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Journal articles on the topic 'Redfield Conservatory of Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Wong, Hoi-Yan. "Bartók's influence on Chinese new music in the post-cultural revolution era." Studia Musicologica 48, no. 1-2 (March 1, 2007): 237–43. http://dx.doi.org/10.1556/smus.48.2007.1-2.16.

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Abstract In the wake of the Cultural Revolution (1966–76) and with China's new “Open Door” policy towards Western culture and Western new music, we have witnessed the exuberant growth of a new generation of Chinese composers. Tan Dun, Chen Yi and Bright Sheng have expressed in various ways their indebtedness to the heritage of Béla Bartók's music. Chen Yi, a fellow student of Tan Dun during her time at Central Conservatory of Music and Columbia University, recalled studying all of Bartók's six string quartets in the composition classes. Bright Sheng also openly admits that his use of the “primitiveness and savageness” of folk elements is directly modelled on the music of Bartók. The dissemination of Bartók's music in China is signified by the extent to which the journals published by China's top two music conservatories — the Central Conservatory of Music and the Shanghai Conservatory of Music — focus on discussion of this repertoire. Frank Kouwenhoven's studies of contemporary Chinese composers also point out that Bartók's influence overshadows most other major composers from the West. In this paper the reception of Bartók's music by Chinese composers in the post-Cultural Revolution era will be explored with reference to the musical as well as socio-cultural factors that fostered the influence.

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12

Rubin, Emanuel. "Jeannette Meyers Thurber and the National Conservatory of Music." American Music 8, no. 3 (1990): 294. http://dx.doi.org/10.2307/3052098.

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13

Gjerdingen, Robert O. "Music Theory Pedagogy: What Paul Taught Nadia." Music Theory and Analysis (MTA) 6, no. 2 (October 30, 2019): 230–54. http://dx.doi.org/10.11116/mta.6.2.4.

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The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her teacher at the Paris Conservatory, Paul Vidal. Even though she was not taught roman numerals or chord functions, she learned harmony as a performative art, as something to express what was implicit in a given melody or bass. The article describes what Paul taught Nadia, and how the incredibly high standards for crafting harmonic-contrapuntal musical fabrics at the Paris Conservatory could be mastered by students willing to memorize the intricacies of a centuries-old art.

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14

Glushkova, Olga R. "Features of Formation and Development of the Educational System Activities of the Moscow Conservatory from the Time of Its Foundation to the Turn of the XIX and XX Centuries." Musical Art and Education 8, no. 1 (2020): 131–48. http://dx.doi.org/10.31862/2309-1428-2020-8-1-131-148.

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The article presents the results of studies of some aspects of the process of formation of educational activities of a non-state educational institution created by the Moscow Department of the Russian Musical Society – the Moscow Conservatory (1866). The organization of its educational process was based on the Charter of the Russian musical society of 1859 and the Charter of its first educational institution – the Music school (Conservatoire), opened in St. Petersburg in 1862. However, in the presence of a common concept of education for both conservatories, there were differences in its implementation, in particular, regarding the formation of the curriculum. In the Moscow Conservatory, the formation of the course was more slow and gradual than in St. Petersburg, in addition, the Moscow Conservatory originally had a subject that was not taught in the capital institution. This is the “History of Church singing” – the only discipline that covered the history of Russian sacred music from a scientific point of view. In connection with this course, the article deals with the topic of interaction between the Moscow Conservatory and the Synodal School of Church singing. The issue of the implementation of the curriculum is also highlighted and the peculiarities of its passage, which consisted in the assumption of a free order in the study and passing of exams in musical and non-musical disciplines, are revealed. It was revealed that such a practice was an effective way to solve the problem of training professional musicians from students of different ages who had different abilities for music. The article demonstrates the first experience of addressing this issue in the aspect of the formation of the educational work of the Moscow Conservatory of the Russian Musical Society.

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15

van Fenema, EM, and CCJ van Geel. "Mental Problems Among First-Year Conservatory Students Compared with Medical Students." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 113–14. http://dx.doi.org/10.21091/mppa.2014.2023.

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Musical education and the musical profession can be stressful, which may make musicians vulnerable for stress-related disorders. To determine if music students are particularly at risk for mental problems, we used the Standardised Assessment of Personality–Abbreviated Scale [SAPAS] and the Symptom Questionnaire [SQ48] to compare symptoms in first-year conservatory students (n=33) and first-year medical students (n=43). On the SAPAS, we found that medical students have significantly more difficulty making and keeping friends (p=0.015). Also, we observed a trend that conservatory students lose their temper more easily (p=0.040). Both student groups showed high scores for the personality trait “perfectionism.” On the SQ48, we observed a trend that both conservatory and medical students experience more psychological problems than the general population, but there were no significant differences between conservatory students and medical students in the total scores of both questionnaires.

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16

Pressley, Margaret, and Rebecca Henry. "A Personal Journey toward Teaching Success." American String Teacher 44, no. 2 (May 1994): 69–72. http://dx.doi.org/10.1177/000313139404400227.

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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the faculty of the Indiana University Summer String Academy, a member of the advisory board of the Seattle Young Artist Music Festival and the National Music Teachers Association Competition String Repertoire Committee, and string chair for the Washington State Music Teachers Association. She was named ASTA's 1994 Washington State Studio Teacher of the Year.

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17

Stern, Judith RS, Sat Bir S. Khalsa, and Stephan G. Hofmann. "A Yoga Intervention for Music Performance Anxiety in Conservatory Students." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 123–28. http://dx.doi.org/10.21091/mppa.2012.3023.

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Music performance anxiety can adversely affect musicians. There is a need for additional treatment strategies, especially those that might be more acceptable to musicians than existing therapies. This pilot study examined the effectiveness of a 9-week yoga practice on reducing music performance anxiety in undergraduate and graduate music conservatory students, including both vocalists and instrumentalists. The intervention consisted of fourteen 60-minute yoga classes approximately twice a week and a brief daily home practice. Of the 24 students enrolled in the study, 17 attended the post-intervention assessment. Participants who completed the measures at both pre- and post-intervention assessments showed large decreases in music performance anxiety as well as in trait anxiety. Improvements were sustained at 7- to 14-month follow-up. Participants generally provided positive comments about the program and its benefits. This study suggests that yoga is a promising intervention for music performance anxiety in conservatory students and therefore warrants further research.

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18

Kadi, Aysegul. "Research topic selection of academics in Turkish music state conservatory." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 1 (August 26, 2017): 352–60. http://dx.doi.org/10.18844/prosoc.v4i1.2276.

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19

Loeb, Laurence D. ": Music, Talent, and Performance: A Conservatory Cultural System . Henry Kingsbury." American Anthropologist 90, no. 4 (December 1988): 996–97. http://dx.doi.org/10.1525/aa.1988.90.4.02a00420.

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20

RICE, TIMOTHY. "Music, Talent, and Performance: A Conservatory Cultural System . HENRY KINGSBURY." American Ethnologist 21, no. 4 (November 1994): 947–48. http://dx.doi.org/10.1525/ae.1994.21.4.02a00610.

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21

Thompson, Brian C. "Zhao Jiping and the sound of resistance in Red Sorghum." Studia Musicologica 56, no. 4 (December 2015): 355–66. http://dx.doi.org/10.1556/6.2015.56.4.5.

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Since seizing power in 1949, China’s Communist Party has exerted firm control over all aspects of cultural expression. This policy took its most radical turn in the mid-1960s when Mao Zedong launched the Cultural Revolution (1966–1976), aiming to rid the country of bourgeois elements. The composer Zhao Jiping was a student at the Xi’an Conservatory during this period. He graduated in 1970, but was able to continue his studies only when the Central Conservatory reopened in 1978. On completing his studies, he established himself as a composer of folk-inspired music for film and the concert stage. This paper focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2012 Nobel laureate Mo Yan. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The paper connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.

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22

BRILL, MARK. "BACH ON SCREEN BALDWIN WALLACE CONSERVATORY OF MUSIC, 18 FEBRUARY 2018." Eighteenth Century Music 15, no. 2 (September 2018): 290–93. http://dx.doi.org/10.1017/s1478570618000271.

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23

Avis, Rupert. "Higher music education, India and ethnography: a case study of KM music conservatory students." Ethnomusicology Forum 29, no. 2 (May 3, 2020): 230–49. http://dx.doi.org/10.1080/17411912.2020.1850316.

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24

Nilsonne, Åsa, and Johan Sundberg. "Differences in Ability of Musicians and Nonmusicians to Judge Emotional State from the Fundamental Frequency of Voice Samples." Music Perception 2, no. 4 (1985): 507–16. http://dx.doi.org/10.2307/40285316.

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One hundred and twelve listeners evaluated voice recordings containing fundamental frequency contours of patients during mental depression and following recovery. In 80% of the ratings the listeners were able to determine whether or not the recording was made during the depressive phase. A group of conservatory students made significantly fewer errors than a group of law students. No significant difference was found between male and female listeners.

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25

Suharyanto, Agung. "Sejarah Lembaga Pendidikan Musik Klasik Non Formal di Kota Medan." Gondang: Jurnal Seni dan Budaya 1, no. 1 (December 1, 2017): 6. http://dx.doi.org/10.24114/gondang.v1i1.5967.

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Tjong Sce Yin (founder of the first music school in Medan) and Tjong A Fie Mansion (the first school house in Medan) with the name of Medan Music School renamed the Pure Music Institute (LMM) and now renamed the Conservatory Music Medan. In addition to the above three things, also can not be separated from some non-formal music education institutions that organize classical music education in Medan that is Melody Music Studio (Musical Field), Musika Era, Music Rhythm and Institute of Music Education (LPM) Farabi Medan .

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26

Virkkula, Esa. "Communities of practice in the conservatory: learning with a professional musician." British Journal of Music Education 33, no. 1 (July 24, 2015): 27–42. http://dx.doi.org/10.1017/s026505171500011x.

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This article examines the sociocultural learning of popular and jazz music in communities of practice as part of secondary vocational music education in a Finnish conservatory. The research is based on performance workshops which were implemented as a joint effort between professional musicians and music students. These workshops are suggested as a method of utilising communities of practice. Research outcomes show that the workshops include opportunities for learning and developing musicianship on many levels. The potential of sociocultural learning should be recognised in music schools and teachers should develop learning environments which utilise it. Learning from playing experiences and from the evaluation of learning outcomes are largely the students' responsibility who require autonomy, initiative, the ability to solve problems and collaborate, and a readiness to reflect on experiences.

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27

Knyt. "Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making." American Music 31, no. 3 (2013): 277. http://dx.doi.org/10.5406/americanmusic.31.3.0277.

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28

Bum, Heo Jun. "History of Korean first conservatory Ewha from beginning to 1945." Moscow University Pedagogical Education Bulletin, no. 4 (December 29, 2018): 104–10. http://dx.doi.org/10.51314/2073-2635-2018-4-104-110.

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This article is about music education and its curriculum of Ewha Woman’s Conservatory from beginning to 1945 and deals with the introduction of western educational system in Korea for the first time and the process of its development at Ewha Woman’s University which was founded in the period of opening the door of Korea at the end of 19th century. The article describes that introduction of Korean traditional music as a regular subject and Women’s University’s role in the process of preserving it and its popularization.

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29

Jarvin, Linda, and Rena F. Subotnik. "Wisdom From Conservatory Faculty: Insights on Success in Classical Music Performance." Roeper Review 32, no. 2 (March 25, 2010): 78–87. http://dx.doi.org/10.1080/02783191003587868.

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30

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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Shindin, Boris A. "The Dissertation Committee of the Novosibirsk Conservatory is 20 Years Old." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (May 2015): 74–78. http://dx.doi.org/10.17674/1997-0854.2015.2.19.074-078.

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32

Andrianopoulos, Tilemachos. "The Athens Conservatory Concert Hall by Jan Despo." Joelho Revista de Cultura Arquitectonica, no. 9 (December 27, 2018): 68–79. http://dx.doi.org/10.14195/1647-8681_9_3.

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The Athens Conservatory is the only realized building of the Athens Cultural Center -a ’59 urban design composition by Jan Despo. The upper floor Concert Hall served as the Conservatory’s music venue for 40 years, though it remained in an incomplete, decadent state. Before attempting the restoration, a thorough research of the archived drawings revealed a series of elevations and construction drawings of a visually astonishing composition of acoustic panels for the lateral walls -that was never constructed. The discovery of those original drawings highlights the crucial role of research for a well documented, valid restoration

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33

Houtsma, Adrianus J. M., and Henricus J. G. M. Tholen. "II. A Perceptual Evaluation." Music Perception 4, no. 3 (1987): 255–66. http://dx.doi.org/10.2307/40285369.

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This article reports a study of the musical appreciation of carillons consisting of computer-synthesized major-third bells, minor-third bells, and "neutral-third" bells. Paired comparison judgments of melodies played on these instruments were obtained from a group of carillon majors, a group of other music students from a local conservatory, and a group of nonmusicians. The results provide evidence that each group of subjects can hear the difference between the three computerized instruments, but each group evaluates these perceptual differences in a different way.

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34

Solare, Carlos María. "A Portrait of Brett Dean." Tempo, no. 217 (July 2001): 22–25. http://dx.doi.org/10.1017/s0040298200017277.

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It surely must take a lot of courage to resign from one of the most prestigious (and best remunerated) positions in the musical world to pursue a career as an independent, free-lance composer. But this is precisely what the Australian Brett Dean did a year ago, when he left the Berlin Philharmonic's viola section after 15 years and went back to his native Queensland. And for all that, composing hadn't even been a part of Dean's training at the Conservatory in Brisbane, or had it?

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35

Rassina, E. B. "Taneev Research Library of the Moscow State Conservatory named after Tchaikovsky." Bibliotekovedenie [Library and Information Science (Russia)], no. 4 (August 28, 2014): 116–23. http://dx.doi.org/10.25281/0869-608x-2014-0-4-116-123.

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The article is devoted to the history of creation, composition of holdings and prospects of development of the largest Musical Library of Russia - Taneev Research Music Library of the Moscow State Conservatory named after P. Tchaikovsky. There is presented the typology of musical libraries of Russia, emphasized their special role in connection to the music documents making the basis of these collections, having no language barriers and desirable all over the world.

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36

Buryakova, Lyubov Aleksandrovna, and Alexey Gennadievich Buryakov. "French Higher Music Education System." Общество: социология, психология, педагогика, no. 11 (November 27, 2020): 97–109. http://dx.doi.org/10.24158/spp.2020.11.17.

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The study provides a characteristic of the French model of higher musical education with a pronounced national specificity, which consists of a special division into levels, or cycles, with its own system of naming academic degrees, awarding diplomas, etc. The authors revealed that the organization of a complex “organism” of the musical education system, presented in a variety of types of public and private institutions, is based on the principle of complementarity of curricula and the identity of competitive examinations. The phenomenon of the high status of university music education is especially noteworthy. Although until recently it concerned mainly musicology and pedagogy, in the last two decades, obtaining an academic degree approved by the higher conservatory together with the university has become prestigious for musicians of various specialties, including concert performers.

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37

Glushkova, Olga R., and Sergei V. Glushkov. "About the Educational-Pedagogical Work of the Moscow Conservatory in the Pre-Revolutionary Period." ICONI, no. 1 (2019): 54–62. http://dx.doi.org/10.33779/2658-4824.2019.1.054-062.

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The educational activities of the Imperial Russian Musical Society (IRMS) were of indelible significance in the formation of the Russian musical enlightening and educational system. The Moscow Conservatory became one of the greatest achievements of the IRMS, since it concentrated in its image — its spiritual and artistic orientations, administrative and tutorial structure, and pedagogical — the characteristic particularities the development of which subsequently consolidated and elevated its significance in music history. The article examines the questions of the establishment of the tutorial-pedagogical work of the Moscow Conservatory during the prerevolutionary period: the formation of the managerial apparatus, its evolution (depending on the quantity of students), a perception is provided about the makeup of the pedagogical faculty. The peculiarities of the pre-revolutionary organization of tutorial courses of the Conservatory are briefly illuminated as being accessible (for involvement in it at any stage) and as being compound, comprised of several interconnected steps: from the elementary to the artisanal-professional and to the advanced level. The latter also provided the possibilities to acquire indispensable knowledge in the humanitarian sphere for those to wished it. On the example of the Moscow Conservatory the achievements of the educational achievements of the IRMS are demonstrated, which during the Soviet period led to the threelevel system of national musical education in Russia (school — college — higher educational institution), which exists up to the present day.

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38

Keillor, Elaine. "There's Music in These Walls: A History of the Royal Conservatory of Music (review)." University of Toronto Quarterly 77, no. 1 (2008): 292–94. http://dx.doi.org/10.1353/utq.0.0024.

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39

Baymukhametova, Gulshat A. "The Bashkir Opera Studio affiliated with the Moscow Conservatory: Pages of History." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2018): 48–55. http://dx.doi.org/10.17674/1997-0854.2018.2.048-055.

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40

Moody, Ivan. "Giya Kancheli: an Introduction to his Music." Tempo, no. 173 (June 1990): 49–52. http://dx.doi.org/10.1017/s0040298200019148.

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Born in 1934, Georgiy (Giya) Kancheli has begun to receive attention in the West rather later than Alfred Schnittke, who was born one year earlier. Kancheli, who comes from Tiflis (Tbilsi), in Georgia – and who should not therefore be described as Russian – studied piano and composition (with Ilya Tuskiya) in the Conservatory of his native town between 1959 and 1963, and he has himself taught there since 1970. Since 1971 he has also been musical director of the Rustaveli Theatre in Tiflis. He has received recognition as a People's Artist of the USSR, and been a State Prize winner, and following his emergence into the consciousness of countries outside the USSR interest in his music has spread considerably.

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41

Bergman, Mark Elliot. "Beyond the Conservatory Model: Reimagining Classical Music Performance Training in Higher Education." Music Reference Services Quarterly 24, no. 3 (March 25, 2021): 179–80. http://dx.doi.org/10.1080/10588167.2021.1907132.

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42

Cohen, Judah M. "Whither Jewish Music? Jewish Studies, Music Scholarship, and the Tilt Between Seminary and University." AJS Review 32, no. 1 (April 2008): 29–48. http://dx.doi.org/10.1017/s0364009408000020.

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In this essay, I explore the history of what has conventionally been described as “Jewish music” research in relation to parallel developments in both ethnomusicology and Jewish studies in the American academic world during the twentieth century. As a case study, I argue, the issues inherent in understanding Jewish music's historical trajectory offer a complex portrait of scholarship that spans the discourses of community, practice, identity, and ideology. Subject to the principles of Wissenschaft since the second half of the nineteenth century, Jewish music study has constantly negotiated the lines between the scholar and practitioner; between the seminary, the conservatory, and the university; between the good of science, the assertion of a coherent Jewish narrative in history, and the perceived need to reconnect an attenuating Jewish populace with its reinvented traditions; and between the core questions of musicology, comparative musicology, theology, and modern ethnomusicology.

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Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (February 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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Hill, Juniper. "The Influence of Conservatory Folk Music Programmes: The Sibelius Academy in Comparative Context." Ethnomusicology Forum 18, no. 2 (November 2009): 207–41. http://dx.doi.org/10.1080/17411910903141882.

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Schiavio, Andrea, Michele Biasutti, and Roberta Antonini Philippe. "Creative pedagogies in the time of pandemic: a case study with conservatory students." Music Education Research 23, no. 2 (February 12, 2021): 167–78. http://dx.doi.org/10.1080/14613808.2021.1881054.

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46

Rhea, Thomas. "Electronic Music Plus 17 International Festival, Oberlin Conservatory of Music, Oberlin, Ohio, USA, September 21-23 1989." Computer Music Journal 14, no. 1 (1990): 67. http://dx.doi.org/10.2307/3680117.

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47

Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.

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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind instruments throughout Europe are beginning to indicate that the flute underwent a process of change far more complex than previously thought.

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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 (November 27, 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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Lin, Ziyong, André Werner, Ulman Lindenberger, Andreas M. Brandmaier, and Elisabeth Wenger. "Assessing Music Expertise." Music Perception 38, no. 4 (April 1, 2021): 406–21. http://dx.doi.org/10.1525/mp.2021.38.4.406.

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We introduce the Berlin Gehoerbildung Scale (BGS), a multidimensional assessment of music expertise in amateur musicians and music professionals. The BGS is informed by music theory and uses a variety of testing methods in the ear-training tradition, with items covering four different dimensions of music expertise: (1) intervals and scales, (2) dictation, (3) chords and cadences, and (4) complex listening. We validated the test in a sample of amateur musicians, aspiring professional musicians, and students attending a highly competitive music conservatory (n = 59). Using structural equation modeling, we compared two factor models: a unidimensional model postulating a single factor of music expertise; and a hierarchical model, according to which four first-order subscale factors load on a second-order factor of general music expertise. The hierarchical model showed better fit to the data than the unidimensional model, indicating that the four subscales capture reliable variance above and beyond the general factor of music expertise. There were reliable group differences on both the second-order general factor and the four subscales, with music students outperforming aspiring professionals and amateur musicians. We conclude that the BGS is an adequate measurement instrument for assessing individual differences in music expertise, especially at high levels of expertise.

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Mazepa, T. "Historical preconditions of creation of the conservatory of galician music society in Lviv." Ukrainian musicology 43 (November 24, 2017): 13–26. http://dx.doi.org/10.31318/0130-5298.2017.43.0.131924.

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