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Drago, Marganne. "Presenting Opera to College Students." Music Educators Journal 79, no. 6 (February 1993): 40–42. http://dx.doi.org/10.2307/3398549.
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Tager, Michele. "Soap opera viewing in a communal context." Communicare: Journal for Communication Studies in Africa 23, no. 2 (October 24, 2022): 1–20. http://dx.doi.org/10.36615/jcsa.v23i2.1757.
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This paper presents some of the findings of an ethnographic audience study of the soapopera viewing patterns and interpretations of Zulu-speaking students living in residencesat a South African university (Natal University’s Durban campus) who watch The Boldand the Beautiful (an American soap opera) and Generations (a South African soapopera). Although the research undertaken covered various aspects of the soap operaviewing experience and the consumption of an international vs a local soap opera, thispaper will focus specifically on the nature of the viewing process and the ways in whichthe respondents relate to both soap operas, and it touches briefly on how the viewingpatterns of the students and their motivations for watching compare with audiencestudies conducted elsewhere in the world.
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Yanko, Yu V. "Performing interpretation of the opera in the spectacles of the Opera Studio of the Kharkiv National I. P. Kotlyarevsky University of Arts in the late 20th – the early 21st century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 92–107. http://dx.doi.org/10.34064/khnum2-14.07.
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Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.
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Speake, Constance J. "Create an Opera with Elementary Students." Music Educators Journal 79, no. 6 (February 1993): 22–26. http://dx.doi.org/10.2307/3398545.
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Gong, Hongmin. "Problems and Countermeasures of the Popularization of Cantonese Opera Culture in Colleges." SHS Web of Conferences 151 (2022): 01006. http://dx.doi.org/10.1051/shsconf/202215101006.
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As a treasure of Lingnan art, Cantonese opera audience is mostly among the elderly, and young people today know very little about it, which has a serious impact on the inheritance and development of Cantonese opera art. Although the government and society have been paying more and more attention to Cantonese opera, the results have been limited. As the last stop for students to study, colleges shoulder the important mission of learning professional skills and completing values. Incorporating the art of Cantonese opera into the study and life of colleges, so that students can understand and like Cantonese opera, has a certain positive significance for the development of Cantonese opera.
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Leung, Bo-Wah. "Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou." Impact 2021, no. 7 (September 14, 2021): 18–20. http://dx.doi.org/10.21820/23987073.2021.7.18.
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It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.
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Hautsalo, Liisamaija. "The “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera1." Nordic Research in Music Education 2, no. 1 (April 6, 2021): 71–88. http://dx.doi.org/10.23865/nrme.v2.3024.
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This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.
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Rustandi, Ridwan, and Khoiruddin Muchtar. "EFFECTS OF EXPOSURE TO MASS MEDIA MESSAGES ON TEENAGE VEILED PERCEPTIONS." INJECT (Interdisciplinary Journal of Communication) 4, no. 2 (January 14, 2020): 153–74. http://dx.doi.org/10.18326/inject.v4i2.153-174.
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The purpose of this study was to determine the impact on the soap opera Aisyah Putri that aired on the private television station RCTI. This study uses a qualitative approach by relying on George Gebner's theory of states that television shows affect the audience. Data collection techniques through observation and interviews are three main aspects, namely cognitive, affective and conative, related to the effects of exposure to mass media messages. Female students of Al-Biruni High School in Bandung consisting of classes X, XI, and XII. The results of the study showed that the process of perception of teenagers on Aisyah Putri soap opera shows the stages of sensation, perception, and confirmation (memory and thinking). The motive for the use of headscarves for teenagers. The headscarf perception among adolescents, especially for students at Albiruni Cerdas Mulia Bandung High School has a strong influence on exposure to "Aisyah Putri" religious soap operas in terms of cognitive, affective and conative.
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Liu, Fen, Pravina Manoharan, and Wen Li. "A comparative study of college students’ attitudes before and after the introduction of Fuzhou tea-picking opera into course." International Journal of Education and Practice 11, no. 1 (January 20, 2023): 94–105. http://dx.doi.org/10.18488/61.v11i1.3264.
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This paper takes the music class of Fuzhou Preschool Normal College, Jiangxi Province, China as a case study to analyze the different attitudes of students to the traditional Chinese opera—Fuzhou tea-picking opera which has been introduced into the music class of the school, thus affecting the cultural inheritance effect. A total of 150 non-music major local college students were selected from three classes to carry out the music course inheritance practice for four months in Fuzhou Preschool Normal College. This study was divided into three stages, (a) student assessment, (b) teaching the lesson, (c) feedback and assessment. The aim of this study was to study the perceptions of students from Fuzhou Preschool Normal College, Jiangxi Province, China towards the art from of Fuzhou tea-picking opera, and to explore the factors affecting the learning attitudes of these students. Mixed-methods design was employed within the study. The study found that the implementation of the course significantly improved students’ positive attitude towards Fuzhou tea-picking opera. The implementation of the course played a positive role in promoting the inheritance of the tea-picking opera. Although this is a study on the inheritance of traditional Chinese music course, the ideas of course design and research results are applicable to other traditional Chinese music, and even to other countries which have needs for the inheritance of traditional music.
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Ni, Yuqi, Jiayi Lou, Yaxuan Wang, Congcong Yu, Yutong Li, Tianyu Xia, Yiting Xu, Xinlan Ru, and Shihua Cao. "A study on the current situation and countermeasures of the communication and development of college students' opera culture ---- A case study of universities in Hangzhou." Advances in Education, Humanities and Social Science Research 1, no. 3 (February 1, 2023): 180. http://dx.doi.org/10.56028/aehssr.3.1.180.
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Traditional Chinese opera is one of the outstanding traditional cultures and has a significant role in cultivating moral sentiments and enhancing cultural confidence. The effect of opera is gradually decrease among the contemporary university community, and there are widespread flaws in the cultural literacy of opera. The transmission and development of opera culture in universities is facing great challenge, so the popularisation of opera in the scale of campuses has become an urgent issue for improvement. This paper investigates the current situation of Chinese opera popularization in universities in Hangzhou city China, explores inherent problems and puts forward corresponding countermeasures and suggestions. In order to help universities to improve the education and popularisation of Chinese opera.
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BUTLER, MARGARET R. "PRODUCING THE OPERATIC CHORUS AT PARMA’S TEATRO DUCALE, 1759–1769." Eighteenth Century Music 3, no. 2 (September 2006): 231–51. http://dx.doi.org/10.1017/s1478570606000595.
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Italian opera is increasingly receiving well deserved attention. Yet the process by which the chorus in opera seria was created remains largely unexplored. Between 1759 and 1769 Tommaso Traetta and Christoph Gluck composed path-breaking, reform-inspired opere serie for Parma’s Teatro Ducale which integrated chorus, dance and stage spectacle in the French manner. In an era when operatic choruses usually comprised amateurs and chapel singers, evidence from printed librettos and documents from Parma’s Archivio di Stato reveal that many of the Teatro Ducale’s choristers were professional singers hired from neighbouring Bologna. Perhaps in response to logistical and financial difficulties in engaging skilled personnel for Traetta’s choruses, Parma established a singing school to provide choristers for theatre. Gluck’s choruses employed a combination of students from this school and professionals. The evidence from Parma shows that the wide-ranging circuit within which Italy’s opera theatres functioned embraced not only leading soloists and other personnel, but choral singers as well. It demonstrates the impact of practical circumstances surrounding the production of Parma’s operatic choruses on the success of operatic reform in Parma.
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Tang, Xin. "Creation of Drama Art Based on Deep Learning and Evolution Strategy." Scientific Programming 2022 (August 10, 2022): 1–9. http://dx.doi.org/10.1155/2022/6217325.
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The rapid development of information technology has promoted the growth of deep learning, artificial intelligence, and big data technology. Nowadays, the artistic form of traditional opera creation is accepted and respected by people—more and more people like the art form. However, the artistic creation of traditional opera needs inspiration. The essence of inspiration creation is to reconstruct its objective structure. The deep learning algorithm’s essence is to extract all of the attributes of sample self-learning input data and use them as inspiration for artistic production. First, this paper briefly introduces the deep learning and evolution strategy and uses these algorithms in opera art creation to construct 1 + λ. With the help of this evolutionary algorithm, an optimal solution is obtained through random evolution. The evolution strategy establishes the evolution function matrix. Starting from the situation of students learning opera art, this article examines the process of creating opera art using an in-depth learning and evolution technique. The results show that 96 percent of the students have contact with opera while watching an opera tour. During this, they were not interested in the performance of literary drama in traditional opera. However, it was noticed that they were deeply interested in martial arts, clown performances, and drama stage performances. Finally, the audience group of opera artistic creation is analyzed in the form of opera animation of “A Journey to the West: The Return of the Great Sage.” It signifies that the opera’s leading audience group is aged 25 to 29. However, they account for only 30 percent.
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Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.
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Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.
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Kucher, L. I. "Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
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Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.
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Perse, Elizabeth M. "Soap opera viewing patterns of college students and cultivation." Journal of Broadcasting & Electronic Media 30, no. 2 (March 1986): 175–93. http://dx.doi.org/10.1080/08838158609386618.
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Lin, Moyi. "Youth Development and Identity in Singapore's Tian Yun Beijing Opera Society." Asian Journal of Social Science Studies 7, no. 8 (August 29, 2022): 29. http://dx.doi.org/10.20849/ajsss.v7i8.1258.
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The history of immigration is intrinsically related to the growth of Beijing Opera in Singapore. Since the turn of the century, as China's economy has continued to grow, a growing number of Chinese living abroad have started to seek out familiar Chinese voices and deepen their links to the nation. In The Tian Yun Beijing Opera Society aggressively welcomes new immigrants while also assuming the duty of youth development. The overseas Chinese young are now dealing with difficult cultural adaptation and identity crises as a result of postmodernism and the internet information age. The Tian Yun Beijing Opera Society is actively fostering a new generation of Beijing Opera enthusiasts by encouraging secondary school students to study the opera and establishing a youth acting clubs. This makes Beijing Opera an essential link in fostering the development of overseas Chinese cultural communities and strengthening ethnic group cohesion.
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Barlow, Jeremy. "London, Trinity College: David Johnson's ‘Sorry, False Alarm’." Tempo 58, no. 229 (July 2004): 79–80. http://dx.doi.org/10.1017/s0040298204270243.
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An opera which runs for less than an hour and has 20 solo parts might seem destined to remain unperformed, but Scottish composer David Johnson's Sorry, False Alarm was composed as a training opera for students, and a workshop production by singers from Trinity College of Music (24 March, Greenwich) demonstrated that it fits its purpose admirably.
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White, David A., and Cynthia Sprague. "In the Classroom: “The Bohemian Life”: Opera and Gifted Education." Gifted Child Today 25, no. 3 (July 2002): 34–64. http://dx.doi.org/10.4219/gct-2002-68.
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Opera is considered by its devotees to be the highest form of art. Grand opera, to give the art form its more venerable name, is so praised because it represents an especially vibrant intersection of words, music, and stagecraft. In theory then, opera becomes a natural artistic medium to present to gifted students, since it offers an opportunity to introduce them to an intricately visual and aural experience, which will considerably broaden their awareness of how artful words joined with powerful music can enrich their world. The problem then is to transform this grand pedagogical and aesthetic idea into practical reality.
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Tambling, Pauline. "Opera, education and the role of arts organisations." British Journal of Music Education 16, no. 2 (July 1999): 139–56. http://dx.doi.org/10.1017/s0265051799000236.
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This article describes three projects organised by the Royal Opera House Education Department between 1985 and 1997. Following the descriptions each project is analysed in terms of students, artists and teachers with a view to placing the work within an overall conceptual framework suggesting that arts education provides an interface between the professional work of artists and educational settings. It proposes that arts education can be most effective when students are encouraged to see themselves ‘as artists’ and by creating their own work they can then engage with the work of other artists, both living and from other generations.
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Milhous, Judith. "WHAT ARE YOU READING?" Theatre Survey 51, no. 2 (October 18, 2010): 291–94. http://dx.doi.org/10.1017/s0040557410000359.
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What might one read for an opera course? I teach an occasional survey that looks at opera in the context of theatre. It is intended to demystify opera for those who have no experience of it but also to explore some nooks and crannies that even fans might not know well. The general layout is chronological, but local production schedules may mean that we start out of order or that there are interruptions. My concern is that students be somewhat prepared when they go to see an opera on the syllabus. Rather than choose warhorses for their own sake, I seek out pieces that offer historical, political, or aesthetic choices that are surprising to many students. Thus, with John Adams's Nixon in China, we also read three plays about Madame Mao. With the intermezzi presented as part of the Medici wedding festivities of 1598, we read one of the plays the intermezzi graced, Bargagli's La pellegrina; for the production process, we read excerpts from James M. Saslow's wonderful 1996 book about the wedding, and so on. I change the overall content to accommodate available productions and to keep the course interesting for me and (I hope) for students. Since I keep an eye out for books that might be useful, this essay combines things I have actually read with things I will consider for the syllabus the next time I teach it.
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KAZANCIOĞLU,Sibel TETİK,Kerim DÜNDAR,Uğur DÜNDAR, Alper. "OYUNCULUK ANASANAT DALI ÖĞRENCİLERİ İLE OPERA ANASANAT DALI ÖĞRENCİLERİNİN SOLUNUM FONKSİYONLARININ KARŞILAŞTIRILMASI/Comparison of Respiratory Functions of Performing Arts Students With That of Opera Students." International Journal of Interdisciplinary and Intercultural Art 4, no. 4 (2018): 1–7. http://dx.doi.org/10.29228/ijiia.4.34.
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HELLER, WENDY. "Introductory note." Cambridge Opera Journal 15, no. 3 (November 2003): 213–15. http://dx.doi.org/10.1017/s0954586703001721.
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This issue of Cambridge Opera Journal is devoted to Venice, opera, dance, and in particular the work of the late Irene Alm, Associate Professor of Music at Rutgers University. Alm's premature death in October of 2000 at the age of forty-four was deeply mourned by numerous friends, colleagues, and students, who had come to love her extraordinarily generous spirit, humour, grace, and discerning intellect. Her death also represents an incalculable loss to musicologists and dance historians.
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Tajtáková, Mária, and Daniel Arias-Aranda. "Targeting university students in audience development strategies for opera and ballet." Service Industries Journal 28, no. 2 (March 2008): 179–91. http://dx.doi.org/10.1080/02642060701842191.
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Dan, Wang. "TO THE HISTORY OF THE STATION OF THE OPERA BY PI TCHAIKOVSKY "EUGENE ONEGIN" IN CHINA." Arts education and science 1, no. 1 (2021): 108–12. http://dx.doi.org/10.36871/hon.202101012.
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The article provides evidence of eyewitnesses and performers about the history of performance in China of PI Tchaikovsky's opera "Eugene Onegin", the first acquaintance with which the Chinese audience took place back in the 20s of the last century. It is noted that the premiere of "Eugene Onegin" in Chinese was held in an abridged version at the Central Music Conservatory of Tianjin on May 26, 1956 by the efforts of teachers and students under the leadership of Huang Lifay. Professors and vocal teachers from the Soviet Union - PM Medvedev and NK Kuklina-Vrana - contributed to the first production. The historical significance of the first production of Eugene Onegin is that it was performed in Chinese. It was difficult to translate the literary text of the opera due to the need to correlate the Chinese verbal text with musically complex opera parts and at the same time preserve the charm of Pushkin's poetry. The production of the opera in Chinese made it more accessible to music lovers. It is noted that the opera "Eugene Onegin" without any cuts saw the light of the footlights of the Beijing Tian Qiao Theater in August 1962.
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Kucher, Liudmyla. "“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 108–24. http://dx.doi.org/10.34064/khnum2-23.07.
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Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.
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Beznisko, Oksana N., and Diana S. Karbulyan. "Modern Trends in Scenic Genres as the Subject of Study in the Course of History of Variety and Jazz Music (Using the Example of the Rock Opera “The Legend of Xentaron”)." Musical Art and Education 7, no. 2 (2019): 96–108. http://dx.doi.org/10.31862/2309-1428-2019-7-2-96-108.
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The work explores the interaction of the structure and content of the modern musical and scenic genre, rock opera. On the basis of the rock opera “The Legend of Xentaron” staged by “Epidemic”, a Russian power metal group, authors show characteristics of the rock opera of the 21st century, performing and instrumental structure, other components of the new musical and scenic action influencing the listener, the trend of influence of a genre of a fantasy on characteristic stylistic features of a genre of a rock opera is considered. The authors pay special attention to the analysis of dramaturgy in the rock opera “The Legend of Xentaron”, on the basis of which it is characterized as a mixed form, synthesizing the techniques of conflict and epic dramaturgy. At the same time, they revealed both typical and already traditional features for this musical stage genre, as well as modern trends in its evolution. This refers to such new features as: serial, formulas, stereotyping, replicability. The inclusion of the results in the study of “History of variety and jazz music” will help university students to get an idea about new trends in development of the phenomena of performing art, styles, genres, directions and the repertoire in the field of vocal and instrumental variety and jazz music.
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Keshishian, Flora, and Vahram Mirakyan. "Soap Opera Viewing Motives among College Students in the Republic of Armenia." KOME 5, no. 1 (2017): 24–39. http://dx.doi.org/10.17646/kome.2017.12.
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Ustinova, Daniela V., and Natalia V. Lashtabova. "TRANSLATION TRANSFORMATIONS OF THE LIBRETTO BY N. TATE FOR THE OPERA “DIDO AND AENEAS”." Sovremennye issledovaniya sotsialnykh problem 14, no. 2 (June 30, 2022): 260–70. http://dx.doi.org/10.12731/2077-1770-2022-14-2-260-270.
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The article is devoted to the analysis of translation transformations in musical compositions. Studies in the field of musical translation and opera compositions were considered, difficulties that an interpreter may face were identified. Using the example of N. Tate’s libretto for the opera “Dido and Aeneas”, the texts of the recitative and Dido’s aria were analyzed, as well as the ways of its translation into Russian.
Background. To achieve adequacy in the translation of musical compositions, in particular opera librettos, translators resort to the use of various types of transformations. On basis of the libretto for the opera “Dido and Aeneas”, the analysis of Y. Dimitrin’s translation is carried out.
Purpose. To identify and analyze the translation transformations of Y. Dimitrin’s libretto of the opera “Dido and Aeneas” in comparison with the literal translation.
Materials and methods. The research material was G. Purcell’s opera “Dido and Aeneas” and its translation into Russian. During the analysis of the material, the method of analysis and synthesis of theoretical scientific material on the topic under study, as well as the comparative method were used.
Results. The results of the study proved that due to the difference in the structures of languages, the interpreter faced a number of problems in translation of the recitative and Dido’s aria of the opera. In the process, he was forced to use such translation methods as addition, omission, and integral transformation, which helped him make the Russian version close in meaning and in content.
Practical implications. The results of the research can be used by students of linguistic universities interested in poetic translation, as well as by translators with experience in translating musical compositions, for a profound understanding of the possibilities of using translation transformations.
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Kucher, L. I. "Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.
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Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the fathers of professional musical education not only in Lviv, but in Western Ukraine as a whole. Yet, Lviv’s fi rst educational institution – the Higher Musical Institute – was created other than a standard conservatory of Russian Imperial Musical Society with quite a perfect educational system – it was closer to West European establishments on a parallel basis attended by secondary and higher school students, who studied only musical disciplines in the conservatory. A. Vakhnyanin (who taught theory and history of music) has become the fi rst Director of Lviv Higher Musical Institute with O. Bandrovs’ka and L. Ulukhanova teaching solo singing. In the year of 1912, after the death of M. Lysenko, the Higher Musical Institute was given his name. Lviv’s M. Lysenko Higher Musical Institute gained authority and prominence by constantly improving its educational system. Together with the conservatory of Polish Musical Society and K. Shimanovski conservatory, it became one of those educational establishments, on which basis M. Lysenko Lviv State Conservatory was created upon the reunion of West European lands. As of today, it is among our country’s leading musical universities. Vocals faculty exists since the day of Lviv conservatory’s foundation. In this period, they prepared numerous singers for opera and operetta theaters, philharmonic halls, teachers of secondary and higher schools. Having been founded in 1959, the opera studio functions as a training subdivision of the conservatory, being the source of professional growth for outstanding representatives of national vocal arts and opera conductors. The studio’s fi nancial position has been troubled for many years – there is no own premises and full-time soloists. And yet, teachers’ dedication has always allowed the studio to work so as to serve the basis for practical training of the vocals faculty students. The studio was offi cially opened on November 16, 1959 in M. Zan’kovetska Theater. A year later, on November 16, 1960, the premiere performance of “Zaporozhets za Dunayem” opera by S. Gulak-Artemovsky took place (conductor M. Lobaniv, director V. Shevchenko, assistant conductor – 4th year student S. Turchak). The entire faculty worked on the performance – vocals students enthusiastically participated in ballet scenes, their teachers sang leading parts together with students, teaching the mastery lesson to their mentees onstage. But it was emphasized in 1960 annual report by the Director of Lviv State Conservatory professor M. Kolesa that, with opera studio’s certain achievements, there also was a weak point, and namely the absence of creative and organizational contact between solo singing and opera training departments. In autumn 1963, Lviv opera studio performed in Kyiv at the Republican conference dedicated to education of actor singers, representing fragments from “Taras Bulba” (M. Lysenko) and “La traviata” (G. Verdi) performances. The conference stressed the necessity to alter the course of training – to educate actor singers, performer singers, rather than just “sound professional”. By the Order of the Ministry of Culture of Ukraine of January 25, 1966, opera training department was founded in Lviv State Conservatory. The functions of the Head of department were vested in the associate professor of solo singing department V. Kobrzhitsky. In this period, absence of creative contacts between the two departments of the vocals faculty continues to be felt, with their teachers exchanging accusations. They do not show aspiration to do the common cause – to educate actor singers. In the beginning of academic year 1971-72, the department was joined by Ukraine’s Honored Artist conductor O. Gritsak, who already in his fi rst year of work showed himself as a talented manager. It was stated in the department’s annual report that working stability, which is defi nitely a positive factor, is not always typical for the students. The number of performances for students’ practical training is insuffi cient. The repertoire must have at least three performances, so that students could be involved in several parts for a multifaceted disclosure of their creative abilities. The department made the resolution to improve its operation by fundamentally altering its organizational principles and the methodology, for which purpose to replace the department’s management.
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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.
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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
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Hwang, Kyung-sook. "Effectiveness of Opera classes based on Multiple intelligences Theory: For Elementary School Students." Korean Society of Music Education Technology 32 (July 16, 2017): 107–27. http://dx.doi.org/10.30832/jmes.2017.32.107.
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Condurache, Dumitriana, and Consuela Radu-Țaga. "Voices in Space or the Contemporary Realism in the Pedagogy of the Future Opera Singer." Artes. Journal of Musicology 24, no. 1 (April 1, 2021): 242–51. http://dx.doi.org/10.2478/ajm-2021-0014.
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Abstract The Romanian opera and operetta repertoire is a constant objective in the Opera Class of the Faculty of Performing, Composition, and Musical Theoretical Studies in “George Enescu” National University of Arts from Iași. The stylistic diversity and the richness of the drama make not only an important instrument for the study out of it, but also a moral debt for the knowledge and transmission of a music whose beauty – once (re)discovered – is a source of enchantment for the artists, as well as for the public. If in the beginning of the professional route singing in the mother tongue facilitates the work and the study of the opera singer, over time this option may enter an ethic of the performer, happily completing his repertoire. Although one of our main goals is to guide the students, future opera singers, to gain and to develop their acting skills so as to be natural and convincing on stage, contemporary realism does not exclude experiments. Having this in mind and in order to make studentsʼ work visible, we made an experimental video document, based on a first selection from our recitals, which is aimed to let the audience take a glance into the intimacy of our class study on Romanian opera and operetta, both from the musical and drama perspective. By changing the original objective – the entire presentation in semester exams of studentsʼ classroom work – the fragmentary nature of the processing gives a certain dynamism to our work. Changing the purpose brings things to a new light, the artistic overbearing the pedagogical, and last but not least, the Romanian music proving that it supports an experimental treatment.
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Grbovic, Vanja. "The role of women in higher education: The connection between the opera artist and the vocal pedagogue in the period of Yugoslav socialism." Bulletin de l'Institut etnographique 70, no. 3 (2022): 99–118. http://dx.doi.org/10.2298/gei2203099g.
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The subject of this paper relates to the research on the role of women in higher education in the context of Yugoslav socialism (1945-1990) with a focus on creating an opera artist through education and professional experience to vocal pedagogue at the Faculty of Music in Belgrade. In this sense, the paper will cover the period in which future primadonnas trained their voices (1950s), built their domestic and foreign opera careers (from the 1960s to the 1990s) and then their pedagogical work (from 1990s). For the purposes of the research, it was necessary to collect and systematize material that includes biographies and testimonies of primadonnas, from which conclusions were drawn about vocal music practice, ie. solo singing at the Faculty of Music, and about the opportunities that education provides to young students for affirmation in this vocation. The aim of the paper is to place the life stories of the primadonna of the Belgrade Opera in the context of the Yugoslav socialist society, with the intention of shedding light on educational, career and pedagogical development, as well as the conditions that contributed to their artistic and later pedagogical vocation.
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Bao, Yueli. "Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”." World Journal of Social Science Research 7, no. 3 (August 3, 2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.
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Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.
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Kosin, Kelci. "Mastering the Aria through Song: Daron Hagen’s Amelia, “Apostrophe to the Stars,” and Selected Hagen Art Songs." journal of Singing 78, no. 1 (August 24, 2021): 47–54. http://dx.doi.org/10.53830/sluk8789.
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Contemporary arias in English are too often excluded from student repertoire because they are perceived as being overly complex atonal works that are too challenging for the student. In order to counter this misconception, voice teachers should foster curiosity within students to seek repertoire with an open mind. Exploring music of living composers such as Daron Hagen can ignite student interest in contemporary art song and opera literature that expands the realms of what is thought to be traditional or appropriate vocal repertoire for students seeking a professional singing career.
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Berg, Wesley, and Gerry Paulson. "Mrs. J.B. Carmichael and the Edmonton Civic Opera Society, 1935-1971." Canadian University Music Review 17, no. 2 (March 12, 2013): 30–48. http://dx.doi.org/10.7202/1014785ar.
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Born in Indiana and trained as a singer, violinist, and conductor in Chicago and New York, Beatrice van Loon travelled to Edmonton, Alberta, in the fall of 1920 as the leader of an all-female ensemble. She married a local dentist and as Mrs. J.B. Carmichael played in the Edmonton Symphony Orchestra and conducted an orchestra at the University of Alberta until 1934. She founded the Edmonton Civic Opera Society in 1935 and worked as its artistic director until her death in 1964. For more than four decades she gave unstintingly of herself to audiences and music students in her adopted city.
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Deng, Yu. "The Timbre Relationship between Piano Performance Skills and Piano Combined with Opera Music Elements in the Context of the Internet of Things." Security and Communication Networks 2022 (April 20, 2022): 1–14. http://dx.doi.org/10.1155/2022/4259995.
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The “quintessence of the nation” Peking Opera is a highly comprehensive form of opera, which has a high artistic status in traditional Chinese culture. At present, the combination of the Internet of things and music can be embodied in smart devices, through a computing device that can perceive and exchange data for the purpose of music. In the more than 100 years of development of the piano art in China, many composers have used Peking Opera singing and board styles, or absorbed the essence and connotation of Peking Opera, taking Peking Opera elements as the core material and source of creation and presenting them instrumentally through piano works. For example, in terms of smart musical instruments, the Internet of things and Internet technology are combined to realize the real-time connection between the remote piano and the piano and accurately reproduce all the touch and pedal movements of the player, so that teachers and students in different spaces can listen to the course. Audiences had an immersive course experience. Taking this as an opportunity, we will carry out a series of “remote art education” such as remote master classes and remote concerts, to realize the sharing of educational resources around the world. The piano as the king of musical instruments has been loved by people. During piano performance, touch key techniques and pedaling techniques have a very important influence on the piano’s performance sound effects. Chinese opera is the essence of Chinese national art and one of the treasures of China’s traditional national music. The composers of our country also constantly apply the opera elements to the piano creation and create many kinds of piano works that conform to the traditional Chinese opera style and reflect the characteristics of the piano. Pedal skills are also an important technique in piano performance. The pedaling method is based on thinking about history and showing the player’s intentions. Only using the correct playing skills can make the music more expressive. This study briefly introduces the development of piano in China and the playing skills of the piano, and at the same time, it briefly describes the principle of piano sounding and the sound of piano. Based on the previous studies, the effects of touch key techniques and pedaling techniques on the sound of the piano are discussed. I hope to provide some references for the piano performers. The average similarity between the final music and the original music is 60% and around 70%. This article provides a reference direction for the diversified dissemination and promotion of theatrical art and provides theoretical and technical reference suggestions for the future creation, performance, and teaching of Chinese piano music.
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Yao, Xianglin, and Jiahui Ling. "Charm of Nuo—Nuo Opera “Dongdongtui” of Dong Minority." World Journal of Social Science Research 6, no. 2 (April 16, 2019): 176. http://dx.doi.org/10.22158/wjssr.v6n2p176.
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<em>“Dongdongtui”, a kind of original sacrificial Nuo opera, was included in the first batch of national intangible cultural heritage protection list in 2006. It only exists in Tianjing village, Xinhuang Dong autonomous county, Hunan province. Previously, the researchers only focused on the study of the intangible cultural heritage value of “Dongdongtui” and the exploration of its inheritance and development. However, due to the internal and external resistance, the government has not achieved good results in the implementation of the action, and the people with insight are unable to protect it. The national inheritor is 90 years old. His disciples are not capable enough to take up the mantle. There are few new students, and the influence of “Dongdongtui” is very limited in the region. “Dongdongtui” is spiritually lack of attraction, penetration, social acceptance and so on. It is facing with a dilemma of inheritance and development. Based on these, we went to the village and got close to “Dongdongtui”, personally felt the charm of masks, costumes and performances, and inquired about its value. Finally, combining with local geography, culture and tourism resources, we tried to propose a new region-wide tourism strategy which is suitable for the development of “Dongdongtui”.</em>
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Körnerová Chládková, Michaela. "Praskačka. Periodikum jindřichohradeckých gymnazistů z roku 1864." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 3-4 (2023): 144–48. http://dx.doi.org/10.37520/amnpsc.2022.033.
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Praskačka, a small humorous magazine of the students of the grammar school in Jindřichův Hradec was not a classical periodical. It was created in 1864 in the form of small handwritten notebooks that circulated among the students. This paper presents four extant copies, which are part of the collection ‘Cultural and Historical Archives’, kept in the State District Archives of Jindřichův Hradec. This satirical magazine encompasses various literary genres such as short stories, poems, elegies, an opera libretto, fictitious telegrams, news from the region as well as advertisements. They mainly include stories from the students’ daily life, love troubles, drinking adventures, but also allusions to political events. All issues were lavishly illustrated.
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Edgar, Grace. "Practical Application of “Viewpoints” for Collegiate Musical Theatre and Opera." Journal of Singing 79, no. 1 (August 22, 2022): 29–41. http://dx.doi.org/10.53830/tifv6693.
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Although singers spend hours a day working on their vocal production and musicianship, most tend to neglect their development as actors outside of the classroom and rehearsals. There is an added challenge to directing a musical or an opera in a university setting where the director is called upon to create a convincing piece of theatre before the singers have really “learned how to act” or have had the substantial life experiences required to provide emotional reference material. Directors want to give singers useful tools for their stagecraft without overwhelming them with terminology or bringing forward emotions that the students are unprepared to process. Viewpoints is accessible because it is tangible, focusing on physicalization, instead of emotion. Applying the principles of Viewpoints makes the theatrical presentation thoughtful, planned, and precise. This disciplined approach for performing a role leaves the singer free to dive into the emotion, or think about the trick of vocal technique that always secures the high note.
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Gerdes, Ellen. "The Role of Technique in Dance Education: The Example of Tsoying High School, Taiwan." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 216–27. http://dx.doi.org/10.1017/s2049125500001138.
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Through questionnaire data, the dance students at Tsoying High School in Taiwan offer an important perspective on dance technique. Engaging with Melanie Bales's concept of the “eclectic” body in American contemporary dance practices, I explore both the historical underpinnings and the students' experience of a Taiwanese curriculum that focuses on ballet, modern dance, and Beijing opera movement. Our conceptions of dance technique and their related pedagogies not only affect the dancer but also affect the integration of dance technique with the rest of the dance field and, subsequently, the role of dance in the greater culture.
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Berman, Kristin B. "The Benefits of Exploring Opera for the Social and Emotional Development of High-Ability Students." Gifted Child Today 26, no. 2 (April 2003): 46–53. http://dx.doi.org/10.4219/gct-2003-98.
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Chun, Tarryn Li-Min. "Adaptation as Hospitality: Shanghai Theatre Academy Winter Institute 2013 Performance Series." TDR/The Drama Review 58, no. 1 (March 2014): 108–17. http://dx.doi.org/10.1162/dram_a_00330.
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The productions of the Shanghai Theatre Academy Winter Institute 2013 performance series ranged from a Yue opera adaptation of Ibsen's The Lady from the Sea to modern dance theatre to an exhibition by students. Each production worked in a unique way within the framework of the encounter between foreign and local, guest and host. Together they offered a vision of cross-cultural theatrical exchange that is reconstitutive and inclusionary.
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POP, Anda Olimpia, and Ignac Csaba FILIP. "Artistic training of the Opera singer, the foundation for a successful career." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 145–54. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.16.
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"This article is targeted at both students engaged in full-time study and those who guide them, who, through knowledge, professionalism, and discernment, assume responsibility to build successful careers together with those whom they guide. The voice, the frail tool that links spirit and matter, requires, beside native endowment, constant and persevering practice, under the careful guidance of a teacher, who has to create stages and doses of information so that at the end of the route covered, the student becomes an artist prepared to meet an impresario. "
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Volodymyr, Boldyrev. "Spiritual component of the students-vocalists’ work (based on the Ukrainian composers’ repertory)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 75–90. http://dx.doi.org/10.34064/khnum1-63.04.
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Statement of the problem. The history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny images of Ukrainian opera, is considered in the example of the V. Hubarenko’s opera “The Reluctant Matchmaker”. Colorful images created on the stage of M. Lysenko KhNATOB by outstanding singers (E. Chervoniuk, V. Grashchenko) are considered in aspects embodying spiritual components of vocal image. The problem of the spiritual experience of creative communication between a teacher and a student in the solo singing class is considered in the individual context (according H. Rickert). The ways of forming a spiritual model of creative relations in the system “teacher-accompanist-student” are analyzed. Conclusion. It is proved that the professional self-affirmation of a vocal student is impossible without spiritual self-improvement and social orientation of his work, without realization the essence of the “inner feat”: during the performance he is both a spiritual reflection of the author and the personification of an imaginary hero. It was revealed that the precondition to form the spiritual foundations of the creative process is the general uplifting mood of the student and teacher, a feeling of festivity and “holiness” of the creative process. Individual manifestations of interpretive independence in combination with models implementing spiritual components within the creative circle “teacher-accompanist-student” become the basis for the formation of spiritual experience of a future singer.
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Forment, Bruno. "Pastiching as Artistic Research: Ifigenia / Ipermestra (Brussels, 2006)*." Musicology Today 18, no. 1 (December 1, 2021): 148–59. http://dx.doi.org/10.2478/muso-2021-0014.
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Abstract On 6 December 2006, students of the Royal Conservatoire of Brussels performed two one-act pasticci arranged by the author of this article: Ifigenia and Ipermestra. Assembled as experiments in the young discipline of artistic research in music, both ‘cut & paste’ operas offered opportunities to explore issues of music-dramatic syntax in opera seria. In this article, I explain how individual arias and recitatives were combined into two meta-compositions that sometimes respected, and sometimes overrode eighteenth-century generic conventions. By revisiting the scores, libretti, archives and first-hand memories pertaining to this venture, I will show that ‘pastiching’ (pasticciare) is more than a historical form; it is a transhistorical method, involving a broad network of agencies, operators, and stakeholders whose strategies can be artistic and non-artistic, convergent and divergent. Pastiching does not necessarily result in ‘works’, fixed in time and space, but rather produces meta-compositional assemblages, the transience and formal instability of which provide opportunities to showcase neglected repertoire and tackle outdated musical ontologies.
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Zimuto, Jilson. "The impact of Facebook on Zimbabwean University students: Culture dilution or Pedagogical?" INTERNATIONAL JOURNAL OF MANAGEMENT & INFORMATION TECHNOLOGY 3, no. 3 (May 15, 2013): 26–31. http://dx.doi.org/10.24297/ijmit.v3i3.1748.
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The study sought to establish consumer attitudes towards the effect of one Social Network Site (SNS), Facebook on culture dilution or pedagogical potential among university students. This has been necessitated by a plethora of unique social interactions in this era of technological affordances. Many SNSs are in use: Facebook, MySpace, Cyworld, Bebo, WhatsUp, LinkedIn, ChatOn, Opera Mini, Twitter and other new forms keep on emerging. However, of interest Facebook was used in this study because it is impacting the ways in which university students use the Internet. Technology has mediated communication in countless ways. The values and norms of culture have to be cherished the young generation. In investigating this problem, two hundred (200) students were interviewed at their university campus in Zimbabwe. The sample comprised students from Great Zimbabwe University. The research findings proved that Facebook contributes to the dilution of the Zimbabwean culture. It was also interesting to note that other students see the pedagogical potentials of Facebook.
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Lintang, Avyana Destyasti, Sarjiwo Sarjiwo, and Nur Iswantara. "Nilai-Nilai Pendidikan Karakter dalam Langen Carita Lakon Patine Arya Penangsang." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 32–39. http://dx.doi.org/10.24821/ijopaed.v1i1.4918.
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AbstractCharacter education in Indonesia is being re-implemented to shape students to have intellect and character and can be taught through art education, one of which is Javanese opera. Langen carita is one of the arts that is intended to shape children's character as a continuation of children's art education. Langen carita is a form of the sariswara method in which there are literature, songs/music/karawitan, stories and solah bawa in short operas or children's plays (ages 10-14 years). Langen carita has also developed as a performing art with many historical stories, chronicles, or daily life, including Patine Arya Penangsang. This study aims to describe the values of character education in the language of the play Patine Arya Penangsang. This research uses a qualitative descriptive method by studying, analyzing, expressing, and describing character education values in performing art. Data collection techniques used literature study, interviews, observation, and documentation, which were then validated using triangulation. The results showed that Langen Carita entitled Patine Arya Penangsang has values of religious character education, tolerance, discipline, creativity, love for the country, responsibility, leadership, self-confidence, never giving up, cooperation, obedience, perseverance, patience, courtesy, and sincere. In the elements of drama, dance, and music. AbstrakPendidikan karakter di Indonesia sedang diterapkan kembali untuk membentuk siswa memiliki akal pikiran dan budi pekerti dan dapat diajarkan melalui pendidikan seni, salah satunya dalam bentuk opera jawa. Langen carita merupakan salah satu kesenian yang ditujukan untuk membentuk karakter anak sebagai lanjutan pendidikan seni dolanan anak. Langen carita adalah bentuk dari metode sariswara yang di dalamnya terdapat sastra, tembang/lagu/musik/karawitan, cerita dan solah bawa dalam bentuk opera kecil atau sandiwara anak (usia 10-14 tahun). Langen carita juga berkembang sebagai seni pertunjukan dengan banyak cerita sejarah, babad atau kehidupan sehari-hari, salah satunya patine Arya Penangsang. Tujuan penelitian ini adalah mendeskripsikan nilai-nilai pendidikan karakter dalam langen carita lakon Patine Arya Penangsang. Penelitian ini menggunakan metode deskriptif kualitatif dengan mengkaji, menganalisis, mengungkapkan, dan menggambarkan nilai-nilai pendidikan karakter di dalam suatu kesenian. Teknik pengumpulan data menggunakan studi pustaka, wawancara, observasi, dan dokumentasi, yang kemudian divalidasi menggunakan triangulasi. Hasil penelitian menunjukkan bahwa langen carita berjudul Patine Arya Penangsang memiliki nilai-nilai pendidikan karakter religius, toleransi, disiplin, kreatif, cinta tanah air, tanggungjawab, kepemimpinan, percaya diri, pantang menyerah, kerja sama, patuh, tekun, sabar, sopan santun, dan ikhlas dalam unsur drama, tari, dan musik.
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Xu, Chuan. "Adaptive Classification Algorithm Design for Online Teaching Resources of Opera Singing." Mobile Information Systems 2022 (September 30, 2022): 1–9. http://dx.doi.org/10.1155/2022/8609097.
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In the context of the integration of each professional course’s online education platform and teaching knowledge system, teaching resources are experiencing explosive growth, and classroom-based instruction is gradually being replaced by resource-based instruction. In the modern era, the optimization, integration, and efficient use of online teaching resources have become central concerns in education. In particular, the categorization and integration of resources have become the central focus of teaching work. The cognitive stratification theory classifies and orders the educational objectives in the cognitive domain in a scientific manner, which provides teachers with important ideas and foundations for implementing online and offline integrated teaching designs centered on the students’ skill acquisition. Adaptive classification algorithm is introduced to subdivide the objectives of online singing teaching resources, and on this basis, the online resources are classified and integrated according to the characteristics of different teaching sessions, thereby achieving the efficient use of resources, which is an innovative path of singing resources classification and integration in the new stage of online resources teaching.