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Journal articles on the topic 'Music performance pedagogy'
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Hastings, David M. "“With grace under pressure”: How critique as signature pedagogy fosters effective music performance." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 252–65. http://dx.doi.org/10.1177/1474022216652772.
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Inspired by seminal writings on Critique as Signature Pedagogy in the Arts and performance as Signature Pedagogy in Music, this article unifies these two concepts into a study of how critique as signature pedagogy in music-performance promotes student learning. This essay seeks to first define the notion of different mindsets as musicians perform and as they practice for performances, and then explores the role of critique in guiding students toward these music-performance ways of thinking and habits of mind. The essay defines four different ways of applying critique (teacher-coach critique, self critique, audience critique, and peer critique) as a key teaching practice or signature pedagogy in the music-performance discipline. Finally, the essay ends with a description of a learning experience that effectively illustrates this pedagogy in a studio class setting.
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Alves, Anderson César, and Marcos Nogueira. "Embodiment Consciousness in Music Performance Pedagogy." Empirical Musicology Review 19, no. 1 (October 7, 2024): 10–24. http://dx.doi.org/10.18061/emr.v19i1.9571.
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The acquisition of expertise in music performance and its pedagogy, depends on, beyond specific musical skills, employing resources from other fields of knowledge and considering sensory, motor, and affective capacities at each step of the music learning process. We studied the teaching practices of three expert clarinet teachers to investigate their didactic procedures, evaluating how those practices could be related to their students’ high levels of performance. The method gathered data from a “protocol joint analysis” and semi-structured interviews with teachers and their students. Data analysis revealed a particular set of pedagogical skills observed in the didactic procedures of these expert teachers. These teaching strategies were common to all three case studies and revealed themselves as a last didactic resource to overcome complex problems at the highest level of proficiency in musical interpretation. We call that pedagogical expertise field Embodiment Consciousness in Music Performance. This field of competence describes the systematic didactic use of metaphor to access performers’ sensorimotor and affective memories, whose semantic contents can thereby be accessed to support performance actions.
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Hidayatullah, Riyan. "Perspectives on Music Pedagogy in Informal, Performance-Based Learning." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 6, no. 1 (July 3, 2023): 57–67. http://dx.doi.org/10.26740/vt.v6n1.p57-67.
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Music learning practices in formal settings, for example, in the classroom, generally apply structured and systematic curriculum-based learning strategies. The entire learning process has generally been organized and implemented with guidance and supervision by the teacher. In Indonesia, music learning in formal schools still applies the standardization of Western music theory. In fact, music learning practices that offer local pedagogical values provide a very diverse portrait. In higher education, music learning that applies local pedagogy has been going on for some time. The Music Education Study Program (PSPM) of Lampung University is one of the tertiary educational institutions that has implemented music learning practices based on local pedagogy. Learning practices that are also performance-based are carried out with "informal" stages and processes. This notion means that local pedagogy is based on informal music practices in Lampung society. Informal music learning practices have not been recognized as the curriculum of formal institutions. This article looks at the concept of Lampung local pedagogy applied in music performance-based learning practices in formal areas. The central theoretical perspective in this research uses Green's (2008) thoughts on informal learning in the classroom. Data were collected through observation and in-depth interviews with lecturers and students of levels 2 and 3. As a result, the concept of local music pedagogy that takes place in music performance-based learning at PSPM University of Lampung (1) provides opportunities for students to learn while creating; (2) provides space for collaboration and social participation; and (3) strengthens peer learning in groups.
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Heisel, Erin. "Interdisciplinary and Relational Approaches to Embodiment Conscious Music Performance Pedagogy." Empirical Musicology Review 19, no. 1 (October 7, 2024): 34–37. http://dx.doi.org/10.18061/emr.v19i1.9576.
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In this commentary on the fascinating study completed by Anderson César Alves and Marcos Nogueira, I discuss two avenues for considering the complexities of embodiment conscious music performance pedagogy. In the first, I contend that music, including but not limited to, music performance pedagogy, is inherently interdisciplinary. In the second, I offer that music performance pedagogy, in particular “studio” or one-on-one pedagogy, is necessarily relational. It is my hope to add value to Alves and Nogueira’s work, while also broadening the lens through which we observe the competencies of both teacher and student within the private lesson context. I close with suggestions for future studies, continuing the important conversation around exceptional teaching and learning for musicians.
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Hauge, Torunn Bakken. "RHYTHMIC MUSIC PEDAGOGY: A SCANDINAVIAN APPROACH TO MUSIC EDUCATION." Journal of Pedagogy and Psychology "Signum Temporis" 5, no. 1 (June 1, 2012): 4–22. http://dx.doi.org/10.2478/v10195-011-0049-y.
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ABSTRACT Rhythmic music pedagogy is a relatively new Scandinavian approach to classroom music education that offers a variety of methods and strategies for teaching and learning music, especially within the performance of improvised and rhythmic music. This article is based on two earlier projects published in Norwegian, in which the concept of rytmisk musikkpedagogikk (or “rhythmic music pedagogy”) as well as its applications and implications were thoroughly described. This research confirms that rhythmic music pedagogy may be an effective strategy for learning music in general, but most especially for learning skills associated with ensemble musicianship and playing by ear. In a multicultural and fluid society in which there are tendencies toward passivity and fragmentation, it may be more important than ever to maintain the idea of music as a collaborative creative process that extends across borders; in this context, rhythmic music pedagogy can play a central role in children’s social development. As a social medium, ensemble playing requires the participant to decentralize socially, since the perspectives of the other participants are necessary for a successful performance. The activity’s general potential for re-structuring social settings and moving boundaries in a positive way should not be underestimated.
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Freer. "The Performance-Pedagogy Paradox in Choral Music Teaching." Philosophy of Music Education Review 19, no. 2 (2011): 164. http://dx.doi.org/10.2979/philmusieducrevi.19.2.164.
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Citron, Marcia J. "Feminist Waves and Classical Music: Pedagogy, Performance, Research." Women and Music: A Journal of Gender and Culture 8, no. 1 (2004): 47–60. http://dx.doi.org/10.1353/wam.2004.0004.
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Magid, Brandon A. "Beyond Bel Canto: Applications of Contemporary Commercial Music (CCM) Voice Pedagogy in the Secondary Choral Classroom." Music Educators Journal 110, no. 2 (December 2023): 54–58. http://dx.doi.org/10.1177/00274321231212773.
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Bel canto singing style is a foundational cornerstone for vocal technique in choral ensemble classes. Yet there are reasons to question whether bel canto pedagogy alone can help students navigate the many different genres they sing as part of a diverse and balanced curriculum. This article examines the specific performance demands associated with arranged spirituals, global musics, and popular styles and some ways students might benefit from further study of Contemporary Commercial Music (CCM) voice pedagogy when singing such genres in choir. Strategies for enabling students to healthily engage with CCM genres are also recommended.
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Pyrcz, Gregory E., Tessa Claire MacLean, and Mark E. Hopkins. "Demanding Epistemic Democracy and Indirect Civics Pedagogy: The Performance-Oriented Music Ensemble." Philosophical Inquiry in Education 24, no. 3 (July 20, 2020): 237–51. http://dx.doi.org/10.7202/1070609ar.
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The participation of young adults in performance-oriented music ensembles can be seen to enhance democratic capacities and virtues. Much, however, turns on the particular conception of democracy at work. Although contemporary currents in music education tend towards models of liberal and participatory democracy to govern music ensembles, this essay contends that demanding epistemic democracy allows performance-oriented music ensembles the achievement of democratic virtues without sacrificing excellence as a central regulatory ideal. The inclusion of both men and women is shown to be particularly significant in this light. Central to its democratic epistemic ambition, the role of the conductor is considered in the last section of this article.
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Navon, Joshua. "Pedagogies of Performance." Journal of Musicology 37, no. 1 (January 1, 2020): 63–93. http://dx.doi.org/10.1525/jm.2020.37.1.63.
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The development of modern styles of elite music education played a crucial role in entrenching Werktreue as the dominant practice within classical music performance. Focusing on Germany’s first conservatory, the Leipzig conservatory, which was founded in 1843, this article analyzes how Werktreue, understood as a set of tacit competencies and sensibilities that must be learned by musicians, was produced at a single historical site. Archival documents of the institution, as well as the correspondence and writings of teachers and students like Felix Mendelssohn, William Rockstro, and Ethel Smyth, show that the central objective of musical pedagogy was the faithful interpretation of musical works. Isolated as a discrete subject of training, performing musical works also functioned as the principal mode of student assessment through semesterly examinations. To transmit the necessary skills for this paradigm of performance, pupils’ bodily capacities (Technik) and ability to understand and interpret canonic compositions (Vortrag) became essential targets of conservatory pedagogy. Ubiquitous visibility among students, and the intense competition that this visibility engendered, went hand in hand with institutionalizing styles of musical expertise that continue to this day. In exploring these developments, this article asks how the productive power of modern conservatory training contributed not only to Werktreue’s rise over a wide geography, but also to the remarkable stability with which it has pervaded performance practice across multiple generations.
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Utne-Reitan, Bjørnar. "Music Theory Pedagogy in the Nineteenth Century." Journal of Music Theory 66, no. 1 (April 1, 2022): 63–91. http://dx.doi.org/10.1215/00222909-9534139.
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Abstract What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.
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Panova, Yuliyana. "FORMATION OF THE COMPETENCE OF FUTURE TEACHERS IN MUSIC FOR MODELING AND MANAGEMENT OF MUSIC-PERFORMANCE PROCESS." Education and Technologies Journal 13, no. 1 (August 1, 2022): 109–14. http://dx.doi.org/10.26883/2010.221.4141.
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The problem related to the competence of students – future music teachers to manage the music-performing process, led to the conduct of theoretical and diagnostic research on this issue. The research was carried out at the Faculty of Pedagogy of the University of Shumen „Bishop Konstantin Preslavski“ with students majoring in Pedagogy of Music Education, studying the discipline of Technology in choral singing and conducting. The research is related to the level of mastering knowledge and skills and the formation of competence for modeling and managing the musical-performing process of students. The result of the research is also revealed the essence and content of technology for modeling and managing a music performance process. This report presents the theoretical and methodological foundations of the formation of the derived and specifically developed characteristics of the competence and the respective competencies of the students for modeling and management of the musical-performing process.
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Youngblood, Felicia, Ramin Yazdanpanah, David Cobb, and Silviu Ciulei. "Live-streamed performance & intercultural education." Intonations 2, no. 1 (September 18, 2023): 24–44. http://dx.doi.org/10.29173/inton85.
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This article provides creative solutions for online world music pedagogy that were developed in response to the widespread need for digital education during the Covid-19 pandemic. Innovations in the synchronous presentation of online music courses and performances influenced the authors to collaborate on ways to create space for interaction between students and musicians who share their music and experiences as cultural experts. This approach led to the development of the World Music Guest Artist Series, which allows for experiential learning and intercultural exchange through live-streamed performances and interviews with musicians in various global genres and locations. In mapping out the process, experiences, and benefits of our partnership for educators, students, and musicians, we ultimately intend to showcase our model to higher music educators that endeavor to foster experiential learning and intercultural dialogue in their classrooms through collaboration with cultural mediators, whether in a virtual or in-person learning environment.
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Chen, Xi, and Loo Fung Ying. "Erhu Pedagogy: A Comparison of Qinfeng and Jiangnan Chunse." Global Journal of Arts Education 6, no. 2 (October 18, 2016): 64. http://dx.doi.org/10.18844/gjae.v6i2.956.
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This paper examines the area of erhu pedagogy, looking at the two different styles of Northern and Southern China: Qin pai and Jiangnan pai. The development of Qin pai erhu since the 1950s has resulted in a regional style that reflects a strong Shaanxi local folk and traditional music genre. On the other hand, Jiangnan music is widely developed in Shanghai, Jiangsu province, and Zhejiang province in the area of folk music. The musical style of Jiangnan is melodious, with simplicity as its main character. Past literatures reveals some insights into the different styles of erhu playing, however, a detailed performance practice of two major repertoires Qinfeng and Jiangnan Chunse is absent. This paper discusses the unique playing style and techniques of Qin pai and Jiangnan pai. The differences between the two are analysed based on two representative repertoires, Qinfeng and Jiangnan Chunse. Methodology includes observation, score analysis, transcription and a discussion that includes a self-reflexive account on the performance of the two pieces. The outcome highlights various pedagogical concerns regarding playing techniques, stylistic features and interpretation that provide a reference for future scholars and erhu players. Keywords: Erhu, Qin Pai, Jiangnan Pai, music;
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Maryatch, Anastasiya Y., and Tatyana A. Shipilkina. "Development of the professional culture of a music teacher among foreign students in the process of musical and instrumental training at a Russian pedagogical university." Tambov University Review. Series: Humanities, no. 194 (2021): 134–46. http://dx.doi.org/10.20310/1810-0201-2021-26-194-134-146.
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We examine some of the problems of the process of developing the professional culture of a music teacher among foreign students from the Chinese People’s Republic in accordance with modern trends in Russian pedagogy of music education; the concept of “culture of piano performance-intonation” is revealed as a necessary component of the professional culture of a music teacher. The goal is to substantiate the need to study the features of the development of professional culture among Chinese students, future music teachers, in the process of musical and instrumental training at a Russian pedagogical university. In the course of the research, the concept of “professional culture of a music teacher” is clarified; the features of the development of the professional culture of a music teacher, and, in particular, the culture of piano performance-intonation among Chinese students, as its separate component, are investigated; the conditions for the upbringing of the culture of piano performance and intonation among foreign students in the process of musical and instrumental training in a Russian pedagogical university are determined. The research methodology is based on the systematization of scientific and pedagogical knowledge in the field of musicology, pedagogy and psychology of music education, as well as the results of experimental work carried out over the past three years on the basis of the “Special Piano” Department of the Tambov State Musical Pedagogical Institute named after S.V. Rachmaninov and the Music and Methods of Teaching Music Department of Penza State University.
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Rubinoff, Kailan R. "Toward a Revolutionary Model of Music Pedagogy." Journal of Musicology 34, no. 4 (2017): 473–514. http://dx.doi.org/10.1525/jm.2017.34.4.473.
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Established in 1795 in the aftermath of the French Revolution, the Paris Conservatoire emerged from a training school for National Guard musicians. Aligned with the French Republic’s broader educational reforms, the Conservatoire was marked by its secularization, standardized curriculum, military-style discipline, and hierarchical organization. Among its most ambitious achievements was the publication of new instruction treatises from 1799 to 1814. Covering elementary theory, solfège, harmony, and all the major instruments, these methods articulated the Conservatoire’s pedagogy and circulated widely in nineteenth-century Europe. Hugot and Wunderlich’s Méthode de flûte (1804) exemplifies the Conservatoire’s approach, making a distinct break from methods published only a few years earlier: abstract technical drills predominate, evenness of tone quality in all key areas is emphasized, and the instruction of improvisation is curtailed. Airs, brunettes, and other pieces typical of ancien régime tutors are replaced with exercises demanding repetitive practicing. Meticulous instructions for the mastery of the flute’s four-key mechanism bear a striking resemblance to rifle-handling directions in contemporary military training and combat manuals by Jacques-Antoine-Hippolyte, Comte de Guibert, and others. The Conservatoire instruction manuals serve not only as guidebooks to historical fingerings and period performance style; they also can be read as social and political texts. Meant to advance a more rational music pedagogy, these treatises show the extent to which the military model permeated everyday life in post-revolutionary France. Further, they demonstrate a new conception of musical training beyond personal development toward the creation of professional musicians serving a patriotic, republican function. The treatise thus becomes what Michel Foucault calls a “simple instrument,” disciplining musicians’ bodies for the political goals of the state.
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RADU-GIURGIU, Cristina. "Emilia Petrescu – thoughts about Vocal Music and Pedagogy." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 155–62. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.17.
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In the middle of the communist era, a Romanian singer with talent, music knowledge and ambition, manages the performance of devoting herself to a vast concertrepertoire, not exactly a friendly one with the atheist views of the official doctrine of the proletariat, who recently was installed in Romania after the World War II. Her vocal repertoire included Songs (Lieder) and Oratory, represented by vocal-symphonic works mostly with religious content. But through a high level of professionalism, her well mastered vocal technique and a unique intelligence in mastering the musical phrase, also with a practical temperament, Emilia Petrescu manages to achieve a wide national and European recognition. This article aims to reconstruct some of the artist's thoughts on the art of singing, which I hope will be useful to new generations of singers."
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Riabova, O. "Collective Music Making as an Effective Means of Teenage Music and Style Notions Shaping." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 4(86) (December 21, 2016): 140–43. http://dx.doi.org/10.35433/pedagogy.4(86).2016.140-143.
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The article deals with the collective music making as an effective means of teenage music style notions shaping.
The author emphasizes the importance of teen age for music and style notions shaping of a person that is effectively implemented exactly under conditions of collective music making. The article states that the joint efforts of each team member achieve much better common results than individual attempts to implement their own musical style in performing activities of a teenager. The author stresses the importance of collective music for learning musical-historical, musical and theoretical knowledge, intonation and auditory and instrumental performing skills needed to perform style relevant music. The author believes the orchestra performance to be the highest and the most advanced form of collective music-making which is an effective means of forming professional skills of young musicians. The article states that playing in a chamber string orchestra corresponds the most to teen age peculiarities of music activity and promotes effective formation of all components of music and style notions.
Thus, collective music making realizes inherent need of teenagers for communication and is an effective means of formation of their music and style notions. As the highest form of collective music making, a performance in a chamber string orchestra is the most favorable way to master instrumental and technical qualities of musical styles and the most effective means of forming all components of music and style notions of teenage students.
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Abramović, Marina, Chris Thompson, and Katarina Weslien. "Pure Raw: Performance, Pedagogy, and (Re)presentation." PAJ: A Journal of Performance and Art 28, no. 1 (January 2006): 29–50. http://dx.doi.org/10.1162/152028106775329660.
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Mawer, Deborah. "Bridging the divide: embedding voice-leading analysis in string pedagogy and performance." British Journal of Music Education 16, no. 2 (July 1999): 179–95. http://dx.doi.org/10.1017/s026505179900025x.
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Experience as a music lecturer in higher/further education and as an instrumental teacher suggests that instrumental pedagogy – focused on strings – and music analysis could usefully be brought closer together to enhance performance. The benefits of linkage include stimulating intellectual enquiry and creative interpretation, as well as honing improvisatory skills; voice-leading analysis, particularly, may even aid technical issues of pitching, fingering, shifting and bowing. This article details an experimental curriculum, entitled ‘Voice-leading for Strings’, which combines voice-leading principles with approaches to string teaching developed from Nelson, Rolland and Suzuki, supplemented by Kodály's hand-signs. Findings from informal trials at Lancaster University (1995–7), which also adapted material for other melody instruments and keyboard, strongly support this perceived symbiotic relationship.
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Krasnoshchok, Kateryna, Olha Hryhoreva, Mariia Talvynska, and Anatolii Tarabanov. "PROFESSOR YULII VAKHRANIOV: THE ART OF PEDAGOGY AND PEDAGOGY IN ART." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 221–49. http://dx.doi.org/10.34064/khnum2-25.10.
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Statement of the problem. The professional activity and contribution of Professor Yulii Fedorovych Vakhraniov to the development of the Kharkiv piano school, musical pedagogy and domestic art studies has not yet been adequately covered. This challenge served as the main impetus of writing this work, which is a logical continuation of a number of studies devoted to the work of such outstanding piano teachers of Kharkiv National University of Arts as Regina Horovyts (Rudenko, 2001), Maria Yeshchenko (Kononova, 2009), Vsevolod Topilin (Pinchuk, 2012; 2018): Viktor Siryatsky (Sukhlenko, 2012) and others. The purpose of the study is to determine the role of the pedagogical and academic activities of Yu. Vakhraniov in the development of the Kharkiv piano school. The paper provides a brief analysis of the main scholarly studies of Yu. F. Vakharanev; an overview of his general pedagogical methods and principles due to which the article has a certain scientific novelty. Revealing the specifics of Yu. Vakhraniov’s pedagogical activity determined the application of general and special research methods, namely: historical, phenomenological and hermeneutic (interpretive) ones, the method of comparative analysis and systems approach when considering his pedagogical views and principles. Results. For many years of work, Yu. Vakhraniov has trained many professional musicians. He obtained multifaceted higher education: philological and musical, worked at Donetsk Music College, and then at Kharkiv Institute of Arts and Kharkiv Specialized Secondary Music Boarding School, graduated from the postgraduate studies at Kyiv Conservatory majoring in the History and Theory of Pianism (1969), defended his Ph.D. thesis (Vakhraniov, 1971) supervised by A. D. Alekseev. Later Yu. Vakhranev was awarded the academic title of a professor and for ten years he was the Head of the Special Piano Department (1977–1987) at Kharkiv Institute (University) of Arts. Among his fundamental research works, one should mention his reference book “Etudes, Op. 10 by Frederic Chopin” written in co-authorship with G. Sladkovskaya, monograph “V. Kosenko’s Piano Etudes” (1970), articles “National specifics of Igor Shamo’s piano work” (1969) and “Clavier and clavier music of Ukraine from the middle of the XVII – first quarter of the XIX century in historical and literary materials” (1992), monograph “The performance of music (Poetics)” (1994), which was not only a deep research work, but also a philosophical treatise. The work at individual piano lessons was substantiated from the view point of the concept and dramatization of the piece, its interpretative tasks; great attention was paid to the culture of sound, pedalization, development of various types of techniques, the art of mastering the key touch. Intonement inextricably linked with the art of sound production can rightfully be called the hallmark of the pedagogical principles of Yu. Vakhraniov. Each student was assigned individual tasks and he understood well the abilities of each of his students. When choosing a programme, the Professor followed a clear methodologically structured system of pieces, which belonged to different styles and corresponded to a particular epoch. Special attention Yu. Vakhranev paid to the development of industriousness and spirituality in his students. The conclusions emphasise the significant role of Yu. Vakhraniov in the development of the Kharkiv pianistic school. The study of his main works on arts made it possible to identify the range of research issues that Yu. Vakhraniov was engaged in. Among them are studies of both samples of Western art and the work of domestic composers. In this connection, his monograph “The performance of music (Poetics)” deserves special attention. Comparison of pedagogical methods and principles, teaching moments and semantic accents, which were given special attention, as well as the general atmosphere of the lessons that remained in the memory of the students taught by Yu. Vakhraniov, made it possible to conclude that the teacher had a unique pedagogical system based on an intelligent approach to training professional musicians. The study considers the concept of “class” as a multidimensional phenomenon associated with the process of training future professional musicians. Expanded and rethought, it approaches the concept of “professional level”. If the “piano school” is a complex of traditions supported by subsequent generations and characteristic of a specific geographical place or educational institution, then the “class” is a pedagogical system headed by a specific representative of musical art: a teacher and a spiritual leader
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Dymnikowa, Maria, and Joanna Lasoń. "Neurodydaktyczne podłoże klasycznych zasad nauczania – uczenia się dla wykonawstwa solowych instrumentalnych dzieł muzycznych klasycznych." Studia Edukacyjne, no. 61 (June 15, 2021): 229–58. http://dx.doi.org/10.14746/se.2021.61.13.
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The article combines the classical didactics and neuro-didactics of pedagogical areas, music psychology and instrumental music pedagogy of classical music art areas.The methodological study concerns:– the theme as the process of solo instrumental classical music performance;– the subject as the neuro-didactic basis of classical teaching principles - learning in this process;– the pragmatic scientific novelty as the methodological development of a set of key elements of thelesson as professional workshop activities for this process, for universal use for all musical instrumentsperformed by solo classical music works, for various available forms of professional classicalmusic education;– the practical usage for different levels of classical music education, depending on the level of people’spreparation for solo instrumental classical music performance, and promotion of this activity.
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Moura, Nádia, and Sofia Serra. "Saxophone Players’ Self-Perceptions About Body Movement in Music Performing and Learning." Music Perception: An Interdisciplinary Journal 41, no. 3 (February 1, 2024): 199–216. http://dx.doi.org/10.1525/mp.2024.41.3.199.
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Quantitative studies demonstrate that performers’ gestures reflect technical, communicative, and expressive aspects of musical works in solo and group performances. However, musicians’ perspectives and experiences toward body movement are little understood. To address this gap, we interviewed 20 professional and pre-professional saxophone players with the aims of: (1) identifying factors influencing body movement; (2) understanding how body movement is approached in instrumental pedagogy contexts; and (3) collecting ideas about the impact of movements on performance quality. The qualitative thematic analysis revealed that musical features (i.e., musical character, dynamics) constitute a preponderant influencing factor in musicians’ body behavior, followed by previous experiences and physical and psychological characteristics. In the pedagogical dimension, participants presented an increased awareness of the importance of body movement compared to their former tutors, describing in-class implementation exercises and promoting reflection with their students. Still, a lack of saxophone-specific scientific knowledge was highlighted. Regarding performance quality, participants discussed the role of movement in facilitating performers’ execution (i.e., sound emission, rhythmical perception) and enhancing the audience’s experience. We provide insights into how professionals conceive, practice, and teach motor and expressive skills, which can inspire movement science and instrumental embodied pedagogy research.
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Deo, Aditi, and Lakshmi Subramanian. "Practice, performance and the archive: Cases from Indian classical music genres." Indian Theatre Journal 4, no. 1 (August 1, 2020): 11–17. http://dx.doi.org/10.1386/itj_00003_2.
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Given their emphasis on oral pedagogy and improvisatory approaches, Indian classical music genres present a challenge for constructing historically nuanced studies of musical practices, shifts in them over time and their links to broader developments. Much scholarship on Indian classical music tends to maintain loyalties to disciplinary silos such as social and cultural history, cultural studies and ethnomusicology, often sacrificing aspects of the spectrum of musical experiences. The dispersed nature of musical networks has meant that the archive for studying the phenomena of listening to, learning and disseminating music is fragmented, mobile and multi-local, not easy to capture with conventional methodologies of historical reconstruction or even purely ethnographic fieldwork. A central concern that drives the articles in this issue is a focus on exploring musical sound, repertoire and practices as archives. Such a focus raises two kinds of challenges. One is the identification of archives that can capture the ephemerality and immediacy of these musical practices; the other is the question of interpretive methods that can faithfully reflect the aesthetic and affective dimensions of musical practice. The contributors to this Special Issue explore a range of historical records centred on music ‐ notations, compilations, repertoires, biographies, texts, anecdotes, performances, recordings, pedagogic tools ‐ as their primary archives. Drawing upon disciplinary insights from cultural history, ethnomusicology and sound studies, and often in conversation with musicians and listeners, they offer conceptual and methodological lenses for reading such archives productively.
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Trehub, Sandra E. "Divergent Perspectives on Musical Knowledge, Expertise, and Science." Evolutionary Studies in Imaginative Culture 4, no. 2 (October 1, 2020): 121–34. http://dx.doi.org/10.26613/esic.4.2.194.
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Abstract I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral responsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature—brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in vocal performance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance.
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Quin, Rhythy. "East meets West: Investigating the state of DJing culture and turntablism pedagogy in China." International Journal of Music Education 39, no. 3 (February 10, 2021): 327–39. http://dx.doi.org/10.1177/0255761421990813.
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In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.
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Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.
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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.
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Howard, Karen. "From Veracruz to Los Angeles: The Tradition of Son Jarocho." Journal of General Music Education 35, no. 2 (December 7, 2021): 39–42. http://dx.doi.org/10.1177/27527646211066312.
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The African Mexican music tradition of son jarocho comes from the Veracruz region of Mexico. As a performance practice, son jarocho has strong ties to social justice and civil rights, and is a thriving genre both in Mexico and in the United States. This article includes teaching suggestions for guitar or ukulele lessons in general music settings for elementary or middle school level students. The phases of World Music Pedagogy are applied to several son jarocho resources.
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Warren, Richard A., and Meagan E. Curtis. "The Actual vs. Predicted Effects of Intonation Accuracy on Vocal Performance Quality." Music Perception 33, no. 2 (December 1, 2015): 135–46. http://dx.doi.org/10.1525/mp.2015.33.2.135.
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The belief that intonation accuracy is a key determinant of musical performance quality is ubiquitous in music pedagogy; nonetheless, empirical validation of this belief is lacking. We investigated the effects of intonation accuracy on perceived performance quality and assessed whether music professionals’ beliefs about the importance of intonation are consistent with these effects. In Experiments 1 and 2, participants listened to vocal performances that were in tune, moderately out of tune, or severely out of tune. Only severe mistunings caused decreases in performance quality ratings for intonation insensitive listeners (those who performed poorly on a mistuning detection prescreening). However, both moderate and severe mistunings were detrimental to the ratings of intonation sensitive listeners. These results indicate that moderate mistunings exert a negative influence on the perceived quality of a performance only if the listener can explicitly detect the mistunings. If a listener cannot explicitly detect the mistunings, those mistunings do not implicitly exert a negative influence on the perception of the performance. In Experiment 3, music professionals heard samples of performances from Experiments 1 and 2 in each intonation condition and were asked to estimate the impact of the mistunings on listeners’ ratings of performance quality. Their predictions were compared to the actual performance quality ratings obtained in Experiment 2. Music professionals overestimated the impact of moderate mistunings for both intonation sensitive and insensitive listeners, suggesting that music professionals may hold inaccurate beliefs about the importance of intonation accuracy in vocal performance.
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Lebler, Don, and Donna Weston. "Staying in Sync: Keeping Popular Music Pedagogy Relevant to an Evolving Music Industry." IASPM Journal 5, no. 1 (January 29, 2015): 124–38. http://dx.doi.org/10.5429/ij.v5i1.712.
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The Bachelor of Popular Music (BPM) program operates in purpose built facilities on the Gold Coast campus of Griffith University (Queensland, Australia). The degree design replicates how musicians progress outside formal learning contexts in an enhanced higher education environment, including self-directed and collaborative learning, participatory assessment, and critical listening as core activities. Graduates are independent musicians, having studied popular music history and analysis, audio production, songwriting and performance, ensuring competence in a broad range of popular music activities.
While the structure of the degree remains constant, the content and processes remain fluid in response to the rapid changes in the music industry. Reflecting the increasingly artist-driven nature of the industry itself, student consultation has provided the impetus for many of these changes. The primary goal of the program was, and still is, to produce graduates who are multi-skilled and able to engage effectively with the popular music industry, prepared to adapt to the changes that are characteristic of this dynamic field. This paper documents this process of change over a fifteen-year period, showing how pedagogy can respond to continually changing industry demands.
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Yudin, Aleksey. "Integration of Arts as a Method of Pedagogy of Musical Performance." Man and Education, no. 4 (65) (2020): 75. http://dx.doi.org/10.54884/s181570410020468-9.
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The article considers the possibility of integrating music and visual arts as a method of musical and performing training of Chinese piano students. Based on the common ideological and artistic attitudes of the "Mighty bunch" and the "Association of traveling art exhibitions", it is proposed to use the paintings of the Wanderers for a deeper penetration of Chinese piano students into the world of artistic images that reflect the peculiarities of Russian culture.
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Bishop, Laura. "Commentary on “Embodiment Consciousness in Music Performance Pedagogy” by Alves and Nogueira." Empirical Musicology Review 19, no. 1 (October 7, 2024): 25–33. http://dx.doi.org/10.18061/emr.v19i1.9575.
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This commentary on Alves and Nogueira (2024) proposes a potential approach to compare expert and non-expert music teachers’ use of embodied teaching strategies in one-to-one lessons with advanced performance students. The approach is hypothesis-driven, and builds on Alves and Nogueira’s theoretical framework of expert competency domains, as well as empirical studies of musical communication and one-to-one teaching strategies. It is argued that a comprehensive definition of embodied teaching strategies should be conceptualized in terms of the quality of teacher–student interactions and the measurable outcomes of those interactions, and that it should account for the wide range of verbal and non-verbal forms of embodied musical communication that arise.
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(Benno) Spieker, B. P. A. "Towards a sustainable, student-centred approach for technology-supported music education: A Dutch perspective." Journal of Music, Technology and Education 13, no. 2 (December 1, 2021): 263–86. http://dx.doi.org/10.1386/jmte_00026_1.
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Applying technology in music education is not always obvious for music teachers. Pre-service music teachers should be trained in technology-supported music pedagogy, but this requires more than isolated lessons, short projects and ad hoc support. This article reports on an exploration towards a structural implementation of digital pedagogy in higher music education (i.e. a bachelor of music in schools). This exploration was based on student-centred approaches that were iteratively developed over time and have been investigated through an action research strategy. The aim of this article is to inform about the design of the approaches, such as the structure of courses with its assignments, participants and external collaborations, and turning points and insights that steered the approach. Focus is put on the so-called technological pedagogical content knowledge (TPACK), technology acceptance and students’ motivation. In the end, this article presents recommendations for designing education that prepares students to enhance their practice with technology: (1) adapt to your students; (2) be concrete to your students; and (3) embrace collaboration. This article concludes with explaining the value of these recommendations beyond higher music teacher education by providing examples of how these recommendations can be translated to higher music performance education.
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Dong, Rui. "Music Teaching Management and Music Culture Communication Environment Based on Ergonomics." Journal of Environmental and Public Health 2022 (September 14, 2022): 1–10. http://dx.doi.org/10.1155/2022/4186092.
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Music education has a relationship that is mutually restraining and interdependent. The necessity of spreading music culture offers music education social relevance and existential value in the history of music culture’s growth, and the method of spreading music culture—music education—injects strength and life into the development of music culture. Music pedagogy is constrained by the evolution of music culture as a whole. In terms of music pedagogy, traditional culture and their peculiarities or qualities will have an impact on the creation of the curriculum content system, which is also the main topic of music teaching management. By using anthropometry, physiological and psychological measurement, etc. with the human body as the main body, ergonomics is the study of the reasonable coordination between the structure and function of the human body, psychology, mechanics, and music teaching methods in order to satisfy people’s physical and mental activities and achieve the best use efficiency. The focus should be on comfort, great performance, safety, and health. In order to create a model for evaluating the quality of music instruction, a back propagation neural network (BPNN) is optimised in this paper using an adaptive mutation genetic algorithm. According to the research, our approach outperforms the BPNN model optimised using conventional evolutionary algorithm by 20.21%. The convergence pace is 80.11% faster than the convergence speed of a conventional genetic algorithm. The comparative result demonstrates that the BPNN teaching quality evaluation model with genetic algorithm optimization based on adaptive mutation can produce a more logical scientific evaluation result for the quality of music instruction.
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Bendikova, S. I. "NEW CREATIVE TECHNOLOGIES AND METHODS OF MUSIC PEDAGOGY IN ISRAEL." Scientific Notes of Junior Academy of Sciences of Ukraine, no. 2(27) (2023): 13–20. http://dx.doi.org/10.51707/2618-0529-2023-27-02.
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Today, musical and pedagogical education holds an important place in the sphere of cultural achievements of the leading countries of the world. It is undeniable that the stage of development of any country is determined by its cultural level. Musical art plays an important role, as it is intended for an individual and has a huge effect on the formation of worldview values of young people. At the same time, it opens the possibility of a wide exchange between countries and peoples in the field of culture, because music is definitely a language of international communication. Despite the importance of scientific development in the field of music education and pedagogy, the issue of professional training of future music teachers in Ukraine and Israel remains underdeveloped. The study and analysis of new methods and trends in the field of music education determines the prospects for the further development of pedagogical thought. Comprehension of the new global pedagogical experience of different countries and comparative analysis of the theory and practice of educational activity spreads the worldview, enriches the experience, promotes the mastery of new methods and educational technologies, motivates and provides a new creative impetus of pedagogical development. The article is devoted to highlighting new methods of training future teachers of musical art in the process of professional training in a higher School of Art in Israel. The achievements in Israeli national system of music education are highlighted; the pedagogical problem of active perception organizing, and performance of musical works is creatively solved. The musical-pedagogical methods such as “mirror”, “plastic intonation”, and the method of body-oriented psychotherapy are considered. These methods are used in musical education for students of the Jerusalem Academy of Music and Dance, as well as in the education of children and youth in musical institutions of Israel.
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Whalley, J. Harry. "Metaphor in Music Pedagogy and Its Connection to Embodiment Consciousness." Empirical Musicology Review 19, no. 1 (October 7, 2024): 38–40. http://dx.doi.org/10.18061/emr.v19i1.9577.
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This paper provides a commentary on “Embodiment Consciousness in Music Performance Pedagogy” by Alves and Nogueira, developing the notion that metaphorical language and extra-musical information can allow expert teachers to convey various teaching strategies. I expand upon some of the themes that are addressed in the article and the concept of metaphor in particular. This opens up some interesting ideas around how metaphors are culturally understood phenomena, ones that expert teachers can use to their advantage. The authors provide a framework in which this can be understood in terms of embodiment consciousness. However, there is room for more nuance as it relates to process.
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Castanet, Pierre-Albert, and Mark J. Fasman. "Brass Bibliography Sources on the History, Literature, Pedagogy, Performance, and Acoustics of Brass Instruments." Revue de musicologie 78, no. 2 (1992): 332. http://dx.doi.org/10.2307/946990.
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Ornoy, Eitan, and Shai Cohen. "Tool for a real-time automatic assessment of vocal proficiency." Journal of Music, Technology and Education 14, no. 1 (April 1, 2022): 69–91. http://dx.doi.org/10.1386/jmte_00034_1.
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Over the years, a growing number of researchers have been developing models that would automatically generate assessments of music performances. Yet the number and usage of automatic singing evaluation systems is still rather rudimentary, addressing, for the most part, a limited amount of performance features and lacking verification. This study reports on a newly designed automatic singing assessment tool based on a score-based model and its validation. Short music segments (N = 2640) were gathered via recordings made by music education students (N = 55) of a specially inscribed vocal music excerpt. Recorded data evaluation was generated by a specially devised automatic tool as well as by three human experts, addressing pitch intonation (examined for its overall display, single note accuracy and interval manifestation), dynamics transmission and vocal resonation quality. Findings indicated a higher rating given by the experts in regard to pitch intonation and vocal resonation. However, a similitude was found for the dynamics transmission scoring, and a correlation was found for pitch intonation and the dynamics transmission scoring level: in both performance parameters, the higher the experts’ gradings were, the higher the gradings provided by the automatic tool. Results attest to the automatic tools’ qualification as an aid for human judgement of singing proficiency. The tool could assist investigations in various musical domains, such as music pedagogy, music performance or music perception research.
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Stepenko, E. A. "New Techniques of the Game and Technical Difficulties in Works for Wind Instruments of the Twentieth Century: Pedagogical Aspect." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 120–28. http://dx.doi.org/10.17922/2071-5323-2020-19-3-120-128.
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one of the main problems of music pedagogy was and still is the problem of mastering performing skills by instrumentalist students. This problem is particularly important when students master the modern repertoire, which differs from the classical one by the presence of new techniques and technical difficulties. The purpose of the work is to consider new playing techniques and technical difficulties in works for wind instruments of the twentieth century in the context of pedagogy and education. The results of the study: the modern repertoire, with rare exceptions, is mastered by performing musicians in music and pedagogical universities, and the entire previous period of study is devoted to playing works of baroque, classical and romantic musical styles. University teachers have to deal with students who are not prepared for the perception, understanding, or performance of music of the twentieth century. The novelty of the work consists in methodological recommendations for solving the existing problem.
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Millares, Myrtle D. "Towards a pedagogy of deviance." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 435–49. http://dx.doi.org/10.1386/jpme_00005_1.
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This article engages the narratives of three Toronto hip-hop artists to explore the pedagogical possibilities revealed through the processes of performance identity construction. By immersing themselves in hip-hop communities, artists learn ways of knowing and negotiating their place at the interstices of the normative frameworks that underlie their unique combinations of cultural contexts. Artists’ stories reveal how they bring themselves into being through movement and sound. These narrations of identity become indicative of an artist’s style through performative iterations embedded with the opportunity for enacting difference. For hip-hop artists, deviating from performative expectations is not a mere possibility, but formative intention in the tradition of the African American practice of Signifyin(g), as delineated by Henry Louis Gates, Jr. Conversations with hip-hop artists invite reflection on what we could accomplish through a music education pedagogy that cultivates creative deviancy that reveals, breaks open and overturns limiting conventions.
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Ількаєв, Олександр, and Алла Куліченко. "МУЗИЧНА ПЕДАГОГІКА ПІВНІЧНОЇ АМЕРИКИ ЗА ЧАСІВ КОЛОНІЗАЦІЇ." Педагогічні науки: теорія, історія, інноваційні технології 4, no. 138 (June 19, 2024): 152–62. http://dx.doi.org/10.24139/2312-5993/2024.04/152-162.
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The article dwells upon the evolution of music pedagogy in North America during the Colonial period. The study aims to highlight the development of music education in North America during this time and to identify the significant influences of European cultural heritage on the music pedagogy of the Indigenous peoples of North America. The authors have employed the following methods: systematization, analysis, and synthesis of historical, scientific, and pedagogical sources to generalize information on the outlined topic; historical and genetic analysis examines the impact of European notation systems and teaching methods on Indigenous traditions as well as the changes that occurred in musical practices during colonization; comparative analysis compares European and Indigenous musical traditions, particularly in the areas of vocal performance and pedagogical methods; cultural and contextual analysis addresses the social, cultural, and other conditions that accompanied music pedagogy during the Colonial period. The article provides a comprehensive analysis of how European musical practices were introduced and adapted within the colonial context, reflecting the complexities of cultural exchange and adaptation. The study focuses on transmitting European musical traditions, including instructional methods, notation systems, and musical repertoire, as they encountered the diverse cultural landscape of the American colonies. The article examines the role of music in colonial education, emphasizing its significance in religious instruction and socialization. It shows how hymns, psalms, and folk tunes were used in schools and religious settings to impart moral values and foster community cohesion. The impact of various European settlers is analyzed to reveal how their musical heritage influenced local pedagogical practices. Challenges such as geographical isolation, limited resources, and interactions with Indigenous populations are discussed to understand the adaptability of European music education practices in the colonial environment. The article also highlights the contributions of colonial educators and musicians who played a crucial role in shaping the musical education landscape. Future research prospects involve exploring contemporary educational practices in the context of historical influences and cultural changes, which will contribute to developing new approaches to music education that consider the diversity of cultural and social contexts. Key words: music pedagogy of North America, Colonial period, Indigenous peoples, European colonizers, musical traditions, cultural conflicts, assimilation, historical influence.
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Dolgushina, Marionella Y., and Anna A. Dolgushina. "Classical sonata form: the context of modern music-pedagogy experience." Tambov University Review. Series: Humanities, no. 4 (2023): 783–94. http://dx.doi.org/10.20310/1810-0201-2023-28-4-783-794.
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Importance. The range of issues of fortepiano pedagogy related to the development of the classical sonata form in succession with the composing and performing experience of the pre-classical period is considered. The problem of mastering the modern musical and pedagogical experience in the field of studying the classical sonata form in the fortepiano classroom is solved. Materials and methods. The semiotic approach to the musical text is used as the main methodological principle, as well as historical and cultural commentary and reconstruction of the authentic environment in which the classical sonata form was created and developed. The expediency of using the “quasi-score of the performing concept” in pedagogical communication is shown. The justification of the introduced concept contains various examples of reading the urtext. The proposed methods can be widely used in the sequential process of mastering a large form in an instrumental classroom. Results and Discussion. A useful result of the proposed approach is a meaningful attitude to performance technique as a resource for generating variants of the correct author’s interpretation of a work of art. Despite the fact that the large form is an obligatory part of music pedagogy, practicing musicians face problems of formal and semantic perception of the text in the process of participating in the dialogue environment “teacher – student”, “composer – instrumentalist”. By analogy with the term quasi-scores used in the art criticism analysis of a large form, the concept of “quasi-score of the performing concept” is introduced, which allows to enrich pedagogical communication with a large volume of historical and cultural information tied to the artistic text of the work and the technology of its performance. Concrete examples of the mutual influence of the largest representatives of the composer and performing practice of the 18th century are given and interpreted. Conclusion. The idea of the need to develop the ability of an instrumentalist to understand, hear and reproduce in performing practice the constructs of the musical language generated in the syncretism of the compositional and performing practice of the epochs of Johann Kunau, the Bach family, Domenico Scarlatti, Georg Friedrich Handel, Joseph Haydn, Muzio Clementi, Wolfgang Amadeus Mozart, Ludwig van Beethoven is argued.
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Yuehan, Chen. "The Infl uence of Russian Vocal Music on Chinese Vocal Pedagogy and Performance." Университетский научный журнал, no. 76 (October 24, 2023): 73–79. http://dx.doi.org/10.25807/22225064_2023_76_73.
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The article examines the infl uence of the Russian vocal school on Chinese culture in the context of vocal performance and vocal pedagogy. The history of the formation of Russian vocal traditions is touched upon, the process of their integration into Chinese society from the beginning of the 20th century to the present is analysed. The historical process of the functioning of Russian vocals in China is analysed both in general and through the example of the capital of Heilongjiang Province, Harbin – a city that has been considered the center of Russian emigration for more than a century. The specifi cs of teaching vocal performance to modern Chinese students in Russian higher educational institutions are considered. At the end of the article, it is concluded that the promotion of the Russian vocal school in China allows the traditions of Russian vocals to develop not only in Russia, but also abroad.
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Maryach, Anastasia Yuryevna. "On the question of the specifics of the performance-intonation of the piano music of the Viennese classics." KANT 39, no. 2 (June 15, 2021): 353–63. http://dx.doi.org/10.24923/2222-243x.2021-39.61.
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The purpose of the study is to identify the intonation and stylistic specifics of the performance-intonation of piano music of the Viennese classicism period. The relevance of the research is based on the existing need for the preservation, study and continuity of traditions, as well as the search for innovative technologies for mastering the musical and pedagogical repertoire of classical music. The research methodology is based on the results of experimental work on the research topic; systematization of scientific-pedagogical and scientific-theoretical knowledge in the field of education of piano performance culture-intonation of classical piano music. The scientific novelty lies in the systematization of ideas about the musical art and pedagogy of music education of the classical era, the specifics of piano performance-the intonation of classical music. As a result of the undertaken research, a method of educating the culture of piano performance-intonation of piano works by composers of the Vienna classical school-has been developed. It is concluded that the education of the culture of piano performance-intonation of classical piano works is impossible without a thorough knowledge of the specifics of the expressive means used by classical composers, intonation and stylistic features of classical music performance, technologies of performance culture-intonation of classical music. The results obtained can be used in the professional activity of a teacher-musician.
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Ван, Ч. "Performance and pedagogy of an ensemble of woodwind instruments." Management of Education, no. 2(48) (April 14, 2022): 37–43. http://dx.doi.org/10.25726/t5807-7274-9656-f.
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Кларнет – относительно молодой музыкальный духовой инструмент, который стал продолжателем исторического развития и начал активно использоваться в композиторском творчестве, а значит и в исполнительстве (создан этот музыкальный инструмент в середине XIX века). Для нашего исследования особенно интересным и значительным смысловым фактом является то, что использование этого колоритного по звучанию музыкального инструмента началось с ансамблевого исполнения, в группе духовых инструментов духового и оперного, а позже – симфонического оркестрах. Отечественная музыкально-исполнительская культура развивалась параллельно с мировыми жанрами, поэтому использование кларнета было естественным в ее исполнительской культуре, а с начала ХХ в. кларнет использовался в исполнении джазовой музыки, эстрадной и поп-музыки. В 20-е годы появляется промежуточный стиль между традиционным джазом и свингом, так называемый Чикагский стиль, в котором в оркестрах (этого музыкального направления) появляется (среди контрабаса, фортепиано, гитары) флейта. Выдающимся исполнителем стиля “free jass” (50-е – начало 60-х годов) был известный кларнетист Лео Райт, игра которого имела большое влияние на отечественных музыкантов. С целью реализации методики обучения игры на кларнете начинающих учеников было разработано компонентную структуру данного вида обучения, которое имело такие составляющие, а именно: познавательный ( что отражает потребность в коллективном исполнении музыкальных произведений и уровень овладения музыкально-историческими и музыкально-теоретическими знаниями), операционнотехнологический (овладение исполнительско-двигательными умениями и навыками, что отражает процесс "перекодировки звуковых образов в моторные", которые обеспечивают способность для создания условий для совместной ансамблевой деятельности; регулятивно-оценочный (отражает уровень сформированности способности к адекватной оценки результатов собственной деятельности ученика-кларнетиста, направленной на исполнение музыкальных произведений). The clarinet is a relatively young musical wind instrument, which became the successor of historical development and began to be actively used in composing, and therefore in performance (this musical instrument was created in the middle of the XIX century). For our research, a particularly interesting and significant semantic fact is that the use of this colorful-sounding musical instrument began with an ensemble performance, in a group of wind instruments of brass and opera, and later – symphony orchestras. The Russian musical and performing culture developed in parallel with the world genres, so the use of the clarinet was natural in its performing culture, and since the beginning of the twentieth century the clarinet has been used in the performance of jazz music, pop and pop music. In the 20s, an intermediate style appeared between traditional jazz and swing, the so-called Chicago style, in which the flute appears in orchestras (of this musical direction) (among the double bass, piano, guitar). An outstanding performer of the “free jass” style (the 50s - early 60s) was the famous clarinetist Leo Wright, whose playing had a great influence on Russian musicians. In order to implement the methodology of teaching clarinet playing to novice students, a component structure of this type of training was developed, which had such components, namely: cognitive (which reflects the need for collective performance of musical works and the level of mastery of musical-historical and musical-theoretical knowledge), operational-technological (mastery of performance-motor skills and skills, which reflects the process of "transcoding sound images into motor images", which provide the ability to create conditions for joint ensemble activity; regulatory and evaluative (reflects the level of formation of the ability to adequately assess the results of a clarinetist student's own activity aimed at performing musical works).
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Lukina, G. U. "ON THE METHODOLOGY OF V. V. MEDUSHEVSKY: TOWARDS FUNDAMENTAL PEDAGOGY." Arts education and science 3, no. 32 (2022): 29–39. http://dx.doi.org/10.36871/hon.202203004.
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The article is devoted to the scientific work of an outstanding Russian musicologist V. V. Medushevsky. The author reflects on the history of Medushevsky's search for an externalistic extension of musicology through complex interdisciplinary research, started in the 1960s. The author identifies the main stages on the way to creating a holistic methodology of comprehension of music and identifies the factors which influenced the maturation of his concepts of profound intonation, the intonation nature of musical form, synergistic and dialogic nature of music, the methodology of spiritual analysis of musical works and performance. V. V. Mendushevsky's ideas are considered both in terms of their novelty and their involvement in the tradition of Russian musicology, strengthening its unity with the Russian religious philosophical thought. The author pays particular attention to the specificity of the scientist's thinking, for whom the central point is the "theory of everything" — the general fundamental pedagogy of mankind.
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Krasovskaya, Elena P. "Development of Concentration Future Musician-Teacher in the Class of Solo Musical and Instrumental Performance." Musical Art and Education 7, no. 1 (2019): 132–52. http://dx.doi.org/10.31862/2309-1428-2019-7-1-132-152.
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The article examines the basic characteristics of concentration as most important property of attention of future teachers-musicians and the methods which help its effective formation during piano lessons. Studying of scientific approaches to this concept of a context of physiology, the general psychology, pedagogy showed that concentration acts as the most important psychological condition of deeper understanding of objects and the phenomena, optimum course of cognitive and practical activities of the person, especially in the course of the learning and creativity. A person activity, enthusiasm and continuing interest in a concentration subject help increase of attention concentration. The success of development of this property of attention in many respects depends on application by the teacher of special receptions for the organization of activity with an object, allocations in new aspects, their analysis and comparison, search for new properties of an object, ways and opportunities of its application or improvement. Special focus is placed on characteristics of the conceptual ideas of music pedagogy for development of attention concentration of students. The carried-out analysis of positions of authoritative representatives of performing art and music pedagogy showed that concentration is a starting point of musical and performing creativity and an important condition of efficiency of pianist work. Summarize experience of outstanding representatives of piano performance and theatrical pedagogy allowed to suggest the effective approaches to development of concentration as the significant quality in no small measure influencing disclosure of creative potential of future musician-teacher and defining a possibility of his productive self-realization in an instrumental and performing activity. The author comes to a conclusion that the ability to concentrate can be developed under the leadership of the teacher during training in a class, on rehearsals and also in homework when performing specially organized exercises. The persistence in mastering the concentration equipment by performance of specially organized exercises will allow the musician to operate consciously process of attention, it is essential to increase concentration time on the solution of a creative task.
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Bruder, Alexandra L., Akash K. Gururaja, Clayton D. Rothwell, Suzanne A. Baillargeon, Matthew S. Shotwell, Judy R. Edworthy, and Joseph J. Schlesinger. "The impact of formal musical training on speech intelligibility performance—Implications for music pedagogy in high-consequence industries." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54—A55. http://dx.doi.org/10.1121/10.0015519.
Full textAbstract:
In high-risk domains, accurate and timely communications while multitasking are necessary for safety and efficiency. Complex musical/acoustic environments cause hindered communication and awareness. This study used an audio-visual multi-tasking paradigm that examined speech intelligibility and if formal music training (FMT) can mitigate these challenges. Twenty-five students (16F/9M) from Vanderbilt University participated with varying levels of FMT: no FMT, 1–3 years, 3–5 years, and 5+ years of FMT. The study found that the degree of FMT significantly impacted non-response (p-value < 0.001). Among participants with no FMT, the presence of background music increased the odds of non-response by 1.5-fold (95% CI: 0.95, 2.37), conversely, participants with 5+ years of FMT had no decrease (OR: 0.97, 95% CI: 0.69, 1.36), showing that non-response in the presence of music worsens with each subgroup until 5+ years of FMT. The accuracy for all groups was similar ( p = 0.74) and the background music decreased accuracy for all groups (OR: 0.67, 95% CI: 0.58, 0.76). Although levels of accuracy were similar for all, the 5+ FMT group responded less frequently, which may indicate increased working memory (i.e., phonological loop) and meta-cognition, a valuable skill in high-risk industry. Future research can explore the pedagogy of musical training.
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Sveschynska, Natalia. "FORMATION OF CREATIVE-PERFORMANCE SKILLS OF FUTURE TEACHERS OF MUSIC ART IN THE PROCESS OF INSTRUMENTAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 133–37. http://dx.doi.org/10.36550/2415-7988-2020-1-190-133-137.
Full textAbstract:
The level of professional qualification of a music art teacher is especially evident at the stage of creative and performing activities, when the synthesis of pedagogical and creative-performing components of activity allows to achieve the artistic influence of musical art on the individual. Analysis of the activities of music teachers of different levels of skill reveal the unity of pedagogical and creative- performing aspects of skill, their equivalence and complementarity in achieving teacher interaction with students. It is extremely important to reveal the original features of the national musical art (performance, creativity), education in the context of all the real preconditions, trends, factors of their development. There is a growing interest in theoretical and methodological issues of pedagogy and performance in each of the professional music fields. Improving the instrumental and performing training of young professionals, their active involvement in the system of pedagogical activity is a complex dialectical process, which is manifested in various forms of performing skills. The most important component of a musician's professional development is perfect musical and performance training. Various aspects of this process (physiological, psychological and pedagogical, etc.) are studied in the works of Yu. Bay, V. Bilous, E. Yorkina, E. Gurenko, M. Davydov, V. Knyazev, V. Razhnikov, V. Samitov, G. Tsypin etc. Important didactic principles of music teacher's knowledge development are the young teacher's own creative, aesthetic and professional self-improvement, supplementing the personal information and methodological base, creating an individual mobile system of effective pedagogical knowledge and skills that meet specific tasks. Attending concerts of academic music, opera and musical-dramatic performances, etc. (together with students, colleagues, independently); instrumental music, group singing; acquaintance with new musical works of various forms, genres, styles; training and performance as a performer (performers) at local, regional and other conferences, festivals, concerts, performances, etc. actively contribute to the creative self-improvement of the music teacher.
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VELYCHKO, Oksana. "MUSICAL ART IN MIRROR OF ENLIGHTENMENT IDEAS." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 11–15. http://dx.doi.org/10.30970/vas.21.2023.12125.
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The article is devoted to the establishment of music – performing activities in the first half of the XVIII century. Developing pedagogy and music education received support educated society and royalty, which was an effective factor in the development of European performance. The subsequent capitalization of Europe laid the foundations for the process of specialization and division of labor in all spheres of human activity, in particular the differentiation of professions in art. Gradually there was a distinction between the professions of composer, performer and teacher.