Relevant bibliographies by topics / University Musical Society

Contents

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

Academic literature on the topic 'University Musical Society'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "University Musical Society"

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Good-Perkins, Emily. "Arab students’ perceptions of university music education in the United Arab Emirates: A discussion of music education and cultural relevance." International Journal of Music Education 37, no. 4 (2019): 524–35. http://dx.doi.org/10.1177/0255761419853627.

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The purpose of this study was to explore with five Arab young adults their perceptions of Western and Arabic musical cultures as well as their perceptions of the Western classical vocal teaching they experienced at an American-modeled university in the United Arab Emirates. Of interest were issues of cultural relevance and the role of music and music education in Arab society. Data collection methods for this study included individual, semi-structured interviews with each participant and three focus group discussions. This paper will explore the following four themes from the interviews: Theme 1: Western classical university music teaching was incongruent with Arabic classical music teaching. Theme 2: Despite the incongruencies, participants found the university music experience to be transformative. Theme 3: Participants have a strong personal connection to Arabic music. Theme 4: Lack of music education has cultural ramifications; however, it is a complex issue. Using Paris’ conception of culturally sustaining pedagogy as a theoretical lens through which to view participants’ perceptions of music and music education in the United Arab Emirates as well as the juxtaposition of heritage and emergent musical traditions within a globalized traditional society, issues of cultural relevance, personal transformation, and musical identity will be further discussed.
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Björnberg, Alf. "‘Teach you to rock’? Popular music in the university music department." Popular Music 12, no. 1 (1993): 69–77. http://dx.doi.org/10.1017/s0261143000005365.

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During the last decades in most Western countries music education on all levels has undergone significant changes. In response to changes in the musical field in society at large, various popular music styles, previously almost totally neglected in institutional forms of music teaching based on Western art music, have been given increasing significance in the curricula of music education. This development has not, however, taken place without controversies. In most popular music genres the theoretical framework, learning principles and aims of musical practices differ in significant respects from those of the regulated activities of traditional institutions of music education, and the successful integration of popular genres into such institutions requires that these differences be acknowledged and resolved rather than ignored.
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Sigal, I. M. "FORMATION OF PROFESSIONAL COMPETENCIES SOLOISTS-VOCALISTS IN THE PROCESS OF TRAINING AT THE UNIVERSITY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 22, no. 75 (2020): 99–103. http://dx.doi.org/10.37313/2413-9645-2020-22-75-99-103.

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Modern society is in need of a new type of specialists. These are people who have not just a set of knowledge, but such professional competencies that allow them to form new ideas and meanings. This concept applies equally to the technologies of training cultural workers. The article is devoted to the problems of professional education in the field of musical performing skills and the importance of an integrative competence approach to the university training of soloists-vocalists.
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Salaman, William. "The Role of Graded Examinations in Music." British Journal of Music Education 11, no. 3 (1994): 209–21. http://dx.doi.org/10.1017/s0265051700002175.

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The perceived benefits of graded examinations are compared with the actual benefits that they bring and are then weighed against the more general and widely accepted desirable outcomes of musical education in Great Britain. The syllabus of a typical graded examination is analysed in some detail and the conclusions drawn suggest that the time-honoured format of graded examinations serves only some of the musical needs of pupils. Some radical suggestions for up-dating examinations are discussed.This article is based on some of the materials prepared for the certificate course: Music Teaching in Private Practice to be mounted by the University of Reading Department of Arts and Humanities in Education in collaboration with the Incorporated Society of Musicians.
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Lister, Rodney. "Bolcom, Gann and other Americans." Tempo 60, no. 235 (2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.

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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin. Naxos 8.559216-18.AARON COPLAND: Inscape. ROGER SESSIONS: Symphony No. 8. GEORGE PERLE: Transcendental Modulations. BERNARD RANDS: …where the murmurs die… . The American Symphony Orchestra c. Leon Botstein. New World 80631-2.KYLE GANN: Nude Rolling Down an Escalator: Studies for Disklavier. New World 80633-2.
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Toropova, Alla V. "Musical-Psychological Anthropology as an Interdisciplinary Field of Scientific Knowledge." Musical Art and Education 7, no. 2 (2019): 24–40. http://dx.doi.org/10.31862/2309-1428-2019-7-2-24-40.

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The article presents the conceptual positions of the interdisciplinary field of knowledge “Musical-Psychological Anthropology” as a scientific field that allows comprehending the history of musical art and ethno-cultural variations of musical traditions, historical and modern musical styles as a representation of the experience of developing consciousness and expressing the key experiences of humanity that form the mentality, psychological needs and values of a particular social or ethnic group. The development of the methodology of Music and Psychological Anthropology makes it possible to study such phenomena as: psychological identity of a certain culture or subculture, psychological roots of musical preferences and inclinations, musical style as the presentation of a “modal personality” of a certain social group or subculture, etc. The article contains a description of the procedure and the main results of the study of value orientations of lovers of different musical styles from the perspective of musical and psychological anthropology. The data obtained made it possible to make a generalization that the differentiation of society according to the types of musical preferences manifests deeper psychological complexes of life positions and anthropological images of virtual communities of people with different ideas about the main values of life and the meaning of life. Pedagogical feasibility of developing a university course Music-Psychological Anthropology is due to the search for a new productive synthesis of knowledge, which gives impetus for the development of the professional-personal reflection of future teachers-musicians, the conscious attitude to “their” and “other” as version of life and cultural practices, tolerance to uncertainty and to the dissimilarity of generational self-presentations with a common denominator – the value of the statement of life itself.
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MCCLUSKEY, JOHN MICHAEL. "“This Is Ghetto Row”: Musical Segregation in American College Football." Journal of the Society for American Music 14, no. 3 (2020): 337–63. http://dx.doi.org/10.1017/s175219632000022x.

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AbstractA historical overview of college football's participants exemplifies the diversification of mainstream American culture from the late nineteenth century to the twenty-first. The same cannot be said for the sport's audience, which remains largely white American. Gerald Gems maintains that football culture reinforces the construction of American identity as “an aggressive, commercial, white, Protestant, male society.” Ken McLeod echoes this perspective in his description of college football's musical soundscape, “white-dominated hard rock, heavy metal, and country music—in addition to marching bands.” This article examines musical segregation in college football, drawing from case studies and interviews conducted in 2013 with university music coordinators from the five largest collegiate athletic conferences in the United States. These case studies reveal several trends in which music is used as a tool to manipulate and divide college football fans and players along racial lines, including special sections for music associated with blackness, musical selections targeted at recruits, and the continued position of the marching band—a European military ensemble—as the musical representative of the sport. These areas reinforce college football culture as a bastion of white strength despite the diversity among player demographics.
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Baker, David. "Visually impaired musicians’ insights: narratives of childhood, lifelong learning and musical participation." British Journal of Music Education 31, no. 2 (2014): 113–35. http://dx.doi.org/10.1017/s0265051714000072.

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With the support of the Royal National Institute of Blind People (RNIB), the life histories of five visually impaired (VI) musicians were collected and analysed between November 2011 and August 2012. This research was conducted as a pilot for a two-year, national investigation of VI musical participation, ‘Visually-impaired musicians’ lives’ (VIML) funded by the Arts and Humanities Research Council (AHRC, 2013–2015), which has brought together the Institute of Education, University of London, the RNIB and the Royal Academy of Music, London as project partners. In this instance, life histories were co-constructed narratives – foci were the self-identities of this unique group and ‘insider’ perspectives on education, musical participation and society. Analytic induction of the biographies revealed that a perceived barrier to lifelong learning was having the ability to read notation, either adapted print or in Braille format, and the access to educators who had expertise to teach musicians with visual impairments. The respondents commented on the great value of ensemble participation and adopting teaching roles too. With widespread lore in society about the exceptional musical abilities of those with visual impairment, longstanding traditions of blind musicianship, plus evidence of distinct neural development and hearing, they acknowledged the cachet associated with blind musicians but, regardless, wished to be considered musicians first and foremost. The findings raise questions about social and music educational inclusion.
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Сherkasov, Volodуmуr. "FORMATION OF MUSICAL AND AESTHETIC CULTURE OF FUTURE TEACHERS OF MUSICAL ART BY MEANS OF THE FESTIVAL MOVEMENT." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 26–31. http://dx.doi.org/10.36550/2415-7988-2021-1-192-26-31.

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The article substantiates the formation of musical and aesthetic culture of future teachers of music by means of the festival movement. The substantiation of the festival-competition «Steps to Mastery» is just being held on the basis of the Centralukrainian State Pedagogical University named after Volodymyr Vynnychenko. Music culture in the context of training future music teachers in higher education is interpreted by us as a complex dynamic phenomenon that integrates knowledge, skills and abilities in major musicological disciplines, experience in various types of music performance, the level of intellectual and creative abilities of future music teachers art, readiness for active musical and creative activity and increase of values of musical art. Aesthetic culture of the future music teacher is defined as a holistic, complex personal education, characterized by globalization of aesthetic worldview, level of aesthetic education and development, refined aesthetic taste, aesthetic perception and response to works of music, as well as the creation of aesthetic values in life and art. Musical and aesthetic culture of the future music teacher is the core of his professional culture, spiritual values and personal intellectual and artistic image. In the process of studying music-theoretical, instrumental and vocal-choral disciplines, future music teachers form an emotional and value attitude to the creative heritage of composers who were able to recreate the style, character and atmosphere of the era, which forms a holistic picture of the world, allows to think and focus those events that affected social change and contributed to progressive neoplasms in society. Participation in the festival movement promotes the creation of relationships between innovation, technology and creativity, the search for innovative and creative ideas. There is a presentation of the professional level of performers and musical groups, creative interaction is formed in the context of a new system of communication and a new model of cultural life. Music festivals have a positive impact on the preservation of cultural heritage, the promotion of national and world values.
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Savina, Elena G. "On the Issue of Forming Abilities of Interpersonal Interaction of Students under the Conditions of Musical-Theater Activity." Musical Art and Education 8, no. 2 (2020): 72–86. http://dx.doi.org/10.31862//2309-1428-2020-8-2-72-86.

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Interpersonal interactions of people in society not only regulate the processes of communication, but also have a significant impact on the formation of their personality traits. It is for this reason that the problems associated with interpersonal interaction do not lose their relevance, and the process of forming their skills in various aspects is studied by scientists and practitioners in the field of psychology and pedagogy. The first active and conscious interpersonal interaction skills begin to form in older preschool and primary school ages. This is due to the flexibility of perception, exceptional sensitivity to the emotional context and artistic creativity. However, older students at a new level of development of their affective and cognitive functions also encounter difficulties in interpersonal communication. The process of development and restructuring of interpersonal interaction skills lasts a lifetime. As is highlighted in the article, these skills are updated in a new way within the framework of university education, including in the preparation of future young teachers for organizing communication between schoolchildren. This article discusses the possibilities and functions of musical and theatrical activities of students at different levels of education as a contribution to the formation of baggage of interpersonal interaction skills, reveals the psychological mechanisms of their implementation in educational musical theater. A review of modern research aimed at studying the educational and developmental potential of musical and theatrical activities of children is presented, discussion questions are raised on organizing interpersonal interaction in the face of the challenges of the digital era, prompting the search for new forms in musical education in general and in musical and theatrical activities students.
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Dissertations / Theses on the topic "University Musical Society"

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Clark, R. Andrew. "American Choral Music in Late 19th Century New Haven: The Gounod and New Haven Oratorio Societies." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/clark%5Fr%5Fandrew/index.htm.

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McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.

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This thesis is the result of more than ten years involvement with outdoor dance events in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi (Christchurch). Two symbiotic themes are explored here – that of the significance of the landscape in inspiring a conversion to tribal-based spirituality at the events, and the role of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those musicians heard in the outdoor dance zones. With no major publications or studies specific to Aotearoa to reference, a framework based on global post-rave culture has been included in each chapter so that similarities and differences to Aotearoa dance culture may be established. Using theoretical frameworks that include Hakim Bey’s TAZ (Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā mythology that often stands in for a hidden violent colonial history, of which te Tiriti o Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in 1840. Thus, in the Introduction several well-known local songs have been discussed in relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise the discussion of the importance of Māori and Pākehā integration in the dance zones in the following chapters. The thesis comprises of two main themes: the events and the music. At the events I took a participatory-observer approach that included working as rubbish crew, which provided a wealth of information about the waste created by the organisers and vendors, and the packaging brought in by the dancers. Thus the utopian visions that were felt on the dancefloor are balanced with descriptions of the dystopian reality that when the dancers and volunteers go home, becomes the responsibility of a strong core of ‘afterparty’ crew. Musically, the development of a local electronic sound that is influenced by the environmental soundscape, along with the emergence of a live roots reggae scene that promotes both positivity and political engagement, has aided spiritual conversion in the dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along with DJ’s, and most of the performers are local. Influenced by a strong reggae movement in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local ‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices, environmentalism and the aroha (love) principles of outdoor dance culture. The sound of the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its potential.
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Baily, Ingrid Elizabeth. "The place of higher education in the arts the example of the University Musical Society of the University of Michigan /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/42731462.html.

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Rockell, Kim. "'Fiesta,' affirming cultural identity in a changing society : a study of Filipino music in Christchurch, 2008 : a thesis submitted in fulfillment of the requirements of Master of Arts in Music at the University of Canterbury /." 2009. http://hdl.handle.net/10092/2726.

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Thesis (M. A.)--University of Canterbury, 2009.<br>Typescript (photocopy). "ID: 22502346." Principal supervisor: Elaine Dobson, assistant supervisor: Dr Jonathan Le Cocq. "February 2009." At head of title: MUSI 690 Master of Arts in Music. The DVD has a selection of recorded performances intended to be broadly representative of the events, performers, styles and mediums of performance. Includes bibliographical references (leaves 296-304). Also available via the World Wide Web.
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Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.

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Indiana University-Purdue University Indianapolis (IUPUI)<br>This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.
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Books on the topic "University Musical Society"

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Bravo! recipes, legends & lore: A cookbook celebrating 120 years of the University Musical Society, Ann Arbor. University Musical Society, 1999.

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University of Michigan. University Musical Society. Bravo! recipes, legends & lore: A cookbook celebrating 120 years of the University Musical Society, Ann Arbor. University Musical Society, 1999.

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Spice, John. The Oxford University Society of Change Ringers, 1872-1997. Carnegie on behalf of the Society, 1997.

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Braun, Joachim, Kevin C. Karnes, Helmut Loos, and Eberhard Möller, eds. Mitteilungen der internationalen Arbeitsgemeinschaft an der Universität Leipzig, Heft 12: Post-War Musicology in the Baltic States of Lithuania, Latvia and Esthonia: A Reassessment. Gudrun Schröder Verlag, 2008.

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Eleonora, Rocconi, ed. La musica nell'impero romano: Testimonianze teoriche e scoperte archeologiche : atti del secondo Convegno annuale di MOISA = Music in the Roman Empire : theoretical evidence and archaeological findings : proceedings of the second Annual Meeting of MOISA, the International Society for the Study of Greek and Roman Music and its Cultural heritage : Cremona, Aula magna, Facoltà di musicologia, Università degli studi di Pavia, 30-31 ottobre 2008. Pavia University Press, 2010.

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Summer Solstice Folk Music & Dance Festival (10th 1990 California State University, Northridge). Clark & Elaine Weissman and the California Traditional Music Society presents Summer Solstice Folk Music & Dance Festival: Tenth anniversary, 1990, Northridge, CA, Student Union Center, California State University, Northridge, June 22, 23, and 24, 1990. The Society, 1990.

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1949-, Wetsel David, Canovas Frédéric 1965-, Probes Christine, and Norman Buford 1945-, eds. Les femmes au Grand Siècle: Le baroque, musique et littérature : musique et liturgie : actes du 33e Congrès annuel de la North American Society for Seventeenth-Century French Literature, Arizona State University (Tempe), May 2001. Gunter Narr Verlag, 2003.

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Campbell, Patricia Shehan, and Shannon Dudley. A University Commitment to Collaborations with Local Musical Communities. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.8.

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Working from the premise that the study of music in a hermetic academic environment is no longer a viable model, and that university music programmes must connect to the vibrant musical communities in the very neighbourhoods that surround them, we examine how the presence of a community music ‘weave’ within university programmes of music benefits students, faculty, and community members in myriad ways. We offer examples of university–community partnerships initiated by the ethnomusicology and music education programmes at the University of Washington that prepare music students for the diverse and complex society into which they will graduate. The Visiting Artists in Ethnomusicology programme will be highlighted for the extent to which world-renowned and locally residing artist-musicians have been invited to the faculty for extended periods to perform, teach, and interact with students on instruments, vocally, and in dance forms associated with traditional musical practices. The intent of the chapter is to underscore the critical need for university–community exchanges, to suggest some ways that such exchanges can be accommodated within university programmes of music, and to affirm the benefits that flow from connecting the dots of musicians and aspiring musicians in the workaday world beyond the fortress of the university.
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Everybody in, Nobody Out: Enriching Communities Through Uncommon Art Experiences at the University Musical Society. University of Michigan Press, 2020.

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Oriental Ceramic Society of Hong Kong. and Chinese University of Hong Kong. ArtGallery., eds. 2000 years of Chinese lacquer: Catalogue of an exhibition jointly presented by the Oriental Ceramic Society of Hong Kong and the Art Gallery, the Chinese University of Hong Kong, 24th September to 21st November, 1993. Oriental Ceramic Society of Hong Kong, 1993.

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Book chapters on the topic "University Musical Society"

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Widdess, Richard. "Laurence Ernest Rowland Picken 1909–2007." In Proceedings of the British Academy, Volume 166, Biographical Memoirs of Fellows, IX. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264751.003.0012.

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Laurence Picken contributed to both the sciences and the humanities, and had in particular pioneered a radical transformation in musical perspectives. His work in zoology brought national and international recognition with the award of the Sc.D. in 1952, Fellowship of the Institute of Biology, a Walker-Ames Visiting Professorship at the University of Washington in 1959, and the Linnean Society's Trail Medal in 1960. The Organization of Cells and Other Organisms was the crowning achievement of a long and distinguished career in the natural sciences. Alongside the zoological research and teaching, Picken developed a parallel career as a musicologist, issuing a series of studies on Chinese and other musics that were quite as original and, for their time, definitive, as his scientific publications.
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Baecker, Ronald M. "Afterword: Developments in autumn 2018." In Computers and Society. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827085.003.0021.

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I sent this manuscript to Oxford University Press on 29 August 2018. The book emerged in April 2019. Much happened in the interim. I submitted this update on 4 January 2019, summarizing matters of consequence in autumn 2018, as well as important things I learned in that period. A recent Microsoft blog suggests that I was too positive in my portrayal of a shrinking digital divide. In the USA, 35 per cent of the population report they do not use broadband communications at home. Wikipedia continued to grow, fuelled in part by its foundation’s effort to engage underrepresented ‘emerging communities’. Battles in the USA over net neutrality intensified after the federal decision to abandon the policy. The state of California passed a tough net neutrality; the New York state attorney initiated an enquiry asking whether the federal decision had been swayed by millions of fraudulent comments. There were more innovations in sensory substitution to enable digital inclusion. At Caltech, researchers developed a system that allows blind people to receive an audio description of what is in their gaze: the objects appear to describe themselves in words. Women continued their struggle for equality and against gender discrimination in high-tech firms. Despite the importance of digital technologies for seniors to help combat loneliness, and to access banking and other online services, many are still digitally disengaged. Research shows that seniors perceive risk in being online, are reluctant to invest the time needed to gain and maintain digital proficiency, and are sometimes concerned that internet use would be inconsistent with their values, for example, the desire to support local stores. I was also too positive in my analysis of the impacts of sharing and stealing digital media and the power of digital media firms such as Google, Netflix, Facebook, and Amazon (see also the discussions of corporate concentration in Sections 12.9 and 14.12). Professor Jonathan Taplin has summarized how devastating these impacts have been, not just to digital media companies such as music and newspaper publishers, but to media creators such as composers and reporters. Consumer spending on recorded music dropped from almost US$20 billion in 1999 to US$7.5 billion in 2014.
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Rappaport, Jack M., Stephen B. Richter, and Dennis T. Kennedy. "A Strategic Perspective on Using Symbolic Transformation in STEM Education." In Applications of Neuroscience. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5478-3.ch012.

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This paper describes and implements an innovative model for teaching Science, Technology, Engineering and Mathematics (STEM) that enhances the decision making process of students considering a major or a career in STEM fields. The model can also be used as a decision making tool for educators interested in stressing the importance of STEM for career enhancement and for society as a whole. The model creates analogies and metaphors for various STEM topics using the contents of popular music videos. Theories of neuroscience, the interdisciplinary study of the nervous system, are used to describe and validate our decision making model. Concepts such as, embodied cognition, mirror neurons and the connection between emotion and cognition, are used to explain how the brain processes the information and multi-modal stimuli generated by our model. The model was implemented using the topic of automated decision processes in robotics and automation with a group of university and high school students and teachers. The impact of the model was evaluated using the National Science Foundation (NSF) frameworks for evaluating informal science projects. The results indicate that the model using symbolic transformation to teach STEM can have a significant impact on students' attitude towards STEM and the decision making process about their careers.
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Broughton, Chad. "Frogs, Mules, and Life after Maytag." In Boom, Bust, Exodus. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199765614.003.0014.

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It Was a cold evening in early December 2006, and Tracy Warner had just returned home from Willits Primary School. Ryan had just sung in the “Winter Wonderland” musical there. Christmas lights dotted F Street, adding some warmth to her modest block in the heart of Monmouth, Illinois. She looked like a new woman, and, judging by her smile, she knew it. The jeans and T-shirt—the uniform of the anxious, soon-to-be-unemployed line worker and picketer of a couple years earlier—had been replaced by a red V-neck sweater, silk blouse, and an aura of confidence. She was wrapping up four fall semester classes and a journalism internship at the school’s news­paper, the Western Courier. She had done this while raising Ryan and frantically looking for a job. She was set to graduate on the following Saturday from Western Illinois University. The dream Warner had dreamt a thousand times while piecing together refrigerator doors on the Maytag line for over fifteen years was coming true. “Look at this,” she said, handing me an essay. “It’s a paper on Rawls’ theory of justice. He said that we have to stand behind a veil of ignorance to make fair decisions.” Her reference fit the moment. John Rawls’ 1971 Theory of Justice poses a hypothetical world in which all societal roles are shuffled behind a metaphorical “veil of ignorance.” Behind this veil, one does not know to what role he or she will be assigned in the new social order. It is only from there, Rawls argues, can one truly judge the fairness of various social roles and relations. The CEO, for instance, would have to experience the lives of workers he put out of work. Warner still saw Ralph Hake as a great villain—and it was not just because of the factory closing and the gutting of her working life as well as the working lives of her friends and co-workers. Warner had embraced the changes as best she could, and she and Ryan would find a way to survive.
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"Department, Guizhou Normal University. He is a member of the Chinese Musicians’ Association and Director of the Society for Nuo-drama of China. Tsao Penyeh is Senior Lecturer in Ethnomusicology at the Chinese University of Hong Kong. His research interest in Chinese music includes singing-narratives, puppet theatre, and ritual music. Tsao heads the Ritual Music in China Research Programme at the Music Department of the Chinese University of Hong Kong, aiming to systematically investigate Taoist and Buddhist ritual music as well as ritual music of other ethnic nationalities in China. With a team of twenty scholars, the Research Programme is presently conducting a three-year project ‘Comparative Study of Regional and Transregional Taoist Ritual Music Traditions of Major Temples in China, Hong Kong and Taiwan’. Tian Lian-tao is an ethnomusicologist and composer, and professor of the Central Conservatory of Music, Beijing, China. He has conducted extensive research into the traditional music of China’s minority nationalities for more than forty years. Xiu Hailin was born in Shanghai in 1952 and graduated from the department of Musicology at the Central Conservatory of Music in 1983. He is currently the Assistant Professor and Assistant Director of the Institute of Music, Central Conservatory of Music. Tsui Ying is currently an ethnomusicology Ph.D. student in the University of Pittsburgh (Pennsylvania, USA). He received his B.A. in 1987 and his M.Phil. (Chinese music), in 1990 from the Chinese University of Hong Kong. His major field of interest in Chinese instrumental music. In Hong Kong, he has been active as a Chinese flute player as well as a conductor in the modernized Chinese folk orchestras, as well as a Western flute player, for over a decade. His master thesis studied amateur Chinese orchestras in Hong Kong in the seventies with reference to the musical characteristics of the kind of repertoire performed and the social context in which the orchestras emerged. Tsui’s doctoral dissertation is on the issues concerning the traditional Cantonese music ensemble. Ruth Wingyu Yee , a founder of the Shatin Cantonese Opera Troupe, Hong Kong, has for the past ten years been serving on its management committee and performing as a principal actress. She was a solo folksong singer." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-17.

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Conference papers on the topic "University Musical Society"

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Smith, Kieren, Jeremy Grimshaw, and Tracianne Neilsen. "Characterization of ensemble rehearsal rooms and musician experiences at Brigham Young University." In 171st Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000292.

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Li, Zhiming. "Several Relationships in Music Education in Higher Normal University from a Global Perspective." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.222.

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Кушнір, К. В., І. М. Кравченко та Л. В. Щербакова. "ДИСТАНЦІЙНА ФОРМА НАВЧАННЯ СТУДЕНТІВ ЗВО В СУЧАСНИХ УМОВАХ МИСТЕЦЬКОЇ ОСВІТИ В ПЕРІОД ПАНДЕМІЇ". У Proceedings of the XXV International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25012021/7353.

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Abstract:
The article highlights the current state of distance education, considers its advantages and disadvantages, and analyzes the main factors that inhibit the introduction of full-fledged distance learning of art education during the pandemic. The main problems faced by university teachers in organizing distance learning are clarified. Prospects for the introduction of distance education in the Free Economic Zone of Ukraine have been studied. The main role in the implementation of distance learning is played by modern computer technologies, which in combination with the latest educational media technologies become effective means of developing professional and critical thinking of students. Right now, society is more interested than ever in informatization and computerization of all spheres of activity, including art. Therefore, the computer is an indispensable assistant to teachers and students in mastering information flows, modeling and illustrating processes, phenomena, objects and events. High-quality mastery of music and computer technology, orients the future art teacher to the school of tomorrow and gives him a certain "margin of advance" for highly professional activities. The article considers the ways of application of innovative and music-computer technologies in the study of art disciplines, as well as the forms of their implementation, which are aimed at improving the quality of training of future professionals. The main priorities for the development of modern art education in Ukraine and the prospects of distance learning for the higher education system of Ukraine during the pandemic are identified.
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