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Journal articles on the topic 'Preparation of musical performance'
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1
Ezhova, Elizaveta A. "Choreographic preparation as a component of the musical artist’s professional education." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 133–37. http://dx.doi.org/10.30725/2619-0303-2021-2-133-137.
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Musical is one of the most colorful types of dramatic art. The harmonious combination of vocal, dramatic and choreographic performance enables you to immerse the viewer as much as possible in the era and plot of the performance. It is necessary to receive high-quality professional training in the field of vocals, acting and choreography in order that the actor could skillfully express the character and right emotions from a scene to the auditorium. There are various programs and technologies for preparing a musical artist and a musical theater artist in the modern Russian system of education. The article analyzes the amount of time allocated to the main disciplines in the training program of the «Musical Actor.» Basically, a significant skew goes towards acting, although the profession of a musical artist implies ownership of all components equally. The emphasis is mainly on acting, although the profession of a musical artist implies the possession of all components equally. The role of choreography in the preparation of the musical actor is not sufficiently considered and does not allow making educational process effective and full-fledged. The author of the article proposes methodological recommendations for synthesizing vocal and choreographic performance, which is an important aspect in the preparation of the musical actor
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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (July 2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.
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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The studies presented in this article investigate how musical symbols on the page are decoded into a musical response, from both a cognitive and neurological perspective. The results of a musical Stroop paradigm are described, in which musical notation was present but irrelevant for task performance. The presence of musical notation produced systematic effects on reaction time, demonstrating that reading of the written note, as well as the written word, is obligatory for those who are musically literate. Spatial interference tasks are also described which suggest that music reading, at least for the pianist, can be characterized as a set of vertical to horizontal mappings. These behavioural findings are mirrored by the results of an fMRI training study in which musically untrained adults were taught to read music and play piano keyboard over a period of three months. Learning-specific changes were seen in superior parietal cortex and supramarginal gyrus, areas which are known to be involved in spatial sensorimotor transformations and preparation of learned actions respectively.
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Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.
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Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.
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Cotterill, Stewart. "Preparing for Performance: Strategies Adopted Across Performance Domains." Sport Psychologist 29, no. 2 (June 2015): 158–70. http://dx.doi.org/10.1123/tsp.2014-0035.
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The ability to prepare effectively to execute complex skills under pressure is crucial in a number of performance-focused professions. While there is emerging evidence of best practice little research has sought to compare preparation strategies across professions. As a result, the aim of this research was to explore the approaches employed within a number of professions and whether there are similarities in the techniques and strategies adopted. Participants were 18 “performers,” purposefully selected from sporting, musical, performing arts, and medical domains. Participants were interviewed individually to gain an understanding of each participant’s preparation strategies and the functions these strategies fulfilled. The data were thematically analyzed using interpretative phenomenological analysis. Results suggest that there are similarities in both behavioral and mental strategies adopted across professions. Future research should seek to explore the transferability of developmental approaches.
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Davidson-Kelly, Kirsteen, Rebecca S. Schaefer, Nikki Moran, and Katie Overy. "“Total inner memory”: Deliberate uses of multimodal musical imagery during performance preparation." Psychomusicology: Music, Mind, and Brain 25, no. 1 (March 2015): 83–92. http://dx.doi.org/10.1037/pmu0000091.
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Taft, Seth A. "Harnessing Optimism in Response to Musical Challenges." Music Educators Journal 106, no. 2 (November 26, 2019): 22–27. http://dx.doi.org/10.1177/0027432119877924.
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Challenges are a constant across all kinds of musical contexts, and teachers are always looking for ways to help students overcome them. While there are many technical and pedagogical approaches to helping students achieve in music, psychology also plays a significant role in the struggles that students face. Counteractive optimism, the act of predicting success in preparation for completing a difficult task, improves performance in the face of challenge and serves as a vehicle for the development of self-efficacy, which has a powerful direct effect on overall performance outcomes. In this article, I explain counteractive optimism and self-efficacy, their benefits, and their direct applications to music.
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Turekhanova, Zh, and N. N. Khan. "PEDAGOGICAL GIFTEDNESS AS A FACTOR OF SUCCESSFUL PREPARATION OF STUDENTS OF ADDITIONAL EDUCATION FOR CONCERT PERFORMANCE." BULLETIN Series of Pedagogical Sciences 70, no. 2 (June 25, 2021): 56–64. http://dx.doi.org/10.51889/2021-2.1728-5496.07.
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This paper examines the features of the activities of a teacher of additional education related to the preparation of students for a concert performance and necessity of creating favorable conditions to the successful performance of students. The most common shortcomings in preparing students for performing in front of audience are identified, also the main stages of the musical teaching process are considered. In the course of analyzing the activities of a music teacher, it was revealed that in the structure of the organization of the musical teaching process when working with gifted students, it is important that the teacher has pedagogical giftedness, which includes a number of pedagogical abilities. On the basis of the studied materials and the experience of foreign countries, the author proposes, on the basis of a bachelor's degree, to enter a course of major disciplines such as psychology of musical and pedagogical activity, psychological and pedagogical workshop and the art of teaching stage performance, and for acting teachers on the basis of children's music schools, to introduce an advanced training course of psychological and pedagogical support of students in the conditions of concert activities for teachers of additional education.
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Barbeau, Audrey-Kristel, and Roger Mantie. "Music Performance Anxiety and Perceived Benefits of Musical Participation Among Older Adults in Community Bands." Journal of Research in Music Education 66, no. 4 (September 28, 2018): 408–27. http://dx.doi.org/10.1177/0022429418799362.
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The purpose of the current study was to examine music performance anxiety and self-reported reasons for participation among members of older adult community bands. We asked 35 New Horizons Band members aged 65+ questions about their musical experience in face-to-face interviews, after which we administered two questionnaires: the Performance Anxiety Inventory for Musicians and the State-Trait Anxiety Inventory. We found a statistically significant difference in performance anxiety between participants suffering from trait anxiety (also called general anxiety) and those who did not. Utilizing the Novelty, Unpredictability, Threat to the Ego, and Sense of low control recipe (NUTS) for stress as a framework, we performed interview and questionnaire analyses that revealed that participants were concerned with issues associated with novelty, unpredictability, and lack of control in contexts of public performances (e.g., new pieces, lack of preparation, or challenging repertoire selected by the conductor). Participants perceived threats to their ego (such as feeling exposed, judged) as a major contributing factor of music performance anxiety. Participants reported the perceived benefits of musical involvement outweighed their negative (i.e., stressful) aspects.
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Timperman, Eric, and Peter Miksza. "Verbalization and musical memory in string players." Musicae Scientiae 23, no. 2 (August 21, 2017): 212–30. http://dx.doi.org/10.1177/1029864917727332.
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The purpose of this study was to examine the effect of verbalization about a brief etude on collegiate string players’ short- and long-term recall of the etude in question. We examined competing hypotheses that suggest it is possible that verbalization (i.e., verbal analysis of musical features) (a) could aid in recall both by highlighting patterns and constraints that inform the music’s creation and by facilitating the creation of explicit performance cues that help to bridge gaps between associative recall chains or (b) may hinder recall by interfering with the creation of procedural and auditory memories necessary for musical performance. Participants ( N = 20) were assigned to experimental conditions in which they learned an unfamiliar etude either through repetition alone or through repetition followed by the completion of a verbalization worksheet provided by the experimenter. Recall was tested both immediately following initial practice and 24 hours later to examine the effect of verbalization on both short- and long-term retention. Findings indicated no differences between groups on immediate recall performance but significant differences at the 24-hour recall task with participants in the verbalization condition recalling more material. In addition, the patterns of errors found across groups indicated a strong primacy effect. Theoretical implications for the study of memory processes in musical contexts and practical implications regarding the preparation of memorized performance are discussed.
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Kusumawardani, Siska, and Nanda Nur Aulia. "ANALISIS KETERAMPILAN BERMAIN ALAT MUSIK ANGKLUNG PADA SISWA SEKOLAH DASAR." Refleksi Edukatika : Jurnal Ilmiah Kependidikan 11, no. 1 (December 9, 2020): 116–20. http://dx.doi.org/10.24176/re.v11i1.4975.
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The purpose of this study was to analyze and describe the skills of playing angklung musical instruments in elementary school children. The research method in this research is descriptive research with observation, documentation and interview data. The research was conducted at SD Private Syafana Islamic School with the subjects studied were 10 children who were a combination of low classes, namely class 1,2,3. Data analysis using descriptive-qualitative analysis. The results showed that the skills to play angklung consisted of 1) preparation consisting of recruiting children to enter extra angklung musical instruments. 2) Preparation, formulate learning objectives to play angklung, determine methods in playing angklung skills 3) implementation. a) the teacher conveys the learning objectives and provides material about the angklung musical instrument b) the teacher demonstrates the angklung, how to hold, how to play the resulting tone. c). given training using angklung and 4) evaluation by holding an art performance playing angklung which is held in schools through audience appreciation.
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Garipova, Natalya. "On the psychological component in the preparation of a future musician teacher." SHS Web of Conferences 87 (2020): 00105. http://dx.doi.org/10.1051/shsconf/20208700105.
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The article reveals the pragmatic aspect of the psychological training of future music teachers and reveals its specificity. This specificity lies in the fact that knowledge and skills from the field of psychology in the professional activity of a music teacher should ensure the comprehension of the emotional-figurative content of a musical work, and not familiarization with it as an object of study, as it happens in the development of other educational disciplines. The role of psychological knowledge for solving many other tasks solved in the process of musical education, carried out both in collective and individual forms, is also indicated. At the same time, two ways of forming psychological competencies are indicated – explicit, associated with the module of psychological disciplines, and implicit, which consists in the fact that psychological knowledge penetrates into the depths of performing and musical-theoretical training, providing an understanding of the mechanisms of perception, performance of music and mastering the algorithms of the teacher’s work on creation of conditions for its adequate artistic perception, which is the comprehension of musical meaning. In the study of the problem of the mechanisms of the emotional impact of music and the emergence of non-auditory sensations and perceptions are considered; the importance of mastering this (essentially psychological) information for the future musician teacher is shown. The proposed way of improvement the psychological training of a teacher-musician provides a solution to a dual task – improvement his personal qualities (which is facilitated by the perception of high music) and improvement his professional skill in organizing the process of musical perception of learners. This is able to ensure the birth of deep feelings in them.
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I, Jan. "Pianists’ Performance Stability as an Art History Phenomenon." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 91–105. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233122.
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The content and structure of the concept "stability" from the standpoint of different branches of science are analyzed. The essence of the concept of "pianists’ performing stability" is substantiated. It is found that this phenomenon ensures the preservation of their optimal emotional and creative well-being during public speeches and manifests itself in two interacting types: static and dynamic. If the static performance stability of pianists at the right time mobilizes their own resources to adequately respond to stressors in order to ensure accurate reproduction of performance skills, the dynamic — mobilizes the ability to maintain optimal emotional and creative well-being for a clear representation of artistic images and their expressive implementation in terms of stage activities. The specifics of the manifestation of the essential features of each of its types in the process of stage interpretation of musical works are characterized. It is proved that the static performance stability of pianists is manifested in the process of stage reproduction of performance skills due to: invariability of configurations of motor acts at the sensory-perceptual level, which provided error-free reproduction of automated performances in preparation for public interpretation of musical works; mobilization of internal resources to resist the action of any stressors; adherence to attitudes aimed at freeing consciousness from control over the process of implementation of motor acts. The cyclicality of the balanced pulsation of the internal elements of the dynamic performance stability of pianists according to the algorithm "order → chaos" and, conversely, "chaos → order" is described. It is proved that its functional basis is ensured by the constancy of synchronous self-regulation of internal parameters, which is achieved due to: resistance to preserving one's own spiritual and aesthetic values in the search for invariant-flexible constructs for constructing imaginary artistic images of musical works; continuous movement of relationships between the components of the system of this phenomenon during the evolution of factors influencing the course of cognitive processes; priorities of intellectual and cognitive technologies in the construction of artistic images of musical works in the imagination of pianists.
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Goldfajn, L. A. "MAJOR STEPS OF PIECEOF MUSIC DEVELOPMENT." National Association of Scientists 1, no. 28(55) (June 15, 2020): 51–54. http://dx.doi.org/10.31618/nas.2413-5291.2020.1.55.214.
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This article discusses the main points of musical composition development. The author divides the study process into three stages: the first –introductory, the second –detailed work on the piece, the third -final, preparation for public performance.Special attention is paid to work of teacher in the DMSH, since students are differently gifted and yet teacher is expected to instill and develop students ' most complex performing skills while staying withing rigid time limits. When working with students, tutor musician should not only monitor the technically accurate performance of the work, but also constantly focus on the artistry and expressiveness of the musical material, as well as develop the student's creative approach to reading and mastering the musical text
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Dengaova, Ao. "PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHER FOR CONCERTMASTER ACTIVITIES IN THE CLASS OF CLASSICAL DANCE." Innovative Solution in Modern Science 7, no. 43 (December 27, 2020): 17. http://dx.doi.org/10.26886/2414-634x.7(43)2020.2.
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The article is devoted to the questions of a number of aspects of formation of skills of concertmaster activity as a component of piano preparation of the pianist-beginner in the class of classical choreography, revealing of the functional connections of the tandem teacher-choreographer – pianist-concertmaster, determination of the level of psychological-pedagogical students and performers interaction with the choreographer. The data are analyzed in the context of consideration of the general laws concerning the selection of the performing repertoire for musical design of classical choreography lessons, their importance, expediency and correspondence to the students' age characteristics, their level of musical perception. Key words: concertmaster activities, beginner concert pianist, choreography art, classical dance, psychological and performance barriers, musical design.
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Watanabe, Noriya, Jamil P. Bhanji, Hideki Ohira, and Mauricio R. Delgado. "Reward-Driven Arousal Impacts Preparation to Perform a Task via Amygdala–Caudate Mechanisms." Cerebral Cortex 29, no. 7 (July 27, 2018): 3010–22. http://dx.doi.org/10.1093/cercor/bhy166.
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Abstract Preparing for a challenging task can increase physiological arousal, in particular when potential incentives are large (e.g., a solo musical performance in front of an audience). Here, we examine how potential reward and its influence on arousal, measured by pupil dynamics, are represented in the brain while preparing for a challenging task. We further ask how neural representations during preparation relate to actual performance. Trials resulting in performance failure were characterized by increased pupil dilation as a function of increasing reward magnitude during preparation. Such failure trials were also associated with activation of the right amygdala representing pupil dilation, and the left caudate representing reward magnitude. Notably, increases in functional connectivity between amygdala and caudate preceded performance failure. These findings highlight increased connectivity between neural regions representing reward and arousal in circumstances where reward-driven arousal impairs performance.
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Lehmann, Andreas C., and K. Anders Ericsson. "Preparation of a Public Piano Performance: The Relation between Practice and Performance." Musicae Scientiae 2, no. 1 (March 1998): 67–94. http://dx.doi.org/10.1177/102986499800200105.
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This study investigated an expert pianist's nine-month preparation for a public music performance (recital) through the collection of practice diaries and MIDI recordings of the eight scheduled pieces. Recordings were made under the experimentally varied conditions of solitary performance and public performance. The practice diaries revealed that the expert (an advanced student performer) allocated practice time consistently across the entire preparation period and tended to use mornings to practice the pieces perceived as being more difficult. Total preparation time for each of the pieces could be predicted on the basis of the pianist's subjective ratings of complexity and independent ratings of complexity given by other experts. An analysis of the performance data showed that, near the time of the recital, variability in performance tempo was large between pieces but very small for multiple renditions of the same piece, even under the different experimental conditions. Thus, to attain a highly reproducible public performance, the expert allocated practice time in response to task demands and engaged in specific preparations that would safeguard the performance against unexpected problems.
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Williams, Kathryn. "PIXERCISE: PICCOLO PERFORMANCE PRACTICE, EXERCISE AND FEMALE BODY IMAGE." Tempo 74, no. 292 (March 6, 2020): 74–79. http://dx.doi.org/10.1017/s0040298219001207.
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AbstractPIXERCISE (2017–) is an open-ended collaborative work written by Kathryn Williams and Annie Hui-Hsin Hsieh. The piece involves an ongoing process of physical training, and in performance combines specially tailored physical exercises with piccolo performance. This article describes the unusual composition, preparation, and performance of this work and is concerned with exploring the shifting collaborative relationship. It also explores some of the aesthetic and social ideas that motivated the piece and have emerged through critical reflection and have been further incorporated, including the process of self-improvement and overcoming expressed as a performance artwork; entanglements between physical transformation through exercise; attitudes to female-body image and exercise; and how this piece connects with a growing tradition of experimental musical performance practice and performance art.
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Chełkowska-Zacharewicz, Maria. "What musician would you like to be? The psychological flexibility model at the service of musicians – introduction." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 43–56. http://dx.doi.org/10.5604/01.3001.0014.6465.
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Musical education and development are connected with numerous challenges, such as great expectations, repertoire requirements, or consistent practice. At the same time, a destructive role of assessment, comparisons and expectations does not influence solely the effectiveness and quality of concerts, or auditions. Musicians experience various obstacles, including doubts, self-criticism, lack of self-confidence; they also experience anxiety and depression more frequently than the rest of the population. Going through such psychological hardships has an impact on their professional life and the quality of life in general. Over the course of music education, it is worth striving for the development of working methods regarding the prophylaxis of mental health and maintenance of mental well-being, which could be introduced as part of systemic programs offering psychological help. What may potentially be used here is a model of psychological flexibility, equipped with firm empirical foundations and covering processes that are tailor-made for the needs of the musical community. Formal and informal exercises in mindfulness, value recognition, or setting goals based on values, applied as part of work within the psychological flexibility model, result directly in, for instance, mindful, dedicated preparation and performances, as well as in enhanced self-confidence indirectly. For musicians this may be of a particular importance, as it has impact on better management of workload and preparations, despite experienced pressure of achieving perfection, on a higher quality of performance, enabling to experience ultimate and mindful performance, and first of all – on a sense of meaning and fulfillment.
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Sheldon, Deborah A., Sam Reese, and John Grashel. "The Effects of Live Accompaniment, Intelligent Digital Accompaniment, and No Accompaniment on Musicians' Performance Quality." Journal of Research in Music Education 47, no. 3 (October 1999): 251–65. http://dx.doi.org/10.2307/3345783.
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This study is an investigation of differences in performance-quality ratings among college-age instrumentalists grouped in three solo preparation conditions using (a) no accompaniment, (b) live accompaniment, or (c) intelligent digital accompaniment. After a 6-week practice period, participants performed an intermediate level solo on a secondary wind instrument in two conditions: (1) without accompaniment, and (2) within prescribed accompaniment mode. Data from the first (unaccompanied) and second (assigned accompaniment mode) performance ratings were compared. Highest ratings across all groups in both performances were achieved in Rhythm, Technique, and Articulation. Lowest ratings were shown in Intonation, Tone Quality, and Interpretation. The second performance ratings declined in the Accompaniment groups but rose for the No Accompaniment group. Groups demonstrated different performance outcomes in each of six category ratings with Rhythm being the highest rated category among all groups. Different effects of practice and performance circumstances on musical outcomes were demonstrated.
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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Irving, John. "Performer rights and responsibilities in historical performance." Muzikologija, no. 16 (2014): 31–46. http://dx.doi.org/10.2298/muz1416031i.
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In April 2014, fortepianist and Mozart specialist John Irving recorded a CD of solo keyboard sonatas by Joseph Haydn, using a modern copy of a Viennese fortepiano of Haydn?s era. This is an account of the project written from the performer?s perspective, examining some relevant issues of historical performance practice, organology, and detailed reflections upon the performer?s preparations (of various musical and technical kinds) for the recording.
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Anufrieva, Natalya I., and Ekaterina V. Bulkina. "Specifics of Formation of Professional Skills of Musical Theater Artists in College." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.
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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.
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Nikolaeva, Elena V., and Alisa E. Kalina. "Preparation of Children for the Performance of Works by Foreign Composers in the Original Language in the Academic Vocal Class." Musical Art and Education 7, no. 2 (2019): 125–43. http://dx.doi.org/10.31862/2309-1428-2019-7-2-125-143.
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The article reveals pedagogical views on the works of foreign composers as a subject of training in the class of academic vocal in children’s music schools and art schools. The characteristic of representation in general educational programs of additional education is given examples of Western European vocal culture. It is noted: a clear preference for works of German composers; the lack of a common position to understanding, what stage of education to include them in the study repertoire and in what language to perform. The pedagogical usefulness of learning and performing such a repertoire in the original language is substantiated. The special attention is paid to the consideration of the difficulties encountered by young singers in working with verbal texts in samples of Italian and German musical culture, as well as the main types of preparing children for the performance of works by foreign composers in the original language: the formation of a positive emotional significant attitude to a foreign language, which is to learn vocal work; training the knowledge of the phonetic structure of a given language and the peculiarities of its implementation in speech and vocal intonation; the formation of abilities to correctly pronounce the verbal text of the work being learned; planning and gaining experience of musical and creative activities of students in preparing them for the performance of works in a foreign language.
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Nogaj, Anna Antonina, Izabela Czarnecka, and Roman Ossowski. "Differences in the stress coping styles and social skills between classical and jazz musicians." Roczniki Psychologiczne 22, no. 4 (June 29, 2020): 337–52. http://dx.doi.org/10.18290/rpsych.2019.22.4-3.
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The musical milieu raises a number of challenges for artists. Coping with these depends not only on the level of musical abilities but also on a number of personal skills. The diverse styles of music education and the expectations set for musicians performing various music genres have inspired research exploring the differences between classical and jazz musicians. Of the psychological areas important for functioning effectively as a musician, stress management styles and social skills have been examined in this study. It was assumed that the genre of publicly performed music, and thus the different modes of music education in the field of classical and jazz music performance, can cause significant differences in the psychological functioning of musicians. Of the 73 musicians who participated in the study, 38 were classical musicians and 35 were jazz musicians. The jazz musicians revealed a significantly higher level of social competence in terms of social exposure compared to the classical musicians. There were no differences in the style of coping with stress between the two groups. The results of the study might inspire psychologists working with musicians to plan therapeutic programs aimed at psychological preparation for public performances, with the specificity of musical genres taken into account. Future research may investigate the extent temperament and personality of musicians representing different specialties influence their stress coping strategies and social skills.
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Dawson, Christopher. "Erik Satie's Vexations—An Exercise in Immobility." Canadian University Music Review 21, no. 2 (March 4, 2013): 29–40. http://dx.doi.org/10.7202/1014483ar.
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Erik Satie's piano piece Vexations contains a Note de l’auteur in which the composer apparently instructs his interpreters to repeat the piece 840 times. Opinion among Satie's biographers is divided as to whether Satie intended a "full" performance of the piece. In this article I assess how a literary interpretation of the Note can throw light on Satie's intentions. My conclusion is that Vexations is not so much a performance piece as an exercise piece: a musical passage designed to pull his interpreters away from conventional Western notions of linear development and cumulative reception and towards his own non-developmental style of music, in preparation for a performance of a piece such as a Gymnopédie or a Gnossienne.
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Heisel, Erin. "Empathy as a Tool for Embodiment Processes in Vocal Performance." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 104. http://dx.doi.org/10.18061/emr.v10i1-2.4601.
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One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions? This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.
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Bintarto T., A. Gathut. "Strategi Pengelolaan Materi Musikal dan Teknis Paduan Suara; Studi Kasus Pengalaman Aktivitas Pentas, Lomba, dan Penjurian." PROMUSIKA 3, no. 2 (November 22, 2015): 106–18. http://dx.doi.org/10.24821/promusika.v3i2.1698.
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This research tried to figure out the complexity of challenges faced by the choir’s conductor or the vocal coacher especially tocomprehend deeply in the certain period the matters that can be observed to gain the optimum results that can be measuredsignificantly by the choir’s member. The early musical strategic found in the beginning of this research trying to capture theactivities of the vocal coacher based on the experiences found by the researcher during the preparation period to make thechoir’s performances or as in the position as a choir’s judge in the middle of the contest. The participated observationconducting in this research shown the datas of similar process and the final expectation between the short (1 week to 2months), middle (2,5‐4 months) and long period (more than 5 months) of the preparations. The supporting data collected inthis research shown that the imaginative abilities dan the experiences of the vocal coacher in coping with the differentsituations of the performances and the contests brought significant effects for conducting the song’s material, working withvarious rhythmical patterns, interpreting the music and for sharing the musical ideas as they processed in one or multipleevents at one time.
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Popović, Ana, Irella Bogut, Željka Crnojević, and Željko Popović. "Children’s Play The Ecological Story in Function of Ecological Education of Preschool Children." Pannoniana 3, no. 1-2 (December 1, 2019): 146–72. http://dx.doi.org/10.2478/pannonia-2019-0009.
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Abstract Today, the importance of ecological education is often highlighted, although the current National Curriculum for Early and Preschool Education doesn’t even mention it. Although ecological education is not mentioned in this baseline document, various activities in this direction are often carried out in our kindergartens. An example of this is the play The Ecological Story by the author Sanja Seferović-Bosak from her collection of plays Maštarije: Igrokazi za djecu od 3 do 13 godina (eng. Pipe Dreams: Plays for Children of 3-13 years). This paper describes the preparation and performance of this play in 2017 in the kindergarten Radost (eng. Joy) in Novska. The theoretical part of the paper considers the basic settings of ecological education in early and preschool age, with special reference to current practice in Croatian kindergartens. The empirical part of the paper describes the stages of preparation and performance of the play The Ecological Story, with special reference to the compliance of this project with the requirements of the National Curriculum in terms of developing key competences for lifelong learning. The paper also contains an analysis of methodological procedures with particular reference to the preparation of musical numbers in the play.
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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 necessary structural component of the performance. From the point of view of intonation theory of music, choral sonority – singing, vocal-choral materialization of the score – is a specially interpreted text. The audio quality is seen as a problem of vocal choral performance in the preparation of a future teacher-musician/choirmaster. There is a belief about the need for future teachers-musicians to understand the methods of constructing the audio matter of music. The methods transform the musical text in accordance with the form, logic of the development of the figurative and artistic meaning of the work and are aimed at the education of the audio culture among the choral collective. Work on the creation of a phonic form involves establishing intonation links between the performed work and the methods of its mastery. The leading role in its crystallization is played by a meaningful plan of music, which allows us to speak about it as a historical category, defined by genre-stylistic features of performed works. Built according to the laws of beauty and at the same time reflecting the spirit of its time, the era in which the performer creates, it reveals the changes that characterize the culture of vocal and choral performance. The performed composition, included in the context of broad cultural and life relations, is saturated with a new meaning. As an example, the phonic form in orthodox liturgical singing is considered.
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Strelchenko, K. M. "Modern arrangements and transcriptions of pieces for accordion in terms of sound timbre instruments specificity." Musical art in the educological discourse, no. 2 (2017): 92–96. http://dx.doi.org/10.28925/2518-766x.20172.9296.
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The article is devoted to comparative analysis of the characteristics and differences of sound and timbral features of accordion with other musical instruments in the creative process of arrangement and transcription of original music. This article has examples of some musical pieces for the practical examination of key aspects of this question. There were always many aspects of the problems of concert performance of accordionists. However, the problem of music genres of repertoire, that helps to achieve impressive effect of performance and sense of confidence in broader stylistic possibilities of the instrument, is of special importance today. Therefore, the purpose of article is more extended consideration of the issue of uncomfortable acoustical sounding of accordion in a considerable number of episodes of pieces of music that are not created for this instrument. The concert program of contemporary accordionists, which has the arrangements and transcriptions for accordion of original pieces of music, is complete and perfect. Expanding of the stylistic frontiers of repertoire and increase capabilities of performance of classical, pop and jazz music of different genres and styles will solve many problems associated with the increasing popularity of accordion. Today the need for the use of accordion as original instrument in musicians’ performance practice is urgent. Transcriptions and arrangements are aimed at preparation and adaptation of the original music to perform for another ensemble or other instrument for which the composition was not originally created. The main task is to facilitate the articulation of sound palette of the accordion. It gives the opportunity to create transcription and arrangement in such way that the listener perceives the piece of music as music written for musical instrument that he hears at that time. To perceive and understandand original music, it is advisable to listen to it from the best professional music groups and musicians. Such performance as usual makes a great impression and expands the imagination but in their original genre. When a musician plays their arrangement he recalls what he heard and experienced when he was at the music hall. Naturally the creative personality wishes to recreate from what he was amazed, but he must play the music written for other musical instruments and groups using a different approach to understanding and implementing the image of high performance art.
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Mishchanchuk, Viktoriia. "MODERN METHODS OF POP EXCITEMENT OVERCOMING BY FUTURE MUSIC ART TEACHERS DURING PUBLIC PERFORMANCE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 101–6. http://dx.doi.org/10.36550/2415-7988-2021-1-195-101-106.
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In the article the phenomenon of pop excitement, its essential and qualitative features of detection in the music art are considered. The author notes that public performance is always accompanied by excitement. In this state the process of music creating happens, during which all musician’s creative abilities are activated, the reserve capabilities of the individual are accumulated to create vivid concepts of musical works and convey them to the audience. Also, in the article the features of professional and psychological preparation of performers for public performances are revealed. The author considers innovative approaches, methods, techniques, exercises, directions that should be used by future music art teachers to overcome the negative effects of pop excitement during performance on stage. To achieve comfortable mental state during the performance, it is proposed to use the following psychotherapeutic directions in the process of preparing students for performance: NLP – neuro-linguistic programming; body-oriented training; vocal therapy. Thus, the use of NLP allows the teacher to penetrate into the inner world of the individual to reveal his/her reserve capabilities, expand worldview, intensify creative and mental processes. In the process of preparing future music art teachers for public performance, the author pays attention to the fact that the method of «anchoring» will help to overcome negative emotional states, and methods of associations, analogies, comparisons, metaphors, symbols will help to activate various mental states, form new creative ideas. In the article body-oriented training that helps to overcome future music art teachers’ muscle cramps, their emancipation through physical, instrumental and vocal exercises is considered. The author proposes to use the method of vocal therapy, role preparation, the method of playing a concert program in front of an imaginary audience and playing music to overcome the pop excitement on stage, which will ensure performance stability and reliability during the presentation of the program to the audience. The author indicates that the technique of «sensory reconstruction» will help to implement of self-regulation of emotional states in the process of preparation for public performance and during it, and to relieve nervous and mental stress and master the optimal concert state, it is recommended to use methods of autogenic and meditative immersion.
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Pambayun, Wahyu Thoyyib. "“Kalatidha” : Sebuah Komposisi Musik Program." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 64–86. http://dx.doi.org/10.33153/glr.v17i1.2602.
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ABSTRAK Karya “Kalatidha” adalah pertunjukan komposisi musik yang mengangkat isi Serat Kalatidha sebagai ide gagasannya. Terciptanya karya “Kalatidha” dilatarbelakangi oleh kegundahan hati melihat keadaan sekitar yang mengalami kemerosotan di berbagai bidang. Karya sastra Serat Kalatidha dianggap mampu untuk mewadahi kegundahan hati karena substansinya masih aktual dan apresiatif hingga sekarang. Tujuan penyusunan karya “Kalatidha” adalah dapat menyampaikan dan menggambarkan secara musikal isi substansi Serat Kalatidha. Hasil dari pengamatan mendalam terhadap Serat Kalatidha, dapat ditangkap bahwa inti dari isi Serat Kalatidha ada lima butir. Adapun kelima butir tersebut sebagai berikut: (1) Keadaan negara yang penuh keraguan karena tidak adanya tauladan dari pemimpin. (2) Boleh merasa sedih ketika mendapatkan cobaan, namun harus segera bangkit dan menyadari bahwa semua cobaan yang dialami sudah ditakdirkan. (3) Kepandaian dan kedudukan yang didapatkan akan mengakibatkan datangnya petaka jika seseorang tidak mempunyai moral yang baik. (4) Mawas diri, berserah dan berdoa kepada Sang Pencipta, karena Dialah yang menentukan segalanya. (5) Harus tetap semangat untuk berpegang teguh pada kebenaran walaupun dikelilingi perbuatan yang angkara dengan tetap menganggap bahwa seuntung-untungnya orang yang lalai, masih beruntung yang selalu ingat dan waspada. Butir-butir tersebut digunakan sebagai titik pijak tema cerita atau penggambaran situasional untuk menyusun materi musikal dan garap masing-masing komposisi musik dalam karya “Kalatidha”. Adapun komposisi musik tersebut sebagai berikut: Aruhara”, “Kantaka”, “Awignya Angkara”, “Pamuja Pujastawa” dan “Pramana Prayitna”. Penyusunan karya “Kalatidha” menggunakan tiga tahapan, yaitu: penyusunan gagasan isi, penyusunan ide garapan dan penuangan ide garapan. Tahapan dalam penuangan ide meliputi eksplorasi teknik, eksplorasi pola permainan instrumen, pencarian melodi melalui eksplorasi, penyusunan bagian komposisi, penyambungan antara bagian komposisi, pengolahan volume, tempo sajian dan evaluasi. Hasil dari penyusunan karya dan tesis karya seni “Kalatidha” diharapkan dapat menjadi salah satu alternatif rujukan untuk menyusun karya musik baru bagi mahasiswa penciptaan musik, khususnya mahasiswa karawitan. Kata Kunci: “Kalatidha”, Serat Kalatidha, Komposisi Musik, Penciptaan Musik, Eksplorasi. ABSTRACT The work “Kalatidha” is a musical composition performance that elevates the contents of Serat Kalatidha as an idea. The creation of the work “Kalatidha” was motivated by the anxiety of seeing a deteriorating situation in various fields. The literary work of Serat Kalatidha is considered capable to accommodate the anxiety for the substance is still actual and appreciative until now. The purpose of the work “Kalatidha” is to convey and to describe musically the substance of Serat Kalatidha. The in-depth observations of Serat Kalatidha shows that Serat Kalatida contains five points as follows: it can be captured that the core of the Kalatidha Fiber contents is five points. The five points are as follows: (1) A state is full of doubts because there is no guidance from the leader. (2) One may feel sad when getting a trial but he must immediately get up and realize that all that happened are destined. (3) Intelligence and position obtained will result in disaster if someone does not have good morals. (4) To be introspective, surrender and pray to the God because He is the one who determines everything. (5) Keeping the spirit to hold the truth even surrounded by insolent actions and keeping assuming that someone must always remember and alert in order to get safe in his life. These items are used to be a starting point for the themes or situational portrayals to arrange the musical material and the works on each musical composition in “Kalatidha”. The composition of the music is as follows: Aruhara “,” Kantaka “,” Awignya Angkara “,” Pamuja Pujastawa “and” Pramana Prayitna “. The preparation of the work “Kalatidha” uses three stages, namely: the preparation of content ideas, compilation of ideas and conveying the ideas. The stages in conveying ideas include technical exploration, exploration of instrument playing patterns, searching the melodies through exploration, compilation of composition parts, splicing the parts of composition, processing volume, tempo of presentation and evaluation. The results of the works and the thesis of “Kalatidha” are expected to be one of the alternative references for composing new musical works for students of music creation, especially musical students. Keywords: “Kalatidha”, Serat Kalatidha, Music Composition, Music Creation, Exploration.
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Fournier, Guillaume, Maria Teresa Moreno Sala, Francis Dubé, and Susan O’Neill. "Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy." Psychology of Music 47, no. 2 (December 13, 2017): 270–83. http://dx.doi.org/10.1177/0305735617745149.
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This research aimed to identify, describe and categorize cognitive strategies related to sight-singing within aural skills education. Using a constant comparative method, we carried out a thematic content analysis using NVivo to categorize strategies in a broad range of sources, including six interviews, five scientific publications, two professional books, and two ear-training manuals. Findings revealed 72 cognitive strategies grouped into four main categories and 14 subcategories: reading mechanisms (pitch decoding, pattern building, validation), sight-singing (preparation, performance), reading skills acquisition (musical vocabulary enrichment, symbolic associations, internalization, rehearsal techniques) and learning support (self-regulation, attention, time management, motivation, stress). Our cognitive strategy inventory provides a new framework for the study of cognitive strategies in aural skills research, and offers new insights for teachers who implement explicit cognitive strategies within their sight-singing pedagogy.
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Hallam, Susan. "The development of metacognition in musicians: Implications for education." British Journal of Music Education 18, no. 1 (March 2001): 27–39. http://dx.doi.org/10.1017/s0265051701000122.
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Recent research on musical practice has focused on metacognition and the strategies that musicians adopt in their preparations for performance. This study explored the development of metacognition and performance planning strategies in musicians from novice to professional level. Twenty-two professional musicians and fifty-five novices were interviewed about their practising. The novices were also tape-recorded learning and performing a short piece. The professional musicians demonstrated extensive metacognition in relation to their preparations for performance encompassing technical matters, interpretation, and issues relating to learning itself, e.g. concentration, planning, monitoring and evaluation. Although there were similarities in the strategies adopted there was considerable variation because of individual need. In the novice musicians, there was a complex relationship between the development of expertise and the use of planning strategies.
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Okhotnikov, Vladimir E. "About the Development of Artistry in Elementary School Pupils in a Guitar Class." ICONI, no. 3 (2021): 173–81. http://dx.doi.org/10.33779/2658-4824.2021.3.173-181.
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The article dwells upon the necessity of forming artistic qualities in elementary school pupils during the process of teaching performance mastery. The preparation of future performing musicians must be carried out in the context of a theatrical rendition of the performing profession, with the inclusion of elements of vocational psychology. The artistry of the pupils of children’s music schools must be developed inseparably from the process itself of development of performance skills and the skills of reading the musical text and performance technique, otherwise the development artistry acquires an accidental character and is subordinated, albeit, being an inseparable part of a successful concert performance. An analysis of performance working programs in children’s music schools for pupils with a professional inclination shows a lack of a goal-directed systematic work with the pupil in forming artistry as a professionally significant quality, whereas the brightest indicator of creative development is particularly artistry. The discipline of pedagogy recognizes this necessity, but the latter is not realized in the conditions of teaching practice. The overcoming of this contradiction is possible by means of the pupils’ familiarization with artistic techniques and stage organization. The article proposes examples of special exercises directed at the development of artistry and creative imagination of elementary level guitarists.
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Weiß, Christof, Frank Zalkow, Vlora Arifi-Müller, Meinard Müller, Hendrik Vincent Koops, Anja Volk, and Harald G. Grohganz. "Schubert Winterreise Dataset." Journal on Computing and Cultural Heritage 14, no. 2 (June 2021): 1–18. http://dx.doi.org/10.1145/3429743.
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This article presents a multimodal dataset comprising various representations and annotations of Franz Schubert’s song cycle Winterreise . Schubert’s seminal work constitutes an outstanding example of the Romantic song cycle—a central genre within Western classical music. Our dataset unifies several public sources and annotations carefully created by music experts, compiled in a comprehensive and consistent way. The multimodal representations comprise the singer’s lyrics, sheet music in different machine-readable formats, and audio recordings of nine performances, two of which are freely accessible for research purposes. By means of explicit musical measure positions, we establish a temporal alignment between the different representations, thus enabling a detailed comparison across different performances and modalities. Using these alignments, we provide for the different versions various musicological annotations describing tonal and structural characteristics. This metadata comprises chord annotations in different granularities, local and global annotations of musical keys, and segmentations into structural parts. From a technical perspective, the dataset allows for evaluating algorithmic approaches to tasks such as automated music transcription, cross-modal music alignment, or tonal analysis, and for testing these algorithms’ robustness across songs, performances, and modalities. From a musicological perspective, the dataset enables the systematic study of Schubert’s musical language and style in Winterreise and the comparison of annotations regarding different annotators and granularities. Beyond the research domain, the data may serve further purposes such as the didactic preparation of Schubert’s work and its presentation to a wider public by means of an interactive multimedia experience. With this article, we provide a detailed description of the dataset, indicate its potential for computational music analysis by means of several studies, and point out possibilities for future research.
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Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.
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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.
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Montemayor, Mark, Brian A. Silvey, Amy L. Adams, and Kay L. Witt. "Effects of Internal and External Focus of Attention During Novices’ Instructional Preparation on Subsequent Rehearsal Behaviors." Journal of Research in Music Education 63, no. 4 (November 6, 2015): 455–68. http://dx.doi.org/10.1177/0022429415612201.
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The purpose of this study was to investigate the effects of internal versus external focus of attention during novice teachers’ instructional preparation on their subsequent rehearsal behaviors. Thirty-two undergraduate instrumental music education students led bands in a series of three, 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants engaged in condition-specific score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. We systematically analyzed video recordings of these rehearsals, calculating rates per minute of teacher verbalizations across several performance and teaching variables. We found that compared to the internal group, the external group exhibited higher rates of positive/specific feedback, conducted more frequent and briefer performance segments, and more often asked for the ensemble to start without providing a directive. The internal group mentioned ensemble balance in their rehearsals more frequently than did the external group, and their verbalizations reflected greater concern for Tone Quality. A panel of independent evaluators viewed all 96 video recordings of the rehearsals (presented to them without sound) and rated the clarity and the expression of participants’ conducting. We found a significant time by condition interaction for Expression, with scores for the external group increasing over time and scores for the internal group decreasing. We suggest that these results reflect the distinct and complementary benefits of each of these preparation methods for novice music teachers.
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Porshnev, Ivan D. "The General Intonation in the Performance of “Boris Godunov” of Vsevolod Meyerhold — Sergei Prokofiev." ICONI, no. 2 (2019): 36–48. http://dx.doi.org/10.33779/2658-4824.2019.2.036-048.
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The article dwells upon the process of the artistic cooperation between Vsevolod Meyerhold and Sergei Prokofiev by the example of their collaborative work on Alexander Pushkin’s play “Boris Godunov.” The preparation for the actualization of the conception had started long before the main rehearsing period — in 1934, after the issuance of the edict of the Politburo of the Central Committee of the VKP(b) (Communist Party) “Concerning the Foundation of the All-Union Pushkin Committee in connection with the centennial anniversary of the death of Alexander Sergeyevich Pushkin.” The performance was supposed to have become the appropriate response to the festivities of the Pushkin jubilee, but it never got round to being performed at that time. The peculiarities of the interpretation of the drama in the dialogue of the two Masters are examined on the basis of the materials connected with the history of the creation of the performance and the music to it. Analysis is made of the semantic content of the musical numbers (“The Song of the Lonely Wanderer” and the “Songs of Loneliness”), which carry out the function of the through leit-motifs and indirectly characterize Boris Godunov and the Pretender, and also play an important role in the formation of the “general intonation” of the performance. The conclusion is arrived at that the “politically saturated” production of Vsevolod Meyerhold and Sergei Prokofiev touched upon the prohibited “territory of meanings”: the denoted implication unwittingly projected itself on the personal fate of the ruler of the Soviet state.
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Forsyth, Alasdair, Jemma C. Lennox, and Martin Cloonan. "‘I'm there to play music not break up fights': gigging entertainers’ experiences of alcohol-related misbehaviour by audiences and its impact on performance." Popular Music 35, no. 2 (April 14, 2016): 245–64. http://dx.doi.org/10.1017/s0261143016000088.
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AbstractDespite the fact that drinking and music often share a space, the relationship between alcohol-related misbehaviour and live music has received little academic attention. Music has been demonstrated to influence drinking behaviour and entertainers have been observed influencing (‘soft-policing’) drunken misbehaviour by audiences. However, to date research has not given voice to those providing this musical entertainment. Are they aware of the effects they have on audiences' drinking behaviour and does this impact on performances? Our qualitative research fills this lacuna by drawing on the experiences of gigging entertainers to explore how they deal with intoxicated audiences. Interviews conducted as part of this research highlighted a lack of preparation on the part of performers for dealing with disorderly crowds and/or the unwanted attentions of drunken individuals; they usually have to learn appropriate responses ‘on the job’. Success as a gigging entertainer was felt to be only partly founded upon artistic merit, with an ability to engage the (often inebriated) public being equally important. Although none had received formal training in alcohol issues as musicians, some utilised people skills (e.g. conflict resolution techniques) acquired via other employment. The authors ask if there is a place for training in alcohol-related issues to be offered by or integrated into music curriculums.
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Silvey, Brian A., and Mark Montemayor. "Effects of Internal and External Focus of Attention on Novices’ Rehearsal Evaluations." Journal of Research in Music Education 62, no. 2 (May 19, 2014): 161–74. http://dx.doi.org/10.1177/0022429414530434.
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The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. No significant differences were found between conditions for any of several dependent measures, including participants’ self-evaluation of their teaching, participants’ evaluation of ensemble performance, ensemble members’ evaluations of conductor rehearsal effectiveness and of conductor score knowledge, and independent audio evaluation of the final ensemble performance run-through. Results of repeated-measures analyses did indicate significant improvements in participants’ and ensemble members’ evaluations, for both experimental groups, between the first rehearsal and the second and third rehearsals. Both methods may have helped novice conductors prepare to rehearse, but their direct experience in working with ensembles may have been comparatively more informative in preparing them for future rehearsals.
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Davis, Anita P. "Performance Achievement and Analysis of Teaching during Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (December 1998): 496–509. http://dx.doi.org/10.2307/3345346.
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Eighty-three rehearsals and four final performances of two high schools' beginning and advanced choruses were videotaped to identify rehearsal behaviors and to evaluate performance achievement in relation to performance preparation. Teacher academic and social instruction, student nonperformance response, rated (5-point scale) performance response with and without teacher verbal assistance, and teacher feedback were observed. Variables were measured in real time and converted to percentages of rehearsal time. Additionally, frequencies of teaching sequences were identified for each rehearsal. Review of improvements in the quality of performance for each school indicated a similarity in proximity to the final performance between beginning and advanced choruses. Considering this observation, variables were calculated for means between points of achievement. Findings indicate that (a) teachers pace improvement unrelated to ensemble maturity, (b) time spent in teacher verbalization may not relate to performance success, (c) teacher assistance during student practice decreases with student improvement, and (d) instructions decrease with student improvement.
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Repp, Bruno H. "Expressive Timing in a Debussy Prelude: A Comparison of Student and Expert Pianists." Musicae Scientiae 1, no. 2 (July 1997): 257–68. http://dx.doi.org/10.1177/102986499700100206.
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The expressive timing of 10 famous pianists' performances of Debussy's prelude, La fille aux cheveux de lin, was measured from acoustic recordings and compared to the expressive timing of performances by 10 graduate student pianists, recorded after only a brief rehearsal on a Yamaha Disklavier in MIDI format. Despite the-large differences between the two groups in preparation, experience, age, date of birth, and national origin, their average expressive timing profiles were extremely similar. Although individual differences tended to be more pronounced among the experts than among the students, the similarity of the average timing profiles suggests a common standard of expressive timing. Since this standard evidently can be approximated by graduate student pianists after only minimal rehearsal, it may be considered the default result of an encounter between a trained musician and a particular musical structure—the timing implied by the score.
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Messina, Marcello, Valério Fiel da Costa, and Marco Scarassatti. "Cartridge Music in the Quarantine: Presence, Absence, Contingency Setups and (De-)territorialised Performances." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 28–45. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.28.
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Between the end of May and the beginning of June, 2020, we performed individually, filmed, synced together, edited and presented a quarantine version of John Cage’s Cartridge Music. Uploaded on YouTube, the performance was broadcast on 1 June, as part of the 4th Research Colloquium of the Postgraduate Programme in Music of the Federal University of Paraíba. Stranded at home since March, unable to reach our respective faculty offices/studios, and mostly left with domestic gear, kitchenware, sound-producing car equipment and our children’s toys, we put together an emergency version of the piece, characterised by three dramatically different setups, each with its own spatialities and soundworlds. Importantly, our use of the signifier “emergency” here is meant to refer much more to the concrete condition of our existences in this particular situation, than to the contingential circumstances of this specific musical activity. In this paper, we discuss the piece by considering its preparation, performance, presentation the (de-)territorialisation of performance and on the territorial metaphors embedded in collaborative artistic interaction, we question the notions of “place” and “venue” in the context of a collective performance that happened in three different locations and of a subsequent première that did not happen in any tangible physical place at all. However, and in spite of the substantial de-territorialisation of our gig, we also consider a set of persisting spatial narratives that inscribe the performance in terms of both visually and aurally perceptible power relations. Finally, considering the inherent criticalities of the field(s) of “experimental”, “avant-garde” or simply “contemporary” music, we assess the gains and losses of such a dematerialised and yet ubiquitous performance in terms of audience participation and appreciation.
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Killian, Janice N., and Michele L. Henry. "A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance." Journal of Research in Music Education 53, no. 1 (2005): 51. http://dx.doi.org/10.2307/3345606.
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Killian, Janice N., and Michele L. Henry. "A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance." Journal of Research in Music Education 53, no. 1 (April 2005): 51–65. http://dx.doi.org/10.1177/002242940505300105.
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High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.
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Strilets, Andriy. "Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 141–56. http://dx.doi.org/10.34064/khnum2-49.10.
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Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.
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Kulaha, Tetiana. "Methodical guidelines for the use of ICT in teaching contemporary vocals in children schools of art." Ukrainian Journal of Educational Studies and Information Technology 6, no. 4 (December 22, 2018): 19–36. http://dx.doi.org/10.32919/uesit.2018.04.02.
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The article states that the reform of contemporary vocal education based on the principles of civilization integration of different, sometimes quite distant from each other, musical cultures, traditions and practices on the one hand, and the necessity for free access to the world vocal-performing and vocal-pedagogical experience on the other. In this regard, information and communication technologies (ICT) are becoming one of the most effective components of the educational process in primary specialized artistic educational institutions in the context of non-classical contemporary vocal. In the article, this issue is considered from the attitude of activity and culture appropriate approaches to learning.
Based on the analysis of scientific and pedagogical sources on contemporary vocal pedagogy in the context of the use of ICT, the following methods and their respective means are separated: the methods of familiarization (3D technology, animation technology, audiovisual ICT); methods of work on vocal techniques (audio, visual and audiovisual ICT, computer, synthesizers, dictaphone, etc.); methods of work on the features of musical language and improvisation (audio, visual and audiovisual ICT, computer, video content, synthesizers, iReal-Pro, etc.); methods of preparing vocal repertoire (software for downloading, editing and storing information, notes and audio editors, etc.); methods of preparation and implementation of public performance (3D technology, animation technology, graphic and audio editors, video camera, voice recorder, dictaphone, video content, computer, mobile devices, etc.); methods of communication (computer, mobile devices, e-mail, instant messaging technology, social networks, messengers, video and audio conferencing systems, Internet, etc.), monitoring methods (video camera, dictaphone, memory cards and storage devices, etc.)
The conclusions state that the methodological findings regarding the use of ICT in teaching of contemporary vocal are fragmented and do not constitute systematic methodological knowledge, what actualizes the problem of further research on the use of ICT and protection from artificial intelligence threats in the process of formation a contemporary non-classical vocal-performing thesaurus at pupils of specialized art educational institutions and institutions of non-formal art education.
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Chen, Jasmine Yu-Hsing. "“Queering” the Nation?" Prism 18, no. 1 (March 1, 2021): 49–69. http://dx.doi.org/10.1215/25783491-8922193.
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Abstract This article explores how gendered Chineseness is represented, circulated, and received in Huangmei musical films for audiences in martial-law Taiwan. Focusing on Love Eterne (1963), the analysis examines how theatrical impersonations in the film provided a “queer” social commentary on aspects of Chinese nationalism that conflicted with the Kuomintang's military masculinities. Love Eterne features dual layers of male impersonations: diegetically, the female character Zhu Yingtai masquerades as a man to attend school with other men; nondiegetically, the actress Ling Po performs the male character Liang Shanbo, Zhu's lover. In addition to the “queer” imagination generated by Ling's cross-dressing performance, the author considers how the feminine tone of Love Eterne allowed the Taiwanese audience to escape from masculine war preparations. Although the Kuomintang promoted Ling as a model patriotic actress, it was her background, similar to many Taiwanese adopted daughters, that attracted the most attention from female audiences. This female empathy and the queer subjectivity arguably disturbed the Kuomintang's political propaganda. Hence, this study adds to the breadth of queerness in studies on the cinematic performance of same-sex subjectivities and invites new understandings of queer performance in Love Eterne as a vehicle that can inspire alternative imaginings of gendered selfhoods and nations.
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Giger, Andreas. "“Svesti la giubba,” or, Uncloaking the Genesis of Pagliacci." 19th-Century Music 41, no. 3 (2018): 225–51. http://dx.doi.org/10.1525/ncm.2018.41.3.225.
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In 1943 Allied bombs destroyed the archives of Leoncavallo's publisher, Sonzogno, and of the Teatro Dal Verme, where Pagliacci was first performed. As a result, many sources pertaining to the opera's compositional history were lost, and scholarship has relied almost exclusively on Leoncavallo's unpublished autobiographical manuscript, “Appunti.” Contextual sources such as notifications in the press, eyewitness accounts, and a large body of mostly unpublished correspondence now suggest that Leoncavallo cloaked the opera's genesis to protect its legacy. Leoncavallo was twice charged with having imitated an existing play. In his protracted defense, he took every opportunity to distinguish his libretto from the literary tradition to which it belongs and tie it instead to the verismo movement (with which critics had associated it since the premiere). He began to claim, for instance, that the libretto was based on a crime of passion he had witnessed in Montalto and invented a version of that crime that matched the libretto. Furthermore, in preparation of the first performance in Paris, he actively contributed to a staging faithfully depicting Montalto in an attempt to highlight the originality of the story. And as he was tightening the opera's connection to verismo, he was concealing aspects that would have reflected poorly on the opera's reception, including Sonzogno's initial concerns regarding the music and the presence of substantial musical self-borrowings.