Journal articles: '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.

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Suárez, Thomas. "Israel V. The Violin." Massachusetts Review 65, no. 4 (2024): 136–37. https://doi.org/10.1353/mar.2024.a947236.

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Abstract: A professor of violin and viola discusses the oppression of the Israeli occupation when working for the Palestinian Conservatory. The efforts and methods of preventing the professor from arriving at the school, and various other happenings are discussed. Simultaneously, the story of a particularly bright music student is highlighted to explore further devastation brought to the music community.

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Lyerly, Eric. "Did court dismiss professor's retaliation claim?" Campus Legal Advisor 24, no. 10 (2024): 15. http://dx.doi.org/10.1002/cala.41361.

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An Augustana University faculty member served as a music professor, the vocal studies director, the music department chair, the choir conductor, the opera director, and the summer music camp director.

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Presland, Carole. "Conservatoire student and instrumental professor: the student perspective on a complex relationship." British Journal of Music Education 22, no. 3 (2005): 237–48. http://dx.doi.org/10.1017/s0265051705006558.

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This article examines the special relationship between students and their instrumental teachers in UK conservatoires. Conservatoires in the UK provide a higher education for aspiring performers and composers and the students' choice of conservatoire will often be guided by their desire to study with a particular ‘professor’ who will teach them their major or ‘principal study’ instrument. Many such professors are visiting part-time staff whose teaching commitment represents only a small proportion of their wider professional lives. Here, the relationship between student and professor is revealed through the perceptions of piano students at a UK conservatoire and a picture emerges of partnerships which are remarkably productive, but vary widely in the degree and range of musical and personal support that students ideally hope to receive from them.

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Achury, Tayron, and Alexander Klyuev. "Music as a Path to Self-Realization: Dialogue with Professor Alexander Klyuev." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (June 3, 2025): 504–14. https://doi.org/10.33920/nik-01-2506-03.

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Professor Klyuev, you are a renowned philosopher and musician. Your scientific papers have been published not only in Russia, but also in the USA, Italy, Spain, Germany, Romania, Czech Republic, Turkey, India, China, the UAE, and in many countries of the former USSR. You are the author of the original model of the philosophy of music. In this interview, I would like to discuss with you your model of music philosophy, as well as your understanding of the connection between music and pedagogy, and the role of music in shaping human experience. So the main question is: could you tell me what is the essence of your model of music philosophy.

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Malm, William P. "Yamada Shotaro: Japan's First Shamisen Professor." Asian Music 30, no. 1 (1998): 35. http://dx.doi.org/10.2307/834263.

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Gardiner, Paula, and Rachel Kilby. "Music is music? Striking the balance in music education in Wales." Journal of Popular Music Education 5, no. 1 (2021): 39–54. http://dx.doi.org/10.1386/jpme_00042_1.

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Through the examination of past and current practice, survey and interview, this article discusses how music from the widest parameters may be included in mainstream education in Wales. In 2014, the Welsh Government commissioned Professor Graham Donaldson to review the curriculum and assessment arrangements in schools in Wales. The outcome, Successful Futures: Independent Review of Curriculum and Assessment Arrangements in Wales (2015), was adopted by the Welsh Government for implementation by 2021. This new curriculum and its approach to learning and teaching offers the opportunity to re-examine the provision of music in schools, outlining a significant shift from ‘…“learning about” to “learning to” with a growing skills focus and an emphasis on application and development of higher-order skills, particularly creativity (entrepreneurship) and digital literacy’ (Donaldson 2015: 18). This vision requires exploration and engagement in a greater diversity of music.

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RHEUBOTTOM, NICHOLAS. "SIXTEENTH BIENNIAL INTERNATIONAL CONFERENCE ON BAROQUE MUSIC UNIVERSITÄT MOZARTEUM SALZBURG, 9–13 JULY 2014." Eighteenth Century Music 12, no. 1 (2015): 141–43. http://dx.doi.org/10.1017/s1478570614000608.

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The Sixteenth Biennial International Conference on Baroque Music (ICBM) was held at the beautiful Universität für Musik und darstellende Kunst Mozarteum in Salzburg, Austria. Thanks to the tireless efforts of Professor Thomas Hochradner and his effective team of assistants, approximately 250 participants could choose from papers and lecture-recitals that covered a wide spectrum of topics and methodologies. These included new research on notable composers, geographical influences upon musical genres and interdisciplinary approaches. The organizers also offered guided tours on one of the afternoons, which allowed participants to trace the music of the city, learn about the autographs vault of the Mozarteum, listen to the organs at the Metropolitan Church or explore the cathedral quarters (Domquartier).

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Abbasov, Akif. "THE FAMOUS LIFE OF A MUSICOLOGİST, RENOWNED SCIENTIST AND TEACHER." Scientific Works 92, no. 2 (2025): 19–22. https://doi.org/10.69682/arti.2025.92(2).19-22.

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Nazim Kazim Kazimov is a professor. He previously studied at the Music College under the Azerbaijan National Conservatory (former Azerbaijan Music College named after Asaf Zeynalli). He is currently the director of the college. Later, he graduated from the philological faculty of Baku State University, as well as the Baku Academy of Music. He is a well-known figure in the music industry. This year marks the 75th anniversary of his birth. The article is dedicated to his life. Keywords: music college, national conservatory, music academy, 75th anniversary, tar pl

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Viličić, Marina, and Nedjeljko Frančula. "Professor Emeritus Miljenko Lapaine - On the Occasion of his 70th Birthday." Kartografija i geoinformacije 21 (January 3, 2023): 4–11. http://dx.doi.org/10.32909/kg.21.si.1.

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Miljenko Lapaine was born in Zagreb on 4 April 1952. After primary school and junior music school, he attended a mathematics gymnasium and music high school. He then studied mathematics and graduated in 1976 from the Faculty of Natural Sciences and Mathematics of the University of Zagreb, majoring in theoretical mathematics.

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Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.

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Clark, Jocelyn. "‘A Tiger’s Coming Down’: Gugak in the Metaverse." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 27–54. http://dx.doi.org/10.30819/aemr.9-3.

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Prof. Dr. Jocelyn Clark is an assistant professor at Pai Chai University in South Korea. She has published in academic journals such as The World of Music, Asian Musicology, and Perspectives on Korean Music. Her research interests include orality, music of place, and contemporary “national music” performance practices in Korea, China, and Japan. She is engaged in long-term field research on sanjo and byeongchang, Korean traditional genres of which she is also a practitioner. She commissioned and/or premiered over 30 new works for Korean gayageum.

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Ferm, Cecilia, and Geir Johansen. "Professors' and trainees' perceptions of educational quality as related to preconditions of deep learning in musikdidaktik." British Journal of Music Education 25, no. 2 (2008): 177–91. http://dx.doi.org/10.1017/s0265051708007912.

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Interview-based case studies, involving two institutions, four professors and 11 music teacher trainees were conducted in order to investigate the preconditions for deep learning in the subject of higher music education called musikdidaktik. Analysis was based on the ‘didaktiktriangle’ which is a theoretical model that suggests the relations of the professor, trainee and the selected content as being at the core of any educational endeavour. The model helps to frame the debate about the quality of teaching and learning by highlighting the trainees’ learning as relational. Professors as well as trainees located preconditions for deep learning to relations within the didaktik triangle. Furthermore, it became apparent how those preconditions were connected to the institutional culture within which the triangle relations were played out. It is suggested that deep learning in musikdidaktik was regulated by how the teaching forms and the selected educational content gave space for trainees’ learning styles, strategies and approaches. Furthermore, the learning was affected by the musikdidaktik subject's low status within the institutional culture and its external relations to the trainees’ practical teaching training.

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Walser, Rob, Teresa Magdanz, and Simon Wood. "An Interview with Rob Walser in Toronto." Canadian University Music Review 21, no. 2 (2013): 1–11. http://dx.doi.org/10.7202/1014481ar.

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In late autumn of 2000, thousands of music scholars gathered at an international mega-conference in Toronto. On that occasion, Teresa Magdanz and Simon Wood met privately with Robert Walser, Professor of Musicology at UCLA, to discuss a number of questions pertinent to popular music studies, many of which were raised at the conference. In their interview they explore the trajectory of his work, his thoughts on the relationship between music scholarship and performance, and his reflections on popular music and the academy, the implications of which extend beyond popular music studies to challenge the broader scope and practice of musicological scholarship.

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WRIGHT, RUTH. "Editorial." British Journal of Music Education 27, no. 1 (2010): 5–6. http://dx.doi.org/10.1017/s0265051709990155.

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The papers presented in this special issue grew from a symposium on the topic of ‘Informal Learning and Post-Compulsory Music Education’ convened at the Reflective Conservatoire Conference, 2nd International Conference-Building Connections hosted by the Guildhall School of Music from February 28th–March 3rd 2009. In this symposium, scholars from many countries came together to give views on issues presented to post-compulsory or post-sixteen education institutions with the growing interest in informal learning in music education. As one of the most frequently cited academics in this field, and because many of the papers referred to her work, Professor Lucy Green has summarised the key debates she considers each paper to present and voiced her responses to these issues. Not wishing to duplicate Professor Green's work therefore, this editorial does not introduce the content of each paper but rather attempts to look to the bigger picture within which issues of informal learning and music education are located. It attempts to set the stage in a broad sense for the discussions which follow.

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Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.

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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background to a number of his major pieces, including The Past, The Passion. Among the subjects discussed is the meaning of “concerto.” Several of his concertos and concerto-like compositions are specifically discussed in this interview, including Man of Sorrows (piano), and Sonnets (English Horn). The interview also touches upon his relations with two important American composers of earlier generation: George Rochberg, and Roger Sessions — who had been Tsontakis’ teacher of composition at Julliard.

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Burns, Lori. "Reshaping the discourse on women’s voices in metal music." Open Access Government 42, no. 1 (2024): 278–79. http://dx.doi.org/10.56367/oag-042-11408.

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Reshaping the discourse on women’s voices in metal music Lori Burns, Professor at The University of Ottawa, walks us her research on reshaping the discourse on women’s voices in metal music. Metal music comprises a vast global market with an enormous fan base and an expanding scholarly society (the International Society for Metal Music Studies). A 2018 study of metal music reported female participation in metal bands to be at the level of 3%, with approximately half of those women in vocalist roles (Berkers and Schaap, 2018). Scholarship on metal music affirms the genre to be dominated by male performers, with female participation beginning to grow around the turn of the new millennium.

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DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE." Eighteenth Century Music 4, no. 2 (2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.

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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.

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Rinkūnaitė, Aušra. "Music Publications of the Beginning of 16th– 19th Centuries in Vilnius University Library." Bibliotheca Lituana 3 (December 22, 2014): 138–51. http://dx.doi.org/10.15388/bibllita.2014.3.15566.

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The article deals with music publications of the beginning of the 16th–19th c. – antiphonals, graduals, missals, hymnals and manuals held in the Rare Book Department of Vilnius University Library. On the basis of the extant XVIII c. manuscript catalogues of Vilnius Jesuit College Library and Library of Novitiate the publications related to music included in those catalogues are being discussed and provenances and marginalia found in them are being investigated. In addition, the article also describes anonymous manuals printed by Vilnius Academy Printing House at the end of 17th c.–18th c.: Ars et praxis musica (the first edition in 1667), Compendium regularum generalium cantus (1753) as well as canticle books in Polish and Latin languages. The second part of the article presents music activities of German composer Johann David Holland (1746–1827) who gave music lectures in Vilnius Imperial University at the beginning of the 19th c. The heritage of the Professor – nine music books – donated after his death in 1828 by his daughter Joanna to the Library of Vilnius Imperial University. The third part of the article deals with publications of church and secular music, published at the end of 16th c.–18th c., part of them – especially rare and valuable, and the diverse history of coming of these books to the Library which witnesses of their complicate and intricate journey through different institutions.

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Ryzhinskiy, Aleksander S., and Grigoriy R. Konson. "Alliance of Cinema and Music: the First KINOREX Film Music Festival in the Context of Interaction between Music and Cinema in the Early 21st Century." Art and Science of Television 17, no. 4 (2021): 174–217. http://dx.doi.org/10.30628/1994-9529-2021-17.4-174-217.

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Professor of the Moscow Institute of Physics and Technology Grigoriy R. Konson interviews the rector of the Gnesins Russian Academy of Music, professor Aleksander S. Ryzhinskiy. The interview focuses on how film directors and composers see the role of music in films, with music considered as a twofold phenomenon: film score as such and film scores presented at the First KINOREX Film Music Festival. In the preamble, the interlocutors review current trends in film music. In this vein, they touch upon the psychological concept of the French cinematography, interpretation of the Indian song tradition in endowing films with musicality, Baroque music and modern performance practices applied in the 20th century cinema dramaturgy, the Hollywood way of soundtrack composition as a dominating model in the world cinema, and studies devoted to the works of Alfred Schnittke and Thomas Newman. Based on these examples, the interlocutors come to the conclusion that at the heart of different approaches to the film music composition there must be an organic commonality of views of the film director and the composer. Beyond that, a binding force in the process is the reliance on classical traditions of their artistic interaction: expressing the very essence of a film’s drama through music. The discussion of the First KINOREX Film Music Festival, which was held by the Gnesins Russian Academy of Music in April 2021, naturally fits into this humanistic concept. Analyzing the winning project created by director Nadezhda Shibalova and composer Nikita Yamov, the authors of the interview come to the conclusion that the musical fabric of the screen work reveals the fundamental role of music as an analogue of the film’s ethical idea, which increases the cognitive capacity of the content.

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Halec, Barbara. "Professor Jan Szyrocki – the pioneer of the West Pomeranian choral art." Konteksty Kształcenia Muzycznego 4, no. 1 (2017): 57–69. http://dx.doi.org/10.5604/01.3001.0010.5351.

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The article presents the figure of Jan Szyrocki, a conductor, pedagogue and music culture promoter, connected with Szczecin for most of his life. He was the founder of the “Słowiki” Boys’ Choir, the “Berżeretki” Girls’ Choir and, first and foremost, the Choir of the University of Technology in Szczecin, which he cooperated with continually for 50 years. The article also describes Jan Szyrocki’s contribution to the establishment of the International Choral Festival in Międzyzdroje and “In terra pax” Choral Academy, as well as his collaboration with renowned composers (e.g. Andrzej Koszewski, Krzysztof Penderecki, Jan Hawel, Marek Jasiński) and the conductor of the Szczecin Philharmonic – Stefan Marczyk. The article also discusses other issues, such as the didactic, social and cultural activity of Prof. Jan Szyrocki, his professional activity in the Szczecin branch of the Academy of Music in Poznań and in the College of Music Culture, founded on his initiative at the University of Technology in Szczecin, as well as information on his membership in cultural organizations and juries, awarded prizes, medals and distinctions.

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Gordeeva, Tatyana. "THE ORIGINS OF RUSSIAN MUSIC THERAPY." Medicine and Art 1, no. 1 (2023): 78–92. http://dx.doi.org/10.29039/2949-2165-2023-1-1-78-92.

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Music in the context of therapy poses a question to researchers: what is the scientific basis of music therapy? The scientific works of outstanding representatives of Russian medicine of the XIX - early XX centuries, including experimental research, laid the platform for music therapy as a scientific discipline based on a natural-scientific approach. The first series of experiments on the effects of music on humans was carried out by Professor I.M. Dogel of Kazan Imperial University and initiated further research by I.R. Tarkhanov and I.N. Spirtov in St. Petersburg. These studies were conducted under the supervision of Academician V.M. Bekhterev.

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Csüllög, Judit, and Krisztina Várady. "Contemporary Voices from Eger. A Cross-section from the Piano Works of László Kátai." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 143–72. http://dx.doi.org/10.24193/subbmusica.2020.2.11.

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"The main purpose of the article is introducing the Hungarian contemporary composer, László Kátai. He is a retired associate professor who worked for almost 30 years at the Music Department of Eszterházy Károly College (Eger, Hungary). His compositions are strongly connected to Hungarian folk music and his musical language is based on Béla Bartók’s style amongst some other influences. The analysis of four piano compositions is the essence of the study. Keywords: László Kátai, Bartók’s style, piano pieces, musical analysis, Hungarian folk music"

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Stolte, Carolien. "Map-Making in World History - an Interview with Kären Wigen." Itinerario 39, no. 2 (2015): 203–14. http://dx.doi.org/10.1017/s0165115315000431.

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This interview took place at Harvard University, where Kären Wigen, the Frances and Charles Field Professor in History of Stanford University gave the 2015 Reischauer Lectures. This year’s theme was ‘Where in the World? Map-Making at the Asia-Pacific Margin, 1600-1900.’ Carolien Stolte and Rachel Koroloff interviewed Professor Wigen to the tunes of Persian music at the Kolbeh of Kabob restaurant on Cambridge Street.

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Ryazanova, N. P. "Under sign of song genre: music by Peter Ryazanov in 1930’s." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 135–38. http://dx.doi.org/10.30725/2619-0303-2017-2-135-138.

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Music by Peter Ryazanov (1899–1942), professor at the Leningrad Conservatory, educator, musicologist and folklorist, has been written by him in 1920–1930’s. In 1930’s he estranges his music from the avant-garde which he presented in the late 1920’s, and he becomes a devotee of the art which is speaking with a «clean and in high sense intelligible language».

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Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (1986): 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Press.

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Chircev, Elena. "Church Music as Reflected in the Journal Biserica Ortodoxă Română [Romanian Orthodox Church] in the Second Half of the Twentieth Century." Artes. Journal of Musicology 22, no. 1 (2020): 336–55. http://dx.doi.org/10.2478/ajm-2020-0018.

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AbstractThe journal Biserica Ortodoxă Română [The Romanian Orthodox Church] was founded on November 17, 1873, at the initiative of Romania’s Primate Metropolitan Nifon Rusailă (1789-1875). The aim of the publication – whose first issue was launched on October 1, 1874 – was to inform the clergy and believers about the activity of the Holy Synod of the Romanian Orthodox Church. In the 146 years since the publication of its first issue, the journal’s contributors have included outstanding personalities of the Romanian Orthodoxy, such as Priest-Professors Dumitru Stăniloae, Ioan G. Coman, Ene Branişte, Liviu Stan, Mircea Păcurariu, Ion Bria a.o. Church music was present in the journal’s pages both through articles, studies and reviews, and through scores of choral or psaltic works written by Church servants among whom Bishop Melchisedec Ștefănescu of Roman at the end of the 19th century, or Deacon Grigore Panțiru, Professor Nicolae Lungu, Priest-Professor Gheorghe Șoima, Archd. Sebastian Barbu-Bucur, Ph.D., Priest-Professors Constantin Drăgușin, Nicu Moldoveanu, Alexie Buzera a.o. in the 20th century. This paper summarizes these contributions and shows how the change of political regime in mid-20th-century Romania influenced the topics of the articles and the religious musical works published in the journal of the Romanian Patriarchate.

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Guo, Wei, and Leonard John Cosaitis. "A Cutting Edge Method in Chinese Piano Education: the Xindi Applied Piano Pedagogy." Higher Education Studies 10, no. 1 (2019): 7. http://dx.doi.org/10.5539/hes.v10n1p7.

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The Xindi Applied Piano Pedagogy (XAPP) was self-formulated by Professor Xindi, the Dean of the Music Education Institute of Xinghai Conservatory of Music (MEIXHCM), in 2001. After a series of scaffolding developments over a decade, the single instrumental teaching method is now developing into a holistic music educational system for the preparation of graduate music teachers at both primary and secondary levels. In addition, this particular pedagogy seems to have created a competitive force in the market of community music education in mainland China. This article explores the XAPP in a narrative manner whilst investigating the advantages it has over three classical repertoire-oriented piano methods in mainland China in the modern era.

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Livingston, Cecilia. "A LEAP OF FAITH: COMPOSING IN THE WASTELAND OF POSTMODERNISM." Tempo 64, no. 253 (2010): 30–40. http://dx.doi.org/10.1017/s004029821000029x.

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In the first composition class I ever took, the professor began by asking us why we wanted to compose. This was a question I had been wrestling with for some time; I had just switched programs at my university and had needed to justify, to myself at least, why I should have taken the biggest risk of my academic career thus far. The question, put so baldly by this professor, had never actually been asked by anyone else when I announced that I wanted to change my course; secretly, I was glad of this, for I felt the answer was too personal and private and new to me to survive any kind of display, or attack.

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Igoe, Vivien. "John M. Glynn (1834-93): Organist and Professor Of Music." Dublin James Joyce Journal 2, no. 1 (2009): 143–46. http://dx.doi.org/10.1353/djj.2009.0015.

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Palmer, John. "SPACES AND PLACES: AN INTERVIEW WITH SIMON EMMERSON." Tempo 63, no. 247 (2009): 19–23. http://dx.doi.org/10.1017/s0040298209000023.

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Since November 2004 Simon Emmerson has been Professor of Music, Technology and Innovation at De Montfort University, Leicester, following 28 years as Director of the Electroacoustic Music studios at City University, London. As a composer he works mostly with live electronics; he has also completed purely electroacoustic commissions from the IMEB (Bourges) and the GRM (Paris). In addition to extensive writings on the subject, he was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004. He is a Trustee of its successor organisation ‘Sound and Music’. This interview took place in July 2008.

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Cao, Yang, Xudong Feng, Xiaosong Che, Nana Xiao, Keying Huang, and Chenghong Wang. "On Ao Changqun's Patriotic Feelings in His Songs." Highlights in Art and Design 1, no. 3 (2022): 120–22. http://dx.doi.org/10.54097/hiaad.v1i3.4057.

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Patriotism is a complex of loving and defending one's own country. As an outstanding contemporary composer in China, Ao Changqun has created a large number of excellent music works covering symphony, chamber music, concerto, opera, dance drama and other genres, and works that highlight patriotism play an important role in his music creation. This paper introduces Professor Ao Changqun's general situation of creation, combs his songs, and explores the patriotic feelings in his songs from three aspects: love of the motherland, love of the nation, love of hometown.

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Susidko, Irina P., and Dana A. Nagina. ""...Support is everywhere". An interview with Irina P. Susidko." Contemporary Musicology, no. 3 (2021): 88–99. http://dx.doi.org/10.56620/2587-9731-2021-3-088-099.

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Irina P. Susidko, Full Professor, Doctor of Art Studies, Head of the Analytical Musicology Department at the Gnessins Russian Academy of Music, is one of the leading musicologists in Russia. She is a Chair of the Academy’s Dissertation Council. She supervises graduate theses and doctoral dissertations. She also leads a range of international research projects: an online journal Contemporary Musicology and two regular conferences — Opera in Musical Theater: History and Present Time and Musical Composition. Musical Composition was initiated by professors of the Analytical Musicology Department. The conference focuses on current issues in studying music, its internal canons, the development history of its idiom and material, as well as state of the art in the technique of musical composition. The goal of the research forum Opera in Musical Theater is to explore opera as a synthetic phenomenon in all its multiple dimensions: music, poetry and literature, scenography, vocal performance, and the director’s vision. In her interview, Irina Susidko spoke about the conferences taking place in 2021 and new opportunities that opened up for the Academy due to its victory in the “Priority 2030” program.

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Hart, John T. "The Status of Music Education Conducting Curricula, Practices, and Values." Journal of Music Teacher Education 28, no. 2 (2018): 13–27. http://dx.doi.org/10.1177/1057083718783464.

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The purpose of this study was to determine the status of conducting courses completed by undergraduate music education majors. Questionnaire items addressed course structure and content, pedagogical values, and the relative emphasis instructors placed on various areas of teacher knowledge as represented by Shulman’s pedagogical content knowledge framework. Music education divisions require two conducting courses for a variety of degree specializations. Instructors are mostly well-educated males at the assistant or full professor rank, with extensive college teaching experience but comparatively little experience in K–12 music teaching. Music education faculty and conducting instructors both ranked music content knowledge as most important, followed by music pedagogical content knowledge and general pedagogical knowledge. Opportunities to conduct in authentic learning contexts were nominal. Implications for practice, policy, and research are presented.

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Mera, Miguel. "Professor Daddy has a zebra on his head." Ethnomusicology Forum 29, no. 3 (2020): 300–306. http://dx.doi.org/10.1080/17411912.2020.1873560.

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Ramos, Francisco Parente, and António Ricardo Mira. "Comunicação não-verbal em contexto de aula individual de violino." Per Musi, no. 42 (September 14, 2022): 1–21. http://dx.doi.org/10.35699/2317-6377.2022.39628.

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Este artigo resultou de uma investigação naturalista, quali-quanti, sendo um estudo de caso, vertente multi-casos. Como objetivo, identificou-se a importância de determinada comunicação não-verbal em aula individual de violino. A investigação foi realizada a partir da análise de bibliografia especializada, de ficha de observação direta da ação de um professor de violino, de bloco de notas e de entrevista semiestruturada realizada àquele. Os resultados foram triangulados e analisados, concluindo-se que determinada comunicação não-verbal, se usada conscientemente, dá ao professor a possibilidade de transmitir a sua mensagem de forma mais clara e competente, obtendo o reconhecimento pedagógico-didático por parte dos alunos, tornando o ambiente de sala de aula propício a um ensino/aprendizagem mais eficaz.

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Shook, Jen. "Invisible, as Music / But Positive, as Sound." Resonance 2, no. 2 (2021): 296–306. http://dx.doi.org/10.1525/res.2021.2.2.296.

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This essay reflects upon how teaching with podcasts—as well as students’ creation of audio self-portraits, audio character portraits, and digital presentations of Indigenous playwrights’ work—directed both students and professor to consider identity and positionality in new ways. Riffing on rhetorics of the ocular vs the aural in discussions of identity, performance, and embodiment, here transcultural and transdisciplinary connections emerge to consider listening as a technology for relationality.

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Tommasi, Victoria Agustina, and Karla Eugenia Pineda Mondragón. "International Educational Practices between Argentina and Mexico. Story about an experience of Mirror Classes between the FHAyCS of the UADER and the School of Performing Arts of the UAEM." Multidisciplinar (Montevideo) 2 (December 28, 2024): 210. https://doi.org/10.62486/agmu2024210.

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The “mirror” practices have proven to be optimal for the development of academic and professional competencies required in the 21st century (IDB; 2019). They also proved to be an excellent vehicle for the development of cooperation and networking between institutions and actors from different spaces and from the geolocation itself. Thanks to digital technologies and emerging connectivity, we can apply Mirror Classes, classes that favor educational innovation and enrich professional pedagogical training. Such was the case of the experiences carried out between UADER and UAEM. During the month of May 2024, international educational practices were carried out under the didactic strategy of Mirror Classes, between the chair Sociology of Education of the Professor of Psychology and the Professor of Music of the Faculty of Humanities, Arts and Social Sciences (FHAyCS) of the Autonomous University of Entre Ríos (UADER) of the Argentine Republic and the chair Pedagogy Applied to Music of the Bachelor of Music of the School of Performing Arts of the Autonomous University of the State of Mexico (UAEM).

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Paucker, Günther Michael. "Liturgical chant bibliography 6." Plainsong and Medieval Music 6, no. 2 (1997): 151–74. http://dx.doi.org/10.1017/s0961137100001339.

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From 1992 to 1996 the Liturgical chant bibliography was compiled by Peter Jeffery. His new duties as professor of music at Princeton University will prevent him from continuing his valuable annual listing of chant scholarship. The new author of the bibliography and the editors of Plainsong & Medieval Music would like to take this opportunity to thank him for his unique contribution to this journal over the past four years.

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Sharma, Yam Prasad. "Diversity of Contents in Dhrubesh Chandra Regmi’s Music, Myth and Melody: A Brief History of Nepali Music." Journal of Fine Arts Campus 6, no. 1 (2024): 1–6. https://doi.org/10.3126/jfac.v6i1.76082.

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Prof. Dr. Dhrubesh Chandra Regmi’s book Music, Myth and Melody: A Brief History of Nepali Music presents the history of Nepali music in concise form analyzing multiple genres of music including classical, spiritual, folk, ethnic, modern and contemporary music, compositions and instruments. The work traces the roots of Nepali music along with the evolution and development. Professor Regmi emphasizes the significance of classical music in composition of aesthetic forms in contemporary times. Time, place and context affect the development of art. Socio-political and economic condition of the country is closely connected to the creation of art. Royal patronage helped in the institutionalization and development of Nepali music. The blend of classical and native folk music has given unique identity to Nepali music. The book introduces most of the dynamics and genres of the music and indicates the directions for further exploration and research. The coherence, clarity and conciseness in presentation makes the reading experience rich. The book is equally useful to the music students, teachers, researchers and general readers as well.

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Asatrian, Anna. "PROFESSOR SERGEY V. SHUSHARDZHAN —A MUSICIAN AMONG DOCTORS, AND A DOCTOR AMONG MUSICIANS (TO THE SCIENTIST'S ANNIVERSARY) Asatryan A.G." Medicine and Art 2, no. 2 (2024): 69–79. http://dx.doi.org/10.60042/2949-2165-2024-2-2-69-79.

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The article presents a brief scientific and creative portrait of the rector of the Academy of Rehabilitation Medicine, Clinical Psychology, and Music Therapy, President of the European Academy of Music Therapy, Doctor of Medical Sciences, Professor Sergey Vaganovich Shushardzhan. A doctor among musicians and a musician among doctors, an ex-soloist of the Yerevan State Academic Opera and Ballet Theater named after Alexander Spendiaryan and the Academic Bolshoi Theater of the USSR S.V. Shushardzhan stands at the origins of scientific music therapy. He is a unique example of how one and the same person simultaneously personifies a talented musician, a talented doctor, and a talented scientist. His research played an important role in the development of world music therapy.

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Journal articles on the topic 'Professor of Music)'

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