Relevant bibliographies by topics / Redfield Conservatory of Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Redfield Conservatory of Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Redfield Conservatory of Music"

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Sharavtseren, Tserenjigmed. "Factors, obstacles, mechanism and development directions for the professional music education in Mongolia." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 4, 2020 (2020): 225–38. http://dx.doi.org/10.31862/2218-8711-2020-4-225-238.

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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education in Mongolia is the concept of the Mongolian State Conservatory. The concept includes goals, main and additional tasks, the scheme of interaction with the authorities and social partners, the model and scheme of education, the management system, financial basis and stages of organization of the conservatory.
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Koskoff, Ellen, and Henry Kingsbury. "Music, Talent and Performance: A Conservatory System." Ethnomusicology 34, no. 2 (1990): 311. http://dx.doi.org/10.2307/851694.

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Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (May 1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.
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Navon, Joshua. "Pedagogies of Performance." Journal of Musicology 37, no. 1 (January 1, 2020): 63–93. http://dx.doi.org/10.1525/jm.2020.37.1.63.

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The development of modern styles of elite music education played a crucial role in entrenching Werktreue as the dominant practice within classical music performance. Focusing on Germany’s first conservatory, the Leipzig conservatory, which was founded in 1843, this article analyzes how Werktreue, understood as a set of tacit competencies and sensibilities that must be learned by musicians, was produced at a single historical site. Archival documents of the institution, as well as the correspondence and writings of teachers and students like Felix Mendelssohn, William Rockstro, and Ethel Smyth, show that the central objective of musical pedagogy was the faithful interpretation of musical works. Isolated as a discrete subject of training, performing musical works also functioned as the principal mode of student assessment through semesterly examinations. To transmit the necessary skills for this paradigm of performance, pupils’ bodily capacities (Technik) and ability to understand and interpret canonic compositions (Vortrag) became essential targets of conservatory pedagogy. Ubiquitous visibility among students, and the intense competition that this visibility engendered, went hand in hand with institutionalizing styles of musical expertise that continue to this day. In exploring these developments, this article asks how the productive power of modern conservatory training contributed not only to Werktreue’s rise over a wide geography, but also to the remarkable stability with which it has pervaded performance practice across multiple generations.
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Lister, Rodney. "Boston: Gunther Schuller's ‘Encounters’." Tempo 58, no. 228 (April 2004): 62–63. http://dx.doi.org/10.1017/s004029820425015x.

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Boston's Symphony Hall is celebrated as one of the finest concert halls in the world. It is generally less well known that Boston also has the smaller and equally fine Jordan Hall, located in the New England Conservatory. A fixture of Boston's musical life, Jordan Hall is also literally the heart of the Conservatory, being the venue not only of visiting celebrity solo and chamber music recitals, but of a multitude of the whole range of the Conservatory's student concert activity.
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Grenier Borel, Eugénie. "The Shanghai Conservatory of Music and its Rhetoric." China Perspectives 2019, no. 3 (September 1, 2019): 27–35. http://dx.doi.org/10.4000/chinaperspectives.9391.

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Haack, Paul. "Music, Talent, and Performance: A Conservatory Cultural System." Music Educators Journal 75, no. 3 (November 1988): 38–39. http://dx.doi.org/10.2307/3398077.

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Alter, Judith B. "Creativity profile of university and conservatory music students." Creativity Research Journal 2, no. 3 (June 1989): 184–95. http://dx.doi.org/10.1080/10400418909534314.

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Hash, Phillip M. "The Conn Conservatory of Music at Elkhart, Indiana." Journal of Historical Research in Music Education 38, no. 1 (September 19, 2016): 25–44. http://dx.doi.org/10.1177/1536600616663840.

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Dissertations / Theses on the topic "Redfield Conservatory of Music"

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Murali, Meera. "Conservatory of Music and Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64379.

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Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.
Master of Architecture
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Shipp, Sarah. "The Well Tempered Building; A Music Conservatory." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/35192.

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To Bach, the Circle of Fifths was the language of the universe. Similar to the constellations used to understand the sky, the Circle of Fifths is a visualization device to understand the fundamental concepts of key signatures, which are the foundation for music. The Circle of Fifths is a guide for writing music because its structure helps compose and harmonize melodies, build chords, and move to different keys within a composition. The Octave is the most significant key signature because it completes the circle of fifths. The Octave, if in perfect tune will create an overtone, which is a tune unable to be created on its own. The movement through the Circle of Fifths led to a contemplation described by Pythagoras as â Music of the Spheresâ or meeting between heaven and earth, between spiritual and material realms. The Well Tempered Building uses the Circle of Fifths as the underlying geometry for the foundation of the conservatory. Proportions from the Circle of Fifths, including the Octave, shaped the conservatory making the musicians, audience, sound, light, water and air tuned to each other.
Master of Architecture
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Mann, Evan Steele. "Civic Sounds; A Music Conservatory for D.C." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9621.

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"If it sounds good, it is good." - Duke Ellington "Like music, a work acquires its value only through the love it manifests." - Eileen Gray "...but in the mud and scum of things There alway, alway something sings." - R.W. Emerson
Master of Architecture
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Benavides, Millán Juan Gabriel. "Music on the edge an addition to the Music Conservatory of Tolima, Colombia /." College Park, Maryland : University of Maryland, 2005. http://hdl.handle.net/1903/2619.

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Thesis (M. Arch.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Vander, Hart Robert Jay. "A history of the Conservatory of Music at Central College (Pella, Iowa), 1900-1930." Thesis, University of Iowa, 1998. https://ir.uiowa.edu/etd/5384.

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Stuecker, Rebecca Marie. "Discover. Reveal. Educate.: Making a School for Bluegrass Music in Floyd, Virginia." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/33857.

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Architecture can facilitate the learning process. This book outlines a design exploration of this fundamental premise. The architectural platform for this exploration is a music conservatory dedicated to teaching the traditional mountain music of Appalachia. The rich history of mountain music and its centuries-old conversational method of conveyance remain the underlying premise of this thesis. A successful bluegrass conservatory must provide places for its students to engage in three occasions: Discovery, Revelation, and Education. Architectural form is significant to these occasions in that it not only allows, but promotes their occurrence. The discovery of inspirational material can occur in a formal stage-and-seat configuration as in the auditorium, or in an informal environment such as the street. The moment in which a musician reveals or explores this inspirational material can be a private one, most likely to take place in the individual rooms of the residential buildings. The most important occasion, education, takes place as it has for centuries - within conversation. Learning the language of bluegrass music is most likely when two or more students sit together to play, share their knowledge, and build on it. These conversations are key to the learning process and can take place on the benches lining the streets, in the indoor gathering rooms, on balconies and porches overlooking the streets, etc. The discovery, revelational, and educational processes are not chronological and must all happen coincidentally within the school grounds. I have set out to build an architectural language whose meaning is derived by conventional pragmatic parameters. This system of rules or notions governs all aspects of this schoolâ s design from stair to stage. The parameters are set according to the intrinsic requirements of placing a building on the land that must promote the occurrence of discovery, revelation, and education.
Master of Architecture
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Malitowski, Cynthia Marie, and University of Lethbridge Faculty of Education. "The journey from instrumentalist to musician : reflections on the implementation of the conservatory method in musical performance." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 2001, 2001. http://hdl.handle.net/10133/134.

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The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, it what defined her a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodolgies, the author identified four common themes for comparison: rhythm, pitch, recognition, patterning of sounds, and literacy. Through the discourse the author bridges the gap between the instrumentalist and the musician by comparing the methodology of these music educators and that of the conservatory through her own experiences.
viii, 108 leaves ; 28 cm.
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Hardin, Gary Joe II. "IN THE DIVISION OF COMPOSITION, MUSICOLOGY, AND THEORY OF THE COLLEGE-CONSERVATORY OF MUSIC." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin960900004.

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Xiong, Jie. "A study of the undergraduate students' professional identity at the Central Conservatory of Music." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/838.

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Books on the topic "Redfield Conservatory of Music"

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Moskovskai︠a︡ gosudarstvennai︠a︡ konservatorii︠a︡ im. P.I. Chaĭkovskogo. The Moscow Conservatory. 2nd ed. Moscow: Moscow Conservatory, 2001.

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Cringan, Alexander T. Conservatory sight-singing method: As used in the Toronto Conservatory of Music. Winnipeg: Whaley, Royce, 1994.

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Music, talent, and performance: A conservatory cultural system. Philadelphia: Temple University Press, 1988.

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Columbian, Conservatory of Music (Toronto Ont ). The Columbian Conservatory of Music, Toronto, 1912-1913. Toronto: Southam Press, 1995.

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London Conservatory of Music and School of Elocution. London Conservatory of Music and School of Elocution. [S.l: s.n., 1987.

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San Francisco (Calif.). Planning Dept. 50 Oak Street: San Francisco Conservatory of Music. San Francisco, CA: San Francisco Planning Dept., 2002.

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There's music in these walls: A history of the Royal Conservatory of Music. Toronto: Dundurn Group, 2005.

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Giles, Joan Gorst. Forty years in four movements: The history of the Victoria Conservatory of Music's first forty years. Victoria, B.C: Victoria Conservatory of Music, 2005.

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Åberg, Sven. Styles and actions: Paradoxes and agreements in the conservatory teacher's practice. Stockholm: Santérus Academic Press, 2010.

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Åberg, Sven. Styles and actions: Paradoxes and agreements in the conservatory teacher's practice. Stockholm: Santérus Academic Press, 2010.

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Book chapters on the topic "Redfield Conservatory of Music"

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"The New England Conservatory of Music." In The Heart of a Woman, 40–55. University of Illinois Press, 2020. http://dx.doi.org/10.5406/j.ctv1379743.10.

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Peress, Maurice. "The National Conservatory of Music of America." In Dvorák to Duke Ellington, 41–52. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195098228.003.0006.

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"School for Scholars or ‘Conservatory of Music’?" In Bach's Famous Choir, 209–94. Boydell & Brewer, 2018. http://dx.doi.org/10.2307/j.ctv6jmbj1.16.

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Hobson, Vic. "“Going to the Conservatory”." In Creating the Jazz Solo, 81–96. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0010.

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This chapter looks at Armstrong’s development as a musician in his time with Fate Marable and his orchestra on the Streckfus riverboats. Joe Howard, Norman Mason, and Davy Jones, all good readers and veterans of the minstrel shows, helped Armstrong with his studies. This chapter explores the changing dance tempos as jazz and the Fox-Trot replaced ragtime and the One-Step. The chapter also looks at how barbershop principles were influencing white musicians and being written into sheet music arrangements in relation to “Avalon” (1920).
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"Pedagogical Training and Formation in the Conservatory Curriculum." In Instrumental Music in Late Eighteenth-Century Naples, 59–92. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108770064.003.

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Sacks, Adam J. "Ostbahnhof Berliń." In Polin: Studies in Polish Jewry Volume 32, 321–42. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0018.

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This chapter explores the reasons why east European Jews sought to study at the Berlin Conservatory. It investigates the dramatic influx of Jewish students, both instrumentalists and composers, that found encouragement and advancement at the Berlin Conservatory between the years 1918 and 1933. It also mentions Władysław Szpilman, Jascha Horenstein, Joseph Rosenstock, and Karol Rathaus that studied in the Berlin Conservatory and went on to find international fame. The chapter analyzes how music functioned as a medium for mobility, nobility, and the transcendence of origins and the strictures of imposed identity. It looks into the eastern European music student's perception of the Berlin Conservatory, which served as a site of self-reinvention and a transit station to the wider world.
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Fiala, Michele. "Sarah Jeffrey." In Great Oboists on Music and Musicianship, 137–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0014.

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Sarah Jeffrey is principal oboe of the Toronto Symphony Orchestra and is on faculty at the Glenn Gould School at the Royal Conservatory and the University of Toronto. In this chapter, Jeffrey discusses her start in music, her inspirations, and her observations of North American styles. She also shares her priorities in warming up, reeds, and developing technique.
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Panteleeva, Olga. "St. Petersburg Conservatory and the Beginnings of Russian Musicology." In Rimsky-Korsakov and His World, 223–48. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0007.

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This chapter looks at St. Petersburg Conservatory and Soviet musicology. The St. Petersburg Conservatory bears Nikolai Rimsky-Korsakov's name not only on account of the composer's contribution to the Russian classical music canon, but because he is perceived as a progenitor of the institutionalized study of music in Russia—both practical and theoretical. It is true that Rimsky-Korsakov played a leading role in shaping the first syllabi of music-theoretical courses at the St. Petersburg Conservatory. However, the lineage that connects these courses to the present-day curricula is by no means as direct as it is sometimes painted. The chapter then argues that under Rimsky-Korsakov, music theory was seen as the handmaiden to composition, which hindered the institutionalization of historical musicology.
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Shadle, Douglas W. "The Welcome Arrival." In Antonín Dvořák's New World Symphony, 1–14. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0001.

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New York-based philanthropist and entrepreneur Jeannette Thurber (1850–1946) founded the National Conservatory of Music in 1885 to provide a world-class but low-cost professional music education to students from across the United States. Though it progressed in fits and starts, the conservatory eventually earned a congressional charter in 1891, giving it a unique stature compared to national rivals. A year later, Thurber hired Antonín Dvořák, the famous Bohemian composer, to be its executive musical director—easily the highest-profile individual to hold the position. The US public expected Dvořák to transform the National Conservatory into the international powerhouse Thurber had always envisioned.
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"Reger’s Music at the Leipzig Conservatory and Church Music Institute, 1907-1948." In Max Reger and Karl Straube, 185–268. Routledge, 2017. http://dx.doi.org/10.4324/9781315091327-4.

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Conference papers on the topic "Redfield Conservatory of Music"

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"Analysis on Conservatory of Music and Musical Intangible Cultural Heritage." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.093.

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Kogler, Susanne, Julia Mair, Juliane Oberegger, and Johanna Trummer. "Erich Marckhl – Musikausbildung in der Steiermark nach 1945. Brüche und Kontinuitäten." 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/10.25366/2020.58.

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Nowadays, a detailed examination of the structure and development of music education in Styria after 1945 seems absolutely necessary, considering an overall lack of research on that topic and a predominant thematization of Vienna. The composer, music pedagogue and cultural politician Erich Marckhl played a pivotal role in music education before and after 1945. His network reached far beyond Styria. This article shall illustrate the development and interaction of all institutions connected to music education after 1945.the reorganization of the music school system, the reopening of the State Conservatory and its transformation into the Academy of Music and Performing Arts.
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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. Valencia: 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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Tie, Yunchan, and Shupeng Lai. "The Teaching Reformation on Digital Piano Collective Class Based on Practical Piano A Case Study of Xinghai Conservatory of Music." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.182.

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