Academic literature on the topic 'Professor of Music)'
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Journal articles on the topic "Professor of Music)"
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Koehler, William. "A Music Professor Views Music Libraries." Music Reference Services Quarterly 1, no. 2 (1993): 41–49. http://dx.doi.org/10.1300/j116v01n02_03.
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Fan, Hongtao, Congcong liu, and Bingze Du. "A Musical Messenger for Cultural Exchanges between China and South Korea: An Interview with Professor Piao Enyu from Kangwon National University." Yixin Publisher 1, no. 1 (2024): 1–5. http://dx.doi.org/10.59825/jms.2024.1.1.1.
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This article is an interview with Professor Piao Enyu of Kangwon National University, a musical messenger of cultural exchanges between China and South Korea. Professor Piao introduced the process of embarking on the research of Korean music history, and discussed the music of the Goryeo Dynasty, the similarities and differences between Chinese and Korean music history, Korean folk music, Korean elegant music, and Professor Piao’s own work Goryeo Tang Music, etc. After making an analysis, she finally put forward her own expectations for young music scholars: strive to get closer to the music exchange between China and South Korea based on the existing knowledge structure.
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Mantie, Roger, Jonathan Bayley, Kari Veblen, Kirsten Allstaff, and Danielle Sirek. "Considering musical communities online and offline: A dedication to the life and work of Janice Waldron (13 April 1957–7 November 2022)." International Journal of Community Music 16, no. 1 (2023): 113–23. http://dx.doi.org/10.1386/ijcm_00078_1.
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Janice Waldron (1957–2022), professor at the University of Windsor (Canada), was an accomplished musician, teacher and researcher. Her scholarly passions revolved around informal music learning practices, online and offline music communities, social media and music learning, and Irish and Scottish traditional musics. In this dedication to Waldron, five friends and colleagues – Kari Veblen, Jonathan Bayley, Kirsten Allstaff, Danielle Sirek and Roger Mantie – offer reflections on her life and work and the legacy she has left for scholars and practitioners of community music.
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Haidamaka, V. "H .S. LEVCHENKO’S MUSIC PEDAGOGY." Aesthetics and Ethics of Pedagogical Action, no. 28 (December 19, 2023): 148–59. http://dx.doi.org/10.33989/2226-4051.2023.28.293178.
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This article combines scientific approaches to understanding the pedagogical work of Professor Hryhorii Semenovych Levchenko with his expressive and emotional memories. The relevance of the article is due to the ongoing interest of researchers in the figure of the contemporary educator, including Professor H. Levchenko.
 The author emphasizes the role of song in the education of a nationally conscious and self-aware citizen of Ukraine. She convincingly argues that the aspects of the influence of musical art on the formation of the personality of future teachers have always been the foundation of the teaching and choral work of Hryhorii Levchenko. The Ukrainian folk choir “Kalyna,” created by Hryhorii Semenovych in 1979, became the creative laboratory of the professor, as the researcher believes. Therefore, the goal of the article is to clarify the dominant techniques of Professor H. S. Levchenko’s music pedagogy.
 The article establishes that the pedagogue-musician Levchenko paid significant attention to repertoire selection, working with the content of song compositions, and setting an example as a means of influencing the student audience in his educational and upbringing activities. The author relies on original documents, including concert programs, for the analysis of Professor Levchenko’s pedagogy.
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Barons, Martine, Paul Chleboun, Martine J. Barons, and Paul I. Chleboun. "Professor Martin Hairer." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (2015): 12–23. http://dx.doi.org/10.31273/eirj.v3i1.123.
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Professor Martin Hairer was one of four recipients of the 2014 Fields Medal, widely viewed as the highest honour a mathematician can receive. He is currently Regius Professor of Mathematics in the Mathematics Department at the University of Warwick. Professor Hairer has contributed significantly to the field of stochastic partial differential equations (SPDEs), which engages with interdisciplinary approaches to mathematics and physics. He has enjoyed great success communicating mathematics to a range of audiences and has also developed music editing software.In this interview, early career mathematicians, Dr Martine Barons (MJB) and Dr Paul Chleboun ask Professor Hairer (MH) about how his interest in mathematics developed; the awards ceremony where he received the Fields Medal; Amadeus Pro, the music software he developed and continues to maintain; and the challenges of engaging a sceptical and sometimes critical public as a mathematician.
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Sobolczyk, Barbara. "Profesor Zygmunt Gzella – Kierownik Katedry Wychowania Muzycznego w latach 1976–1999." Konteksty Kształcenia Muzycznego 4, no. 1 (2017): 17–25. http://dx.doi.org/10.5604/01.3001.0010.5347.
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Profesor Zygmunt Gzella był demokratycznie wybranym rektorem Akademii Muzycznej w Łodzi oraz przez 23 lata Kierownikiem Katedry Wychowania Muzycznego tejże uczelni. Okres jego kadencji to czas wielu zmian i znaczącego rozwoju Akademii i Wydziału. Jako zdeklarowany zwolennik szerokiego rozumienia wychowania muzycznego, widział prof. Gzella jego miejsce w szkołach ogólnokształcących z wychowaniem przedszkolnym włącznie, w szkolnictwie muzycznym, w ruchu amatorskim, w instytucjach muzycznych i mediach. Jednym z głównych założeń takiej wizji było intensywne upowszechnianie kultury wysokiej w społeczeństwie i wyposażanie osób działających na jej rzecz w nowoczesne narzędzia. Celom tym służyły liczne działania obejmujące nowatorskie projekty artystyczne i nowe formy dydaktyczne angażujące studentów i pracowników uczelni. Profesor Gzella prowadził równocześnie aktywną działalność koncertową jako dyrygent, nagraniową, naukową i popularyzatorsko‑dziennikarską. Ta nieprawdopodobnie rozległa i zróżnicowana działalność na wielu polach została doceniona i wielokrotnie nagrodzona m.in. medalem papieskim „Pro Ecclesia et Pontifice”. Professor Zygmunt Gzella was a democratically elected Rector of the Academy of Music in Łódź and for 23 years he also served as the Head of the Music Education Chair of the Academy. His term of office was the period of numerous changes and significant development of both the Academy and the Faculty. As a self-admitted proponent of a broad understanding of music education, Professor Gzella believed that the place of music education was in comprehensive schools, including pre-schooling, in music schools, in an amateur movement, in music institutions and in the media. Some of the main assumptions of this vision were an intense promotion of high culture within the society and equipping the people working for culture with modern tools. What served these aims were numerous activities comprising innovative artistic projects and new didactic methods involving students and the Academy employees. Professor Gzella simultaneously pursued an intensive concert and recording activity as a conductor; he also embarked on academic, promotional and journalistic undertakings. His activity, incredibly extensive and varied, pursued in so many fields was recognized and awarded on many occasions, e.g. with the papal “Pro Ecclesia et Pontifice” medal.
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Miller, R. "Professor Miller replies." Music Theory Spectrum 29, no. 1 (2007): 140. http://dx.doi.org/10.1093/mts/29.1.140-a.
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Guck, M. "Professor Guck replies." Music Theory Spectrum 29, no. 2 (2007): 276. http://dx.doi.org/10.1093/mts/29.2.276-a.
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Mills, Janet. "Working in music: the conservatoire professor." British Journal of Music Education 21, no. 2 (2004): 179–98. http://dx.doi.org/10.1017/s0265051704005698.
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This article describes an innovative approach to analysing, describing and evaluating the careers of musicians, and applies it in the case of 37 ‘professors’, that is, instrumental teachers, working at a conservatoire in the UK. The professors emerge as flexible and committed musicians who enjoy teaching conservatoire students, and who nearly all feel that they benefit musically and personally from this work.
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Snoj, Jurij. "Matjaž Barbo: Meaning in Music and Music in Meaning." Musicological Annual 52, no. 1 (2016): 211–16. http://dx.doi.org/10.4312/mz.52.1.211-216.
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Although it is not expressed in the title, this new book by professor Matjaž Barbo deals with the aesthetics of music; its chapters discuss classical topics of musical aesthetics, emphasizing to some extent issues that have dominated recent philosophical discourse on music.
Dissertations / Theses on the topic "Professor of Music)"
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Abreu, Delmary Vasconcelos de. "Tornar-se professor de música na educação básica : um estudo a partir de narrativas de professores." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/31430.
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Esta pesquisa teve como objetivo geral investigar como professores licenciados em outras áreas do conhecimento – Ploa se tornam professores de música na educação básica. Como objetivos específicos, busquei: compreender como esses professores se inseriram na Rede Municipal de Ensino de Sinop – Remes como professores de música; como ensinam música na escola e como se veem como professores de música na escola. O referencial teórico do trabalho está fundamentado em conceitos de profissionalização dos educadores Antonio Nóvoa e Betânia Ramalho, Isauro Núñez e Clermont Gauthier, e na perspectiva teórica – teoria ator-rede desenvolvida por Bruno Latour. Os princípios desenvolvidos por Bruno Latour complementam o conceito de profissionalização no que se refere ao aspecto do profissionismo. O método utilizado foi a abordagem biográfica, mais especificamente as narrativas. A estratégia de pesquisa utilizada foi a entrevista narrativa, denominada no trabalho como narrativas de profissionalização. O estudo foi realizado com dez professores que atuam na Remes. A análise indica que a profissionalização se constitui como uma narrativa. A narrativa de profissionalização é um processo de ações minúsculas praticadas pelos docentes no interior de seus contextos. Essas ações, que vão constituindo os professores em profissionais, são geradas pelas necessidades do contexto. Os professores constroem a sua profissionalização tecendo uma relação singular-plural com o contexto escolar. Os professores constroem modos distintos de ensinar música e criam estratégias de ação que lhes possibilitam arregimentar aliados para que continuem o seu processo de vir a ser professores de música na escola. A pesquisa contribui para que a área de educação musical possa ampliar os conceitos sobre a profissionalização de professores que atuam com o ensino de música nas escolas de educação básica. Dar visibilidade às práticas músico-educacionais vividas pelos professores no contexto escolar indica dimensões do vir a ser professor de música. Um dos caminhos que esta pesquisa aponta é que, para tornar-se professor de música na educação básica, é necessário tomar a profissionalização como uma narrativa.<br>This research aimed at investigating how teachers undergraduate in other areas of knowledge become music teachers in schools of basic education. More specifically, it aimed to understand how these teachers entered in the educational municipal system of the city of Sinop, Mato Grosso, mid-western Brazil; how they teach music at schools and how they see themselves as school music teachers. The theoretical framework was constituted by the concepts of professionalization elaborated by Antonio Nóvoa and Betânia Ramalho, Isauro Núñez and Clermont Gauthier and the theoretical perspective – actor-network theory developed by Bruno Latour, whose principles complement the concept of professionalization. The research adopted a biographical approach, specifically that of the narratives. The research technique used was the narrative interview, called as narratives of professionalization. The study was carried out with ten teachers of the municipal system of Sinop. The analysis indicates that the professionalization is constituted as a narrative. The narrative of professionalization is a process constituted by narrow actions carried out by the teachers in the contexts where they work. These actions, which constitute the teachers as professionals, are generated by the needs of the context. The teachers build their professionalization through weaving a singular-plural relationship with the school context. They elaborate distinct modes of teaching music and create strategies for action that allows them to gather allies to continue their process of becoming music teachers at school. The research contributes to the field of music education through broadening the concepts about the professionalization of teachers who work with music education in the schools. Furthermore, the process of making visible the practices of music education lived by the teachers in the school context indicates dimensions of how one comes to be a music teacher. The research concludes that, in order to become a music teacher in the school of basic education, it is necessary to conceive, and to live, the professionalization as a narrative.
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Goss, Luciana. "A formação do professor para a escola livre de música." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1576.
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Previous issue date: 2009-11-10<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The present work was aimed at researching the kind of preparation offered in the music teachers' graduation courses at the Universities located in the State of Santa Catarina regarding the acting in free schools of music. Other objectives of this study were investigating the conceptions the undergraduate music students, Music Department coordinators and professors have about the free schools of music and the preparation actually available at the University in relation to the work to be developed in those schools. The literature review was based on the conceptions of Perrenoud (1999; 2000) and Tardif (2002) about the competences and knowledge of teachers, and in the influence of these authors in researches that look for the delimitation of musical educators' knowledge and specific competences. The research was divided in two parts: the first one was a exploratory research, followed by a case study with qualitative approach methodology in the second part. Data collection was primarily made through interviews with focal groups, and then individually in the stage of the case study. The results indicate that those who graduated (Licensed) and the undergraduate students feel they have been prepared and are ready to work at Free (independent) Music Schools. The collected data also indicates that this kind of school is seen by the Licensed teachers as important professional opportunities that demand the kind of knowledge and competence they have acquired in their undergraduate courses. Both professors and coordinators of the Faculty surveyed believe that these degree courses can prepare the graduates to work in different contexts, including the free school of music. Further research is suggested in order to deepen investigations concerning the free school of music and teacher training in Music Education<br>O presente trabalho teve como objetivo pesquisar a preparação oferecida nos cursos de formação de professores de música do Estado de Santa Catarina em relação à atuação em escolas livres de música. Os objetivos específicos desta pesquisa foram investigar as concepções de licenciandos, coordenadores de cursos e professores de Licenciatura em Música a respeito das escolas livres de música e da preparação oferecida pela Licenciatura para atuação nestes espaços. A revisão de literatura baseou-se nas concepções de Perrenoud (1999; 2000) e Tardif (2002) acerca das competências e saberes docentes, e na influência destes autores em pesquisas que buscam a delimitação dos saberes e competências específicas dos educadores musicais. A metodologia utilizada foi pesquisa exploratória (primeira etapa) seguida de estudo de caso (segunda etapa) com abordagem qualitativa. A coleta de dados foi feita através de entrevistas com grupos focais, em uma primeira etapa do trabalho e entrevistas individuais na etapa do estudo de caso. Os resultados indicam que os licenciados sentem-se preparados pela Licenciatura para atuar em escolas livres de música. Os dados também demonstram que os licenciados reconhecem estas escolas como importante espaço de atuação profissional, e que demandam saberes e competências específicos dos professores de música. Coordenadores de curso e professores das Licenciaturas pesquisadas entendem que estes cursos superiores conseguem preparar os egressos para atuar em diversos contextos, inclusive as escolas livres de música. Outras pesquisas são sugeridas de forma que sejam aprofundadas as investigações a respeito das escolas livres de música e da formação docente em Educação Musical
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Makino, Jéssica Mami [UNESP]. "Sobre a formação do professor de música: o tempo fugidio entre a aurora, o crepúsculo e o silêncio." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/104022.
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makino_jm_dr_ia.pdf: 1292118 bytes, checksum: adc903e3d2b852e3d4bb57fb4359f656 (MD5)<br>Este trabalho é um estudo de caso em recorte latitudinal desenvolvido no Instituto de Artes da UNESP e na E.E. Prof. Izac Silvério. Envolveu os alunos de ensino fundamental da referida escola estadual, os alunos do curso de Licenciatura em Educação Musical do Instituto de Artes, e professora de Arte da Rede Estadual de Ensino. A partir da situação em que se encontra o ensino de música nas escolas de Ensino Básico do Brasil e as mudanças necessárias para atender a lei 11.769/2008 e a falta de professores especializados, a pesquisa movimenta-se a partir das perguntas: como as ações dentro do ambiente escolar podem contribuir para a formação do docente de música? Como incentivar o licenciando de música a escolher a escola pública como local de trabalho apesar do baixo salário e más condições de trabalho? Como a Universidade poderia interagir com o Ensino Básico e a Educação Continuada de seus docentes? Como a Pós-Graduação poderia aproximar-se da Educação de Base e da Graduação? Como o professor que já está na rede de ensino poderia contribuir com as pesquisas da Universidade e o desenvolvimento de novos conhecimentos? O problema abordado nesta tese caracteriza-se pela questão: Qual seria a preparação do professor de música para atender à sala de aula? Para sustentar as ações e reflexões da pesquisa, são estudados os textos de Paulo Freire, Martin Heidegger, Gilles Deleuze e Felix Guattari, Silvio Gallo, Murray Schafer entre outros, nos conceitos de nada, entre (rizoma), discursos direto e indireto, advir e retrovir, o erro<br>This thesis is a latitudinal case study developed at the Institute of Arts of the State University, Universidade Estadual Paulista- UNESP. It involved primary school students of public school, students of a Music Education Degree Program of the Institute of Arts, and a teacher of Arts from State School.Based on the teaching music situation of elementary schools in Brazil, the changes caused by the law 11.769 and the lack of music teachers necessary to attend this law, this research was draw to answer the following questions: how the actions inside the school contribute for the music teacher education? How should students of the Music Education Degree Program be encouraged to select a public school to teach despite of the low salary and poor work conditions? How could the University interact with the Basic Education and the Continuing Education of their teachers? How the Postgraduate program could approach to the Graduate and elementary courses? How could schoolteachers contribute to the University’s research and to the development of new knowledge? This thesis’ problem is: what would be the music teacher’s preparation to work in classroom? In order to justify the actions and questions raised by the research, texts by Paulo Freire, Martin Heidegger, Gilles Deleuze and Felix Guattari, Silvio Gallo, Murray Schafer, and others were studied to understand the meaning and concepts of nothing, between/among (rhizome), direct and indirect discourse, past and future, the error
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Makino, Jéssica Mami 1978. "Sobre a formação do professor de música : o tempo fugidio entre a aurora, o crepúsculo e o silêncio /." São Paulo, 2013. http://hdl.handle.net/11449/104022.
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Orientador: Marisa Trench de Oliveira Fonterrada<br>Banca: Enny Parejo<br>Banca: Leila Rosa Gonçalves Vertamatti<br>Banca: Mirian Celeste Martins<br>Banca: Neide Esperidião<br>Resumo: Este trabalho é um estudo de caso em recorte latitudinal desenvolvido no Instituto de Artes da UNESP e na E.E. Prof. Izac Silvério. Envolveu os alunos de ensino fundamental da referida escola estadual, os alunos do curso de Licenciatura em Educação Musical do Instituto de Artes, e professora de Arte da Rede Estadual de Ensino. A partir da situação em que se encontra o ensino de música nas escolas de Ensino Básico do Brasil e as mudanças necessárias para atender a lei 11.769/2008 e a falta de professores especializados, a pesquisa movimenta-se a partir das perguntas: como as ações dentro do ambiente escolar podem contribuir para a formação do docente de música? Como incentivar o licenciando de música a escolher a escola pública como local de trabalho apesar do baixo salário e más condições de trabalho? Como a Universidade poderia interagir com o Ensino Básico e a Educação Continuada de seus docentes? Como a Pós-Graduação poderia aproximar-se da Educação de Base e da Graduação? Como o professor que já está na rede de ensino poderia contribuir com as pesquisas da Universidade e o desenvolvimento de novos conhecimentos? O problema abordado nesta tese caracteriza-se pela questão: Qual seria a preparação do professor de música para atender à sala de aula? Para sustentar as ações e reflexões da pesquisa, são estudados os textos de Paulo Freire, Martin Heidegger, Gilles Deleuze e Felix Guattari, Silvio Gallo, Murray Schafer entre outros, nos conceitos de nada, entre (rizoma), discursos direto e indireto, advir e retrovir, o erro<br>Abstract: This thesis is a latitudinal case study developed at the Institute of Arts of the State University, Universidade Estadual Paulista- UNESP. It involved primary school students of public school, students of a Music Education Degree Program of the Institute of Arts, and a teacher of Arts from State School.Based on the teaching music situation of elementary schools in Brazil, the changes caused by the law 11.769 and the lack of music teachers necessary to attend this law, this research was draw to answer the following questions: how the actions inside the school contribute for the music teacher education? How should students of the Music Education Degree Program be encouraged to select a public school to teach despite of the low salary and poor work conditions? How could the University interact with the Basic Education and the Continuing Education of their teachers? How the Postgraduate program could approach to the Graduate and elementary courses? How could schoolteachers contribute to the University's research and to the development of new knowledge? This thesis' problem is: what would be the music teacher's preparation to work in classroom? In order to justify the actions and questions raised by the research, texts by Paulo Freire, Martin Heidegger, Gilles Deleuze and Felix Guattari, Silvio Gallo, Murray Schafer, and others were studied to understand the meaning and concepts of nothing, between/among (rhizome), direct and indirect discourse, past and future, the error<br>Doutor
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Garcia, Fernanda Krüger. "O perfil do professor de música do ensino médio e suas crenças de autoeficácia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/157059.
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Este trabalho tem como temática as crenças de autoeficácia do professor que atua com o ensino de música no ensino médio. Este construto diz respeito às crenças do indivíduo sobre sua capacidade de executar determinados planos de ação para realizar tarefas específicas e está presente na Teoria da Autoeficácia (Bandura, 1997). Professores que têm sólidas crenças de autoeficácia têm mais comprometimento com o ensino, lidam de maneira mais eficaz com problemas de aprendizagem de alunos e com fatores acadêmicos estressantes, buscam inovações em suas práticas de ensino e procuram promover a autonomia e a confiança entre seus alunos. O objetivo geral foi investigar a relação entre o perfil de formação e atuação do professor que trabalha com o ensino de música no ensino médio e suas crenças de autoeficácia. Esta pesquisa utilizará uma parte da amostra da pesquisa geradora desenvolvida pelo grupo Formação e Atuação de Profissional em Música (FAPROM), intitulada “Mapeamento dos professores que trabalham com música na Educação Básica: um survey sobre sua formação, atuação e crenças de autoeficácia”, mais especificamente os professores do ensino médio. O método escolhido foi o survey baseado na internet, com um questionário composto por duas partes: a primeira, por questões objetivas que dizem respeito aos dados pessoais do professor; a segunda, pela Escala de Autoeficácia do Professor de Música. A amostra da pesquisa foi não probabilística, do tipo bola de neve. Para a análise dos dados, foram realizadas estatísticas descritivas e inferenciais. Os resultados apontaram haver relações entre a formação, a atuação e as crenças de autoeficácia dos professores desta amostra. O nível de escolaridade e as aprendizagens musicais de uma forma mais especializada foram as que pareceram exercer mais influência nas crenças de autoeficácia dos professores para ensinar música e para lidar com mudanças e desafios. Os professores que tiveram as maiores médias das crenças de autoeficácia para motivar os alunos foram aqueles que realizam atividades de musicalização infantil e a disciplina de música nas escolas. Os resultados também mostraram que os professores que se sentem mais capazes de lidar com mudanças e desafios são aqueles que atuam concomitantemente em outras etapas de ensino. Espera-se que este trabalho possa contribuir para que se conheça o professor que atua com o ensino de música nesta etapa de ensino, trazendo dados relevantes para se pensar a formação docente e o fortalecimento da educação musical dentro das escolas.<br>The purpose of this work is to investigate the relation between the education and professional profile of high school music teachers with their self-efficacy beliefs. Such construct concern the beliefs of the teachers in regard to their own capacity of following specific plans of action to perform explicit tasks. Teachers who have strong self-efficacy beliefs are better committed to their teachings, deal more efficiently with students’ learning problems and with stressful academic factors, pursue innovations in their teaching practices and aim to promote autonomy and self-confidence amidst their students. Bandura’s Self-Efficacy Theory served as the theoretical background. Self-efficacy beliefs are among the thoughts that exert most influence on human functioning; they are a central aspect of Social Cognitive Theory, which shows that personal, behavioral and environmental factors suffer a dynamic inter-relation to form human actions and thoughts. This research is a part of a major project developed by the group Education and Acting of Music Professional, called “Mapping teachers that work with music in basic education: a survey of their education, acting and self-efficacy beliefs”. It consists of an internet-based survey, divided in two parts: the first comprises objective questions concerning the teacher’s personal data; the second focuses on the Music Teacher’s Self- Efficacy Scale. The research used a non-probability sample of the snowball type Descriptive and inferential statistic tests were used for data analysis. The results showed the existence of a relationship between music teacher’s education and professional activities with their selfefficacy beliefs. Schooling level and specialized music training are the factors that seem to exert strongest influence on the teacher’s self-efficacy beliefs to teach music and to deal with changes and challenges. Teachers who demonstrated higher self-efficacy belief levels to motivate students were those that work with child musicalization and who teach specific music courses at schools. Results also show that teachers who feel they’re more capable to deal with changes and challenges are those that that also teach at academic levels other than high school. It is hoped that this work may contribute for a better knowledge of high school music teachers, bringing to light relevant data to understand teaching training and to strengthen musical education in schools.
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Silva, Jassira Braz da. "Habitus docente no ensino de mÃsica." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19672.
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Essa pesquisa objetiva explicitar o habitus docente no ensino de mÃsica, analisando os aspectos cognitivos, corporais e Ãticos-polÃticos revelados nos projetos de intervenÃÃo pedagÃgica, de autoria prÃpria, no ensino de mÃsica na EducaÃÃo BÃsica, realizados de 2000 a 2014, sendo eles: âVivenciando e Compreendendo MÃsicaâ; âEnsino de MÃsica: uma experiÃncia com movimento e ritmoâ; âLeitura e ComunicaÃÃo: redimensionando o ato de lerâ e âNossa comunidade em texto, imagem e somâ. Visa distinguir interaÃÃes,contextualizar materiais e tempos de ensino-aprendizagem e identificar atitudes do percurso formativo. Utiliza o mÃtodo de histÃrias de vida e formaÃÃo, adotando um carÃter autobiogrÃfico, delimitada pela exploraÃÃo dos territÃrios do âeu educadorâ, analisando o percurso narrativo com Ãnfase na constituiÃÃo de um habitus musical docente. Toma-se como referÃncia basilar Bourdieu (1983) com o conceito de habitus, e SchÃn (1983) com conceito de professor reflexivo. Dessa pesquisa, espera-se que desvele conhecimentos e saberes,prÃticas e teorias mobilizadas no ensino de mÃsica.<br>This research aims at explaining teachersâs habitus in the teaching of music, analyzing the cognitive, physical and ethical-political revealed in pedagogical intervention projects, from our own experiences, in music teaching in Elementary Education, conducted from 2000 to 2014, as follows: "Experiencing and Understanding Music"; "Music Education: an experience with movement and rhythym"; "Reading and Communication: rethinkink the reading act" and "Our community in text, image and sound". It aims to distinguish interactions, contextualize teaching-learning materials and time and identify attitudes formation. It uses the method of life stories and training, adopting an autobiographical character, bounded by the exploitation of territories of "I educator", analyzing the narrative journey with emphasis on the establishment of a teacher musical habitus. It is taken as a basic reference, Bourdieu (1983) with the concept of habitus and SchÃn (1983), with the concept of reflective teacher. In this research, it is expected which unveil knowledge and expertise, mobilized practices and theories in music education.
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Penha, Gabriel Petter da. "Tudo que aprendemos juntos: a representação social do professor de música no cinema." reponame:Repositório Institucional da UFC, 2017. http://www.repositorio.ufc.br/handle/riufc/26549.
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PENHA, Gabriel Petter. Tudo que aprendemos juntos: a representação social do professor de música no cinema. 2017. 101f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2017.<br>Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-09T19:10:18Z
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Previous issue date: 2017<br>This paper aims to understand the social representation of the music teacher on the cinema, an industrial art and a mass communication medium that influences the construction of representations that affect the dynamics of society. The problematic that guides our work lies on some issues related to the professional formation as well as the socio-cultural and symbolic dimensions of the cinema: What is the music teacher’s image in the movie Tudo que aprendemos juntos? How it can influence the construction of his professional identity? In order to reflect on these questions, we adopt the Theory of Social Representations as theoretical basis of our work, based on the assumption that representations form a system whose sharing leads to the formation of a vision, a consensus, an image, an element that searches the imagination for its own place of articulation. Our object of study is the feature movie Tudo que Aprendemos Juntos, whose theme is education in our country, and whose plot revolves around a young violinist who accepts, because of financial pressure, to teach music in the favela of Heliópolis, in a project sponsored by an ONG that works with a state school. Our methodology consists of a review of the literature about the problems related to our object of study and the analysis of the film in question, also supporting cinematographic works whose main character is the music teacher. In a context of progressive devaluation and proletarianization of the teaching activity, within a continuous process of dismantling of the State, it’s important to understand the building of social representations of teacher music as part of a discourse that emphasize the “redeemer” character of the teaching and of the music, which aims, ultimately, to the individualization of possible solutions to the problem of education in Brazil.<br>A presente pesquisa visa à compreensão da representação social do professor de música no cinema, arte de cunho industrial e meio de comunicação de massa influente na construção de representações que incidem na dinâmica social. A problemática que guia nosso trabalho radica em questões concernentes à formação profissional e à constituição identitária docente, bem como à dimensão sociocultural e simbólica da sétima arte: qual é a imagem do professor de música no filme Tudo que aprendemos juntos? Como ela pode influenciar na construção da sua identidade profissional? A fim de refletir sobre estes pontos, adotamos a Teoria das Representações Sociais como fundamentação teórica do nosso trabalho, partindo do pressuposto que as representações formam um sistema cujo compartilhamento leva à formação de uma visão, um consenso, uma imagem, elemento que busca na imaginação o seu próprio lugar de articulação. Nosso objeto de estudo é o longa-metragem Tudo que Aprendemos Juntos, cujo tema é a educação em nosso país e cujo enredo gira em torno de um jovem violinista que aceita, por necessidade financeira, lecionar música na favela de Heliópolis, num projeto patrocinado por uma ONG que atua junto a uma escola estadual. Nossa metodologia consiste na revisão de literatura acerca dos problemas atinentes ao nosso objeto de estudo e na análise do filme em questão, tendo também como suporte obras cinematográficas cujo personagem principal é o professor de música. Num contexto de progressiva desvalorização e proletarização da atividade docente, dentro de um contínuo processo de desmonte do Estado, importa que entendamos a construção de determinadas representações sociais do professor de música como parte de um discurso que enfatiza o caráter “redentor” da docência e da música, o que visa, em última instância, à individualização das possíveis soluções para a problemática da educação no Brasil
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Santos, Ana Roseli Paes dos. "Formação e pratica do professor de instrumento de cordas." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251866.
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Previous issue date: 2008<br>Resumo: O presente trabalho insere-se na temática da formação e prática do professor e tem como objeto o Professor de Música, especificamente o de instrumentos de cordas friccionadas. Diante das freqüentes transformações por que passam as sociedades, os ambientes de formação exigem também suas modificações no plano das diretrizes. Diante de tais fatos, nosso problema de pesquisa se estabeleceu por meio das seguintes indagações: ¿Como alguns indivíduos educados para ser músico assumem o ofício de professor¿, ¿Com constroem o conhecimento que colocam em prática?¿ e ¿Como se dá essa prática pedagógica?¿. Este estudo, portanto, foi guiado pelas hipóteses de que as formas de socialização são fatores importantes no desempenho futuro do professor e conseqüentemente na construção da sua prática; que o conjunto de valores e crenças acumuladas durante a trajetória de formação, dentre outros elementos, contribui para a perfomance servindo de base para seu desempenho. Assim, neste estudo procura-se demonstrar que a construção da prática pedagógica antecede a prática docente, pois tem suas raízes nas relações arcaicas, com ex-professores que marcaram o aprendizado quer de forma positiva ou não. Para amparar tal hipótese a pesquisa vem alicerçada pela teoria de ¿campo¿ e pela noção do habitus (BOURDIEU 1997). A metodologia privilegia o modelo exploratório com visão de etnografia por se tratar de estudo feito com pessoas. É de natureza qualitativa por explorar comportamentos e práticas sociais. Por tais características, foi possível constatar neste estudo que disposições incorporadas das diversas vivências ¿ escolares; familiares; de convívio social ¿ foram determinantes para a construção do conhecimento que o professor de cordas coloca em sala de aula<br>Abstract: The present work concerns the theme of teacher training and has the music teacher as its main object, specifically the string. Confronted with the frequent transformations by which societies go through, the training milieus also call for modifications as far as directives are concerned. Based on such facts, our research problem was established by means of the following inquiries: ¿How do some individuals educated to be musicians assume the role of a teacher?¿, ¿How do they build the knowledge they put into practice?¿ and ¿How does their pedagogical practice take place?¿. This study has, therefore, been oriented by the hypothesis that forms of socialization are important factors in the future accomplishments of the teacher and consequently in the construction of his or her practice; the set of values and beliefs accumulated during his or her training, among other elements, contribute to the accomplishment and give the basis for his or her performances. Therefore, the aim of this study was to demonstrate that the pedagogical practice precedes the teaching practice, for it has its roots in archaic relationships with former teachers who have positively or not marked his or her learning. To support such hypothesis, the research is backed by the ¿field¿ theory and by the notion of habitus (BOURDIEU 1997). The methodology favors the exploratory model with an ethnographic view, for it is a study carried out with people. It is qualitative in nature for it explores behaviors and social practices. For this reason, it was possible to evidence that these incorporated dispositions of the diverse life experiences ¿ school; family; social conviviality ¿ were determinant for the construction of the knowledge that the string teacher places in the classroom<br>Mestrado<br>Educação, Conhecimento, Linguagem e Arte<br>Mestre em Educação
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Rann, Thomas. "Defining an Israeli school of cello pedagogy and performance through an analysis of the teaching of Professor Uzi Wiesel." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8954.
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This research enquiry seeks to define a contemporary Israeli school of cello pedagogy and performance that has evolved out of numerous influences, and particularly the teaching of Wiesel. In analysis of the elements that define this school, a survey of the components that comprise Israeli cello playing is achieved. This adds to the body of knowledge, as this branch of cello pedagogy has not previously been investigated to this extent. The researcher used the Grounded Theory method to analyse and collate interviews from important cellists connected to the Israeli school. A questionnaire format was employed, which addressed the scope of issues concerning cello playing which help to define a school. These responses were analysed in juxtaposition with more detailed responses and source material from Wiesel. Important works on cello technique and literature that connect to Israel’s pedagogical development are also discussed in support of the argument for a distinct school. While opinions on cellistic matters varied between participants, most cellists displayed significant application of Wiesel’s methods. These results aided this researcher’s thesis that a distinct school of Israeli cello pedagogy and performance can be defined, and is in thriving existence.
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Souza, Gabriel Costa de. "Identidade profissional do professor de música: estudo de caso em Itupeva-SP." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-19042018-155154/.
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Este trabalho é um estudo de caso que analisa os processos envolvidos na constituição da identidade profissional de professores de música que lecionam na educação básica. Toma-se a cidade de Itupeva como local do estudo porque a disciplina de música integra a grade curricular de sua rede de ensino e, portanto, seu professores efetivos são licenciados em música. O estudo se desenvolve a partir de pesquisa de campo e entrevistas semiestruturadas com 13 professores de escolas públicas municipais em Itupeva. Inicialmente, discutem-se os conceitos de identidade e identidade profissional com base nas contribuições de Dubar (1997, 2009), Bauman (2005), Ciampa (2001), Tadeu Silva (2014) e Hall (2006, 2014). Em particular, a abordagem da identidade profissional docente fundamenta-se em Maria de Lourdes Ramos da Silva (2007, 2008, 2009), Pimenta (1997), Nóvoa (1991, 2007), Tardif (2002) e Penin (2009). Considerada em seu caráter processual, plural e transitório, a identidade profissional envolve a noção de igualdade e diferença, a trajetória biográfica do sujeito, suas relações no contexto de trabalho, o uso de identificações na reivindicação e atribuição de identidades e a atividade profissional do professor de música. Vista de uma perspectiva processual, ou seja, em constante transformação, a identidade implica também a perspectiva sócio-histórica (BOCK; GONÇALVES; FURTADO, 2001), que norteia este trabalho. Assim, discute-se como a trajetória do ensino de música no Brasil influencia a constituição da identidade do professor de música no contexto atual. Pela análise de conteúdo (BARDIN, 2011), os dados são classificados em três categorias principais: trajetória de vida e formação acadêmica; ações e saberes do professor de música; e contextos de atuação e perspectivas profissionais. Nesses termos, identificaram-se aspectos representativos do processo de constituição identitária dos professores de música, entre eles, o acesso ao ensino de música na infância, a influência do ensino superior na construção de saberes pedagógico-musicais, as relações estabelecidas com a equipe escolar e com os demais professores de música, o modo como definem sua profissão e as práticas pedagógicas desses professores em sala de aula.<br>The present case study analyzes the processes involved in shaping the professional identity of K-12 music teachers. The city of Itupeva was selected as the study site since music is part of its basic education curriculum and, therefore, all tenured music teachers have an undergraduate degree in music education. The study is based on field research and semi-structured interviews with 13 teachers from Itupeva municipal schools. First, the concepts of identity and professional identity shall be discussed in light of contributions by Dubar (1997, 2009), Bauman (2005), Ciampa (2001), Tadeu Silva (2014), and Hall (2006, 2014). The view on teachers professional identity, in particular, comes from Maria de Lourdes Ramos da Silva (2007, 2008, 2009), Pimenta (1997), Nóvoa (1991, 2007), Tardif (2002), and Penin (2009). Considering its processual, plural and transient nature, a subjects professional identity involves the notion of equality and difference, their life story, relationships in the workplace, the use of identifications in claiming and giving others an identity, as well as their professional activity. From a processual, i.e. ever-changing, perspective, identity also encompasses a social and historical perspective (BOCK; GONÇALVES; FURTADO, 2001), which guides this study. Then, we shall see how the history of music education in Brazil influences the shaping of music teachers identity today. By using content analysis (BARDIN, 2011), the data shall be classified into three major categories: life story and academic background; music teachers actions and knowledge; and professional context and prospects. With that in mind, representative aspects of music teachers process of identity formation shall be identified; among them: access to music classes as a child, the influence of higher education on building their musical and pedagogical framework, relationships established with the school staff in general and more specifically with other music teachers, the way they define their profession, and their pedagogical practices in the classroom.
Books on the topic "Professor of Music)"
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Rühl, Herbert. Professor Rühl's lächelnde Instrumentenkunde und andere wissenschaftliche Abhandlungen. Hildegard-Junker-Verlag, 2000.
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Barth, Achim. Professor Wolfgang Sawallisch: Ein Glücksfall für München. J.M.O. Barth, 1993.
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Vieira, Lia Braga. A construção do professor de música: O modelo conservatorial na formação e na atuação do professor de música em Belém do Pará. Editora Cejup, 2001.
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author, Oliveira Aristides, and Alcântara Luci 1960-, eds. Jomard Muniz de Britto: Professor em transe. Cepe Editora, 2017.
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Fisher, Paul G. Edward P. Rutledge: Pre-eminent professor of music 1931-1954, Lebanon Valley College, Annville, Pennsylvania. s.n.], 1997.
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Fisher, Paul G. Edward P. Rutledge: Pre-eminent professor of music 1931-1954, Lebanon Valley College, Annville, Pennsylvania. s.n.], 1997.
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University of Trinidad and Tobago. The Academy of Arts, Letters, Culture and Public Affairs, ed. Thoughts along the kaiso road: Selected speeches of Professor Hollis Liverpool "Chalkdust". Juba Publications, 2017.
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Frank, Callaway, Comte Martin, and Callaway International Resource Centre for Music Education., eds. Music education: international viewpoints: A symposium in honour of Emeritus Professor Sir Frank Callaway. Australian Society for Music Education in association with CIRCME, 1994.
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honouree, Rājjāka Ābadura 1914-1999, and Beṅgala Phāuṇḍeśana (Bangladesh), eds. Bengal Classical Music Festival 2013: Tribute to Gyantapas Professor Abdur Razzaq, 28 November to 1 December, Army Stadium, Dhaka. Bengal Foundation, 2013.
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Steinert, Heinz. Die Entdeckung der Kulturindustrie, oder, Warum Professor Adorno Jazz-Musik nicht ausstehen konnte. Verlag für Gesellschaftskritik, 1992.
Find full textBook chapters on the topic "Professor of Music)"
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Young, Gregory, and Steve Roens. "Subjectivity, Sensitivity, and Professor-Student Mentorship." In Insights into Music Composition. Routledge, 2022. http://dx.doi.org/10.4324/9781003205869-14.
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Kostek, Bożena. "Music Information Retrieval in Music Repositories." In Rough Sets and Intelligent Systems - Professor Zdzisław Pawlak in Memoriam. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-30344-9_17.
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Mehl, Margaret. "4. From Rites and Music to National Music." In Music and the Making of Modern Japan. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.04.
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Chapter 4, ‘From Rites and Music to National Music’, shows how both in Europe and in the Sinosphere (East Asian Cultural Sphere), of which Japan was a part, concepts of music were intimately linked to concepts of civilization. When Japan embarked on re-inventing itself as a modern nation, modelled on the most powerful Western nations, Eastern and Western conceptions of civilization became intertwined. A remarkable example of this process is Konakamura Kiyonori’s book Kabu ongaku ryakushi (A concise history of singing, dancing and music in Japan, 1888), the first work of its kind. It includes two prefaces, one written in Sinitic (kanbun) – unlike the work itself –, by a leading scholar of Chinese learning, and one in English by Basil Hall Chamberlain, recently appointed the first professor of Japanese philology at the Imperial University of Tokyo. Together with these, the work, in effect, straddles two epistemes. Most significantly, it served to both elevate the music of the common people of Japan to a national asset while simultaneously legitimizing musical borrowing, whether from China in the past or the West in the present.
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Smith, Neil Thomas. "1. Roundtable 1." In Classical Music Futures. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.01.
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This chapter looks at approaches to urgent issues around equality, inclusion and diversity within classical music today through the lens of volume’s main theme: the future. The discussion covers three arenas in which efforts to increase representation in terms of gender, race and – to a lesser extent – class are well underway, though still with significant steps still to take for parity to be achieved. These are: music higher education, community projects undertaken by orchestras, and festivals of new music. Each author provides a snapshot of the issues at stake in these different areas of classical music practice, showing distinct challenges but also important areas of overlap. There is common ground in the attempt to broaden the profile of the students, participants and practitioners active in their various spheres and, in so doing, there is an implicit challenge to one or other of the tenets of classical music culture described above. The discussion originally took place as part of the Maastricht Centre for the Innovation of Classical Music’s 2021 symposium that considered ‘the Future’. The panel consisted of Maria Hansen, chief executive of ELIA, a Higher Education network; Kirsteen Davidson Kelly, formerly creative learning director of the Scottish Chamber Orchestra, now chief executive of the National Youth Orchestras of Scotland; and composer, improviser and scholar, George E. Lewis, who is the Edwin H. Case professor of American music at Columbia University.
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Shimazu, Takehito. "26. Creating and Learning with UPIC." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.28.
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‘The reason why we need to study pedagogy is because we have forgotten our childhood’. I remember these words that a professor lecturing on music education spoke in a class while I was studying at university. Throughout my life, they became very important and significant for me. In the 1970’s UPIC was born as an embodiment of Iannis Xenakis’s new compositional techniques, coupled with his comprehensive scientific thinking. This system not only became a convenient tool for creation, but it was also extremely useful as an educational device that allowed children to freely create music using this system. It allowed children to feel close to creation and took into account children's perspectives and their wishes. In this chapter, I mention the possibilities created by the UPIC and new possibilities that are questioned today and in the future, both in the context of music creation and that of music education. Concretely, in the 1990s, through the creation of my own works, considering its version at that time, I will discuss the implementations I made and the possibilities experienced when I was actually in front of UPIC. I will also address future possibilities of music production that Xenakis dreamed of, and at the same time, discuss the meaning and possibilities of using this system for education in the future.
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von Wild, Klaus R. H. "Music and Mind: In Memoriam Professor Carlo Alberto Pagni, MD, PhD: February 13, 1931 –March 1, 2009." In Acta Neurochirurgica Supplement. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-39546-3_2.
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Frendo, Anthony J., and Kurstin Gatt. "Honouring a Gentleman, A Scholar, a Teacher, and a Pastor." In Semitic Languages and Cultures. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0445.01.
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This chapter honors the multifaceted legacy of Martin R. Zammit, a distinguished scholar, teacher, pastor, and mentor whose contributions to Semitic Studies and Arabic linguistics have left an indelible mark. Born in Valletta in 1958, Martin's journey into academia was inspired by early exposure to Maltese linguistic texts and a self-driven pursuit of Arabic, despite its absence in formal education in Malta. His career began with roles involving Arabic translation and cultural liaison, notably as private secretary to the Maltese Prime Minister, Dom Mintoff, where he deepened his engagement with the Arabic-speaking world. Transitioning to academia in 1988, Martin pursued degrees culminating in a Ph.D. in Arabic and Semitic Studies from the University of Malta. His academic career encompassed roles as a lecturer, Senior Lecturer, Associate Professor, and ultimately Full Professor. Martin’s diverse research spans Qurʾānic lexicology, Arabic dialectology, Syriac studies, and Maltese linguistics, notably translating the Qurʾān into Maltese and publishing a Syriac Chrestomathy. Balancing teaching, research, and administrative duties, Martin also cultivated personal interests, including amateur radio and world music. His spiritual journey saw him ordained as a priest in the Greek Catholic Church, culminating in his role as Papàs. Even in retirement, Martin plans to pursue scholarly projects, including a comparative grammar of Maltese. His legacy, marked by passion, dedication, and humility, continues to inspire both academic and spiritual communities.
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Bowman, Judith. "Music Education." In The Music Professor Online. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0009.
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This chapter describes issues related to teaching music education online and presents experiences with various types of online music education instruction in narratives provided by professors teaching music education online. It provides background on the development of the music education profession and its pedagogy at undergraduate and graduate levels, including a significant symposium on the future of music education with implications for online instruction. It describes the nature of music education studies at undergraduate and graduate levels and explains the signature pedagogies relevant to those levels. It reviews the state of the practice, including influential publications on undergraduate and graduate music education, and the status of online music education as reported in two national surveys and individual research reports. It features three professors who describe their online teaching experiences: master of music degree online, music education master’s programs and online Community Music Graduate Certificate, and virtual mentoring of preservice music teachers. Each professor offers suggestions for prospective online music education teachers, and the chapter concludes with some lessons drawn from the field.
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Bowman, Judith. "Music Theory." In The Music Professor Online. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0006.
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This chapter describes issues related to teaching music theory online and presents experiences with online music theory instruction in narratives provided by professors teaching music theory online. It provides background on music theory pedagogy and the nature of music theory study. It lists accreditation standards for the study of music theory and explains its signature pedagogy. It reviews the state of the practice, including the status of music theory curricula and online music theory instruction as reported in several surveys. It features four professors who describe their online teaching experiences: development, evolution, and teaching of a fully online music fundamentals course; asynchronous music theory courses; and music theory pedagogy in flipped classrooms. Each professor offers suggestions for prospective online music theory teachers, and the chapter concludes with some lessons drawn from the field.
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Bowman, Judith. "Music Appreciation." In The Music Professor Online. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0008.
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This chapter describes issues related to teaching music appreciation online and presents experiences with online music appreciation instruction in narratives provided by professors teaching music appreciation online. It provides background on music appreciation pedagogy, including significant conferences on music in general studies. It describes the nature of music appreciation study as rooted in the disciplines of music theory and musicology, lists accreditation standards for music in general studies, and explains its signature pedagogy. It reviews the state of the practice, including pedagogical innovations as reported in the literature and the status of online music appreciation instruction as reported in a national survey. It features two professors who describe their online teaching experiences: music appreciation online for a diverse audience and music appreciation online for adult learners. Each professor offers suggestions for prospective online music appreciation teachers, and the chapter concludes with some lessons drawn from the field.
Conference papers on the topic "Professor of Music)"
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Li, Meixia. "The Use of Explainable Artificial Intelligence in Music—Take Professor Nick Bryan-Kinns’ “XAI+Music” Research as a Perspective." In 2022 6th Asian Conference on Artificial Intelligence Technology (ACAIT). IEEE, 2022. http://dx.doi.org/10.1109/acait56212.2022.10137983.
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Dzhumanova, Lola. "The melodic dictation in the traditions of Russian music education." In HEAd'16 - International Conference on Higher Education Advances. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2576.
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In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.
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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.
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The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.
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Nivat, Georges. "“TRACTS OF RUSSIAN MEMORY” OR THE MAIN “NESTS” OF MEMORY IN RUSSIA." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.02.
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In this text, are given the plan and main contributions that are gathered in a collective work directed by Prof. Georges Nivat, Les sites de la mémoire russe. The first volume, Géographie de la mémoire russe, was published in 2007, the second one, Histoire et mythes de la mémoire russe, in 2019. The word “site” is meant as a prominent detail in the landscape and translated into Russian as “Uročišča”. The aim is to give a view of the main “sites” and debates that have arisen along Russian historiography since the 18th century. The “invention” of the “Chronicles” is one spectacular example. It goes from the first publication in 1846 to our days. Literature, painting, and music have constructed the Russian memory in the 18th century. Mussorgsky himself researched in the archives who were the Old believers, before writing his opera “Khovanshchina”. Ethnography appeared in the first half of the 19th century, the came great museums at the two extremities of the Empire, and a great number of ethnographical local museums are innumerable in Russia, have saved a lot of artefacts during the Soviet vandalistic period. Folklore was studied and local troubadours were registered until the end of the Soviet era. Emperor Peter the Great was keenly aware of the importance of creating his own myth during his lifetime, and succeeded, his role is still the main debate of Russian historiography and a very prominent site of memory. Loss of memory began early in the Soviet regime, loss of proletarian memory and as well as of peasant memory. Refs 9.
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Janković-Beguš, Jelena. "The Influence of Dragutin Gostuški’s Theoretical Work on the Compositional Poetics of Vlastimir Trajković." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.151jb.
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It is near impossible to find a more comprehensive example of the influence that Dragutin Gostuški’s theoretical opus has had on Serbian culture than the landmark case of the composer Vlastimir Trajković (1947–2017), a professor at the Faculty of Music and member of the Serbian Academy of Sciences and Arts. Trajković’s entire compositional and music-theoretical creative output can be interpreted through the prism of the theoretical thought of Dragutin Gostuški, and especially his most significant work – the monograph Time of Art (1968). Trajković himself unequivocally confirmed that in a touching eulogy, published three years after Gostuški’s death in the first issue of the journal Muzikologija- Musicology, where he wrote about the importance of the study Time of Art for him, as an “hour of truth” and an answer to the questions of art and life, and asserted that he constantly returned to this book over the following decades. Trajković also considered Gostuški’s other works to be important, such as the collection of texts Art in the Absence of Evidence (1977), which he regarded as the “ideological successor” to the critic and essayist oeuvre of his grandfather, composer and musicologist Miloje Milojević (1884–1946). In this paper, I will shed light on some of the most significant themes that Trajković took from the study of Gostuški’s Time of Art and elaborated on them in his compositional and music-theoretical work. When it comes to the first part of Gostuški’s book, Trajković drew from the discussion on the relationship between nature and art, the thesis about the high autonomy of the artistic system of music, the idea of “returning to Antiquity” and, related to that, the importance that has given to humanist thought and the Renaissance as an artistic style (with special praise of Claudio Monteverdi as the “originator of modern music”), as well as Byzantium and the “Mediterranean”, as geographical and spiritual areas of prolonged radiation of “Antiquity”, and the understanding of Classicism as a tendency (and not as a style). As for the second part of the study Time of Art, Trajković was particularly inspired by the idea of the cyclic renewal of certain manifestations of time, the assertion of the unique nature of harmony and rhythm, the idea of “classical modernism” based on the renewal of the past (instead of rejecting the past as a typical modernist gesture), and, finally – the vision of the “art of tomorrow” which Gostuški called “superrealism”, and which Trajković tried to achieve in his compositional work. I will also consider a specific example of Trajković’s musical tribute to Gostuški in the composition The Return of Zephyr (2001), which we will relate to the previously analysed points of contact between Gostuški’s theory and Trajković’s compositional poetics, to review the full extent of the creative, but also the personal influence that the older Serbian composer had on his younger contemporary.
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Patka, Kiron. "»Ich wollte eigentlich Sängerin werden.« Berufsselbstbilder von Tontechniker*innen im Radio." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.68.
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This article explores a previously understudied field of musical practice: the use and treatment of music in radio journalism. It takes a look at a profession that particularly deals with music on a material level: the sound technicians working at radio stations. By analyzing qualitative interviews this text seeks to gain insight into self-concepts of sound technicians. The results show that the interviewees tend to rate questions of auditory aesthetics more important for their work than technical craft. At the same time, there is evidence that this self-concept only partially coincides with ideas that other authorities have about this profession.
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Lončar, Sonja, and Andrija Pavlović. "LP Duo – Minimalism as a Bridge to (Neo)Classical Piano Music and Beyond." In Ninth International Conference on Music and Minimalism. Institute of Musicology SASA, 2024. https://doi.org/10.46793/mininters.201l.
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Since 2004, pianists, composers, innovators, researchers, producers and professors Sonja Lončar and Andrija Pavlović (a.k.a. Andy Pavlov) have performed together as LP Duo, exploring vast realms of music on two acoustic and later two DUALITY hybrid pianos, designed and realized in collaboration with engineers from the American company HTEC. Today, these instruments are standard in LP Duo’s work, used for composing, performing, arranging existing musical pieces, and recording. However, at the beginning of their two-decade career, things looked different. LP Duo initially established themselves as performers of classical and contemporary music, including minimalism. Simultaneously, Sonja and Andrija embraced roles as active participants in the Yugoslav rock scene and composers of applied music. After performing at Carnegie Hall in 2014, LP Duo shifted their career, blending their diverse public identities and creating a new one, as composers-performers. This chapter will delve into the influence of minimalism on LP Duo’s artistic and ethical position, as well as their compositions. It will also explore how minimalism in their work bridges classical music and new piano genres of the 21st century (neoclassical piano music, indie classical, etc.).
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Abramauskiene, Jolanta. "The Factors That Influence The Choice Of Music Teacher’s Profession." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.11.
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Nikolajević, Snežana. "Dragutin Gostuški’s Television Narrative." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.303n.
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The selection of music combined with the text about music is very important for the effect on the viewer of the television music programs. The interaction between music and text turns into an action towards the viewer, and that action is, in fact, the essence of the television medium. The words about music hold great importance, almost like the music itself, and their mutual influence leads to a new quality – to a new television music form. To achieve the most suitable effect and the highest range from that combination requires great erudition, skilful use of various elements and their connection during the presentation of a certain topic or idea. Dragutin Gostuški indeed possessed all these qualities, so his television performances were always true spectacles – regardless of whether he created an introduction to a music event or designed a programme or an entire series. In each of his performances he demonstrated his impeccable sense of time in the television medium, noticing the exact quantity of information that should be presented, and choosing the manner, vocabulary, sentence structure, and rhythm of the text that should be used. We could systematize Gostuški’s presence on several levels; this text analyses music program in which he gave the introduction before the music piece that will be performed or before the content that will be presented, as well as the music programmes and the musical series in which he was the scriptwriter and presenter. He started his engagement with the Belgrade television in the late 1970s and early 1980s, mostly collaborating with the editor Gordana Djurdjević, The selection of music combined with the text about music is very important for the effect on the viewer of the television music programs. The interaction between music and text turns into an action towards the viewer, and that action is, in fact, the essence of the television medium. The words about music hold great importance, almost like the music itself, and their mutual influence leads to a new quality – to a new television music form. To achieve the most suitable effect and the highest range from that combination requires great erudition, skilful use of various elements and their connection during the presentation of a certain topic or idea. Dragutin Gostuški indeed possessed all these qualities, so his television performances were always true spectacles – regardless of whether he created an introduction to a music event or designed a programme or an entire series. In each of his performances he demonstrated his impeccable sense of time in the television medium, noticing the exact quantity of information that should be presented, and choosing the manner, vocabulary, sentence structure, and rhythm of the text that should be used. We could systematize Gostuški’s presence on several levels; this text analyses music program in which he gave the introduction before the music piece that will be performed or before the content that will be presented, as well as the music programmes and the musical series in which he was the scriptwriter and presenter. He started his engagement with the Belgrade television in the late 1970s and early 1980s, mostly collaborating with the editor Gordana Djurdjević, giving comments on the occasion before and during the broadcast of certain events. Those introductions are good examples of an outstanding text that would attract viewers and provide them the necessary information. After those interesting, but sporadic appearances in the television field, Gostuški established a fruitful cooperation with the Educational Programme of the Belgrade Television, and left a significant mark on the creativity of our television. He started with a small introduction to the Pianist series, and then continued with the program Profession: Musicians, where he wrote the script for the programme about the musicologist profession and, of course, was the host. The most significant work in the field of television Gostuški achieved with the series The Birth of Serbian Musical Culture. He combined media and historiographical elements and the abundant use of documents on the visual level, connecting music and text. The series contains many aspects of social and historical movements and the description of Belgrade and Serbia state until the beginning of the World War I. In that way, Dragutin Gostuški made an outstanding contribution to Serbian historical and musicological research in the television domain. This series is the best and the most complete example of his television narrative.
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Simões, Pierangela, and Débora Lüders. "RF-149 Music professors: ambassadors for the prevention of hearing loss in musicians." In 28th International Symposium on Epidemiology in Occupational Health (EPICOH 2021). BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/oem-2021-epi.396.
Full textReports on the topic "Professor of Music)"
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Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, 2001. http://dx.doi.org/10.18235/0007945.
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Rangiwai, Byron, Marcel Croul, Allanna Goldsmith, Manaaki Fletcher, and Atareta Moses. Using Kaupapa Māori Research to Inform Practice. Unitec ePress, 2023. http://dx.doi.org/10.34074/ocds.104.
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This paper explores the profound connections between Kaupapa Māori research and practice through the reflections of Māori practitioners. As part of a Kaupapa Māori research internship funded by Te Whatu Ora, hosted at Ngā Wai a Te Tūī, and co-led by Dr Hinekura Smith and Associate Professor Byron Rangiwai, this paper presents the perspectives of four Māori practitioners. Marcel Croul (Ngāti Tamaterā) discusses his film-editing practice in the context of a collaboration with Dr Hinekura Smith to create a short documentary on the wahine-led practice of whatuora. Allana Goldsmith (Ngāti Porou, Ngāi Tai) explores her jazz-singing practice, combining jazz music with a Māori worldview. Manaaki Fletcher (Ngāti Awa, Ngāi Tūhoe) examines the connection between Kaupapa Māori research and kapa haka, and discovers that kapa haka may be understood as a manifestation of Kaupapa Māori research. Atareta Moses (Ngāti Awa, Ngāi Tūhoe) investigates the intersections and opportunities concerning Kaupapa Māori and human-resource management.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.