Relevant bibliographies by topics / Music education theory

Contents

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

Academic literature on the topic 'Music education theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Music education theory"

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Jacobs, Jo Ellen, and Charles Plummeridge. "Music Education in Theory and Practice." Journal of Aesthetic Education 27, no. 1 (1993): 122. http://dx.doi.org/10.2307/3333354.

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Randles, Clint. "A theory of change in music education." Music Education Research 15, no. 4 (December 2013): 471–85. http://dx.doi.org/10.1080/14613808.2013.813926.

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Regelski, Thomas A. "Music and Music Education: Theory and praxis for ‘making a difference’." Educational Philosophy and Theory 37, no. 1 (January 2005): 7–27. http://dx.doi.org/10.1111/j.1469-5812.2005.00095.x.

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Schneider Grings, Ana Francisca, and Liane Hentschke. "Attributional Theory in investigating public music performance in higher music education." International Journal of Music Education 35, no. 1 (July 8, 2016): 31–46. http://dx.doi.org/10.1177/0255761415619393.

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The purpose of this research was to investigate the causes attributed by undergraduate music students to situations of failure and success in public music performance. Attributional Theory has been used in this research as the theoretical framework to understand how situations of success and failure are interpreted by the person of the activity. The analysis was conducted from an Intrapersonal perspective of motivation, i.e., how the attributions made by the students doing an undergraduate course in music revealed their notions and beliefs. The methodology used included a non-probabilistic survey and the data were collected through a self-administered questionnaire involving 130 undergraduate music students of southern Brazil. The results show that in situations considered to be successful, the most frequent attributed causes are effort (77.7%), persistence (65.4%), and interest in the performance (63.1%), whereas in situations considered to be failures the most important aspects are emotional (60.8%), difficulty of the task (36.2%), and lack of effort (30.8%). This research shows that students who have more musical experience regard their performances as good or excellent, whereas those that have little experience do not view themselves in this way. The data reveal that the greater the importance that is attached to an activity, the more time is spent on preparing for it; in the same way students tend to be more engaged with musical activities and devote more time to them when they are aware of their skills and value them. Music students feel responsible for their results, which shows that they are engaged in their learning and seek to satisfy an inner need to achieve success.
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Ghere, David, and Fred M. B. Amram. "Inventing music education games." British Journal of Music Education 24, no. 1 (February 9, 2007): 55–75. http://dx.doi.org/10.1017/s0265051706007224.

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The first British patent describing an educational game designed for musical ‘amusement and instruction’ was granted in 1801 to Ann Young of Edinburgh, Scotland. The authors' discovery of Young's game box has prompted an examination of the nature and purpose of the six games she designed. Ann Young's patent is discussed in the context of her cultural environment, the history of women inventors, and eighteenth century educational theory. The activities are compared with musical instruction games recently patented in the UK and the USA.
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Yang, Chenghai. "Enlightenment of Confucian Thoughts of Music Education on Contemporary General Music Education." Journal of Contemporary Educational Research 4, no. 2 (February 19, 2020): 35–39. http://dx.doi.org/10.26689/jcer.v4i2.1046.

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In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.
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He, Zhang. "Explore the Importance of Strengthening Folk Music Theory Learning in Music Lessons in Hohhot." Advances in Higher Education 3, no. 2 (October 10, 2019): 171. http://dx.doi.org/10.18686/ahe.v3i2.1440.

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<p>At present our country's arts school is pushing new education plan, this made the related concept art education as well as major changes have taken place in the education mode. Also let the school music education realize the meaning of folk music is important, in the process of teaching reform, the local folk music also showed a more important role. In this paper, through the study of the characteristics and connotation of the folk music, we will sort out how to strengthen the learning and promotion of the folk music theory in the school music education in Hohhot. Based on the combination of music education and folk music, a more practical and complete music teaching method and system is constructed.</p>
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Cain, Tim. "Theory, technology and the music curriculum." British Journal of Music Education 21, no. 2 (June 24, 2004): 215–21. http://dx.doi.org/10.1017/s0265051704005650.

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In this short article I present a case for developing a new theory of music education, arguing that advances in music technology have undermined some of the most basic conceptual frameworks we currently possess. I describe some problems that might make the development of a new theory difficult and suggest some ways in which they might be overcome. My hope is that this paper will inspire people to consider the development of such a theory.
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Son, Mi-Yi. "The study of Gordon’s music learning theory for early childhood music education." Korean Society for Child Education 27, no. 1 (February 25, 2018): 157–74. http://dx.doi.org/10.17643/kjce.2018.27.1.09.

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Swanwick, Keith. "Reflection, theory and practice." British Journal of Music Education 25, no. 3 (November 2008): 223–32. http://dx.doi.org/10.1017/s026505170800805x.

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A brief review of the state of music education in the UK at the time of the creation of the British Journal of Music Education (BJME) leads to a consideration of the range and focus of topics since the initiation of the Journal. In particular, the initial requirement of careful and critical enquiry is amplified, drawing out the inevitability of theorising, an activity which is considered to be essential for reflective practice. The relationship of theory and data is examined, in particular differentiating between the sciences and the arts. A ‘case study’ of theorising is presented and examined in some detail and possible strands of future development are identified.
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Dissertations / Theses on the topic "Music education theory"

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Goad, John C. "Dewey Meets Bluegrass: Progressive Educational Theory in the Establishment of Traditional Music Programs in Higher Education." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2506.

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The study focuses on connections between the Progressive era educational theories of John Dewey and present-day bluegrass and traditional music programs in higher education in order to explore a pedagogical basis for such programs. The research specifically examines Dewey’s beliefs in experiential learning, individualization, and vocational education and their current applications in traditional music education. The study included two major components: historical research into Dewey’s writings and primary and secondary sources regarding traditional music education in the United States, and interviews of faculty members in college and university bluegrass and traditional music programs. The thesis of this study is that experiential learning historically has been part of traditional music education and that it is an essential aspect of bluegrass and traditional music programs in higher education in the present day, leading to students taking part in meaningful learning experiences that contribute to their occupational goals.
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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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Wang, Qiaorong. "APPLYING AMERICAN PEDAGOGICAL APPROACHESTO FIRST-YEAR MUSIC THEORY CLASSES IN CHINESE COLLEGES." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1588705054276667.

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Ripley, Angela N. "Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.

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Billingham, Lisa Adalade. "The development of a gestural vocabulary for choral conductors based on the movement theory of Rudolf Laban." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290423.

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The purpose of this study was to create a conductor's gestural vocabulary that can be used to demonstrate stylistic elements in choral music. Specifically, the study assigned Laban Movement Theory elements of Effort and Body to specific choral music examples that demonstrate differences in articulation, rhythm and phrase shape. This study explored Laban Movement Theory and Bartenieff Fundamentals as they relate to body movement and application to the conducting gesture. Gestures were designed following musical analysis and subsequent study with Janice Meaden, an internationally recognized movement instructor and certified LMA/Bartenieff Movement Analyst. These gestures were based on Rudolf Laban's Eight Effort Elements in Combination (float, wring, glide, press, flick, dab, slash and punch). Modifications to the gestures were based from ongoing feedback from a college level choir. At the conclusion of the study, all gestures were evaluated in terms of their ability to communicate the desired response. Six of the eight designed gestures were deemed to be successful, with two needing further modification. Implications for teaching choral conducting as well as conducting choirs are drawn. Conclusions drawn from the study support the application of Laban Movement Theory to the conducting gesture as an useful tool for creating expressive conducting gestures.
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Haning, Marshall A. "The Role and Effects of Presentational Performance in American Music Education." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459179430.

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Cain, Timothy. "Mentoring trainee music teachers." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.

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This study analyses the relationships between Secondary school music trainee teachers and the mentors who are primarily responsible for training them to teach music. The methodology was an in-depth collective case study of a sample of trainee music teachers and their mentors, adopting primarily the methods of non-participant observations and interviews. The study is located within a review of pertinent theories of mentoring and an analysis of empirical research. This analysis compares studies of ITT mentoring in different contexts, and demonstrates that, despite the diversity of mentoring practice, research has produced findings which are consistent across two or more studies. The collective case study consists of five individual cases ofmentoring relationships, each of which is presented so as to preserve its individuality. The talk in meetings between trainees and their mentors is then analyzed drawing on Mercer's (1995) typology of classroom talk as exploratory, cumulative and disputational. The analysis shows that exploratory talk has an underlying structure which is missing in cumulative and disputational talk. Analysis ofthe talk also reveals three further types of conversation between mentors and their trainees which are characterised as solo conversations, short conversations and parallel monologues. The study has two major conclusions: first, that in mentoring conversations exploratory talk is more likely to promote productive reflection than other types of talk, and second, that the potential for exploratory talk to promote reflection may not be fully realised by music mentors.
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Clench, Renate. "Howard Gardner's multiple intelligences theory, outcomes-based education and curriculum implementation in South Africa : a critique of music education in the general education and training phase." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1218.

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This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.
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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.

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Kteily-O'Sullivan, Laila Rose. "Freshman Music Students' Identification With Expected Tasks in the Music Theory Class as a Relevant Part of Becoming a Musician." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc1038826/.

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The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).
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Books on the topic "Music education theory"

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Plummeridge, Charles. Music education in theory and practice. London: Falmer Press, 1991.

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Plummeridge, Charles. Music education in theory and practice. London: Falmer Press, 1991.

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Experiences in movement with music, activities, and theory. 2nd ed. Albany, N.Y: Delmar Publishers, 2000.

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Pica, Rae. Experiences in movement with music, activities, and theory. Albany: Delmar Publishers, 1995.

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Florida Symposium on Assessment in Music Education (2007 Gainesville, Fla.). Assessment in music education: Integrating curriculum, theory, and practice. Edited by Brophy Timothy S. 1952- and Albert Kristen. Chicago: GIA Publications, 2008.

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Music therapy education and training: From theory to practice. Springfield, Ill: Charles C. Thomas, 2011.

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Chapuis, Jacques. Jacques Chapuis prononça quatre conférences consacrées à la musicothérapie ... Lyons: Association internationale d'éducation musicale Willems, 1992.

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Bowman, Wayne D. Tacit learning, musical experience, and music instruction: the significance of Michael Polanyi's thought for music education. Ann Arbor: University Microfilms Dissertation Information Service, 1987.

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Dawson, C. J. Music education at a distance: A hub class trial in the study of music theory using communications technology : report. [Adelaide}: Education Technology Centre, Education Dept., South Australia, 1986.

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Houlahan, Micheál. Kodály today: A cognitive approach to elementary music education. Oxford: Oxford University Press, 2007.

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Book chapters on the topic "Music education theory"

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Varkøy, Øivind. "Saving Beauty in Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_683-1.

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Chong, Eddy K. M. "Revamping Music Theory for the Twenty-First Century Music Teacher in Singapore." In Education Innovation Series, 371–82. Singapore: Springer Singapore, 2013. http://dx.doi.org/10.1007/978-981-4560-55-9_35.

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Good-Perkins, Emily. "The Importance of Theory." In Culturally Sustaining Pedagogies in Music Education, 3–9. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003099475-1.

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Dirié, Gerardo. "Assessments for Music Theory: Three Situations." In Assessment in Music Education: from Policy to Practice, 207–19. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10274-0_14.

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Mangum, Charles Christopher, and Randall Everett Allsup. "Aesthetics Movement in North America and Reimer’s Contribution to Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–13. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_686-1.

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Pearson, Ingrid E. "Research Degrees in the Conservatoire Context: Reconciling Practice and Theory." In Research and Research Education in Music Performance and Pedagogy, 65–76. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_5.

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Ford, Biranda. "From a Different Place to a Third Space: Rethinking International Student Pedagogy in the Western Conservatoire." In The Politics of Diversity in Music Education, 177–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_13.

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AbstractConservatoires in the West are now made up of a significant body of international students who come to study the Western canon of classical music. With the canon arising in the same milieu as Enlightenment notions of shared humanity, historically, many have argued that this music has a wide, cross-cultural appeal. Though such tropes of classical music still exist, they also have the potential today to act as awkward anachronisms, markers of elitism, whiteness and cultural hegemony. This chapter starts from the perspective that the considerable economic contribution of international students to host institutions risks reproducing colonial relations if their pedagogical experiences are not thought through carefully. Looking to postcolonial theory to make sense of the dynamics at play, key concepts from Homi Bhabha are used as a lens to view the conservatoire. It is argued that international students are marginalized through stereotyping and positioned ‘in need’ of a Western education, even with attempts to bring their cultural experience of learning into account. I advocate that the conservatoire must move beyond its attempts to contain the effects of cultural diversity and instead harness the potential for self-renewal that comes from embracing cultural difference in a third space.
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Tan, ZhuWen, Yuan Tian, YingZhen Deng, and ZhenGuo Wu. "An Exploration of Vocal Music Teaching in College Based on Social Learning Theory with Information Technology." In Advances in Computer Science, Environment, Ecoinformatics, and Education, 43–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23357-9_9.

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Conference papers on the topic "Music education theory"

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Guo, Enzhe. "Inspiration of Gordon Music Teaching Theory on China�s Current Music Education." In 2014 2nd International Conference on Education Technology and Information System (ICETIS 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetis-14.2014.46.

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Qin, Ying. "On National Music Theory Teaching Reform in Colleges." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.402.

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Du, Shiwu. "Study on the Differences of Vocal Music Teaching and Vocal Music Singing Theory." In 2017 4th International Conference on Education, Management and Computing Technology (ICEMCT 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemct-17.2017.182.

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Viscardi-Smalley, Julie. "What Music Industry Education Can Learn from Threshold Concept Theory." In MEIEA Educators Summit 2018. Music and Entertainment Industry Educators Association, 2018. http://dx.doi.org/10.25101/18.15.

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Colla, Virginia C. "Rainbow Solfege: new perspective for color theory and music education." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464701.

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Tang, Bo. "Music Aesthetics to Music Art Practice Based on the Theory of Multiple Intelligences." In CIPAE 2021: 2021 2nd International Conference on Computers, Information Processing and Advanced Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3456887.3457508.

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Marrucci, Luca, and Erika Piazzoli. "Evaluating Learner Engagement in Arts Education: Perspectives from Music and Drama in Education." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5516.

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In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.
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Fu, Rong. "Study on Balance Theory in Vocal Music Piano Accompaniment." 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-15.2015.4.

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Medica, Reyhan Swarna, and Yudi Sukmayadi. "Learning Model of E-Learning Basic Music Theory for Elementary Students." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.058.

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Ma, Rui. "A SMALL-SCALE COMPARATIVE STUDY OF ONLINE HIGHER MUSIC THEORY COURSE AND PRACTICE COURSE." In INTCESS 2021- 8th International Conference on Education and Education of Social Sciences. International Organization Center of Academic Research, 2021. http://dx.doi.org/10.51508/intcess.2021238.

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Reports on the topic "Music education theory"

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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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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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