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1
Kuznetsova, Olga. "Artistic-creative approach to the methodical preparation of students of faculties of arts of pedagogical universities." HUMANITARIUM 44, no. 2 (December 31, 2019): 99–106. http://dx.doi.org/10.31470/2308-5126-2019-44-2-99-106.
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The article shows the essence of artistic and creative activity of the teacher of musical art, the possibility of realization of which involves mastering personal-oriented pedagogical technologies. The purpose of the article is theoretical synthesis and systematization of the possibilities of artistic and creative approach to the methodical preparation of future teachers of music. The expediency of applying pedagogical technologies of contextual, problem learning, as well as information, design technologies in the preparation of teacher-musician is determined. The leading role of dialogicity and dialogue technologies in the process of professional activity of the teacher-musician is underlined with the help of which it becomes possible to comprehend the dialogue of cultures necessary for the analysis of artistic phenomena of various cultural-historical epochs, styles, genres. It is shown that the use of dialogue technologies contributes to the comprehension of the depth of the artistic content of a musical work, the comprehensive comprehension of music as a phenomenon of culture. It is revealed that within the framework of the artistic and creative approach to the training of music teachers, the dialogue determines the spiritual and value attitude to the essence of musical art, reveals the creative potential of the student-musician.The article shows that the most effective scientific approach to the methodical preparation of future teachers of musical art is an artistic and creative approach. The artistic and creative approach of the teacher of musical art to performing musical-educational activities as a system education is determined by external and internal factors. For external factors it is expedient to include the influence of the socio-economic environment, the specific features of the educational institution of artistic education, in which the student is realized, the goals and objectives formulated by a particular pedagogical team, etc. Internal factors include the need for creative activity, motivational and spiritual-value spheres, other internal sources of creative activity of a music teacher.
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Garipova, Natalya. "On the psychological component in the preparation of a future musician teacher." SHS Web of Conferences 87 (2020): 00105. http://dx.doi.org/10.1051/shsconf/20208700105.
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The article reveals the pragmatic aspect of the psychological training of future music teachers and reveals its specificity. This specificity lies in the fact that knowledge and skills from the field of psychology in the professional activity of a music teacher should ensure the comprehension of the emotional-figurative content of a musical work, and not familiarization with it as an object of study, as it happens in the development of other educational disciplines. The role of psychological knowledge for solving many other tasks solved in the process of musical education, carried out both in collective and individual forms, is also indicated. At the same time, two ways of forming psychological competencies are indicated – explicit, associated with the module of psychological disciplines, and implicit, which consists in the fact that psychological knowledge penetrates into the depths of performing and musical-theoretical training, providing an understanding of the mechanisms of perception, performance of music and mastering the algorithms of the teacher’s work on creation of conditions for its adequate artistic perception, which is the comprehension of musical meaning. In the study of the problem of the mechanisms of the emotional impact of music and the emergence of non-auditory sensations and perceptions are considered; the importance of mastering this (essentially psychological) information for the future musician teacher is shown. The proposed way of improvement the psychological training of a teacher-musician provides a solution to a dual task – improvement his personal qualities (which is facilitated by the perception of high music) and improvement his professional skill in organizing the process of musical perception of learners. This is able to ensure the birth of deep feelings in them.
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Shaymukhametova, Liudmila N. "Role Playing in Piano Instruction." ICONI, no. 1 (2021): 160–67. http://dx.doi.org/10.33779/2658-4824.2021.1.160-167.
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The article presents innovative forms of work with musical texts during piano lessons applied in work with beginning students in all conditions of teaching: in the academic educational process, as well as in private teaching practice of self-employed specialists. The reader shall be acquainted with concrete methodological elaborations of role playing which may be useful for the teacher in his or her practical work. The elaborations are carried out within the framework of one of the leading contemporary directions developed by the academic school of practical musical semantics. The presented homework assignments may serve as specimens for the creation of analogous elaborations by the teacher himself with substitutions of the musical material and with consideration of the pupils’ age-related capabilities. The author of the project, Liudmila Nikolayevna Shaymukhametova aspires to draw attention not only to new approaches to work with the musical text and to practical semantics as the most important direction in teaching music, but also to the question of what the contemporary textbook for the beginner musician should look like. The materials are addressed, among others, to upgrade training courses and professional retraining of teachers of schools, methodologists and teachers of general and professional education, as well as for application in practical work of private school teachers
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Ovchar, О. P. "V. O. Bohdanov – an outstanding researcher of the history of wind art in Ukraine: his life and creative career." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 8–23. http://dx.doi.org/10.34064/khnum1-54.01.
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Background. The question of a comprehensive assessment of certain musicians’ work has both artistic and aesthetic, sociocultural, and ethical projections associated with the evaluation of the creativity and activity of the musician both during their lifetime and after their passing. This issue also continues to be acutely relevant in the area of studying and shaping the scope of cultural knowledge about traditions and innovations in all spheres of musical art, about the role of an individual in the historical and cultural process both in the national and in the civilizational, globalizational aspects. Another important aspect is the study of one’s own cultural traditions and achievements (at the national, regional and other levels.), which makes it possible to reveal something universal and particular in all areas of musical practice (composition, performance, teaching, etc.) and give them an objective assessment. In this connection, musicians – our contemporaries, whose achievements are diverse and very significant in the musical field and whose versatile contribution to the development of musical art cannot be overestimated, – need special public and scientific attention. One of such outstanding figures of modern Ukraine is Valerii Bohdanov (13/07/1939–10/10/2017), a trumpet performer, conductor, teacher, musicologist, who devoted his whole life to music art in its various manifestations, achieved the highest results in all spheres of activity and went down in the history of Ukrainian musical art as one of the rare examples of a universal musician. His performance, conducting, pedagogical, and research activities in the field of wind instruments performance are so significant that they require a complex study, which as yet does not exist, and this paper seems to be one of the first steps on this path. Objectives. The purpose of this paper is to evaluate the life and career of the outstanding musician Valerii Bohdanov from the viewpoint of his contribution to the study of the history of wind performance in Ukraine. Methods. This paper employs a complex of several research methods related to the statement of the theme and its specificity: historical method, which allowed considering facts from life and work of V. Bohdanov in relation to the peculiarities of historical conditions of the time; historical and cultural method, thanks to which one can take into account the general context of music art, in particular, events and phenomena of musical practice within certain conditions of national culture, traditions and possibilities, specified amongst others at the ideological level; biographical method of research, due to which different periods of the musician’s creativity, directions of his activity, as well as their prerequisites, development paths and results are described; comparative method, associated with the comparative characteristics of stages and tendencies of Valerii Bohdanov’s work in different periods of his life; phenomenological method, featuring characteristics of unique interaction of various facets of the universal musician – the artist of music art. Results. The versatile activity of V. Bohdanov, a prominent musician, performer, conductor, teacher, researcher of the history of wind art in Ukraine, is distinguished by a special degree of interrelation of these spheres, which indicates the special quality of the universalism of Valerii Oleksandrovych’s personality as a phenomenon. According to the outlined and characterized areas of the musician’s activity all his achievements are determined, firstly, by the peculiarities of different periods of his life and career, historical circumstances and certain artistic experience, and secondly, by his personal qualities. The research and pedagogical activity of V. Bohdanov is one of the peaks of his multifaceted activity and the embodiment of the true mission, which combined the talent and experience of the practising musician, performer and conductor with pedagogical, scientific and educational work to the extent that allows speaking about a special status of a universal musician – a worker of musical art. An individual feature of V. Bohdanov’s universalism is that, being a practising musician, performer and conductor, he achieved the highest results in the scientific field, made an invaluable contribution to the study of the history of wind performance in Ukraine. Conclusions. The research findings indicate that Valerii Bohdanov’s activity is distinguished by the diversity and special status of universalism; its various facets are not just interconnected, they are interdependent and, thanks to a complex of personality characteristics, have become the basis for the outstanding result that was achieved by the musician. At the same time, the scientific side of Valerii Bohdanov’s work, dedicated to the history of wind instrument performance in Ukraine, has become a kind of pinnacle of his creative and life journey. Based on the aforesaid, we believe that the results of the presented research can be used in further scientific research related to such issues as: the study of Valerii Bohdanov’s research, performance, conducting, and pedagogical activities, as well as the work of other musicians, representatives of the wind music art of Ukraine; the characteristic of wind instruments performance schools; the search for answers to the questions faced by modern wind instruments performance, in particular, in the context of tradition and innovation, organology, genre-stylistics, repertoire, etc.
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Tanglin, Zhang. "POTENTIAL OF MEDIA EDUCATION IN PROFESSIONAL TRAINING OF MUSIC TEACHERS." Innovative Solution in Modern Science 7, no. 43 (December 27, 2020): 5. http://dx.doi.org/10.26886/2414-634x.7(43)2020.1.
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The article examines pedagogical activity as a way of social and cultural practice of the individual, which implements the tasks of preserving national traditions, adapting and regulating the process of professional development of a future teacher. The modernization of the educational system of Ukraine is determined by the tendencies of European integration, which can be considered an essential lever of success not only for the economic and political transformation of society, but also for strategic changes in the educational policy of Ukraine. The purpose of the article is to substantiate the practical importance of media education, taking into account modern trends in the modernization of the educational system in Ukraine in the era of globalization of the world educational space. To achieve this goal, the following tasks were set: to consider the role of media education in the professional activities of future music education specialists, to substantiate media education as a component of general education, and media literacy and media competence as a component of the professional and general culture of a modern music teacher; identify ways to solve the problem of the need for media education in the professional activity of a future musician teacher; to reveal and analyze promising directions for increasing the level of media educational training of future music teachers in social relations, new dimensions of his self-realization; substantiate the conclusions and directions for further consideration of the selected problem. The main methods used in the study are comparative, analytical, systemic and structural. Conclusions. We consider media education as a component of ICT, which includes, on the one hand, knowledge, skills and abilities of their application, on the other hand, media literacy, media competence and media culture. We associate the training of future teachers of musical disciplines using ICT tools with the need to improve the state educational standard by introducing new specialties, the need for which is dictated by the current state of art education and culture. The practical implementation of media education requires a change in scientific views on the need to introduce media education as a component of general education, and media literacy and media competence as an integral part of the professional and general culture of a modern music teacher. The solution to the problem posed also depends on the understanding of the value of professional activity, which occurs only through the actualization of the processes of self-awareness by future teachers-musicians, revealing themselves in the search for the meaning of artistic values. Key words: media education, modernization of professional training, musical and pedagogical activity, information and communication technologies, future teacher-musician.
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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.
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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.
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Tucker, Olivia Gail. "Preservice Music Teacher Occupational Identity Development in an Early Field Experience." Journal of Music Teacher Education 30, no. 1 (June 24, 2020): 39–52. http://dx.doi.org/10.1177/1057083720935852.
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Occupational identity development is an important, complex component of music teacher education. Preservice teachers may experience dissonance between and/or integration of their musician and teacher identities, and scholars have found early field experiences to be important in undergraduates’ transitions into the teacher role. The purpose of this instrumental case study was to examine the occupational socialization and identity development of preservice music teachers in an early field teaching experience with a focus on preservice teacher and P–12 student interactions. I conducted observations, interviews, and a demographic survey during a semester-long early field experience. Findings centered around (a) the dynamic nature of preservice teachers’ identities; (b) the importance of peers, music teacher educators, and students to preservice participants as they engaged in the process of becoming music teachers, and (c) the momentary embodiment of music teacher and student roles. I connect these findings to prior research and suggest implications.
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Nørholm Lundin, Anna. "Att bli och att vara framgångsrik musiker – socialisation och sortering genom livet." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 82–108. http://dx.doi.org/10.24834/educare.2020.1.5.
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This article concerns learning, socialization and social sorting among successful musicians. The aim is to understand and problematize not only what it means to become a classical musician but also what it entails to be a successful classical musician. In what ways are musicians socialized through life? What approaches are formed among musicians, and what is the meaning of these when it comes to performance of work? Are their specific arenas and rituals of particular importance, when it comes to socializing and sorting among musicians? Interviews and documents about twelve musicians have been analyzed with the aid of Bourdieusian concepts, for example, practical sense and habitus, and research on elitist practices within music, arts and sports. The results indicate that there is a typical and similar career path for successful musicians, where young musicians are socialized into considering their careers in music as natural and given. The musicians are recognized as talented or wonder children at an early age, and they are accepted as students of a master teacher. Their careers are built by merits, such as a spectacular debut leading to an international career. These career steps function as both merits and as an opening of doors. Further, they contribute by strengthening the musicians´ identities and their roles as successful musicians and role models within the field.
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Stubley, Eleanor. "Field Theory and the Play of Musical Performance." British Journal of Music Education 12, no. 3 (November 1995): 273–83. http://dx.doi.org/10.1017/s0265051700002746.
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This paper utilizes the vocabulary and methodological concepts of field theory to explore how play can arise in and through performance. Field is defined as a space or potential for action. The action of play is grounded in an open and expanding space which through a dialectic interplay of feelings motivates self-exploration. The action of musical performance is grounded in a reaching out movement through which the performer forges and sustains a musical voice. The field can create a space for play when the music-making re-directs or challenges the focus of the musical voice. The methodological approach recognizes and respects differences in the way music is made in different cultural traditions. It also articulates a need to develop instructional strategies which treat musical style as a ritualistic process and which define the role of the teacher as a musician.1
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Kritskiy, Aleksandr B., and Boris D. Kritskiy. "Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue." Musical Art and Education 8, no. 2 (2020): 54–71. http://dx.doi.org/10.31862//2309-1428-2020-8-2-54-71.
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The article was written based on the results of a theoretical study by Boris Dmitrievich Kritskiy, my father, who proposed to introduce scientific terms “musical phonics” into the spheres of musicology, pedagogy of music education and performing arts. In his view, “musical phonics” should be considered as a field of scientific and methodical research of audio (instrumental, vocal-choral) design of the process of music performed. And the audio embodiment of the musical text as a relatively independent phenomenon in a broad interpretation is a phonic form. Vocal design of choral sound is a necessary structural component of the performance. From the point of view of intonation theory of music, choral sonority – singing, vocal-choral materialization of the score – is a specially interpreted text. The audio quality is seen as a problem of vocal choral performance in the preparation of a future teacher-musician/choirmaster. There is a belief about the need for future teachers-musicians to understand the methods of constructing the audio matter of music. The methods transform the musical text in accordance with the form, logic of the development of the figurative and artistic meaning of the work and are aimed at the education of the audio culture among the choral collective. Work on the creation of a phonic form involves establishing intonation links between the performed work and the methods of its mastery. The leading role in its crystallization is played by a meaningful plan of music, which allows us to speak about it as a historical category, defined by genre-stylistic features of performed works. Built according to the laws of beauty and at the same time reflecting the spirit of its time, the era in which the performer creates, it reveals the changes that characterize the culture of vocal and choral performance. The performed composition, included in the context of broad cultural and life relations, is saturated with a new meaning. As an example, the phonic form in orthodox liturgical singing is considered.
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Danilova, Olga S. "N. K. Metner – Reflecting Artist: Composer, Pianist, Teacher." Musical Art and Education 8, no. 1 (2020): 73–89. http://dx.doi.org/10.31862/2309-1428-2020-8-1-73-89.
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The article is devoted to understanding the role of reflection in the multifaceted activities by Nikolai Karlovich Metner, a remarkable composer, an outstanding pianist of the 20th century, an originally thinking philosopher. We analyze the relationship of creative reflection, reflected in his literary heritage, with the author’s performing interpretations. The organic connection between the Master of composer’s thinking and performance style in the creative process is revealed. The following aspects are considered: reflection in Metner’s performance of the main composer goals and features of the composition process; the relationship of the performing style and aesthetic positions of the musician in matters of piano art. According to the author of the article, reflection as the most important feature of N. K. Metner’s creative consciousness is included in the process of composing and performing music the “dialogue with oneself” is part of the artistic image of the works that he creates, and the essence of his interpretative intentions. A holistic understanding of the art of interpretation and reflection by Metner-composer and pianist can give a key to understanding the characteristic features of his unique manner of performance, and allow us to feel the continuation of the creative process of composing music in it. It is concluded that the study of the reflexive processes by N. K. Metner in his philosophical and methodological works helps modern teachers to realize the most important professional tasks: to teach young musicians to think critically, to pose essential questions, to find their own strategies for mastering the artistic content of the studied works, and analyze their own performing experience in detail.
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Kulikova, Svitlana. "USE OF INTERACTIVE TECHNOLOGIES IN THE PROCESS OF DEVELOPING THE PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 81–86. http://dx.doi.org/10.36550/2415-7988-2021-1-195-81-86.
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In the context of increasing attention to the training of future professionals outlines the special urgency of the problem of professional competence of future music teachers, which includes the ability of individuals to acquire knowledge and skills in art education institutions, to form personal qualities and values and value orientations required for professional activity. social requirements. The level of professional competence of a music art teacher reflects the degree of his readiness for music-educational work in a secondary school, is a prerequisite for the effectiveness of pedagogical activities, a kind of link to improve intellectual and practical experience, finding effective ways to improve pedagogical skills. in the conditions of an educational institution of artistic direction the development of professional competence occurs during the study of both general and special (for example, block of disciplines: history of foreign music, history of Ukrainian music, solfeggio, harmony, polyphony, analysis of musical forms, basic musical instrument, choral studies and choral arrangement, choral class and practical work with the choir, choral conducting and reading of choral scores, solo singing) disciplines. The formation of knowledge and skills is a prerequisite for the formation of professional competence of the future teacher and involves mastering a set of special knowledge in theoretical and performing (instrumental, vocal and conducting and choral) disciplines. Thus, the basis of professional competence of the future teacher of music art is special (general pedagogical, conducting, instrumental, vocal, performing, musicological, research), social and personal training. One of the effective and relevant ways to develop the professional competence of a music teacher is interactive technologies. In accordance with the Law of Ukraine «On Education» and the requirements of the competence approach, mastering interactive technologies has become one of the main conditions for teaching art subjects by teachers of secondary schools. A number of authors note that as a result of the use of interactive technologies there is an actualization of intellectual reserves and capabilities of students, replenishment of knowledge of theoretical and generalizing nature, deepening and expanding the individual semantic context in working with educational material. Thus, in the article the author defines the role of the use of interactive technologies in the process of forming the professional competence of the future music teacher. The author argues that interactive technologies are based on the principles of interaction, student activity, reliance on group experience, mandatory feedback, which have a wide range of developmental, educational and reflective functions. The use of interactive technologies in the training of future teachers of music allows to stimulate creative, cognitive activity of the teacher-musician, to focus the teacher on self-development and self-affirmation, thereby developing his professional competence.
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Kelly-McHale, Jacqueline. "The Influence of Music Teacher Beliefs and Practices on the Expression of Musical Identity in an Elementary General Music Classroom." Journal of Research in Music Education 61, no. 2 (May 14, 2013): 195–216. http://dx.doi.org/10.1177/0022429413485439.
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The purpose of this qualitative collective case study was to examine the ways an elementary general music teacher’s curricular beliefs and practices influence the expression of music in identity and identity in music for second-generation students. In addition to the music teacher, participants were 4 students whose families had immigrated to the United States from Mexico and who were attending the midwestern suburban school within the United States where the study took place. This research was designed to provide an understanding of the interactions between the roles of music instruction, cultural responsiveness, and musical identity. Within-case and cross-case analysis generated specific and broad themes that addressed the purpose of the study. The findings revealed that the role of the teacher’s view of the self as musician and educator, combined with the choice of instructional approach, created a music classroom environment that successfully met the teacher-directed goals for sequence-centered instruction. Nonetheless, the data revealed that the choice of instructional approach resulted in an isolated musical experience that did not support the integration of cultural, linguistic, and popular music experiences and largely ignored issues of cultural responsiveness.
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Struk, Anna. "People of the composition of professional and pedagogical preparation for future teachers of the initial classes." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 286–89. http://dx.doi.org/10.33310/2518-7813-2019-65-2-286-289.
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Based on the analysis of research and publications, the content of the readiness of future teachers for pedagogical activity is determined and the ethnographic component is distinguished. Clarifies the essence and content of the concepts of «ethnographic component», «vocational training», «vocational and pedagogical training». The emphasis is placed on the meaning of the concept of «ethnographic component» in the national formation of the individual. It is emphasized on the importance of studying ethnography in the professional training of future teachers of elementary school. The quality of education is a multidimensional model of social norms and requirements for a person, an educational environment in which its development takes place, and a system of education that implements them at all stages of human learning. It will depend on the quality of the teachers professional training of future teachers and will depend on the learning process in the elementary school. It indicates the role of the teacher, his creative approach, the principledness to himself and the students who know the traditions of his people, the countries that give positive results to the education of young people. It is the teacher who becomes both a scriptwriter, a director, an artist, and a musician at the same time. It is as if by the wake of his magic wand the old customs and traditions of our people come to life. Pedagogical work itself induces creativity. Theatrical performances, educational events, folk festivals are part of the creative teachers laboratory. The teacher must be principled in relation to himself, in relation to work and to students. This is a positive principle. It contributes to the success of the teacher and becomes an integral part of the ethnographers in his further pedagogical activity.
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Mezentseva, Svetlana V. "A New Culture of Broadcasting Knowledge in the Conditions of the Digital Educational Environment of an Artistic University (about the Experience of Working in the Moodle and Moodle Music Systems)." ICONI, no. 3 (2020): 80–86. http://dx.doi.org/10.33779/2658-4824.2020.3.080-086.
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The work raises the problem of forming a new culture of knowledge transmission. The current state of the system of higher education in a digital educational environment is examined. In this regard, an extended analysis of educational and methodological support of disciplines related to the use of music computer technologies (MCT) in artistic universities is carried out, the quality and methods of teaching, the awareness of the role of new digital educational technologies and MCT as a promising tool for expanding the information space of the artistic university in the context of the functioning of a high-tech digital educational environment. Based on the new capabilities of modern computer methods of working with sound, the potential of modern computer music editors, computer programs related to sound recording and sound reproduction, student musicians develop skills to utilize the capabilities of modern computer methods of working with sound in the process of musical and artistic activity, the potential of a modern musician develops — whether a performer, a composer, a music theorist, or teacher — by using music and computer programs in various fi elds of professional activities. The author of the article also analyzes the capabilities of the Moodle and Moodle Music systems in a creative university.
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Molnár, Erzsébet. "Sámuel Brassai, the Last Transylvanian Polymath." Hungarian Cultural Studies 1 (January 1, 2008): 18–35. http://dx.doi.org/10.5195/ahea.2008.8.
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The aim of this paper is to introduce Sámuel Brassai, the teacher, the outstanding scholar of the 19th century. He played a great role in the Reform era. His life, work and activity were inspired by thoughts that nowadays, a hundred years after his death, at the beginning of the 21st century are still valid. These thoughts are in the fields of education, economy, morality, research into the nation’s prosperity. He was an excellent linguist, natural scientist, philosopher, critic, mathematician, musician, teacher, essay writer, university professor, and a regular member of the Academy of Sciences. At the centre of Brassai’s life-work was his research into the methodological principles of teaching. His pedagogical system is the harmonious synthesis of his educational goals and methods. He was an encyclopaedic scholar, the great teacher of the nation who was continuously searching for the solution to the reform of education.
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Tschogoschwili, Nino. "Deutsche Siedler im Tiflis des 19. Jahrhunderts." Iran and the Caucasus 8, no. 1 (2004): 65–79. http://dx.doi.org/10.1163/1573384042003000.
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AbstractThe article sheds a new light on the history of German settlers in Tiflis of the 19th century. The main focus lies on emphasizing the important role these settlers played in cultural and economic life of the city. The records the emigrants left behind, depict in vivid tints the circumstances of their existence. Most of the Germans in Tiflis were craftsmen and merchants, others earned their life, for instance, as teacher, scientist, pastor, painter, musician or as enterpriser and man of business. Short biographies of some of the most outstanding characters round off the article.
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Smirnova, Marina V., and Anna A. Shtrom. "The Enduring Value of Children’s Music by D. B. Kabalevsky as a Subject of Mastering by Young Pianists." Musical Art and Education 7, no. 3 (2019): 94–104. http://dx.doi.org/10.31862/2309-1428-2019-7-3-94-104.
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This article analyzes pages from the piano heritage of D. Kabalevsky, which is addressed to the children studying in children musical schools and art schools. The creative image of the musician is revealed through the prism of his multifaceted artistic and social activity, the assessment of which has undergone some revision nowadays. The article also discusses the reasons of why many previously popular works of famous Soviet composers have faded into the shadow. It is emphasized that Kabalevsky was a graduate of the Piano Faculty of the State Moscow Conservatory and has inherited the wonderful traditions of his teacher, A. B. Goldenweiser. The best traditions of the Moscow piano school are used by Kabalevsky as bases in his creative activity, which acquires specific value in the field of music. Today, when the method of young musicians training is going through innovative transformations, this aspect should be especially considered. The high artistic and instructive value of the composer’s piano heritage is noted. The pieces of the piano cycle “From the Pioneer Life,” op. 14, are methodologically analyzed. It is concluded that Kabalevsky’s cycles addressed to children have not lost their artistic and pedagogical value and therefore can be used in the modern pedagogical practice in their entirety. As for the cycles dedicated to the pioneers’ life, they could play an important educational role by raising the younger generation’s interest in one of the most captivating pages of the country’s past.
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RUCSANDA, Mădălina. "The role of the Conductor of children choir in the improvement of Interpersonal Communication through Music." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 257–66. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.28.
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Choral singing is a complex and multifactorial activity, it is a group activity in which participants are actively involved through music and are able to transmit varied touches of human psychoemotional states. The conductor of a children’s choir must have a complex personality, he must be a passion-filled musician, a teacher, a psychologist, he must have psychosocial competences and leadership abilities. In the conductor-choir relationship, the interaction of the conductor’s self with the members of the choir is of distinct importance. In order to increase the quality of said relationship, which is the basis of a remarkable artistic performance, a new method has been approached: the Johary Window model, which can be applied by the conductor in order to obtain a viable communication between the members of the choral ensemble
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Pinchuk, Olena. "Vsevolod Topilin is a legendary pianist, but… unknown." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 159–69. http://dx.doi.org/10.34064/khnum2-23.10.
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Inroduction. Vsevolod Vladimirovich Topilin (1908–1970) is a concert pianist-virtuoso and a teacher who played a significant role in the development of Ukrainian piano culture. His name was as famous as V. Pukhalsky’s, F. Blumenfeld’s, G. Beklemishev’s in the 30-ies of the XX century, and in our time he was respected along with S. Richter, A. Vedernikov and the «great Henry» – H. Neuhaus. He was well-known as the first accompanist of D Oistrakh. Their legendary ensemble was formed in 1930 and toured triumphantly throughout the territory of the Soviet Union and abroad until 1941. The tragic events of the twentieth century broke his life and career, deleted him from the sphere of public activity. He remained in the memory of very few people (and not only musicians!) as the pre-war legendary image of the pianist in the halo of European glory. Theoretical Background. Great significance of V. Topilin’s personality and the scarcity of information about him as well as the absence of special works about the life and work of the pianist and the complete social evaluation of his place in the musical culture determined the goals of this publication. The theme of the tragic fate of the world-acclaimed patriotic musician arises in the context of cruel circumstances of the war and brutal laws of the power. The problem of “artist and government” is reflected in the fate of Topilin in one of its most tragic refractions – under the totalitarian Soviet regime with its antihuman laws. Studying the life of V. Topilin helps us feel the inhuman character of a bygone era, realize its truth and lies, and ask: what are the other layers of unknown spiritual and creative life hidden under the cover of oblivion? The study of this topic is very urgent in the post-Soviet period which is marked by a keen interest in our past and primarily in its forgotten heroes. The purpose of the article is to expand knowledge about the great musician and teacher, adding new details and facts about his personality, and to restore the status of V. Topilin in the history of European pianism. The scientific novelty lies in the reproduction of the facts of V. Topilin’s biography as a whole, inscribed in the general historical and cultural context. The life and work of V. Topilin in the context of the 20s–60s of the 20th century is presented as a real biography of the pianist: from apprenticeship to the first heights of professional recognition; from fascist captivity – through many years of the Gulag and ‘amnesty’ – to the late revival of Conservatory classes. The whole life of the artist is traced in inseparable connection with the historical, and first of all – musical-historical context of the time. Conclusions. Our research has returned the name of Vsevolod Topilin to the history of our culture, revived an important page of our history, rudely torn out by the previous government. The life of V. Topilin demonstrates greatness of the spirit of the artist, who was able to find the strength to return to the great art and leave his mark in the history of national culture.
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Tsuranova, Oksana. "The role of N. Ilminsky and S. Rachinsky in the formation of the personality of S. Smolensky." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 10–25. http://dx.doi.org/10.34064/khnum2-16.01.
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Background. The modern system of national education, including music, is on the path of reorganization and reformation. Creating new educational models, it is useful to refer to the samples, time-tested, created by people whose names are permanently inscribed in the European cultural and historical fund. This confirms the life and work of Stepan Vasilyevich Smolensky (1848–1909) – teacher, medievalist, composer, regent, reformer of the music education system, public and cultural figure, ideologist of the New Direction of Orthodox Music of the late XIX – first half of the XX centuries. The formation of the ideology of the musician-teacher, the approval of his convictions became possible in many ways thanks to the support of two of his contemporaries, outstanding pedagogical figures – N. Ilminsky and S. Rachinsky. Objectives. The purpose of the article is to reveal the personal interaction of S. Smolensky with N. Ilminsky, S. Rachinsky, to appraise the contribution of the latter to the formation and development of his ideological positions, which determined the direction of further professional activity. Methods. The article uses the method of historicism, which allows us to consider the phenomena of artistic culture, enlightenment and education in the dynamics of their formation. Results. The formation of S. Smolensky took place in the Kazan period of life under the influence of Nikolai Ilminsky and Sergey Rachinsky. Nikolai Ivanovich Ilminsky (1822–1891) – orientologist, mission temissionary-teacher, biblical scholar, takes a special place in the biography of Stepan Vasilyevich Smolensky. The scientific works of N. Ilminsky cover a wide area of knowledge, like that: theology, linguistics, foreign translation, pedagogy and missionary work. His scientific studies, their practical implementation, which have not lost their relevance even nowadays, put Nikolai Ivanovich in a row of prominent figures of the Orthodox enlightenment of small peoples of the Volga region, Ural region and Siberia. The merits of N. Ilmisnky belongs to the founding of the first schools for small nations of the Volga region, as well as the teachers’ seminary in Kazan, where S. Smolensky was invited to the post of teacher of singing, history and geography. Church singing was considered in the missionary policy of the government as an important strategic element of introducing baptized aliens to orthodoxy. To this end, S. Smolensky was involved in a large-scale project of translating religious chants into the languages of the national small peoples of the Volga region, which determined the direction of his entire musical and singing work. Fully sharing the beliefs of N. Ilminsky, the young teacher focused on teaching church singing, in the moral and educational significance of which he infinitely believed. The lack of a methodical program for this discipline in public schools made S. Smolensky delve into this area of knowledge, as a result of which he developed the author’s system of teaching the named subject. In his pedagogical activity, S. Smolensky made extensive use of the methodological manuals created by him, which became an indispensable teaching material for future teachers. Here in Kazan, with the assistance of N. Ilminsky was opened a new page in the life of S. Smolensky, his deep immersion in the field of paleographic research. In Kazan, in the period of close cooperation with N. Ilminsky, typical features of S. Smolensky’s future activity were outlined, which received its brilliant application in the next Moscow period of life, during his leadership and reforming the Synodal School of Church Singing and Choir. S. Smolensky called his last teacher Sergei Alexandrovich Rachinsky (1833–1902) – professor and founder of the Department of Plant Physiology, Moscow University, a teacher, corresponding member of the Imperial St.-Petersburg Academy of Sciences. The acquaintance of S. Smolensky and S. Rachinsky occurred on the basis of the folk soil, based on Orthodox ideals. Foresight of judgment and deep knowledge of ancient church chants gave S. Rachinsky the right to take an active part in the scientific and educational activities of S. Smolensky. This confirms the extensive work carried out by S. Smolensky on the harmonization of the main Orthodox chants, undertaken at the insistence of his elder friend. The reforms carried out by S. Smolensky in Moscow and St.-Petersburg were fundamentally based on the education system of S. Rachinsky, aimed at developing the national element. Conclusions. A powerful monolith in the face of the polyglot and the manager N. Ilminsky, set off by the elegance of the artistic, but at the same time «meekly obstinate» nature of the educator-creator S. Rachinsky multiplied to the personality of Stepan Vasilyevich. In turn, the example of the life and work of S. Smolensky set a high tone and indicated a movement vector for many respectable professionals of musicians, teachers, choir masters, and scientists. Faith S. Smolensky, by lifeblood of the folk song and znamenny chant, inspired a wide range of composers, including P. Chesnokov, A. Kastalsky, S. Rachmaninov, A. Grechaninov, A. Nikolsky, N. Golovanov, K. Shvedov, Vik. Kalinnikov and others. Becoming one of the founders of medievalism in the area of church music, S. Smolensky outlined the main components of a scientific search in the history and theory of ortodox church singing, in the course of which A. Preobrazhensky, A. Nikolsky and others. A gifted teacher and organizer, S. Smolensky showed an example of the work of exemplary musical institutions whose school was attended by the greatest choirmaster of the last century: P. Chesnokov, N. Golovanov, N. Danilin, S. Zharov, A. Egorov and others. What has been said gives the right to assert that we can be fruitful in history, provided, like S. Smolensky, we will with intense effort learn from our forefathers, carefully looking at the value of their professional and life experience.
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Riley, Kathleen, Edgar E. Coons, and David Marcarian. "The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance." Medical Problems of Performing Artists 20, no. 2 (June 1, 2005): 82–88. http://dx.doi.org/10.21091/mppa.2005.2016.
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Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providing immediate biofeedback. This paper describes and illustrates a multimodal use of these biofeedback technologies and the powerful advantages of such a multimodal approach in making the student and teacher not only aware of improper alignments and balances in real time (or for later review) but also aware of approaches to correct them and improve musical outcome. The modalities consist of hearing playback through a Disklavier piano; simultaneous visual feedback displayed as a piano roll screen of what was played; video recording synchronized with the Disklavier and piano roll feedback; motion analysis of the arms, hands, and fingers; and electromyographic recordings of the muscle actions involved.
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Paipare, Mirdza. "Musical experience from psychological and therapeutic perspective." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 154. http://dx.doi.org/10.17770/sie2012vol2.130.
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The author of the paper is a musician, educator and certified music/art therapist. This enables her to view this particular issue both from musicians, teachers and music/art therapist’s view. Within a three-year period research was conducted and the research data on the role of musical emotions in human life were summarised. The research results allow to draw meaningful conclusions on the role of musical emotional experience not only in a person’s life, but also to identify the musical emotions impact on vital areas of human life, concerning the senses, emotions, perception, behaviour, culture, identity. Findings of the study show that scientific application of music provides not only aesthetic, but also educational and even therapeutic effect. Interpretation of the obtained results shows their applicability in pedagogy, psychology, music science, and health care.
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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.
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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of creativity encourages researchers to study the principles of artistic thinking, inter-style communication, and virtual creative dialogue between the authors of the original and the version at all levels of musical content and form using the samples of transcriptions. The example of such approach is the given research, which studies the mechanisms of musical interpretation creation in the genres transcription and arrangement in aspect of the contemporary composing and performing practices. The object of the study is the creativity by a bright representative of the Kharkiv school of the playing on folk instruments, Andrii Strilets, the subject of consideration in this article are his orchestra transcriptions-arrangements. The purpose of the research is to determine the principles of interpretation and inter-style dialogue in the genre of transcription on the example of the musical piece “Jazz-slide” by M. Tovpeco for two accordions in the arrangement by A. Strilets. For the first time in musicology this composition becomes an object for the theoretical analysis in aspect of the artistic interpretation and inter-style dialogue in genre of transcription-arrangement. This determines the relevance and scientific novelty of the study. For the first time also, the research is focused on the multifaceted creative activity of the talented Kharkiv musician A. Strilets, which combines the various directions – composition, conducting, bayan performance and pedagogy. Results of the study. The list of the works by A. Strilets includes dozens of positions, in particular, the orchestral opuses – about 40, the vocal pieces – more than 40, there are also the dance music, vocal-choreographic compositions and others. Composer prepared for publication the author’s collection “Concert works for bayan”, which will be a musical presentation of his work. Pedagogical work of the musician is successfully combined with the performing activity. A. Strilets is a talented accordion / bayan performer (the winner of all-Ukrainian and international competitions, among them, the prestigious international competition “Vogtland Music Days” in Klingenthal, Germany; participant of tours as a bayan player-performer in Belgium, Germany, Poland, Ukraine) and conductor. He worked as a conductor at the Kharkiv City Theater of Folk Music “Oberegi”; he made a significant contribution to the creation of the “Slobozhanskii Big Academic Song and Dance Ensemble” (2011), which he conducts nowadays, and also acts as an author and arranger of a significant part of the musical repertoire of this ensemble. Being the head of the folk instruments orchestra, musician directs his actions, first of all, to improve the performing level of the musicians, to expand the concert repertoire and the genre diversity of the performed compositions, to change and complete the instrumental compositions. The study also highlights several signs of the pedagogy of A. Strilets. As a teacher, he encourages in his class the independent thinking of the performer and the searching of a reasonable interpretation, provides the information about stylistic features of works for fully disclosing of its content, he takes into account the analysis of their dramaturgy and form, carefully relates to the reproduction of author’s remarks, aims from the musicians the task of the most accurate composer’s intention disclosure. These pedagogical principles project onto the compositional features of A. Strilets’ works, which are clearly demonstrated in sphere of his arranger’s work. The study specifies a number of basic composer principles and methods used by A. Strilets in the transcription-arrangement of “Jazz Slide”. 1. First of all, the arranger updates the timbre-texture complex of the original, redistributing certain content and form-building components in the musical “space” and “time”, giving them new configurations, which leads to strengthening or, in opposite, leveling (down to rotation) of their original dramatic functions – general and minor, solo and accompanying, monological and dialogical, ensemble and orchestral, melodic, harmonic, rhythmic and others. 2. The sound-texture aspect demonstrates both smallest and systemic changes of musical and expressive complex of the original – from the separate elements to their cumulative action, which contributes to the genre-style qualities transformation of the work, strengthening the through development in it, up to the presence of signs of symphonization. 3. Hence, the genre concept of the work is updated, and it leads to the emergence of a new genre quality – “concert-ness” – and to the consolidation of the concert status of the work (which becomes similar to a concert for two accordions / bayans with an orchestra). The quality of “concert” is also achieved due to the growing role of soloists, in particular, the strengthening of solo replicas in the orchestra (separation of elements of the original melodic themes and distribution them to orchestral groups), which leads to the polyphonization of the musical facture, emphasizing (new coloring) some features of the melodic lines of the soloists and like other. 4. At the level of harmony, on the one hand, the emphasis of its original content, on the other hand, the search of its melodic potential is observed. 5. The rhythmic parameter of sound-facture complex contributes to the enhancement of genre-style semantics of the original source, taking into account its jazz “filling”. 6. Comparative analysis of the original and version reveals signs of a method of composer interpretation that involves a creative component in arranging, supplementing, and rethinking the content of the original. Conclusion. In course of studying it was found that the arranger, at the preserving of the structure of the original piece – a contrast-composite form, updates the procession-dynamic and dramatic sides of it, primarily due to the action of the timbre-texture complex as the key interpretative factor in creating of the orchestral version of the original. The prospect of the research. The considered issues require, of course, the further research – both from the point of view of the artistic significance of genres, arrangement and transcription, in particular, for orchestras and ensembles of folk instruments, and in the aspect of the action of mechanisms of artistic interpretation and the features of the transcription process, which naturally combines composer and performing arts. The work of the talented Kharkiv musician Andrii Strilets who is one of the most prominent representatives of the Kharkiv school of folk instruments, deserves a separate study.
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Sun, Natalia. "Sonatinas for Piano in the Context of Mao-Shuen Chen’s Composer and Pedagogical Activities." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 247–67. http://dx.doi.org/10.34064/khnum2-19.14.
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Background. The article is devoted to the piano work of the outstanding composer, pianist and teacher Mao-Shuen Chen (born 1936), his contribution to the art of music and education in Taiwan. Music education received in Taiwan, and then – in European countries, allowed Mao-Shuen Chen to significantly develop and modernize his native national art. His methodical works, textbooks and collections of exercises for piano became the basis of his own method of teaching, which the musician has long successfully used in public and private music schools in Taiwan. An important role in Mao-Shuen Chen’s unique pedagogical system is also played by his piano works, especially sonatinas. The sonatinas of Mao-Shuen Chen act as a kind of link between school-level compositions and opuses of the highest pianistic complexity. They are collected in three notebooks, each of the next of which represents a higher degree of pianistic complexity. Sonatina makes it possible, in a simpler and more compact-scale presentation, to prepare students for mastering a more complex genre – the sonata. Mastering the sonata form for members of the Taiwanese musical tradition is a particularly difficult task, due to differences in European musical thinking, within which the sonata originated, and the peculiarities of national music, which is usually the focus of composers. However, the genre of sonatina in the works of Mao-Shuen Chen and its role in the development of sonata thinking of Taiwanese students have not been studied to date. Objectives and methodology. The purpose of this research is to reveal the peculiarities of the interpretation of the genre of sonatina in the piano work of Mao-Shuen Chen, its role in the pedagogical system of the Taiwanese musician and its artistic and pedagogical value. In this connection the characteristic of the pianistic level of complexity of the works under consideration is given, their technical and artistic difficulties are revealed. For this, various methods of research were applied: genre-style, intonational analyses, systematization, musical-aesthetic and interpretological approaches. Results. Thanks to a well-organized educational system of methodological works, books, musical anthologies and audio recordings, Mao-Shuen Chen was able to build his own pedagogical approagh and introduce his teaching methods to many young musicians striving to acquire a high professional level as a performer and a teacher. In this system of mastering piano professionalism, thirty-five sonatinas by Mao-Shuen Chen, created from 1980 to 2015, occupy an important place. Sonatinas are very useful in preparing piano students to study more complex compositions written in sonata form. All sonatinas are dominated by the flavor of Taiwanese folk music. So, at the heart of Sonatinas Nos. 1–5, 7, 11, 17, 21 is the pentatonic scale of the mode “shan”, which can be expanded with additional steps. The exceptions are Sonatina No. 6, written using the atonal writing technique, and Sonatina No. 8, which is based on the Western European tonal system. Considering the rhythmic organization as the basis of music, the composer demonstrates in his sonatinas various versions of the musical meter and rhythm – complex and variable metering, syncope, polyrhythm, etc. He arranges these elements in his sonatinas from simple to complex. Mao-Shuen Chen pays great attention to polyrhythmic combinations 3: 2, 4: 3, 4: 6 and, considering them important for mastering the educational didactic. They can be considered the same instructive material as rhythmic exercises or etudes. For example, Sonatinas Nos. 3–6 are based on polyrhythm 3: 2, 2: 3, Sonatinas Nos. 7–8 – on combinations 3: 4 and 4: 3. It is no coincidence, that they also published in the composer’s educational methodological manual – the collection “Piano School and Piano Exercises 3: 4, 4: 3” (1990). The final Sonatinas (Nos. 32–34) by Mao-Shuen Chen require a high degree of pianistic mastership from the performer. They present works that combine complex elements of the Taiwanese national musical language and contemporary Western composer writing. The intonational and dynamic richness, variety of rhythmic patterns, irregular meters, extraordinary line drawing indicate that these works can rightfully be considered one of the brightest examples of the modern repertoire and can be widely represented on the concert stage. Conclusions. Mao-Shuen Chen made significant contributions to Taiwanese musical culture, especially in the areas of composition and music education. Among the many genres of his work, piano music occupies the most significant place. Having devoted many years to teaching in the higher musical institutions of Taiwan, Mao-Shuen Chen has developed a coherent system of teaching materials from the level of musical elementary school to higher education, with a focus on the practice of solfeggio and fundamental professional disciplines. The composer devoted a significant part of his attention to works of the sonata form – sonatinas and sonatas. In this regard, he can be compared with the Western European classic, the “patriarch of the piano” M. Clementi, who created a harmonious system of progressive mastery of pianistic skill. In all of his works, Mao-Shuen Chen represents his aspiration for the model of Western musical education, carefully preserving the Taiwanese national cultural tradition. He creates compositions with a typical Western structure, which should be performed on a Western musical instrument, but they clearly reflect the ChineseTaiwanese national flavor. Since the piano sonatas of Mao-Shuen Chen present high demands on performers due to their large volume, considerable virtuosity and the complexity of the rhythmic organization of texture, their mastering is possible only after passing through the simpler opuses of the Taiwanese composer.
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Park, Hye Young. "Finding meaning through musical growth: Life histories of visually impaired musicians." Musicae Scientiae 21, no. 4 (July 21, 2017): 405–17. http://dx.doi.org/10.1177/1029864917722385.
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The purpose of this study is to examine in depth the lives of visually impaired professional musicians via the life history method. The researcher conducted in-depth interviews with eight visually impaired professional musicians. The data analysis considered three facets of life history proposed by Mandelbaum: dimensions, turning points, and adaptations. The dimensions of life (families, schools, private music teachers, and performance groups) were analysed first. The turning points of life involve accepting and overcoming an impairment and choosing to major in music. Adaptations to life involve persevering in a harsh social environment, living as an impaired musician, aspiring to a successful career as a professional musician, and learning from vigorous musical activities. Most participants suggested that families and performance groups are the most important dimensions of their lives. With respect to turning points, choosing to major in music has enabled the participants to accept and overcome the difficulties associated with being visually impaired. Through adaptation, the participants appear to have found their value, role, and meaning both as members of society and as professional musicians. This implies both the importance of expanding performing opportunities for visually impaired musicians and the importance of acknowledging their professional activities, affording visually impaired musicians better livelihoods by offering them more fulfilling roles in the field of music along with significant, long-term public support.
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Garnett, James. "Musician and teacher: employability and identity." Music Education Research 16, no. 2 (October 14, 2013): 127–43. http://dx.doi.org/10.1080/14613808.2013.847073.
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Menshikov, P. V., G. K. Kassymova, R. R. Gasanova, Y. V. Zaichikov, V. A. Berezovskaya, A. V. Kosov, M. R. Arpentieva, and M. E. Kirichkova. "ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING." BULLETIN 384, no. 2 (April 15, 2020): 222–32. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.62.
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A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.
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Gannon, Patrick. "Managing Stage Fright: A Guide for Musicians and Music Teachers. By Julie Jaffee Nagel." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 72–73. http://dx.doi.org/10.21091/mppa.2018.1011.
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Julie Jaffee Nagel’s new book, Managing Stage Fright: A Guide for Musicians and Music Teachers, is a welcome addition to our understanding of performance anxiety which remains a major problem for musicians at all levels of proficiency. But what is unique about this book is how it illuminates the student/teacher relationship and the role that music teachers can play in helping students manage their symptoms.
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Meyer, Margaret R. "On My Mind: Teacher as Musician versus Teacher as Composer." Mathematics Teaching in the Middle School 15, no. 2 (September 2009): 70–73. http://dx.doi.org/10.5951/mtms.15.2.0070.
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Ross, Stephanie, and Estelle R. Jorgensen. "Philosopher, Teacher, Musician: Perspectives on Music Education." Journal of Aesthetic Education 29, no. 4 (1995): 113. http://dx.doi.org/10.2307/3333298.
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Brown, Amy. "Wiley Housewright, Musician—Teacher the Early Years." Bulletin of Historical Research in Music Education 14, no. 2 (July 1993): 102–13. http://dx.doi.org/10.1177/153660069301400203.
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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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Svalina, Vesna, Blaženka Bačlija Sušić, and Goran Lapat. "PRIMARY SCHOOL TEACHERS’ OPINIONS TOWARDS MUSICALLY GIFTED STUDENTS." Problems of Education in the 21st Century 79, no. 1 (February 10, 2021): 133–61. http://dx.doi.org/10.33225/pec/21.79.133.
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Primary school teachers have an important role in the early identification and further development of a child's musical giftedness. The research was aimed to examine the opinions of primary school classroom teachers (N = 1130) employed in Croatian primary schools regarding conceptualization of musical giftedness and its impact on identification of musically gifted students. Furthermore, their opinions about the support of parents, professional team and collective as well as competencies for recognizing and further development of the child’s musical giftedness were investigated. Although most respondents assess their competencies in identifying musical giftedness, most of the surveyed teachers, especially younger ones, are willing to be additionally trained in this area. They stated that the existing curriculum should be expanded and enriched and stressed the need for more support from the expert assistants (psychologists and pedagogues). In addition to the teachers' age, their title (teacher, teacher mentor and teacher advisor) also proved to be a significant factor in the identification and development of a child's musical giftedness. Findings of research have implications for theory and practice of primary school teacher’s music education and education for work with gifted children both during their higher education and lifelong learning. Keywords: musical giftedness, musically gifted students, primary school teachers, Republic of Croatia
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Swanwick, Keith. "The ‘good-enough’ music teacher." British Journal of Music Education 25, no. 1 (March 2008): 9–22. http://dx.doi.org/10.1017/s0265051707007693.
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Teaching and learning are complex processes and evaluating the work of music teachers is neither obvious nor simple. The outcomes of educational transactions may not be completely or immediately apparent. Furthermore, the contexts in which musical skills and understanding are acquired are multiple, going well beyond the formal categories of ‘general’ class music teacher or the ‘private’ instrumental and vocal teacher. In many of these alternative settings, standardised student assessment or teacher evaluation processes may be inappropriate. In this paper, an approach to evaluating teaching and learning draws on Swanwick's three principles for music educators. To these three principles is added the need to understand the educational and social context in which a teacher works. These criteria help to identify the ‘good-enough’ teacher's contribution to students' musical development. The concept of the ‘good-enough’ teacher is exemplified, not in the context of conventional formal teaching settings but in a third, much less defined role, that of music leader. The extent to which music leaders contribute to their musical environment is evaluated in a study of their continuing professional development. This evaluation was initiated by Youth Music, a UK organisation working alongside the formal and community-based sectors to support music-making and training.
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Biasutti, Michele, and Eleonora Concina. "The effective music teacher: The influence of personal, social, and cognitive dimensions on music teacher self-efficacy." Musicae Scientiae 22, no. 2 (January 9, 2017): 264–79. http://dx.doi.org/10.1177/1029864916685929.
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The profile of an effective instrumental and vocal music teacher includes many personal and professional dimensions. Among them, teacher self-efficacy plays a key role and influences the evaluation of music teachers’ effectiveness. Recent studies have identified several factors that affect one’s self-assessment of efficacy. However, a comprehensive model of the predictors of music teachers’ self-efficacy still does not exist. The aim of the current study was to identify factors that affect music teacher self-efficacy using a quantitative approach. Three self-report questionnaires were administered to 160 instrumental and vocal music teachers in Italy. Data about their beliefs on musical ability, teacher self-efficacy, and social skills were collected to define a predictive model of teachers’ self-efficacy using a stepwise regression analysis. In addition, an ANOVA was performed to examine group differences in music teacher self-efficacy and intercorrelations among questionnaire scales were computed. The findings have shown that a general score of music teacher self-efficacy can be predicted by a multidimensional model, including music teachers’ personal and professional traits, such as social skills, beliefs about musical ability, teaching experience, and gender. Moreover, differences in specific aspects of teacher self-efficacy emerged in relation to participants’ gender and level of expertise. The impact of these results on music teachers’ education is discussed.
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Dyganova, E. A., and Z. M. Yavgildina. "Culture of Self-Education of the Teacher-Musician." Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no. 2 (May 30, 2016): 79–91. http://dx.doi.org/10.21659/rupkatha.v8n2.09.
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Suslova, Nelly V. "On the Professional Responsibility of a Teacher-Musician." Musical Art and Education 8, no. 3 (2020): 129–48. http://dx.doi.org/10.31862//2309-1428-2020-8-3-129-148.
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The article deals with various aspects of the professional responsibility of a music teacher at school. On the example of the author’s scientific and pedagogical interaction with Professor E. B. Abdullin, the issues of continuity of traditions of national music education, standards of professional competencies of a teacher-musician, the relationship of research and practical work in the framework of music and pedagogical activities are considered. The historical retrospective highlights some episodes that characterize the creative path by E. B. Abdullin in the context of the development of the system of national music and music-pedagogical education. The article considers the situation related to the development of the concept of teaching the educational field “Art” in a 12-year school, provides a brief analysis of the current problems of state regulation of General education in General, and the subject area “Art” in particular. These examples raise questions of mutual responsibility of the music teacher and the teaching staff to students and society. The article also provides some data on the results of scientific research. The conclusions are formulated on the basis of a psychological and pedagogical study of the possibilities of implementing an individual approach in the classroom system, conducted in 2003–2006 on the basis of General education school No. 1732 in the city of Moscow with an in-depth study of music. The problems identified during the study of the possibilities and forms of application of game techniques and methods by music teachers in the educational process are noted.
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Rossing, Thomas D. "Neville Fletcher: Scientist, teacher, scholar, author, musician, friend." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 2069. http://dx.doi.org/10.1121/1.4755625.
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Suslova, Nelly V. "On the Professional Responsibility of a Teacher-Musician." Musical Art and Education 8, no. 3 (2020): 129–48. http://dx.doi.org/10.31862/2309-1428-2020-8-3-129-148.
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Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (November 3, 2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
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Zhuravleva, Olga, and Olena Veselova. "Multimedia technologies in humanitarian training of a teacher musician." SHS Web of Conferences 87 (2020): 00110. http://dx.doi.org/10.1051/shsconf/20208700110.
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An active transition to distance learning requires a teacher of a modern higher school to develop new methods in organizing and supporting the educational process. The proposed research examines the basic principles of a musician-teacher’s training on the example of generalizing one’s own experience of introducing multimedia technologies in teaching musical and historical disciplines and creating an electronic textbook on “History of music (foreign and domestic)” for a bachelor’s degree in specialty 44.03.01 (Pedagogy. Music).
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Holdhus, Kari. "The polyphony of musician–teacher partnerships: Towards real dialogues?" Thinking Skills and Creativity 31 (March 2019): 243–51. http://dx.doi.org/10.1016/j.tsc.2019.01.001.
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Dmitriev, Vladislav Alekseevich, and Alla Feodorovna Yafal'yan. "DEVELOPMENT OF THE CREATIVE PERSONALITY OF A TEACHER-MUSICIAN." Pedagogical Education in Russia, no. 9 (2016): 30–35. http://dx.doi.org/10.26170/po16-09-05.
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Roytenko, Nina. "FORMATION OF METHODOLOGICAL CULTURE OF THE FUTURE TEACHER-MUSICIAN." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 196–201. http://dx.doi.org/10.36550/2415-7988-2021-1-195-196-201.
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In the article the author considers the ways of forming the methodological culture of the future teacher-musician, which is considered as a system that includes scientific knowledge, experience of creative activity and experience of emotional and value attitude to research activity. The current stage of development of the education system in Ukraine is characterized by educational innovations aimed at preserving the achievements of the past, and, at the same time, to modernize the education system in accordance with the requirements of the time, the latest science, culture and social practice. A characteristic feature of this period of educational development is the search for new content, forms, methods and means of teaching, education and management; deployment of extensive experimental work aimed at implementing educational innovations, which provides a high level of methodological culture of the teacher. To understand the importance of project activities as the basis for the formation of methodological culture of modern teachers, it is important to understand its essence - from theory to practice, combining academic knowledge with pragmatic and maintaining the appropriate balance at each stage of learning, because today there is a wide difference in definition. We consider methodological culture as a socio-cultural philosophical phenomenon in the plane of the following parameters: project as a method; project method as a system; organizational form of formation of methodological culture of the teacher; introduction of innovative technologies in the educational process as a kind of productive activity of a modern teacher. The introduction of project activities in the practical work of teachers is becoming one of the important needs of today, but it is possible only with thorough training. Unfortunately, there is a simplified understanding of the essence of the project method only as a means of cognitive activity, in-depth study of the subject, development of new knowledge, although it is known that the mission of the project method is to overcome the contemplative dogmatic approach to knowledge, competence, skills solving life problems and the formation of the methodological culture of the teacher. Thus, the formation of the methodological culture of the teacher on the basis of project activities is one of the current areas and main tasks of modern education. This requires the teacher to understand the essence of educational phenomena, familiarize with the logic of the research process, the formation of experience to analyze and predict its further development, which, in turn, will increase the level of methodological culture, contribute to innovative solutions to extraordinary problems.. The purpose of professional education of the future teacher-musician is to form the foundations of his methodological culture. The leading tasks of professional education of a specialist include the formation of skills of practical artistic and pedagogical activities (music performance, vocal conducting, musicology, etc.); formation of bases of methodological thinking; formation of readiness for independent research activity; formation of skills of methodological analysis; formation of skills of professional reflection.
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Baker, David, and Lucy Green. "Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians." Research Studies in Music Education 38, no. 2 (July 24, 2016): 193–219. http://dx.doi.org/10.1177/1321103x16656990.
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This article discusses findings on schooling, pedagogy and notation in the life-experiences of amateur and professional visually-impaired musicians/music teachers, and the professional experiences of sighted music teachers who work with visually-impaired learners. The study formed part of a broader UK Arts and Humanities Research Council funded project, officially entitled “Visually-impaired musicians’ lives: Trajectories of musical practice, participation and learning”, but which came to be known as “Visually-impaired musicians’ lives” (VIML). VIML was led at the UCL Institute of Education, London, UK and supported by the Royal Academy of Music, London, and Royal National Institute of Blind People (RNIB) UK, starting in 2013 and concluding in 2015. It sourced “insider” perspectives from 225 adult blind and partially-sighted musicians/music teachers, and 6 sighted music teachers, through life history interviews and an international questionnaire, which collected quantitative and qualitative data. Through articulating a range of “insider” voices, this article examines some issues, as construed by respondents, around educational equality and inclusion in music for visually-impaired children and adults in relation to three main areas: the provision of mainstream schooling versus special schools; pedagogy, including the preparedness of teachers to respond to the needs of visually-impaired learners; and the educational role of notation, focusing particularly on Braille as well as other print media. The investigation found multifaceted perspectives on the merits of visually-impaired children being educated in either mainstream or special educational contexts. These related to matters such as access to specific learning opportunities, a lack of understanding of visually-impaired musicians’ learning processes (including accessible technologies and score media) in mainstream contexts, and concerns about the knowledge of music educators in relation to visual impairment. Regarding pedagogy, there were challenges raised, but also helpful areas for sighted music educators to consider, such as differentiation by sight condition and approach, and the varying roles of gesture, language, light and touch. There was diversity in musical participation of visually-impaired adult learners, along with some surprising barriers as well as opportunities linked to different genres and musical contexts, particularly in relation to various print media, and sight reading.
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Brook, Julia, Robbie MacKay, and Chris Trimmer. "How does a rock musician teach? Examining the pedagogical practices of a self-taught rock musician–educator." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 203–23. http://dx.doi.org/10.1386/jpme.3.2.203_1.
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This research examines the pedagogical practices of a self-taught musician who teaches music at an elementary school in Canada. Research on the ways that popular musicians teach has shown that many teachers use a combination of informal and formalized structures. We used Personhood theory as a conceptual framework to illuminate how the context and disposition of the musician–teacher informs their pedagogy. These findings demonstrate how context and disposition inform pedagogical practices and the ways that the teacher’s personhood contributes to students’ learning. We collected data through interviews with the teacher and school principal, distributed questionnaires to students and observed performances. Findings show that one’s personhood can contribute to the medium, message and messenger within a music education setting. Personhood theory helps frame the nested nature of these relationships and these findings point to the need to support development of in-service and pre-service teachers’ personhood.
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Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
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The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
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Mahmudah, Amin, and Umi Rohmah. "Peran Guru Dalam Mengembangkan Kecerdasan Musikal Anak Usia Dini Melalui Kegiatan Ekstrakurikuler Drumband Di Tk Muslimat Nu 001 Ponorogo." WISDOM: Jurnal Pendidikan Anak Usia Dini 1, no. 1 (June 1, 2020): 18–26. http://dx.doi.org/10.21154/wisdom.v1i1.2133.
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Abstract: Musical intelligence of a child's ability to store notes, remember rhythm and be emotionally affected by music. The development of musical intelligence is one of them by the drumband extracurricular activities. This study aims to: (1). know the role of the teacher as a facilitator in developing early childhood musical intelligence through Drumband Extracurricular activities at Muslimat Nu 001 Ponorogo Kindergarten. (2). know the role of the teacher as a guide in developing musical intelligence of Early Childhood through Drumband Extracurricular activities at Muslimat Nu 001 Ponorogo Kindergarten. This research uses a qualitative approach with case study research. The technique used in collecting data is to use observation, interview, and documentation techniques. While the data analysis technique used is to use the Milles Hiberman technique. The results of this study are (1) the teacher's role as a facilitator is as a provider of the tools needed during the exercise and checking the condition of the tools. (2) the teacher's role as a guide in is to provide guidance and train children in the technique of punching in accordance with the tempo, training and accustoming children to discipline in drum exercises.
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Andrews, Kathryn. "Standing ‘on our own two feet’: A comparison of teacher-directed and group learning in an extra-curricular instrumental group." British Journal of Music Education 30, no. 1 (November 29, 2012): 125–48. http://dx.doi.org/10.1017/s0265051712000460.
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This practitioner-based research, undertaken by the author in her own teaching context with herself as participant, explores how autonomous learning skills and motivation can be fostered in primary-aged instrumentalists. A primary school extra-curricular recorder group was observed participating in two stages of lessons: the first, teacher-directed and the second, focused around group learning. Lessons were videoed and transcribed for analysis and pupils’ views on the two styles of lessons gained through interviews. The teacher-directed lessons were considered in the light of the apprenticeship conception of the teacher's role, with its potential to balance direction and facilitation, and scaffolding was observed to be used in various ways, both promoting and restricting pupil autonomy. The group learning lessons used aspects of the Musical Futures1 informal learning approach, particularly self-directed learning in friendship groups, using aural models on CD, with the teacher's role facilitative rather than directive. These lessons were considered in the light of theories of group learning, with pupils observed providing mutual support, scaffolding in different ways to a teacher, and engaging in transactive communication. Pupils, though positive about both stages, valued the opportunity to learn independently in the group learning lessons, gaining a sense of flow through the challenge involved. Findings suggest that whilst both teacher-directed and group learning can be effective, music teachers could develop their pupils’ capacity for autonomous learning by taking opportunities to adopt a more facilitative role, providing the learning context and assistance when required, but allowing the pupils to direct their own learning.