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Journal articles on the topic 'Professional musician'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

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 spe

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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 un

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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 dete

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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 rep

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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 invol

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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

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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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8

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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10

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 an

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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 1

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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 oft

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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 debate

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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

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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 v

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18

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 posi

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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 th

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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 developm

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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

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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,

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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 th

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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 lead

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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 chan

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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

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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

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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 c

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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

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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

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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 mus

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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

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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

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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 fol

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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

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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

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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 prot

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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 o

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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 succ

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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 th

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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 auton

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