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Journal articles on the topic 'Performance musical instrumental e vocal'

Author: Grafiati

Published: 7 September 2021

Last updated: 29 July 2025

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1

Franco, Fabia, Marcia Chew, and Joel Simon Swaine. "Preschoolers’ attribution of affect to music: A comparison between vocal and instrumental performance." Psychology of Music 45, no. 1 (2016): 131–49. http://dx.doi.org/10.1177/0305735616652954.

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Research has shown inconsistent results concerning the ability of young children to identify musical emotion. This study explores the influence of the type of musical performance (vocal vs. instrumental) on children’s affect identification. Using an independent-group design, novel child-directed music was presented in three conditions: instrumental, vocal-only, and song (instrumental plus vocals) to 3- to 6-year-olds previously screened for language development ( N = 76). A forced-choice task was used in which children chose a face expressing the emotion matching each musical track. All perfor

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2

Wilbiks, Jonathan M. P., and Sean Hutchins. "Musical training improves memory for instrumental music, but not vocal music or words." Psychology of Music 48, no. 1 (2018): 150–59. http://dx.doi.org/10.1177/0305735618785452.

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In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of prev

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Semeniuk, Oksana. "Musical characteristics of Eliza Doolittle in the musical “My Fair Lady” by A. J. Lerner and F. Loewe and its vocal interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 72, no. 72 (2024): 131–48. https://doi.org/10.34064/khnum1-72.08.

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Statement of the problem. Due to the variety of singing techniques offered by the musical, including the transition from spoken to vocal intonation, it is a fruitful material for vocal interpretation, which allows the theater actor to expand the genre field of the repertoire and acquire new skills. However, the study of performance specifics of musicals is still an underdeveloped area of modern musicology. Recent research and publications, devoted to “My Fair Lady” concentrate on the “non-musical” aspects of the work – linguistic, social (Thern, 2018), and even pedagogical, which evaluates the

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Iniutochkina, Nina. "Algorithms of interpretation of poly-timber vocal and instrumental ensembles in the concertmaster class." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 27–46. http://dx.doi.org/10.34064/khnum1-70.02.

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Statement of the problem. A significant part of the repertoire in the concertmaster class is chamber vocal works that engage the synthesis of Word and Music, that is, the inseparable trinity of the poetic text, its vocal embodiment, and instrumental accompaniment, which calls for the need for accurate correlation of the efforts of the singer and concertmaster, the performers’ synergy. And although chamber vocal works mostly have purely piano accompaniment, in some cases a part of a string or wind instrument is added to it, and then the mentioned trinity of musical and poetic synthesis is compl

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Talam, Jasmina. "Creation, Transmission and Performance: Guslars in Bosnia and Herzegovina." Musicological Annual 51, no. 2 (2015): 203–21. http://dx.doi.org/10.4312/mz.51.2.203-221.

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Singing to accompaniment of the gusle is a very important form of vocal-instrumental performance in the musical tradition of Bosnia and Herzegovina. This paper will present historic sources and research on singing to gusle accompaniment, and the methods by which songs are created, transmitted and performed by guslars.

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Larikova, Liudmyla. "Women’s Bandura Ensembles. Aspects of Working with Small Vocal Ensembles." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 37–42. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260413.

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The paper describes the specific features in the functioning of women’s bandura ensembles. In particular, it gives a historiographical picture of vocal-instrumental bandura performance, describes the stages of academisation of women’ssinging in bandura ensembles, and overviews the main methodological approaches of work with women’s vocal-instrumental bandura ensembles. Women’s bandura ensembles as an academic genre trend of Ukrainian musical culture have three fields of study: vocal and instrumental (performers), genre and stylistic (composers), and social and educational (cultural). Also, it

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Lanina, T. O. "Theoretical Basis of Vocal Ensemble Performance." Musical art in the educological discourse, no. 2 (2017): 46–50. http://dx.doi.org/10.28925/2518-766x.20172.4650.

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The article covers scientific bases of contemporary vocal performing as a specific genre of music culture. The ontological, culturological, communicative and esthetical aspects of ensemble vocal performing are exhaustively presented. The literary works on history and theory of ensemble performing have been analysed. The focus has been placed on ensemble forms of vocal performing and vocal instrumental ensembles. The term ‘ensemble’ has been defined and genre characteristics of contemporary vocal ensemble have been singled out with further analysis of their distinctive structural features and f

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Ustinskaya, Ksenia I. "THE MAIN STAGES IN THE FORMATION OF EUROPEAN VOCAL ART: FROM ANTIQUITY TO MODERN TIMES." Arts education and science 3, no. 40 (2024): 75–82. http://dx.doi.org/10.36871/hon.202403075.

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This article is devoted to the development of vocal art from Antiquity to Modern times. The author analyses ancient sources from Greece and Rome, which for the first time in the history of European culture provide information about vocal skills. Particular attention is paid to the Middle Ages, when vocal and instrumental culture develops in parallel with sacred music. The Renaissance marks the emergence of new genres and forms of vocal music, such as opera and ballet. The author also draws attention to the formation of national vocal schools from the XVIIth century onwards, highlighting their

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Grechanivska, Tetyana. "Functional role of the cello in Handel's solo cantatas." Culturology Ideas, no. 22 (2'2022) (2022): 63–71. http://dx.doi.org/10.37627/2311-9489-22-2022-2.63-71.

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The article considers the functional role of the cello in the vocal-instrumental musical works of the Baroque period and attempts to shift the problem from the practical-performing background into the field of professional musicological discourse. Two Italian solo cantatas by G. F. Handel were chosen for analysis, in which the composer clearly structured and used instrumental accompaniment according to the stylistic norms of the instrumental and vocal ensemble of the 17th–18th centuries — as a dialogue of two voices accompanied by others. Emphasis is placed on the differences between the basso

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Vèrnia Carrasco, Ana. "La Expresión Corporal para Mejorar en el Aprendizaje Instrumental y Vocal en Educación Primaria." Open Journal of Music Education 1, no. 1 (2023): 3–26. http://dx.doi.org/10.61629/ojme.v1i1.23.

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In primary education, the musical training of future teachers with respect to their bodily perception requires a competency review and a curricular rethinking. Music, like any art, must be learned and taught from its global perception, in this sense, the body is a good tool for musical and vocal learning. Musicians, both teachers and students use the body as a tool of expression and communication, either in performance or in learning, for this reason, it is considered relevant that body expression is a part of musical education and training. Research in Dalcroze pedagogy in recent years shows

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11

Hamilton, Robert, Jeffrey Smith, and Ge Wang. "Social Composition: Musical Data Systems for Expressive Mobile Music." Leonardo Music Journal 21 (December 2011): 57–64. http://dx.doi.org/10.1162/lmj_a_00062.

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This article explores the role of symbolic score data in the authors' mobile music-making applications, as well as the social sharing and community-based content creation workflows currently in use on their on-line musical network. Web-based notation systems are discussed alongside in-app visual scoring methodologies for the display of pitch, timing and duration data for instrumental and vocal performance. User-generated content and community-driven ecosystems are considered alongside the role of cloud-based services for audio rendering and streaming of performance data.

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Macklin, Christopher. "Cross-Cultural Perspectives on Secular Vocal Performance in Early Wales." Journal of the Royal Musical Association 134, no. 2 (2009): 167–83. http://dx.doi.org/10.1080/02690400903109059.

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AbstractThere are many historical repertories of interest for which documentary evidence is scant. In such areas traditional models of musicological research, driven by notation, may be of limited use, and there is thus a need to develop alternative formulations for the relationship between the performance, the performer and the text. In this study, textual analysis and ethnographic comparisons of structurally similar performance cultures (namely, classical Greece and Rome and bardic traditions of south-eastern Europe and eastern Africa) are combined to examine one such tradition: the secular

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Irlandini, Luigi Antonio. "An introduction to the poetics of sacred sound in twentieth-century music." Revista Vórtex 1, no. 2 (2013): 65–86. http://dx.doi.org/10.33871/23179937.2013.1.2.430.

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Along the twentieth century has occurred the beginning of a fusion between two very different horizons: Western musical composition and Hindu sonic theology. The essential content of this theology and the changes in Western musical language and aesthetics, society and culture which have allowed this fusion to take place are briefly outlined. Instrumental and vocal works by Karlheinz Stockhausen, Giacinto Scelsi, Michael Vetter and David Hykes provide specific examples and, in particular, raise the predicament between mysticism and rationalism, manifested in the dichotomy ècriture/inspiration.

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Yanytskyi, Taras. "Technological Aspects of the Transcription of Musical Compositions for Bandura." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 155–61. https://doi.org/10.31866/2410-1176.41.2019.188677.

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The purpose of the article is to specify the approach to the interpretation of the expressive means, analyze and classify instrumental, instrumental and vocal compositions, provide recommendations on genre and style features of musical composition in the terms of contemporary instrumental transcription. The research methodology. The application of structural method as to the technological process of bandura transcription revealed expressive means which determined the quality of the process of transcription. The scientific novelty of the article is the development and systematization of the the

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Ildyrymly, Fidan. "Problems of variability of the musical genre reng in the mugham performing arts of youth." KANT Social Sciences & Humanities, no. 5 (January 2021): 68–74. http://dx.doi.org/10.24923/2305-8757.2021-5.7.

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Consideration of the variability of the musical genre of rang in mugam performing arts showed that ranks arose and developed in the art of mugam as a form of vocal-instrumental music. Their melodic structure is directly related to the sections of mugam. There are numerous varieties of this relationship. Based on the analysis of the musical notation of the ranks, it was determined that in practice of performing mugam the ranks are directly related to the vocal-instrumental mugam, and this is especially important for their compositional structure. In this regard, in almost every version of mugha

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TUNG, Dao T., and Liliya Z. BORODOVSKAYA. "Historical aspects of the formation of professional vocal music in Vietnam." Service plus 18, no. 1 (2024): 62–70. https://doi.org/10.5281/zenodo.10968179.

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This article examines the history of the formation of Vietnamese professional vocal music and the beginning of the development of instrumental jazz music in connection with vocal performance. Aspects of the classification of vocal genres and forms of performance are also revealed. The main objective of the work is to analyze the historical context of the formation of professional vocal culture in Vietnam in the 20th century. Professional academic, choral and mass pop music appeared in Vietnam in the 20th century during periods of significant historical events - colonial conquest, revolutions,

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17

Cherkasov, Volodymyr. "MUSICAL EDUCATION OF STUDENTS IN SCHOOLS OF THE REPUBLIC OF IRELAND." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 40–46. http://dx.doi.org/10.36550/2415-7988-2021-1-195-40-46.

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The article examines and summarizes the experience of music education of students in schools of the Republic of Ireland, highlights the main trends and approaches to the content of lessons and extracurricular activities with students of different ages, aesthetic education through music and the formation of European and national values. Vocal and vocal-instrumental ensembles are created. Participation in such groups requires knowledge of musical notation, mastering the technique of reading notes, mastering the skills and abilities to use the means of musical expression. In addition to rock musi

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DAS, ATIN, and PRITHA DAS. "FRACTAL ANALYSIS OF DIFFERENT EASTERN AND WESTERN MUSICAL INSTRUMENTS." Fractals 14, no. 03 (2006): 165–70. http://dx.doi.org/10.1142/s0218348x06003192.

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In this paper, we attempt musical analysis by measuring fractal dimension (D) of musical pieces played by several musical instruments. We collected solo performances of popular instruments of Western and Eastern origin as samples. We attempted usual spectral analysis of the selected clips to observe peaks of fundamental and harmonics in frequency regime. After appropriate processing, we converted them into time series data sets and computed their fractal dimension. Based on our results, we conclude that instrumental musical sounds may have higher Ds than those computed from vocal performances

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19

Ballard, Dennis L. "Relationships Between College-level Wind Instrumentalists’ Achievement in Intonation Perception and Performance." Bulletin of the Council for Research in Music Education, no. 187 (January 1, 2011): 19–32. http://dx.doi.org/10.2307/41162321.

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Abstract Undergraduate wind instrument majors’ (N = 60) perceptual and performance intonation achievement were measured and compared on four separate tasks. Paired tasks between perception and performance and between instrumental and vocal performances were included. Multiple tuning conditions (equal temperament, Pythagorean, and just intonation) were compared on both perceptual and performance tasks. No significant correlations were found between any of the four tasks. The influence of tuning condition was mixed with some advantage for equal temperament for performance. Vocal performances wer

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20

Sims, Wendy L., and Jane W. Cassidy. "Verbal and Operant Responses of Young Children to Vocal versus Instrumental Song Performances." Journal of Research in Music Education 45, no. 2 (1997): 234–44. http://dx.doi.org/10.2307/3345583.

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The purpose of this research was to investigate the effects of the presence or absence of lyrics in children s musical selections on two types of young children's responses to music. Of additional interest were differences in responses due to subjects' ages and genders. Two studies were designed to compare responses to recorded lullabies with the melodies performed either by a woman singing the lyrics or by a solo instrument. In Study 1, a pictographic rating scale was used to obtain like-dislike responses to 10 music excerpts from 40 children, ages 4 and 5 years. Results of a three-way repeat

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21

Danylets, Viktoriia. "The hutsul music features in the structural and stylistic context of the performing folkloryzm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 77–88. http://dx.doi.org/10.34064/khnum1-57.05.

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Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The

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Aikina, L. P., and Zh M. Baltabaev. "GENRE AND STYLISTIC FEATURES OF KAZAKH FOLK MELODIES." Topical Issues of Culture, Art, Education 3, no. 37 (2023): 7–17. http://dx.doi.org/10.32340/2949-2912-2023-3-7-17.

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Based on the analysis of sources on the research topic, the authors presented the main genre and stylistic features of Kazakh folk melodies and analyzed two components of the structure of musical culture. The emergence, development and current state of traditional genres of Kazakh vocal and instrumental music are considered in general terms. The main types and styles of vocal and nstrumental music are analyzed. It is determined that their development is associated with a change in the way of life of the people. Definitions are given according to the constituent features, forms and features of

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Kritskiy, Aleksandr B., and Boris D. Kritskiy. "Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue." Musical Art and Education 8, no. 2 (2020): 54–71. http://dx.doi.org/10.31862//2309-1428-2020-8-2-54-71.

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The article was written based on the results of a theoretical study by Boris Dmitrievich Kritskiy, my father, who proposed to introduce scientific terms “musical phonics” into the spheres of musicology, pedagogy of music education and performing arts. In his view, “musical phonics” should be considered as a field of scientific and methodical research of audio (instrumental, vocal-choral) design of the process of music performed. And the audio embodiment of the musical text as a relatively independent phenomenon in a broad interpretation is a phonic form. Vocal design of choral sound is a neces

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Kasyanova, Olena. "Polyfunctionality of Dance Scenes in Opera Performance." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 112–28. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284761.

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Peculiarities of the interpretation of dance scenes in today's opera performances are considered depending on their functional purpose. The specific characteristics of dance varieties are clearly marked: folk, characteristic, ballroom, classical, modern; methods of their application in accordance with the performance of dramatic tasks in the opera. Differences in the interpretation of ballet acts/paintings/scenes and dance numbers in musical and theatrical performances are outlined. The evolutionary changes of entertainment dance are considered depending on the design paradigm: from the creati

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Abdullaeva, Elmira Bashirovna. "RITUAL WORDS AND SONGS IN THE MUSICAL FOLKLORE OF THE DARGINS." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 28 (November 24, 2021): 79–86. http://dx.doi.org/10.31029/vestiyali28/15.

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The structure of the musical folklore of the Dargins is considered in accordance with the social organization, in relation to the levels of the rural community: tribal (tukhum), rural neighbor (jamaat) and inter-village (khureba). In the article, the author, basing on the field expedition material from the personal archive, focuses on the ritual genres of the tribal and calendar cycles that exist in both applied and ritual functions. In the ritual genres, the forms of performance are revealed, and the attachment of vocal and instrumental genres to gender and age groups is also traced.

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Sun, Bo. "Texture and harmony parameter of the vocal and performance style (a case study of G. Sviridov’s works)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 157–71. http://dx.doi.org/10.34064/khnum2-49.11.

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The article is devoted to the study of the role of harmony and texture in the process of forming the singer’s performance thinking. The relevance of the research topic is to justify the texture and harmony set of G. Sviridov’s vocal compositions as the basis for the formation of performance thinking. The problem for a vocalist lies in the fact that in the conditions of the complication of the musical language of chamber and vocal music of the 20th century, it becomes difficult to build a hierarchy of artistic image in the unity of vocal and instrumental framework. For a soloist, the texture as

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Sun, Bo. "Texture and harmony parameter of the vocal and performance style (a case study of G. Sviridov’s works)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 157–71. http://dx.doi.org/10.34064/khnum1-49.11.

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The article is devoted to the study of the role of harmony and texture in the process of forming the singer’s performance thinking. The relevance of the research topic is to justify the texture and harmony set of G. Sviridov’s vocal compositions as the basis for the formation of performance thinking. The problem for a vocalist lies in the fact that in the conditions of the complication of the musical language of chamber and vocal music of the 20th century, it becomes difficult to build a hierarchy of artistic image in the unity of vocal and instrumental framework. For a soloist, the texture as

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Crathorne, Tom. "‘JUST A WORD ON A STAVE AND THERE IS THE OPERA’: THE INTERACTION BETWEEN MUSIC AND LIBRETTO IN PHILIP VENABLES’ 4.48 PSYCHOSIS." Tempo 75, no. 298 (2021): 63–77. http://dx.doi.org/10.1017/s0040298221000401.

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AbstractThe success of Philip Venables’ opera adaptation of Sarah Kane's 4.48 Psychosis is underpinned by its powerful presentation of the play's text. This is predominantly facilitated by the other musical forces present, rather than through clever text-setting alone. Venables uses an array of timbral techniques, theatrical performance directions, referential sound effects, interactions with literary devices in the text and allusions to other musical genres in the opera to support and supplement his vocal writing. This article argues that the instrumental composition in 4.48 is critical in en

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Сідорова, Ірина, Ілона Науменко та Діана Стребкова. "УПЛИВ ВИКОНАВСЬКОЇ МАЙСТЕРНОСТІ КОНЦЕРТМЕЙСТЕРА НА ПРОФЕСІЙНУ ПІДГОТОВКУ МАЙБУТНЬОГО ПЕДАГОГА-МУЗИКАНТА". Мистецтво в культурі сучасності: теорія та практика навчання, № 4 (2 січня 2025): 45–51. https://doi.org/10.31652/3041-1017-2024(4)-06.

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The article substantiates the focus of the content of the concertmaster's performing skills on the professional training of future music teachers and teachers of art disciplines. The components of performing skill and professionally important performing qualities of a concertmaster in the process of collective music making are considered. The achievements of the concertmaster's uniqueness are characterized, which are manifested in his ability to accompany performers of various formations, including vocal and instrumental ensembles (violin, brass), choral groups and others. Particular attention

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Giga, Stepan, and Larysa Oparyk. "Methodical Aspects of Stylistic Attribution Arrangement of Pop-Vocal Composition." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 12 (December 13, 2023): 81–92. http://dx.doi.org/10.30819/aemr.12-7.

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The purpose of the research is to theoretically develop methods of characterisation and attribution of the style of arranging a pop-vocal composition. Based on the task of identifying active means of music expression, the most suitable methods for determining the characteristic features of style were used; the specific features of form, textural, temporithmic, timbre, melodic-thematic, and ladoharmonic organisation of the musical material of arrangement were analysed. As a result, the algorithm of analytical actions in the process of hearing expertise on the specific features of the musical la

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Ло, Ч. "Chamber vocal music." Modern Humanities Success, no. 2 (February 25, 2024): 277–83. http://dx.doi.org/10.58224/2618-7175-2024-2-277-283.

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камерная вокальная музыка является уникальным искусством, которое объединяет выразительность певческого голоса, художественные особенности поэтического слова и звуковую красоту инструментального сопровождения. Этот вопрос связан с взаимодействием слова и музыки, жанровой организацией текста и музыкальных источников, а также особенностями исполнения вокальных произведений. Особый интерес также вызывает популярная советская песня времен Отечественной войны под названием "Дороженька", которая приобрела широкую известность в Китае и была многократно обработана современными китайскими композиторами

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Mlynek-Kalman, Anna, and Jane Southcott. "Changing musical self-efficacy for Australian early childhood educators, teachers and carers." International Journal of Music in Early Childhood 18, no. 2 (2023): 145–64. http://dx.doi.org/10.1386/ijmec_00064_1.

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Early childhood educators (ECEs), teachers and carers in Australia have been developing an awareness and understanding of the fundamental importance of discovery play and process in various aspects of children’s learning since 2009. The focus in most areas of the curriculum has shifted from teacher directed rote learning, based on outcome or product to children’s playful, experiential, discovery processes in line with the Australian developed Early Years Learning Framework (EYLF). ECEs, teachers and carers have developed an awareness of process pertaining to most aspects of the early childhood

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Shevchenko, Liliia. "Sacred Origins of the Instrumental Multiplicity of the Musical Performances as Signs of Piano Playing." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 163–69. https://doi.org/10.31866/2410-1176.42.2020.207646.

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The purpose of the article is to identify the sacred and genetic features of instrumentalism, piano in particular, as the embodiment of Christian-vocal modelling of the play-breathing (mozartianism) and the revival of the original selfsignificant rhythmic and sound principle in the piano orchestration (beethovenianism). The research methodology is the phenomenological perspective of R. Ingarden’s aesthetics and philosophy and phenomenologically oriented art studies of B. Аsаfiev, N. Коryhаlоvа, V. Меdushevskij, E. Маrkоvа, and others, analysis, synthesis, and distributive methods, which

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Arefieva, Ye. "Systemogenesis of performing activity in the music of the XX century." Culture of Ukraine, no. 81 (September 21, 2023): 40–47. http://dx.doi.org/10.31516/2410-5325.081.05.

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The importance of determining the systemic determinants of cultural genesis of performing art in the context of the ecosystem approach to the interpretation of musical art is emphasized. The purpose of the article is to determine the system-making directions of the transformation of performing activity in music, in particular, in Kyiv vocal school as a phenomenon of sociocultural explanations of the leading determinants of musical synthesis — anthropological, semiological and visual turns. The methodology is determined by comparative and systemic approaches, which make it possible

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STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.

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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of p

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Haddon, Elizabeth. "Instrumental and vocal teaching: how do music students learn to teach?" British Journal of Music Education 26, no. 1 (2009): 57–70. http://dx.doi.org/10.1017/s0265051708008279.

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A survey of final-year music students at the University of York for the Investigating Musical Performance research project found that 45% (23 of the 51 students in the year group) regularly gave instrumental or vocal lessons. Semi-structured interviews with 16 students revealed a range of teaching activities including workshop leading, one-to-one lessons and group teaching. This paper examines the attitudes of the nine students engaged in giving instrumental lessons and explores their development as teachers and their understanding of some of the key concepts of teaching and learning. Findings

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Molchanova, Tetiana. "The Art of Travelling Musicians in the History of Joint Performance Establishment." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 1 (2023): 67–78. https://doi.org/10.31866/2616-7581.6.1.2023.277887.

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The purpose of the article is to analyze the art of travelling musicians – the ancestors of the participants of the joint game; to substantiate the origins and reveal the socio-cultural prerequisites for the formation of this type of performance, which has its roots in ancient civilizations. For the optimal solution of the outlined tasks, the researcher used methods, among which the main ones are source and systematic. The research methodology is to analyze the performing arts of the Ancient and Middle Ages, most clearly represented by the syncretic works of ancient poets,

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Movchan, Larisa Anatol'evna. "The specifics of teaching the techniques of conducting gesture in the "Choral conducting" classroom." PHILHARMONICA. International Music Journal, no. 1 (January 2024): 18–32. http://dx.doi.org/10.7256/2453-613x.2024.1.69898.

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The profession of conductor is one of the most important musical specialties in the world. The conductor plays the role of the head of the orchestra or choir, is responsible for the accuracy and expressiveness of the sound of the work, and serves as an intermediary between the author and the performer. The nature of the music and the performance interpretation depend on the correct work of the conductor. There is an educational side to the conductor's work. The choirmaster, engaged in teaching, solves a number of educational tasks. The article examines the specifics of teaching conducting gest

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Liu, Weijia, and Aspalila bt Shapii. "Study on Aesthetic Teaching Methods in Ethnic Music Teaching in Universities in the Context of Intelligent Internet of Things." Scientific Programming 2022 (August 22, 2022): 1–7. http://dx.doi.org/10.1155/2022/7901855.

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Folk vocal music is an important part of music majors in colleges and universities (CaU), and the core of music education is AE. Therefore, in vocal music teaching, students should be guided to understand the beauty of music and to use vocal performance as an aesthetic experience so as to cultivate their aesthetic appreciation ability. As one of the national musical instruments, Chinese Zither has a unique musical charm. Its traditional aesthetic value is high, which can bring people beautiful music enjoyment. This paper takes Chinese Zither as an example to study the aesthetic teaching method

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Malashevska, Iryna, and Larysa Kozhevnikova. "Health and Development Aspect of Performance Training of Future Teachers-Musicians." Professional Education: Methodology, Theory and Technologies, no. 15 (November 4, 2022): 150–63. http://dx.doi.org/10.31470/2415-3729-2022-15-150-163.

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The ways of optimizing the professional training of future music teachers are explored in the article. The purpose of the article is to actualize the direction of musical performance of future teachers-musicians in the direction of health and development. The research methods used were the methods of theoretical and critical analysis, synthesis, abstraction, concretization, etc. Results. The authors of the article states that it is generally known that the traditional performing training of music teachers consists of intellectual-cognitive, creative-interpretive and operational-performing comp

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Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.

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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific

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Liu, Xia. "The ballad as a narrative genre of the chamber-vocal music." Aspects of Historical Musicology 21, no. 21 (2020): 123–36. http://dx.doi.org/10.34064/khnum2-21.08.

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The ballad as a narrative genre of the chamber-vocal music. Logical reason for research. The relevance of the topic of the present research is due to the fact that in music the interaction of purely musical and extra-musical phenomena continues to remain in the focus of increased attention of the researchers who represent both musicology and other areas of humanitarian knowledge. This interaction has a synergistic effect, which lies in the fact that the combination of the simultaneous influence of words and music, integrated into a single whole, leads to a significantly greater effect of these

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Fabryka-Protska, Olha. "Functioning and Preservation of Ukrainian Folk Instruments on the Territory of Slovakia." Issues in Cultural Studies, no. 36 (December 28, 2020): 90–98. https://doi.org/10.31866/2410-1311.36.2020.221050.

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The purpose of the article is to summarize the functioning of Ukrainian folk musical instruments on the territory of the Slovak Republic and identify the areas of its today’s existence for further research. A comprehensive approach is the main principle of solving the task. The research methodology consists in using theoretical, historical, culturological, art studies approaches, which allowed revealing the interaction of trends represented by multicultural phenomena, as well as the relations between the ethnic groups, regions and countries. The article is based on the methodological pri

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Molchanova, Tetiana. "The Art of Travelling Musicians in the History of Joint Performance Establishment." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 1 (2023): 67–78. http://dx.doi.org/10.31866/2616-7581.6.1.2023.277887.

Full text

Abstract:

The purpose of the article is to analyze the art of travelling musicians – the ancestors of the participants of the joint game; to substantiate the origins and reveal the socio-cultural prerequisites for the formation of this type of performance, which has its roots in ancient civilizations. For the optimal solution of the outlined tasks, the researcher used methods, among which the main ones are source and systematic. The research methodology is to analyze the performing arts of the Ancient and Middle Ages, most clearly represented by the syncretic works of ancient poets, kithara players and

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Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory". Terminological Bulletin, № 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.

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The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical

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Zhang, Shuai. "An Ethnographic Exploration of Performance-Based Learning in Chinese University Music Education." Pacific International Journal 7, no. 4 (2024): 140–44. http://dx.doi.org/10.55014/pij.v7i4.664.

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This ethnographic study explores the impact of performance-based learning on music education at Langfang Teachers University in China. Through observations and interviews, the study examines how live demonstrations, student performances, and ensemble practices contribute to students' technical proficiency, musical interpretation, collaborative skills, and self-confidence. The findings reveal high levels of student engagement and appreciation for hands-on learning, with significant improvements in instrumental and vocal skills. However, challenges such as performance anxiety, resource limitatio

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Julian, Saputra, Prasetiadi Agi, and Kresna Iqsyahiro. "Acapella-based music generation with sequential models utilizing discrete cosine transform." IAES International Journal of Artificial Intelligence (IJ-AI) 13, no. 3 (2024): 3371–80. https://doi.org/10.11591/ijai.v13.i3.pp3371-3380.

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Making musical instruments that accompany vocals in a song depends on the mood quality and the music composer’s creativity. The model created by other researchers has restrictions that include being limited to musical instrument digital interface files and relying on recurrent neural networks (RNN) or transformers for the recursive generation of musical notes. This research offers the world’s first model capable of automatically generating musical instruments accompanying human vocal sounds. The model we created is divided into three types of sound input: short input, combed input,

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Khai, Mykhailo. "Nykolaieva by Prylypchany Brothers is a Pinnacle of World Traditional Instrumentalism." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 125–46. http://dx.doi.org/10.15407/mue2022.21.125.

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Instrumental perfromance of pastoral songs, especially in large-format recreational instrumental and dance activities, occupies a peculiar place among the unusual phenomena of traditional musical culture of Ukrainians alongside the ancient manifestations of musical-heroic epics – bylynas and dumas, and the renown culture of group singing – calendar and ceremonial-ritual melodies and lyrical-sub-vocal songs. In this article, on the basis of a unique Hutsul «performance» on three homogeneous instruments, where the three main functions (melody, «contra» / «second» and «bass») are executed on thre

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Ricciardi, Rubens Russomanno, Dorothea Hofmann, and Johann Sebastian Bach. "Requerimento ao Conselho da Cidade de Leipzig." Revista da Tulha 4, no. 1 (2018): 174–83. http://dx.doi.org/10.11606/issn.2447-7117.rt.2018.146610.

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Trata-se da tradução, com notas comentadas, feita por Rubens Russomanno Ricciardi e Dorothea Hofmann, de um requerimento manuscrito, redigido por Bach, em 1730, endereçado ao Conselho da Cidade de Leipzig. Não obstante se referir à música sacra, Bach se concentra em condições artísticas para a performance musical de seus conjuntos vocal e instrumental. Reivindica também um número maior de bolsas para seus alunos, bem como critérios mais rigorosos na admissão de estudantes para Escola da Igreja de Tomé. Por fim, Bach, em sua pedagogia, divide os alunos em três categorias: os utilizáveis, os ain

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Bonanzinga, Sergio. "Musical Mourning Rituals in Sicily. By Sergio Bonanzinga. Translated by Giacomo Valentini." Ethnomusicology Translations, no. 5 (January 18, 2017): i—93. http://dx.doi.org/10.14434/emt.v0i5.23159.

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This article surveys various vocal and instrumental performances (chants, laments, calls, sounds of church bells and drums, band music) connected to the ritual celebration and commemoration of the dead that are still characterized in Sicily by a manifest syncretism between Christian Church rules and folk customs and beliefs. These “sounds of mourning” are examined in terms of both their musical aspects and their social and symbolic functions, with special attention given to the changing dynamics between the present day and the recent past. The focus also extends to include celebrations in whic

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