Academic literature on the topic 'Teaching - Methodology - Music'

This study offers assistance to those who are going to teach or already do teach how to play the double bass. It provides a summary from how to positione the instrument, through the most important musical terminology and all the technical difficulties thought to be obligatory for doublebass players. The first part of the study focuses on the main types of personalities of both teachers and sudents describing the major possibilities of harmonizing co-working and how to motivate and handle different characters. The second part describes the most frequent technical problems, for example instrument and bow positioning, practice routine and the preservation of the player’s working ability. Keywords: doublebass, methodology, pedagogy

This chapter introduces injury preventive practices for the music student. These include key activities such as warming up, cooling down, exercising, and participating in mind–body practices. The differences between static and dynamic stretching, as well as when to practice each methodology, are discussed. Ideas for cultivating healthful habits, both within students’ musical practice and in their daily life, are provided. The chapter includes descriptions of mind–body practices common among musicians, such as the Alexander technique and Feldenkrais. An injury-prevention toolkit at the end of the chapter provides several practical worksheets and exercises (available on the companion website) for music instructors to use with their students.

The focus of this chapter is on musical agency in professional contexts and in Higher Music Education (HME). What is musical agency? How can musical agency be investigated, promoted, and developed? Cultural-historical activity theory approaches hold a potential for exploring and answering such questions with a dialectical perspective on creativity. Three examples of interventionist studies from a one-to-one teaching situation, a professional improvisation project, and a student string quartet are given. They illustrate how individual musical acts influence and transform collective music making. Methodological conclusions are drawn and suggestions are made for the development of intervention studies of musical practice inspired by Change Laboratory methodology.

This article is devoted to the innovative violin method of teaching which reveals different angles of the paradigm processes of the formation of the text of violin instrumental music of the era on Romanticism and the semantic organization of the musical narrative in the development of the intertextual dialogue "one's own-another's" on the material of the 5th Caprice for Paganini's violin-solo. The problem of dialogue in art in a broad sense is now one of the most popular both in modern domestic musicology and in culture in general. This exploration constitutes a fragmented but very important section from the structural elements of which the research innovative violin methodology is formed and consist, which rapidly increases motility, qualitatively alters of sound production, accurately, clear articulation, uses new technology that instantly allows you get rid of tension in the muscles during the performances of musical pieces, regardless of the speed of the pace of the instrumental pieces being performed, allows instant concentration and helps to overcome the stage excitement of the performer, using a combination of carefully selected instrumental and psychological tools (attitude and practices). The technique pushed the author to highlight the main directions and principles of interaction of textual reincarnations. The stated problem significantly expands the spectral directions in the study of the semantic organization of narratives in research exploration. The study of the texts of instrumental pieces in intertextual interactions allows to get into the processes of text creation and to investigate their influence on the realization of the final idea of the composer and performer. The process of forming the text of instrumental music as the end result and the end point of full-fledged research is an open scientific problem. The peculiarity of this study is the intersection of musicological, cultural and psychological views on the stated issues. We’re guided in its work by various multifunctional methodologies of several scientific areas: from purely musical to culturological (using synergistic, hermeneutic, gnoseological and aesthetic approaches) and psychological (relying on the knowledge of the psychology of creativity using various setting and practices, existential approach). The use of research innovative violin technique makes this study unique and different from previous explorations. The approach to studying the text of any volume and complexity will be the key to a better understanding of the cultural dialogue of postmodern times, when the performer face to face enters into an imaginary dialogue of artists in the study of cultural processes, to better understand themselves, to clarify cultural, psychological and musicological paradigms of reading an artistic text. The study of the semantic mechanisms of the instrumental text will provide an opportunity to delve into the processes of textual dialogue and will reveal the features of the artistic possibilities of the theme of Caprice 5, which acts as an intertextual model for any instrumental pieces, regardless of the time of their creation. Culture reveals its meanings through the stylistics of texts, which is why it is so important to master different ways of thinking. And cultural stereoscopicity will allow us to consider the problem of intertext mechanisms polyphonically and dynamically, from the study of cultural codes and communications to the revival of cultural space in the polyphony of existence.