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Іван Дерда. "FORMATION OF PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER-MUSICIAN DURING THE PROFESSIONAL TRAINING." Collection of Scientific Papers of Uman State Pedagogical University, no. 3 (September 4, 2020): 56–63. http://dx.doi.org/10.31499/2307-4906.3.2020.219090.
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The article analyzes various interpretations of the concepts “competence”, “professional competence”, “teacher-musician’s professional competence”. The article highlights the scientists’ views on the issue of future teachers-musicians’ professional competence developing during professional training. It is determined that the formation of professional competence implies a comprehensive, harmonious development of the future teacher-musician who has not only theoretical knowledge but also practical skills and abilities.The author notes that one of the most important subjects in the content of special disciplines at art faculties is voice staging. During which students master vocal techniques, singing breathing, diction, emotional and dynamic expression, stage skills, etc. The main principles in solving musical and pedagogical issues of vocal education are the harmonious development of musical and creative abilities of vocal students in the process of developing general vocal culture, comprehensive development of individual qualities of vocalists.The study of scientific works allowed us to determine the essence of the concept of “professional competence of the future teacher-musician”, which includes a system of theoretical and practical knowledge, skills and abilities, experience, pedagogical abilities, important personal and professional qualities to ensure the successful self-realization of the future teacher in music education. The prospects of scientific research on the introduction of innovative learning technologies into the educational process, the search for ways of creative self-realization of experts in the art industry with an emphasis on personal and professional development have been outlined.
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Aryutkina, A. N. "Communicative component of professional competence of a musician-performer." Vestnik of Samara University. History, pedagogics, philology 26, no. 4 (2020): 38–43. http://dx.doi.org/10.18287/2542-0445-2020-26-4-38-43.
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At the present stage, musical and performing activity requires rethinking key concepts and identifying its new content. The article contains an analysis of modern professional training of a musician-performer at a university. Special attention is paid to the significance of interpretation in modern musical and performing activities. Long-term practice of concert performance creates a significant number of performing interpretations. A musician-performer must not only get acquainted and try to interpret the composer's text, but also try to understand this value content. The article offers an understanding of interpretation as a reinterpretation of the content of a work based on the artist's personal creative beliefs, which implies a different experience. This topic is also supplemented by the consideration of the act of joint activity of the participants in the performance, during which a common view of the ideas and images of a musical work is developed, as a result of which the audience's consciousness is transformed. This requires communicative competence. Thus, a musician-performer combines both communicative and interpretative abilities. The article considers the structure of professional competence of a musician-performer, taking into account the specifics of professional activity and based on the competence approach. The existing approaches to defining the essence of the concept of competence are analyzed. The structure of professional competence integrates musical and performing, interpretive, communicative, pedagogical, organizational and managerial competencies. Communicative competence is considered as a professionally significant personal property of a future musician-performer in the course of professional training at a university.
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Poluboyarina, I. "Integration processes in the professional training of musicians as the basis of their spiritual development." Musical art in the educological discourse, no. 3 (2018): 97–102. http://dx.doi.org/10.28925/2518-766x.2018.3.97102.
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The article substantiates the relevance of the introduction into the professional training of students of musicians on the principle of integration. The philosophical and pedagogical definition of such concepts as “spirituality”, “spiritual values” of a student-musician is given. The purpose of the article is to introduce the principle of integration into professional training, the impact of integration processes on the development of the spirituality of students-musicians. The goal and advantages of integration training as the basis for the spiritual development of a student-musician are determined.The humanistic paradigm of education (V. P. Andrushchenko, I. A. Zyazyun, A. M. Stepashko) is the methodological basis for solving the problems of the article. A synergetic approach to the processes of development and self-development of spirituality, the thinking of the student, his creative “Self” (V. G. Budanov, V. V. Vasilkov). One of the areas of development of the conceptual foundations of the moral development of student-musician is the introduction into the educational process of the principle of integration of knowledge about the spiritual sphere of man, spiritual values, as the foundations of human culture.It is impossible to give education on the principles of a particular science, regardless of other sciences. This integration is an organic combination of the information of other educational disciplines around the topic of music, musical interpretation, is one of the most promising innovations that imposes new conditions for the activities of teachers and students, has a great influence on the effectiveness of the perception of young musicians learning material. Integration processes in the professional training of young musicians have become more and more important in recent years as they are aimed at implementing new educational ideals — the formation of a holistic knowledge system about musical art and performing skills, the development of students’ creative musical abilities and spirituality. The essence of the principle of integration is based on scientifically grounded, organic interpenetration of different areas of knowledge: in the form of a set of associations, symbols, categories, etc., taking into account the psychological and pedagogical features of the personality of student-musician in order to optimize and increase the effectiveness of forming a coherent picture of the world, value orientations and phenomena of art within the same subject. Thus, the use of the principle of integration in educational activities (in reliance on the widespread use of subject relations) contributes to developing, humanistic learning, in turn, stimulating the spiritual development of a student-musician.
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Guptill, Christine A. "The Lived Experience Of Professional Musicians with Playing-Related Injuries: A Phenomenological Inquiry." Medical Problems of Performing Artists 26, no. 2 (2011): 84–95. http://dx.doi.org/10.21091/mppa.2011.2013.
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The purpose of this study was to understand the lived experience of professional instrumental musicians who have experienced playing-related injuries. The study used a hermeneutic phenomenological methodology developed to examine this lived experience. In-depth interviews were conducted with 10 professional musicians, followed by a focus group where preliminary findings were presented to participants and their feedback was sought. Other sources of lived experience included participant-observation by the researcher, who is a musician and has experienced injuries, and biographic and artistic representations of musical performance and its loss, including literature, films, and television. The findings were summarized in a visual representation unique to this study. The representation illustrates three roles--musician, worker, and teacher--that are participated in, and disrupted by, the experience of being injured. In addition, the experience of a playing-related injury takes place within the context of a healthcare system which was perceived as insufficient to meet their needs: specialized care was rarely available and, if available, was not local or timely; treatment operated on a fee-for-service model when many musicians had meagre incomes and lacked coverage for these services; and treatment provided often failed to allow musicians to continue to perform at the level they had previously achieved. Finally, the representation illustrated four existentials--lived time, space, body and social relations--that permeated the experience. This study suggests that improvements to healthcare delivery and education of musicians, music teachers, and healthcare professionals are needed.
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Park, Hye Young. "Finding meaning through musical growth: Life histories of visually impaired musicians." Musicae Scientiae 21, no. 4 (2017): 405–17. http://dx.doi.org/10.1177/1029864917722385.
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The purpose of this study is to examine in depth the lives of visually impaired professional musicians via the life history method. The researcher conducted in-depth interviews with eight visually impaired professional musicians. The data analysis considered three facets of life history proposed by Mandelbaum: dimensions, turning points, and adaptations. The dimensions of life (families, schools, private music teachers, and performance groups) were analysed first. The turning points of life involve accepting and overcoming an impairment and choosing to major in music. Adaptations to life involve persevering in a harsh social environment, living as an impaired musician, aspiring to a successful career as a professional musician, and learning from vigorous musical activities. Most participants suggested that families and performance groups are the most important dimensions of their lives. With respect to turning points, choosing to major in music has enabled the participants to accept and overcome the difficulties associated with being visually impaired. Through adaptation, the participants appear to have found their value, role, and meaning both as members of society and as professional musicians. This implies both the importance of expanding performing opportunities for visually impaired musicians and the importance of acknowledging their professional activities, affording visually impaired musicians better livelihoods by offering them more fulfilling roles in the field of music along with significant, long-term public support.
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Lewis, George H. "Beyond the reef: role conflict and the professional musician in Hawaii." Popular Music 5 (January 1985): 189–98. http://dx.doi.org/10.1017/s0261143000001999.
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There have been, since Becker's pioneering work in the field of jazz (Becker 1951), a small handful of empirical studies that have focused on the popular musician in society – most specifically with respect to the conflicts such musicians can feel between what they want to play and what is demanded of them by their audience and the larger commercial market. Becker pointed out the vast differences between the expectations of the audience, those of the employers and those of the performer. In general, the audience expects the musician to play commercially popular tunes in an orthodox manner. The employer, concerned about money, applies financial sanctions to coerce the musician to fulfil audience expectations. The musicians, on the other hand, prefer to play the more individually expressive and esoteric forms of their music – in this case, jazz.
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Scholz, Gottfried. "Education of the Professional Musician." International Journal of Music Education os-12, no. 1 (1988): 54–56. http://dx.doi.org/10.1177/025576148801200114.
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Cooke, Max. "Education of the Professional Musician." International Journal of Music Education os-16, no. 1 (1990): 66–68. http://dx.doi.org/10.1177/025576149001600116.
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Cooke, Max. "Education of the Professional Musician." International Journal of Music Education os-17, no. 1 (1991): 58–61. http://dx.doi.org/10.1177/025576149101700111.
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Calissendorff, Maria, and Haukur F. Hannesson. "Educating Orchestral Musicians." British Journal of Music Education 34, no. 2 (2016): 217–23. http://dx.doi.org/10.1017/s0265051716000255.
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This article examines research on the specific training of musicians before they begin work as players in professional orchestras. Most of the research is in the area of education. The present article suggests that little research exists that is specific to the development of a traditional orchestra musician from an early age through the music education system, although considerable research exists on the development and broadening of the actual role of the professional musician in a changing world (portfolio careers).
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Ohanezova-Hryhorenko, Olha V., Liudmyla I. Povzun, Olena A. Khoroshavina, Tetiana O. Fedchun, and Kateryna I. Yerhiieva. "Artistic and conceptual tasks of a musician in solo and ensemble performance." Linguistics and Culture Review 5, S2 (2021): 774–84. http://dx.doi.org/10.21744/lingcure.v5ns2.1419.
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The relevance of this study is justified by the necessity to investigate the tasks for the improvement of musician’s professional skills. Artistic perception of the surrounding world is based on active artistic and conceptual thinking. The purpose of this study is to define artistic and conceptual tasks of a musician. In addition, the primary purpose of this research is to consider and analyze the tasks of a performing musician. The methodological background of this study is shaped by theoretical methods of scientific knowledge. For this, the study involved such research methods as analysis and synthesis of information, as well as analytical, cultural and comparative methods. The first stage of the study was a theoretical analysis of academic literature. For the sake of this study, the types of musical performances and interpretations of works as well as the main tasks of the performing musician were considered. It was determined that musical performance is a form of art that involves the reproduction of music in a variety of ways. As a result, it was established that the task of a musician is to decipher the emotional and sensual image created by the author of the work.
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Prada, Valeria, Laura Mori, Elena Prato, et al. "Comparison of Strength and Dexterity in Professional and Student Violinists: Setting Foundations to Guide Rehabilitation." Medical Problems of Performing Artists 35, no. 3 (2020): 130–37. http://dx.doi.org/10.21091/mppa.2020.3021.
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AIMS: The musician’s hand represents a complex system, which requires important motor skills. Although several studies have already investigated rehabilitation outcomes and techniques in musicians after hand lesions, none have been addressed specifically to objectively quantifiable functional parameters. The purpose of our study was to study hand functionality in violinists in order to provide foundations on which to establish and develop more appropriate rehabilitation protocols. STUDY DESIGN: An observational cross-sectional cohort study consisting of 34 subjects, including 23 students and 11 professional violinists who were either studying or working at a conservatory. Results were compared to a data set of a non-musician control group. METHODS: Nine-hole peg test and hand test system (HTS) were used to perform the study. A hand-held dynamometer was used to measure hand grip and tripod pinch maximal isometric voluntary contraction of both hands. RESULTS: Hand strength did not significantly differ on either side between professional and student violinists. A significant difference was seen when comparing violinists as a whole versus the non-musician control group. HTS highlighted significant differences in dexterity. CONCLUSION: Violinists develop better overall motor performances of the left hand, and their performance is better than normal “non-musician” controls. Dexterity and precision of execution positively correlate to years of practice. We conclude that rehabilitation of a violinist’s hand should be aimed at enhancing motor performance of the left hand and should be focused to maximize dexterity of both hands.
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Grinchenko, A. M., and A. I. Mamykina. "Professional thinking of a musician-pianist." Pedagogical sciences reality and perspectives 1, no. 79 (2021): 108–13. http://dx.doi.org/10.31392/npu-nc.series5.2021.79.1.22.
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Nygaard Andersen, Lotte, Kirsten K. Roessler, and Henning Eichberg. "Pain Among Professional Orchestral Musicians: A Case Study in Body Culture and Health Psychology." Medical Problems of Performing Artists 28, no. 3 (2013): 124–30. http://dx.doi.org/10.21091/mppa.2013.3026.
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BACKGROUND: Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians. AIM: To investigate the culture of pain and to explore how professional musicians experience and cope with pain. METHODS: Ten semi-structured in-depth interviews were conducted; 8 with musicians and 2 with professional elite athletes. In addition, a concert and two rehearsals were observed. The audiotaped interviews were transcribed verbatim. Configurational analysis was used to interpret the material as a whole. RESULTS: Musicians often experience pain as a consequence of prolonged repetitive work early in their career. Such pain is compounded by the lack of breaks during concerts and rehearsals. Orchestras seldom give opportunities for adjustments required for individual instruments, breaks, or action to prevent pain. Musicians' strong sense of coherence and the experience of pain as integral to their identity have encouraged musicians to develop flexible coping strategies. Ignoring pain and potential damage is an accepted concomitant to striving for perfection. A musician does not focus on pain but on the music. CONCLUSION: For the musician, pain has a significance beyond being something that can simply be removed by a practitioner. Pain tells both an individual story and a cultural story that is crying out to be heard.
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Nielson, Lisa. "GENDER AND THE POLITICS OF MUSIC IN THE EARLY ISLAMIC COURTS." Early Music History 31 (2012): 235–61. http://dx.doi.org/10.1017/s0261127912000010.
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Until the ninth century, the role of the professional musician in pre-Islamic Arabia and Mesopotamia was primarily fulfilled by women. Men were socially prohibited from working as musicians, though some transgressed gender and social boundaries by adopting feminine dress and playing ‘women's’ instruments. With the advent of Islam, patronage of qiyān (singing girls), mukhannathūn (effeminates) and later, male musicians, did not substantially change. During the early Abbasid era (750–950 ce), however, their collective visibility in court entertainments was among several factors leading to debates regarding the legal position of music in Islam. The arguments for and against took place in the realm of politics and interpretation of religious law yet the influence of traditional expectations for gendered musical performance that had existed on the cultural landscape for millennia also contributed to the formation of a musical semiotics used by both sides.In this article, I examine the representation of musicians in the early Islamic court in Baghdad from the perspective of select ninth-century Arabic texts. First, I begin with a summary of the gender roles and performance expectations for pre-Islamic court musicians and point to their continuation into the early Islamic courts. Then, I suggest how the figure of the musician became a key referent in the development of a musical semiotics used in medieval Islamic music discourse.
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Voloshyn, Petro. "DEVELOPMENT OF VOCAL AND PERFORMANCE SKILLS OF VOCALISTS OF ARTISTIC EDUCATIONAL INSTITUTIONS." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (December 29, 2021): 136–42. http://dx.doi.org/10.31499/2307-4906.4.2021.250206.
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In the conditions of social renewal, the modern vocal school is called to promote the revival of spiritual culture, to educate the spiritually rich generation. Vocal art is an important tool, the key to mastering the culture and solving the problems of life creation.Vocal training occupies a significant place in the system of professional music education, as it involves the formation of vocal knowledge, skills and abilities on the best examples of classical, folk and modern music. Mastering a variety of repertoire requires knowledge of the peculiarities of singing manners.The article considers the features of vocal training of future singers and the psychophysiological factors influencing the development of vocal abilities. Techniques that help people fully master voice data, expand the range, make the voice brighter and more voluminous and important aspects and factors are called for the realization of individuality in creativity and increase of a level of professional skills of the musician in vocal-performing. The author pays attention to the analysis of specific vocal abilities, fundamental sections of vocal training, and important aspects associated with the implementation of individual creativity and the high level of professional skill of the musician in performing activities. Furthermore, an important condition for improving the level of professional training of future music teachers is distinguished. It is the improvement of vocal preparation through updating its content and introducing modern approaches and technologies into the educational process. Particular attention is paid to the analysis of the specific vocal abilities of the child and the fundamental sections of vocal training (the fundamentals of breathing, sound support, vocal diction, range, strength, volume, brightness, style, manner of performance. In front of contemporary music educational institutions of artistic direction, there are complex tasks connected with the realization of individual creativity and the high level of professional skill of a musician while performing an activity. The main task is to prepare graduates for performance at a high level of professionalism to reveal the creative potential of the personality of the musician-performer, to ensure a high level of cooperation with other musicians.
 Keywords: vocal art; musical and figurative thinking; music-related memory; singing voice; breathing; self-regulation; range; articulation; timbre.
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Nagorna, G. "RESEARCH ACTIVITIES AS FORMATION FACTOR OF MUSICAL THINKING OF PERSONALITY." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 30 (2018): 46–52. http://dx.doi.org/10.28925/2311-2409.2018.30.4652.
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The article reveals the problem of organizing research activities of students of musical universities as the main factor influencing the formation of their musical thinking. To achieve this goal, music education is transformed as a holistic process of musical research based on reflexive modeling, and musical research as a musician’s self-critical research activity. It is found that only in a systematic study by future musicians of facts, phenomena, circumstances of the musical process, it is possible to develop generalized skills to determine and achieve the goal of musical research, develop value-methodological strategy and tactics of relations in the process of interaction with the subjects of this research, self-assess the results of their research activities. In addition, development of musical thinking of personality is aimed at achieving its professional reasonableness as a universal quality, providing understanding and comprehension of the holistic process of musical research and determining mastering the value-methodological culture. In the process of the research, the following is undertaken: the methodology of the criterion-value approach is substantiated as the leading strategy of the personality-activity approach to students of music universities in the process of development of their musical thinking; the types of research activities (reasonable, organizational-informational, creatively transformative, evaluating) and their interrelation on the basis of the principles of unity of the universal and particular, simple and complex are revealed; the research self-critical activity of the future musician is revealed as a criterion of the truth of his musical thinking, aimed at mastering the professional reasonableness of the individual; analysed the role of the reflexive control of the formation of musical thinking of the individual and the holistic process of musical research. The involvement of future musicians in research self-critical activity, as well as the implementation of the reflexive control of the process of development of musical thinking, provided significant positive changes in the levels of development of this thinking. If reflexive management of the process of development of musical thinking contributed to the development of rational and creative individuality, then reflexive modeling of the holistic process of musical research made it possible to achieve self-management of the student’s personality, which led to the development of dialogical thinking, actualization of the independence of professional ideas, judgments, inferences, activation of self-criticism, priority to solving complex problems . As a result of the study, the appropriateness of the realization of the personality-activity approach to students of musical universities in the process of development of their musical thinking are derived: the increase in the effectiveness of the implementation of the personal-activity approach to students during the formation of their musical thinking depends on the degree of implementation of the reflexive management of the integral process of musical research; the achievement of the goal and result of the development of musical thinking — mastering professional reasonableness of a musician — is determined by the degree of effectiveness of the implementation of the personality-activity approach in the process of formation of the specified thinking with future musicians.
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Nörholm Lundin, Anna. "Maestro! Yrkesmusikers sociala praktik, relativa framgång och habitus." Praxeologi – Et kritisk refleksivt blikk på sosiale praktikker 1 (January 1, 2019): e1566. http://dx.doi.org/10.15845/praxeologi.v1i0.1566.
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Maestro! The social practice, relative success and habitus of professional musiciansIn art music the Maestro is an important figure. The Maestro is an outstanding musician and teacher at one of the prestigious music colleges in Sweden. To be admitted as a student of a Maestro is to be granted access to the atrium of music. However, this is no guarantee of actually succeeding as a musician. Who is the Maestro? Which social practice is the Maestro part of, and which social practice is he/she maintaining? Who achieves a position as an outstanding musician, and what is required to hold such a position? The empirical material consists of three in-depth interviews with central musicians and teachers at the prestigious music colleges, which is used to reconstruct their positions and dispositions. The relative success of the musicians is understood in relation to the concept of habitus and in relation to a profession in transformation. Keywords: Maestro, musicians, social practice, habitus, relative success
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Leddick, Katherine H. "Letting Go of Performance Anxiety and Optimizing Musical Performance in a Case of Traumatic Loss." Biofeedback 39, no. 1 (2011): 35–39. http://dx.doi.org/10.5298/1081-5937-39.1.04.
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The article introduces a model integrating psychoanalytic psychotherapy with neurofeedback, in a case of performance anxiety in a professional musician. The author uses a neurofeedback approach that is comprehensive and adaptive, emphasizing a renormalizing of brainwaves, rather than producing specific states or shifts in particular bandwidths in the EEG. Psychoanalytic psychotherapy is used to address the musician's history of traumatic loss. The case is outlined, and improvements are described in terms of optimized musical performance and improved coping under pressure.
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Kolysheva, Tatyana A., and Tatyana I. Blaginina. "Professional and Personal Reflexion of a Teacher-Musician: An Operational Component." Musical Art and Education 8, no. 3 (2020): 82–102. http://dx.doi.org/10.31862//2309-1428-2020-8-3-82-102.
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The article deals with the specificity of professional reflection of the future music teacher in the light of the development of the ideas by E. B. Abdullin. The accumulation of one’s own experience of entering the world of music, the art of teaching, its comprehension and analysis allow a thoughtful student to look at the process of musical education through the eyes of students, their parents, that is, to take the reflective position of a teacher-researcher. The search for ways and means of solving professionally significant tasks requires a music teacher to think reflectively, understand the actions of his students and colleagues, and penetrate their feelings and thoughts. The importance of reflection in solving problem situations, pedagogical tasks, in mastering critical thinking by a future music teacher is substantiated. The conceptual foundations for professional reflection development of a future teacher-musician have been worked out, the structure of reflective analysis and the conditions for the effectiveness of its development by students have been revealed. The techniques and methods of preparing future bachelors and masters of music education for professional reflection in the process of studying at a university, during school practice, in various types of independent, research work of students are considered. The authors have adapted special reflexive techniques (artistic-pedagogical tasks, search games, storytelling, reflective life story, musical reflection, reflective analysis, interviews, pedagogical essays, creative portfolio). The article analyzes the experience of Dutch specialists, the author’s methods of foreign researchers (ALACT – model, “Wall”, “Arrows”, “Visiting card”, a system of reflective questions, etc.). Adapted for use by students in music lessons in the course of pedagogical practice, they become effective means for introspection, self-assessment of the activities of future bachelors / masters of music education. Based on the material of autobiographies and interviews of great musicians-performers, actual problems of music education, ways of spiritually reflexive entry into the world of art and artistic creation are analyzed.
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Nagorna, Galyna. "THEORETICAL AND METHODOLOGICAL FOUNDATIONS OF A HOLISTIC PROCESS OF MUSICAL RESEARCH AS A CONDITION OF DEVELOPMENT PERSONALITY’S MUSICAL THINKING." Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, no. 1 (7) (2018): 46–49. http://dx.doi.org/10.17721/2415-3699.2018.7.12.
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The article presents the theoretical and methodological foundations of a holistic process of musical research, providing the development of musical thinking of masters. In this regard, strategic and tactical approaches to the research of musical thinking of the individual were developed. At the same time the rational-creative research approach was the leading methodological foundation of the holistic process of the emergence and formation of musical thinking among masters. In other words, the research became a methodology of musical education, since on its basis and in its process the development of musical thinking of music teachers has occurred. In the course of this research, future musicians in their professional activities achieved rational creativity. With the help of the system approach, the structural basis was provided both for studying the musical thinking of the individual and for the holistic musical process. The theoretical basis was the criterial-value approach to the assessment of the musical thinking of masters, as well as to a holistic research of their musical art. These theoretical preconditions have been practically realized with the help of a personality-activity approach to future musicians in the process of their interaction with subjects, phenomena of musical art. Consequently, the system of relations between informing and stimulating situations of interactions with subjects, phenomena of musical art was the object of the research of masters. This system was developed on the basis of the unity of the systemic, criterial-value and personality-activity approaches presented under the aegis of the rational-creative approach. The generalized mental actions mastered by the masters in the process of a holistic of musical research were: the skill to select the goal of musical research; the skill to find or creatively build up tactics of relations that arise in the process of interaction with the subjects of musical research; the skill to elaborate a value-methodological strategy; the skill to assess, self-evaluate the relevance, reliability, strength of the developed strategy and tactics of the relationship of the holistic process of musical research. The factors determining the development of the musical thinking of the masters were identified such as: interest in activity of musical research; the need to engage in it and the vocation for it; qualities of personality, necessary to musician-teacher-performer; knowledge of peculiarities of the development of musical art; skills: constructive, organizational, communicative, gnostic. Thus, on the one hand, the achievement of the professional reasonableness of the musician in the process of research the holistic musical process is ensured. On the other hand, the basic ideas of the concept of the formation of the musical thinking of the personality are realized, which consist in the fact that the formation of the designated thinking is determined by the dialectical unity of generalized mental actions that constitute the essence and content of this thinking, the factors that influence its development, and the system of strategic and tactical approaches necessary for its implementation. As a result, the system of professional university training has been transformed taking into account approaches to: musical education as a research of the holistic musical process; researching as the self-critical activity of a future musician; a musician as a special person who takes a subjective position, and creates polysubject (dialogical) relations in the course of mutual communication.
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Bultman, Bethany Ewald. "Do Ya Know What It Means to Miss New Orleans?: A Musicians' Clinic Creates Nimble Solutions to Keep Music Alive." Medical Problems of Performing Artists 22, no. 4 (2007): 135–39. http://dx.doi.org/10.21091/mppa.2007.4030.
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The New Orleans Musicians Clinic (NOMC) was founded in 1998 to help sustain Louisiana's musicians in mind, body, and spirit by developing access to primary care, preventative health services, and social and occupational outreach. Before Katrina, an estimated 3500 professional musicians were living and performing in New Orleans, and the NOMC had 1,300 musician-patients treated by a volunteer network of more than 300 nurses and doctors within the LSU Medical School. Today, there are less than 1800 professional musicians, who now struggle to survive as part-time musicians, and the Clinic likewise has changed to meet new and increasing demands for its services.
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Lewno, Adam, Michael Munin, and Eric Helm. "Right Hand Dystonia in a Professional Musician." Medicine & Science in Sports & Exercise 48 (May 2016): 26–27. http://dx.doi.org/10.1249/01.mss.0000485090.96742.15.
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Goh, Wilson, Leonard Tan, and Hui Xing Sin. "Developing the Inner Musician: Practical Strategies for Large Ensembles." Music Educators Journal 107, no. 3 (2021): 31–37. http://dx.doi.org/10.1177/0027432121998481.
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Nearly fifty years ago, Timothy Gallwey published The Inner Game of Tennis, which left an indelible mark on sports psychology; subsequently, Barry Green used similar principles to author The Inner Game of Music. As far as can be determined, there lacks a concise guide that translates key insights from sports and music psychology into practical strategies for large ensembles. To address this gap in the professional literature, we draw on the sports and music psychology literature, as well as our own professional applied experience, to discuss the benefits of psychological skills for musicians, and we present ten practical strategies to aid the development of psychological skills for large-ensemble musicians. We conclude with some final thoughts on developing the inner musician.
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ORUJOV, İgbal, and Taravat ORUJOVA. "ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 26 (2021): 85–95. http://dx.doi.org/10.31623/iksad072607.
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Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.
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Poronok, Svetlana Alexandrovna. "THE CULTURAL ENVIRONMENT OF A MODERN UNIVERSITY AS A FACTOR IN THE FORMATION OF PROFESSIONAL COMPETENCE OF A TEACHER-MUSICIAN." Chronos 6, no. 11(61) (2021): 33–35. http://dx.doi.org/10.52013/2658-7556-61-11-10.
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The article considers the ways of forming the professional competence of a teacher-musician in the cultural environment of a modern university. The characteristic of the phenomenon of the cultural environment of the university in the context of the formation of the spiritual and moral worldview of students-musicians is presented.
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Kulikova, Svitlana. "STRUCTURAL COMPONENTS OF THE CREATIVE DEVELOPMENT OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 88–91. http://dx.doi.org/10.36550/2415-7988-2021-1-192-88-91.
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At the present stage of systematic identification and approbation, purposefulness and improvement of various methods in musicology and music-pedagogical levels of education, the creative development of the future music teacher appears as an integral part of his future professional competence. Creativity as well as performance influence the comprehensive development of an instrumentalist musician at any stage of learning. Creativity stimulates the student to extraordinary music lessons. The main form of work in the piano class is individual lessons, which should be considered as one of the leading links in the learning process. They create conditions for comprehensive education and upbringing of the student, allow to solve pedagogical tasks consistently, to develop creative initiative and independence. The analysis of musical and pedagogical literature allowed to single out the following structural components of professional and creative development of the future teacher of musical art in the course of classes in the class of the basic musical instrument (piano) as sensory-emotional, artistic and figurative and performing. The art of playing any musical instrument is based on the unity of artistic image and technical skill, which allows the musician to convey to the listener what he wants to express his performance. Constant improvement of technical skills is the musician's work to expand his capabilities in the embodiment of artistic images. Thus, the main task of organizing the learning process in the classroom of the main musical instrument (piano) is to train a competent, broad-minded music teacher who owns the instrument, with a developed need for independent, creative activity. Achieving this task is possible provided that the following structural components of professional and creative development of the student: sensory-emotional, artistic and performing.
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Polushkin, Vladimir, Tatyana Strazhnikova, and Katherine Polushkina. "The essence and functions of creative self-expression in professional activity the teacher-musician." KANT 35, no. 2 (2020): 300–304. http://dx.doi.org/10.24923/2222-243x.2020-35.63.
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The authors consider the important problem of creative expression of a musician-teacher for modern musical pedagogy. Based on the analysis of research literature, the content and functions of creative expression in musical and performing activities are revealed. It is characterized by the aesthetic nature of creative self-expression, internal harmony of will, emotional and intellectual intents of self-expression.
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CERRATO, P. "Complex musical hallucinosis in a professional musician with a left subcortical haemorrhage." Journal of Neurology, Neurosurgery & Psychiatry 71, no. 2 (2001): 280–81. http://dx.doi.org/10.1136/jnnp.71.2.280.
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Simoens, Veerle L., and Mari Tervaniemi. "Musician–instrument relationship as a candidate index for professional well-being in musicians." Psychology of Aesthetics, Creativity, and the Arts 7, no. 2 (2013): 171–80. http://dx.doi.org/10.1037/a0030164.
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Comeau, Gilles, Dominique T. Vuvan, Claudia Picard-Deland, and Isabelle Peretz. "Can You Tell a Prodigy From a Professional Musician?" Music Perception 35, no. 2 (2017): 200–209. http://dx.doi.org/10.1525/mp.2017.35.2.200.
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Little empirical research has been conducted on prodigies, in no small part due to the fact that there exists no agreed-upon definition with which to identify them. The most widespread definition characterizes a prodigy as a child who, at a very young age (typically before 10) performs at an adult professional level (Feldman & Goldsmith, 1986). We tested this definition by asking musicians and nonmusicians to (1) judge whether audio clips were played by a prodigy or a professional, and (2) identify which of two clips of the same piece was played by a prodigy. Listeners performed above chance in both tasks but by a very modest margin, and musicians performed better than nonmusicians. Their low performance implies that prodigies perform well enough to be judged in terms of the most demanding criteria of performance in the field. Yet older prodigies (11 to 14) were harder to distinguish from professionals than younger prodigies (under 10), suggesting a protracted developmental trajectory for prodigy performance. Furthermore, the rate at which prodigies progressed in their playing appears higher than for regular students, suggesting that rate of progress might be used as an additional criterion for defining music prodigy.
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Butler, Katherine, and Ian Winspur. "Retrospective case review of time taken for 130 professional musicians to fully return to playing their instruments following hand surgery." Hand Therapy 14, no. 3 (2009): 69–74. http://dx.doi.org/10.1258/ht.2009.009019.
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Background. Surgery on musicians must be entered into cautiously and should be the only treatment option indicated after trialling all other appropriate ones. There are four main principles that must be carefully considered when operating on musicians: the exact location of incisions, anatomic repair and reconstruction, adjustment of any anticipated anatomic compromise to the musician's specific musical needs and the need for an early return to limited playing. The purpose of this case review was to identify which instrument and what medical condition require the most time for the musician to fully return to playing. This in turn can assist in realistic goal setting with individual patients according to these two categories. Methods. A retrospective review of a single surgeon's case series of 130 professional musicians was undertaken. Data regarding their medical condition, instrument played, length of time off the instrument following surgery and the time taken to return to full normal professional playing were recorded and analysed. Results. A total of 97.7 percent of the patients returned to full time playing and there was a 2.3% ‘failure’ rate. The results indicate that piano players appear to initially take the most time to return to their instrument and string players take the most time to fully rehabilitate. Trauma appears to be the most difficult condition from which to initially recover however, nerve decompressions (with the exception of carpal tunnel releases) take the most time to fully rehabilitate. The most common medical condition requiring surgical intervention was nerve compressions and the piano was the most common instrument played in the series. Conclusions. This case series highlights the importance of early return to playing and utilizing the musical instrument as a therapeutic tool in the rehabilitation programme of musicians.
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Nikulina, Natalia, Nataliya Buyanova, Olga Orekhova, Irina Rubcova, and Diana Shnurova. "Historical transformations of techniques for overcoming performance anxiety in the context of professional training of a modern vocalist." E3S Web of Conferences 210 (2020): 18123. http://dx.doi.org/10.1051/e3sconf/202021018123.
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This paper studies the problem of overcoming performance anxiety, which, to one degree or another, every musician faces throughout his educational and professional activities. The success of his professional self-realization in the modern socio-cultural space will depend on what productive ways aimed at eliminating negative manifestations of performance anxiety as an integral part of musical performance and gaining organic stage freedom will be found by the future vocalist. The performing activity of a musician can be characterized as an extremely tense, responsible, complex, stressful process. The problem of the relationship between the personality of a musician and his ability to evoke a state of stage freedom during a performance is one of the most interesting topics for research, but at the same time, one of the most difficult to solve. A theoretical analysis of the literature on the problem considered in the paper, the study of the basic practical pedagogical principles of the development of the state of stage freedom in the professional training of a modern vocalist served as the basis for revealing the specifics of the interaction between a teacher and a student on the basis of joint work on the formation of professional and spiritual qualities of a modern vocalist. Based on the analysis of the historical practice of psychophysical trainings, in particular, some ancient Eastern practices; continuity and specificity of the methods, techniques and exercises of the Russian theater school, the paper identifies effective ways of forming the professional qualities of a vocalist's personality, in particular, stage freedom.
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Bennett, Dawn. "Utopia for music performance graduates. Is it achievable, and how should it be defined?" British Journal of Music Education 24, no. 2 (2007): 179–89. http://dx.doi.org/10.1017/s0265051707007383.
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For the majority of undergraduate classical music performance students, ‘musotopia’ is a place where performance ambitions are realised with an international performance career. However, given that so few musicians achieve this ambition, should this ideal be redefined? This paper investigates instrumental musicians' careers by exploring the realities of professional practice. A detailed study which incorporated interviews, focus groups and a lengthy survey, revealed the multiplicity of roles in which most musicians engage in order to sustain their careers. The findings call into question the concept of a musician as a performer, positing that a musician is rather someone who practises within the profession of music in one or more specialist fields. The diversity of roles pursued by practising musicians is not reflected in the majority of conservatorium curricula, thus the enormous potential for the transfer of music graduate skills into the broad cultural industries setting remains largely unrealised. Acceptance of, and preparation for, a more holistic career will enable many more graduates to find their own musotopia.
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Konstantin, Kurlenya. "Philosophy in the formation of a professional musician." Ideas and Ideals 1, no. 2 (2016): 81–101. http://dx.doi.org/10.17212/2075-0862-2016-2.1-81-101.
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Suslova, Nelly V. "On the Professional Responsibility of a Teacher-Musician." Musical Art and Education 8, no. 3 (2020): 129–48. http://dx.doi.org/10.31862//2309-1428-2020-8-3-129-148.
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The article deals with various aspects of the professional responsibility of a music teacher at school. On the example of the author’s scientific and pedagogical interaction with Professor E. B. Abdullin, the issues of continuity of traditions of national music education, standards of professional competencies of a teacher-musician, the relationship of research and practical work in the framework of music and pedagogical activities are considered. The historical retrospective highlights some episodes that characterize the creative path by E. B. Abdullin in the context of the development of the system of national music and music-pedagogical education. The article considers the situation related to the development of the concept of teaching the educational field “Art” in a 12-year school, provides a brief analysis of the current problems of state regulation of General education in General, and the subject area “Art” in particular. These examples raise questions of mutual responsibility of the music teacher and the teaching staff to students and society. The article also provides some data on the results of scientific research. The conclusions are formulated on the basis of a psychological and pedagogical study of the possibilities of implementing an individual approach in the classroom system, conducted in 2003–2006 on the basis of General education school No. 1732 in the city of Moscow with an in-depth study of music. The problems identified during the study of the possibilities and forms of application of game techniques and methods by music teachers in the educational process are noted.
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Suslova, Nelly V. "On the Professional Responsibility of a Teacher-Musician." Musical Art and Education 8, no. 3 (2020): 129–48. http://dx.doi.org/10.31862/2309-1428-2020-8-3-129-148.
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de Reizabal, Margarita Lorenzo, and Manuel Benito Gómez. "When theory and practice meet: Avenues for entrepreneurship education in music conservatories." International Journal of Music Education 38, no. 3 (2020): 352–69. http://dx.doi.org/10.1177/0255761420919560.
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In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.
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Burns-O’Connell, Georgina, David Stockdale, Oscar Cassidy, Victoria Knowles, and Derek J. Hoare. "Surrounded by Sound: The Impact of Tinnitus on Musicians." International Journal of Environmental Research and Public Health 18, no. 17 (2021): 9036. http://dx.doi.org/10.3390/ijerph18179036.
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AIM: To investigate the impact of tinnitus on professional musicians in the UK. BACKGROUND: Tinnitus is the experience of sound when an external source is absent, primarily associated with the ageing process, hearing loss, and noise exposure. Amongst populations exposed to industrial noise, noise exposure and noise-induced hearing loss (NIHL) have been found to be the factors most associated with tinnitus. The risk of NIHL amongst professional musicians is greater than that amongst the general population, meaning they may be at increased risk of tinnitus. METHODS: Seventy-four professional musicians completed an online survey involving closed and open-ended questions, and completed the Tinnitus fuctional Index (TFI) questionnaire. Descriptive statistics and thematic analysis of open-ended qualitative responses were used to analyse the data. RESULTS: Three themes were generated from the analysis of the responses to the open-ended questions. These themes were: (1) the impact of tinnitus on the lives of professional musicians, (2) professional musician experience of tinnitus services, support, and hearing health and safety, and (3) the support professional musicians want. The mean global TFI score for professional musicians was 39.05, interpreted as tinnitus being a moderate problem. Comparisons with general population data revealed lower TFI scores for the TFI subscales of ‘sense of control’ and ‘intrusiveness’ for professional musicians and higher for auditory difficulties associated with tinnitus amongst professional musicians. CONCLUSION: Tinnitus can negatively impact on professional musicians’ lives. There is a need for bespoke self-help groups, awareness raising, and education to prevent tinnitus and promote hearing health among musicians.
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Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.
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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves the search for an individual performing style. Jazz composition is considered as a sphere of modern musical culture that meets the needs of musicians and listeners. The article shows the importance of jazz composition in the realities of the development of musical styles, emphasizes its importance in the system of values of musical culture, the objective meaning of which is determined by its inherent nature in several components of the modern creative process.
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Varlamova, T. P. "REPERTOIRE AS THE PREVAILING FACTOR OF THE CONTESTANT’S PSYCHO-EMOTIONAL STATE." Arts education and science 1, no. 2 (2020): 46–52. http://dx.doi.org/10.36871/hon.202002005.
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The prevailing empirical and dogmatic approach in the field of repertory policy in the contemporary performing practice of musicians and the lack of scientifically developed recommendations for the selection of musical material require the definition of the concepts of psychological aspect in preparation for the competitive appearances. The essential factor is the selection of a competitive repertoire, which depends both on the requirements of the competition and on the desire to carry out a work that is close in spirit. Recently the self-affirmation of a musician, participating in competitive tests, becomes all the more urgent. The works, that reveal the performing individuality of the contestant, can serve as a condition for the formation of a psychological motive for this activity. In addition, the repertoire serves as a means to form professional qualities of the personality; so when selecting a work, it is necessary to consider the performer’s temperament, character and specific features. The article examines the criteria for selecting a competitive repertoire, its influence on the mental processes of modeling the musician’s attitude to reality in intonated sonic images.
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VASILJEVIĆ, MAJA, and HARIS DAJČ. "BETWEEN COURTLY, CIVIL AND MILITARY SERVICE: MILITARY MUSICIANS IN THE PRINCIPALITY AND KINGDOM OF SERBIA." ИСТРАЖИВАЊА, no. 28 (December 27, 2017): 118–33. http://dx.doi.org/10.19090/i.2017.28.118-133.
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The Principality and later Kingdom of Serbia with its less pronounced class differences, with a thin layer of urban population and the dominance of rural population, was the perfect target for the military musicians that were coming from the Habsburg Empire. “Foreigners” as military musicians would progress into higher strata. Czech musicians were the most important and most numerous among the newcomers in Serbia and the role of Josif Schlesinger as the first important musician is essential for understanding their importance and influence. The educational and modernization process could be followed by the growth in the number of professional military musicians.
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Larrouy-Maestri, Pauline, David Magis, Matthias Grabenhorst, and Dominique Morsomme. "Layman versus Professional Musician: Who Makes the Better Judge?" PLOS ONE 10, no. 8 (2015): e0135394. http://dx.doi.org/10.1371/journal.pone.0135394.
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Tanglin, Zhang. "POTENTIAL OF MEDIA EDUCATION IN PROFESSIONAL TRAINING OF MUSIC TEACHERS." Innovative Solution in Modern Science 7, no. 43 (2020): 5. http://dx.doi.org/10.26886/2414-634x.7(43)2020.1.
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The article examines pedagogical activity as a way of social and cultural practice of the individual, which implements the tasks of preserving national traditions, adapting and regulating the process of professional development of a future teacher. The modernization of the educational system of Ukraine is determined by the tendencies of European integration, which can be considered an essential lever of success not only for the economic and political transformation of society, but also for strategic changes in the educational policy of Ukraine. The purpose of the article is to substantiate the practical importance of media education, taking into account modern trends in the modernization of the educational system in Ukraine in the era of globalization of the world educational space. To achieve this goal, the following tasks were set: to consider the role of media education in the professional activities of future music education specialists, to substantiate media education as a component of general education, and media literacy and media competence as a component of the professional and general culture of a modern music teacher; identify ways to solve the problem of the need for media education in the professional activity of a future musician teacher; to reveal and analyze promising directions for increasing the level of media educational training of future music teachers in social relations, new dimensions of his self-realization; substantiate the conclusions and directions for further consideration of the selected problem. The main methods used in the study are comparative, analytical, systemic and structural. Conclusions. We consider media education as a component of ICT, which includes, on the one hand, knowledge, skills and abilities of their application, on the other hand, media literacy, media competence and media culture. We associate the training of future teachers of musical disciplines using ICT tools with the need to improve the state educational standard by introducing new specialties, the need for which is dictated by the current state of art education and culture. The practical implementation of media education requires a change in scientific views on the need to introduce media education as a component of general education, and media literacy and media competence as an integral part of the professional and general culture of a modern music teacher. The solution to the problem posed also depends on the understanding of the value of professional activity, which occurs only through the actualization of the processes of self-awareness by future teachers-musicians, revealing themselves in the search for the meaning of artistic values. Key words: media education, modernization of professional training, musical and pedagogical activity, information and communication technologies, future teacher-musician.
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Klieshch, Alina. "PSYCHOLOGICAL COMPONENTS OF DOMINANT ATTENTION AS THE LEADING PROFESSIONAL QUALITY OF THE ENSEMBLER." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 182–85. http://dx.doi.org/10.36550/2415-7988-2021-1-195-182-185.
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The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.
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Wierzbowska, Ewa Małgorzata. "Les trois concerts de Charles de Vivray." Cahiers ERTA, no. 26 (2021): 85–108. http://dx.doi.org/10.4467/23538953ce.21.028.14000.
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Charles de Vivray's Three Concerts Music is a keystone in the entire work of Marie Krysinska, who was first and foremost a musician. Guided by the rule of universal harmony, the perfect realisations of which are musical compositions, she applies it in her poems as well as in her narrative texts. Krysinska's novel, La Force du désir [The Force of Desire], was read in its time primarily as a roman à clef. Behind the literary characters are real people: poets, writers, actresses, singers, journalists, composers. One of the portraits is particularly touching, that of de Vivray whose real-life prototype was Charles-Erhardt de Sivry. A musician, conductor, poet and music theorist, de Sivry charmed listeners with his compositions. In the diegesis, all his professional activities are mentioned, more or less revealed. Thanks to Charles de Vivray's three concerts, the novelistic space transforms into a musical space.
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Neuhausen, Timo, Carsten Wernicke, and Michael Ahlers. "Technology-centred learning processes as digital artistic development: On the reciprocal effects of conceptual models, metaphors and presets." Journal of Music, Technology and Education 13, no. 2 (2021): 287–304. http://dx.doi.org/10.1386/jmte_00027_1.
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This case study looks at a self-directed learning process of a professional classical-trained musician adopting a previously unknown digital-material musical device. In order to achieve the desired artistic result, the musician has to modify his music-related action in favour of the device’s calls for action, which are shown to him by a preset session. For this purpose, a specific interface relation must be established in the connection between the user and the device. The case study is contrasted with data from its framing research project. Findings include aspects as affirmation or degrees of unfamiliarity and their respective impacts on the subject’s action repertoires. A model of learning in the context of digital media or interfaces is introduced and discussed. It offers a specific potential for identifying particularities of how meaning and functionality of digital-material musical devices are embedded into everyday artistic contexts.
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Romano, Patrizia. "Espressione artistica, bioenergetica e counselling a mediazione corporea: un'esperienza con i musicisti." GROUNDING, no. 2 (July 2009): 75–84. http://dx.doi.org/10.3280/gro2008-002009.
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- The aim of our article is to outline the "professional figure" of a musician as an interpreter of classical music, and the main problems that this profession can create at a psychophysical level. We would also like to illustrate some ways of intervention through bioenergetics in order to avoid the so called "professional illnesses" and to favour and strengthen a full, rewarding and efficient artistic expression. The author's experience is to demonstrate how body awareness can fully help to transform the relationship between a musician and his music, which is often exclusively aimed at a successful performance, thus provoking an enormous amount of tension and stress. In conclusion, the above mentioned work of conquering body awareness could help to build a way of playing which could harmoniously integrate body, thoughts and emotions.Key words Musician, bioenergetics, counseling, awarenessParole chiave Musicista, bioenergetica, counselling, consapevolezza
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Maryatch, Anastasiya Y. "Comparative analysis of the evolution of scientific and pedagogical knowledge in the field of education of the culture of piano performance and intonation." Tambov University Review. Series: Humanities, no. 188 (2020): 147–56. http://dx.doi.org/10.20310/1810-0201-2020-25-188-147-156.
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We examine and study the category “Culture of piano performance and intonation”, an important component of the education of professional competence and skill of the future teacher-musician. The subject of the research is the process of educating the culture of piano performance-intonation. The purpose of the research is a scientific and theoretical substantiation of the concept of education of the piano intonation culture. The relevance of the research is that there is a need to study the features of the process of educating the culture of piano performance and intonation. It is established that the content aspects of educating the culture of piano performance and intonation depend on the target setting for the development of a competent personality of the future teacher-musician and, in this regard, the priority vector of development is not only the development of professional musical and pedagogical knowledge, skills and abilities, but also personal qualities. The research methodology is based on the use of comparative analysis and systematization of scientific-theoretical and musical-pedagogical knowledge on the research topic; cultural approach to the problem of studying the phenomenon of piano performance and intonation; hermeneutical approach to the interpretation of the concepts under study; pedagogical experience gained in the course of teaching students in the discipline “Musical and Instrumental Training” at pedagogical university. As a result of this research, the concept of educating the culture of piano performance and intonation is formulated. It is concluded that the culture of piano performance and intonation – is a complex integrative property of the personality, based on the individual style – intonation auditory experience of the individual. The field of application of the obtained results is the practical activity of a teacher-musician.
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Woodley, Ronald. "Tinctoris's Italian translation of the Golden Fleece statutes: a text and a (possible) context." Early Music History 8 (October 1988): 173–244. http://dx.doi.org/10.1017/s0261127900000929.
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Any assessment of a fifteenth-century court musician failing to take account of those extra-musical activities – be they juridical, administrative, liturgical or whatever – which almost invariably constituted an intrinsic part of that musician's overall function must be deemed at best flawed, at worst a chronic perpetuation of that romanticising instinct to dislocate music from its integral rôle as a morally and spiritually heightening force in the court's social structure. This is not, of course, to deny the acceleration in the emergence both of the ‘professional’ musician and of a more autonomous musical language, together with the potential for a similar though less tangible degree of autonomy in the public and private response to that music, all of which undoubtedly seems to have taken place in the fifteenth century. But, to take the practical case of Tinctoris, it is clear that, aside from his musical skills and the political attractions to Naples of forging cultural links with the Burgundian—Netherlandish circles of influence, a high-level training in canon and civil law would have contributed in no small measure to the securing of his post at the Neapolitan court of King Ferrante, and, more specifically, was probably a major factor in his being commissioned by royal mandate, soon after his arrival in Italy, to translate into Italian the statutes of the Order of the Golden Fleece for his new employer, on the occasion of Ferrante's election to knighthood of the order.