level. This quantitative research focuses on the incorporation of contemporary African instrumental music practices in the modern Music curriculum as demanded by current trends, multiculturalism and multi‐ethnic societies with their emerging modern culture which to an extent nevertheless still embrace old traditions. The research is underpinned by the theoretical framework of multicultural music education. This study comprises two sections. Section one analyzes the dilemma that the South African Music curriculum faces when incorporating indigenous African instruments for examination at FET level and poses questions on how and which instrumental practices can be part of the possible solution. It revisits the epistemology of traditional African drumming and investigates how some of the traditional drumming practices have changed and are practised in the contemporary context. Section two introduces a contemporary African instrumental practice whose development is rooted in the generic traditional idioms of African drumming. This contemporary drumming style is not tied to a specific ethnic group but rather a creative continuum of African traditional drumming. This practice is explored as a potential instrumental option for the South African Music curriculum (IAM stream); through conducting of training workshops, progress survey and the evaluation of the implementation process of the pilot graded model curriculum. Lastly, pedagogical instructions on teaching, learning and evaluation of this contemporary drumming practice are provided.
Thesis (DMus)--University of Pretoria, 2013.
lk2014
Music
DMus
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Sellers, Crystal Yvonne. ""I Sing Because I‘m Free": Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249920108.

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Morrison, Becky L. "The chest voice function in the classically trained soprano| A survey of selected vocal pedagogy treatises from the seventeenth century through the twentieth century and recording analysis from 1900 to the present with discussion of the implications for the modern vocal pedagogue." Thesis, The University of Oklahoma, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590374.

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The purpose of this research is to document the use of chest voice in sound recordings of sopranos from the early 1900s through the twentieth century and to survey the vocal pedagogy informing performance practice of chest voice throughout the twentieth century. The research includes a survey of the chest voice in vocal pedagogy treatises from the seventeenth century through the twentieth century, and the performance practice of singers throughout the twentieth century in regard to the use of chest voice. The research also includes recording practices as they pertain to the different time periods of sound recordings used in this study. Three singers from each recording era are documented in regard to their rise to fame, voice teachers, training, use of chest voice in recordings, and approach to singing. Three arias will be used to trace the use of chest voice throughout the different eras of recorded history to document changes in style and approach to chest voice singing. The arias are "Una voce poco fa" from Rossini's Il Barbiere di Siviglia , "Salce, Salce" from Verdi's Otello, and "Air des bijoux" (The Jewel Song) from Gounod's Faust. The views about the use of chest voice over the past four hundred years inform the modern vocal pedagogue in regard to the changes in methodology, ideology, and practice due to the advances in vocal science and technology used to explore the voice and its function. However, until the beginning of sound recording the only form of documented historical performance lay in the opinions of critics and those who wrote about the performers of their day. In the research of this document the archival recordings provide the impetus for comparing vocal pedagogy instruction with performance practice in the use of chest voice.

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Clark, Adam. "“Modern Marvels:” A Pedagogical Guide to Lowell Liebermann’s Album for the Young, Op. 43." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212086531.

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Lewis, Joseph M. Jr. "The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.

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Books on the topic "Modern music education"

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The role of indigeneous music in modern African education: A Uganda and East African setting. Kampala, Uganda: Pelican Publishers Ltd, 2011.

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Chaddock, Katherine E. The multi-talented Mr. Erskine: Shaping mass culture through great books and fine music. New York: Palgrave Macmillan, 2012.

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Lemco, Gary. Nietzsche as educator. San Francisco: Mellen Research University Press, 1992.

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Paskevska, Anna. Getting started in ballet: A parent's guide to dance education. New York: Oxford University Press, 1997.

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Ofsted. Inspecting post-16: Music : with guidance on self-evaluation. London: OFSTED, 2001.

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Ofsted. Inspecting post-16: Music : with guidance on self-evaluation. London: Ofsted, 2001.

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The multi-talented Mr. Erskine: Shaping mass culture through great books and fine music. New York: Palgrave Macmillan, 2012.

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Ofsted. Inspecting post-16: Modern foreign languages : with guidance on self-evaluation. London: Ofsted, 2001.

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Ofsted. Inspecting post-16: Business education : with guidance on self-evaluation. London: OFSTED, 2001.

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Ofsted. Inspecting post-16: Business education : with guidance on self-evaluation. London: Ofsted, 2001.

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Book chapters on the topic "Modern music education"

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Matsunobu, Koji. "Creativity and Embodiment in Pre-modern Japan and Twenty-First Century (North) America." In Creativity in Music Education, 85–96. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2749-0_7.

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Houmann, Anna. "Traditional Musics in Music Education – The Sound of (R)evolution?" In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges, 113–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_8.

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Gustafson, Ruth Iana. "Folk Music and Dance: Imaginary Images of Modern Nationhood." In Exploring Diasporic Perspectives in Music Education, 43–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52105-9_3.

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Tullberg, Markus. "Meanings of Tradition in Swedish Folk Music Education." In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges, 129–39. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_9.

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Moore, Marvelene C. "Reflections on Traditional African American Music: Its Function and Relevance in Contemporary Music Education." In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges, 13–23. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_2.

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Ōtomo, Ayako. "Western Art Music in Pre-Edo and Meiji Japan: Historical Reception, Cultural Change and Education." In Music in the Making of Modern Japan, 13–37. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73827-3_2.

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Mapaya, Madimabe Geoff. "Misalignment of University-Based Music Education with Modern-Day South African Musical Praxis." In Listening Across Borders, 151–64. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429027215-10.

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Akuno, Emily Achieng’. "The Transmission of Traditional Music Through Composition in Higher Education in Kenya: Transforming Cultural Expressions." In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges, 57–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_5.

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Rioli, Maria Chiara, and Riccardo Castagnetti. "Sound Power: Musical Diplomacy Within the Franciscan Custody in Mandate Jerusalem." In European Cultural Diplomacy and Arab Christians in Palestine, 1918–1948, 79–104. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55540-5_5.

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AbstractAlthough often underestimated or barely quoted by historical studies, music plays a crucial role in the cultural agenda of Church institutions and missionary congregations. Among the Catholic actors, the Franciscan Custody of the Holy Land was a central one connecting two of their main goals: evangelisation and education. These two tasks were strictly linked: music was a central element in the liturgies celebrated in the parishes and in the Holy Places and at the same time a pedagogical tool, taught in the schools ruled by the Friars. Music reveals also the complex process of encounter of Palestinian and Western patterns in modern Palestine. In this way the music sung and taught in the St Saviour also contributed to shape the soundscape of Jerusalem. The chapter discusses various sources related to Augustine Lama, at that time the director of the schola cantorum of St Saviour.
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Kertz-Welzel, Alexandra. "Internationalization, Hegemony, and Diversity: In Search of a New Vision for the Global Music Education Community." In The Politics of Diversity in Music Education, 191–202. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_14.

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AbstractIn higher education, internationalization is often seen as an exclusively positive development, even though there has been increased critique. This critique concerns a superficial understanding of internationalization as copying what globally successful universities do, thus ignoring local or national needs. But it is also related to the danger of confusing internationalization with Anglo-Americanization, in general and in various fields such as music education. Therefore, an investigation of what internationalization is with regard to music education and how it could look differently is much needed. This chapter critically analyzes internationalization in music education. At the core is the question of how internationalizing music education can be shaped in a way that overcomes hidden structures of hegemony. This chapter envisions a culturally sensitive internationalization of music education which acknowledges various teaching and research cultures. A framework, suggesting conceptual categories such as educational transfer or global knowledge production, can facilitate the formation of a united, yet diverse, global music education community. Additionally, selected concepts of community are presented that can be models for what a culturally sensitive international music education community could look like.
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Conference papers on the topic "Modern music education"

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Rzeznik, Mariusz, Wojciech Zabierowski, and Andrzej Napieralski. "Music Education in the Internet." In 2006 International Conference - Modern Problems of Radio Engineering, Telecommunications, and Computer Science. IEEE, 2006. http://dx.doi.org/10.1109/tcset.2006.4404702.

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Liu, Chang. "Practical Situation and Application Suggestions of Orff Music Education in Enlightenment Music Education in China." In 2020 5th International Conference on Modern Management and Education Technology (MMET 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201023.017.

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Ma, Qun. "Adorno's Modern Music Attitudes in qIntroduction to the Sociology of Musicq." In 2015 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemet-15.2015.33.

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Huang, Jia. "Music Cognition in General Education at University." In Proceedings of the 2019 4th International Conference on Modern Management, Education Technology and Social Science (MMETSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/mmetss-19.2019.69.

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Wang, Fei. "Comparative Study of Sino-Russian Modern Wind Music Teaching." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.62.

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Li, Na, and Huihua Liu. "Research on Application of Music Games in Class Teaching of Music in Primary School." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.54.

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Lu, Yong. "A Study on Several Issues in Chinese Modern Music History." In International Conference on Education, Management and Information Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemit-15.2015.19.

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Zhao, Hui. "Research on the value of Modern Network Technology in Music Education." In International Conference on Education, Management and Computing Technology (ICEMCT-16). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemct-16.2016.279.

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Lu, Yong. "An analysis on the Status of Harbin Summer Music Concert in Chinese Modern Music History." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.7.

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Belonosova, Irina. "Chamber Music Art of Siberia Historical Pages and Modern Life." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.34.

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Reports on the topic "Modern music education"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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2

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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3

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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