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Artículos de revistas sobre el tema "College-Conservatory of Music of Cincinnati"

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Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed wi
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2

Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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3

Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (1986): 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Pres
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4

Hoch, Matthew. "Remembering Barbara Honn: Reflections from Her Students and Colleagues." Journal of Singing 81, no. 3 (2024): 295–309. https://doi.org/10.53830/sing.00096.

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Abstract: In this article, former students and colleagues reflect on the life, career, and impact of Barbara Honn (1944–2023), who passed away August 3, 2023, after a brief illness. After an accomplished career as an operatic soprano, Honn taught at Wichita State University and the University of Texas at Austin before settling into a twenty-five-year career at the University of Cincinnati College-Conservatory of Music. Alumni from her studio are currently singing all over the world and many are active teachers of singing—as well as members of NATS. This article captures the life, pedagogy, per
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5

Knapke, Jacqueline, John R. Kues, Stephanie M. Schuckman, and Rebecca C. Lee. "3203 Collaboration in Reappointment, Promotion, and Tenure Guidelines." Journal of Clinical and Translational Science 3, s1 (2019): 130–31. http://dx.doi.org/10.1017/cts.2019.297.

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OBJECTIVES/SPECIFIC AIMS: As the issues facing our global society become more complex, university faculty are called upon to address these contemporary problems using interdisciplinary approaches. But do reappointment, promotion, and tenure (RPT) guidelines reflect and reward this fundamental change in the nature of higher education and scholarly inquiry? After collecting all of the RPT guidelines across the university, our research team at the University of Cincinnati (UC) conducted a content analysis of these documents to determine how collaborative work is defined, interpreted, and supporte
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6

Abbasov, Akif. "THE FAMOUS LIFE OF A MUSICOLOGİST, RENOWNED SCIENTIST AND TEACHER." Scientific Works 92, no. 2 (2025): 19–22. https://doi.org/10.69682/arti.2025.92(2).19-22.

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Nazim Kazim Kazimov is a professor. He previously studied at the Music College under the Azerbaijan National Conservatory (former Azerbaijan Music College named after Asaf Zeynalli). He is currently the director of the college. Later, he graduated from the philological faculty of Baku State University, as well as the Baku Academy of Music. He is a well-known figure in the music industry. This year marks the 75th anniversary of his birth. The article is dedicated to his life. Keywords: music college, national conservatory, music academy, 75th anniversary, tar pl
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7

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

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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the fa
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8

Zhang, Mengwei. "The Encounter Between Xiao Youmei and Nie Er." Aigne Journal 10 (November 15, 2024): 103–31. https://doi.org/10.33178/aigne.vol10.6.

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Music played a functional role in spreading new ideologies and cultural perspectives from the outset of the establishment of the Republic of China (1912–1949). However, even musicians who shared the aim of modernising the nation and were active in the same locations could differ markedly in their positions, both in their ideas on how to achieve this and in the actions they undertook towards that goal. This article explores the contrasting approaches of two twentieth-century Chinese composers, Xiao Youmei (1884–1940) and Nie Er (1912–1935), toward Western classical music. Xiao, classically trai
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9

Kotova, Svetlana. "The End of the Conservatory” Pre-conferencia en LIX College Music Society Conference." Átemus, no. 2 (July 5, 2017): 18–19. https://doi.org/10.5354/0719-885x.2016.46490.

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Durante el mes de octubre de 2016 se desarrolló en Santa Fe, Nuevo México, Estados Unidos, la LIX Colle- ge Music Society Conference (Conferencia Nacional de la Sociedad Universitaria de Música), organización profesional que reúne en sus filas a los académicos del área de la música de universidades norteamericanas y extranjeras. Durante la conferencia se presentaron charlas,conciertos, presentaciones, mesas redondas, discusiones y coloquios sobre los más diversos temas relacionados con la innovación, investigación, y el análisis del estado actual de la educación musical a nivel de pre y postgra
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10

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

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The educational activities of the Imperial Russian Musical Society (IRMS) were of indelible significance in the formation of the Russian musical enlightening and educational system. The Moscow Conservatory became one of the greatest achievements of the IRMS, since it concentrated in its image — its spiritual and artistic orientations, administrative and tutorial structure, and pedagogical — the characteristic particularities the development of which subsequently consolidated and elevated its significance in music history. The article examines the questions of the establishment of the tutorial-
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11

Gordeev, Petr N. "Elena Malinovskaya: Theatrical and Musical Education in the Late 1910s–1930s." Russian Musicology, no. 4 (2024): 129–37. https://doi.org/10.56620/rm.2024.4.129-137.

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The article discusses the views and influence of the prominent figure of the Soviet theater, Elena Konstantinovna Malinovskaya (1875–1942), on educational institutions in the field of music and theater. The latter included the Theater School of Moscow and one of its successors, the Ballet College, various studios, and the Moscow Conservatory. For many years, Malinovskaya was at the centre of Moscow’s theatrical life, holding various responsible positions: following the October Revolution, she headed Moscow’s state theaters until 1924; for a significant part of this period, she was also the dir
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12

Sorokina, Anna V., and Vladimir E. Okhotnikov. "Karl Eduard Weber, How He was Known in Russia." ICONI, no. 1 (2019): 29–41. http://dx.doi.org/10.33779/2658-4824.2019.1.029-041.

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The article illustrates the life and creative activity of German pianist and pedagogue Karl Eduard Weber in Russia. Weber received his education at the Leipzig Conservatory. In 1854 he went to Russia, where musicians of high professional level were on demand, and taught for over 20 years at the Tambov Music College. However, having engaged in pedagogical activity in various Russian cities, Weber frequently experienced discontent. Having observed the unsatisfactory level of musical education, he began creating methodological works. Among them, those which became famous and were disseminated wer
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13

Ferodova, Alexandra. "Parenting Styles and Their Influence on Personality and Stage Performance Successfulness of Would-Be Musicians." Musical Art and Education 7, no. 4 (2019): 31–43. http://dx.doi.org/10.31862/2309-1428-2019-7-4-31-43.

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This article is devoted to the relevant issue of correlation between the style of parenting and the prerequisites of professional difficulties that music students may have. The research of professional and personal problems of musicians, its causes and effects as well as prevention opportunities is relevant to consistently actual issues of musical education psychology. Wide public debate about authoritarianism problems and violence signs in musical pedagogy indicate importance and depth of the problem of choosing an optimal educational style, that is proved by the results of many current domes
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14

Huiqi, Quan. "Research On The Teaching Reform Mode Of Preventive Muscle Diseases In Inner Mongolia Art College: Take The Piano Playing Method Of Julia Conservatory Of Music As An Example." Multicultural Education 9, no. 5 (2023): 58. https://doi.org/10.5281/zenodo.7950642.

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<em>The incidence of neuromuscular and skeletal diseases related to performance am keyboard instrument players has been high, often limiting or terminating their learning and playing careers. Injured pianists are eager to find solutions and so-called scientific methods to develop injury prevention techniques, but these methods have not been seriously studied. Based on the researcher&#39;s 5 years of full-time and part-time teaching reform practice in the Keyboard and Instrument Department of Inner Mongolia Academy of Arts, this study investigated an interdisciplinary and non-traditional piano
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15

Rovner, Anton A. "An Interview with Composer and Pianist Nina Siniakova." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 77–87. http://dx.doi.org/10.56620/2782-3598.2023.1.077-087.

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The journal Problemy muzykal'noi nauki / Music Scholarship would like to present its readers with an interview with Nina Siniakova, a composer and pianist of a diverse cultural background and broad interests. Her music explores the eternal subjects of beauty, love, life, and death. Her colleagues describe her style as “unique and refined,” (Mark Hagerty, composer, USA) and that in their opinion makes Nina Siniakova “one of the most interesting composers of her generation.” (Krzysztof Meyer, Professor Emeritus, Cologne Hochschule für Musik) Her interests in musical genres span from music writte
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16

De Carvalho, Daniela Dias. "Urban design and architecture through notation." Ekistics and The New Habitat 73, no. 436-441 (2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the C
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17

Karelina, Yekaterina. "Tuvan Composer Ayana Oyun (Creative Portrait)." International peer-reviewed journal 11, no. 4 (2023): 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.

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Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of crea
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18

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 educati
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19

Naumenko, Tatiana I. "The Academic Activities of the Gnesins’ State Musical-Pedagogical Institute During the First Ten Years of its Work." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 24–36. http://dx.doi.org/10.56620/2782-3598.2024.1.024-036.

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On the basis of the documents preserved at the Russian State Archive for Literature and Art, the author of the article illuminates the historical context of the inauguration in 1944 of a musical institution of higher education of a scholarly-methodological profle, and also provides her evaluation of the frst decade of its functioning. As a characteristic feature, the absence of a strongly pronounced “formative period” is noted, since the activities of the Gnesins’ State Musical-Pedagogical Institute relied on the half-a-century old experience of the functioning of the other educational institu
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20

Hernandez, Fredyl B. "Musings on the Engagement of the Neophyte with the Established Archive." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (June 30, 2020): 9–16. http://dx.doi.org/10.30819/aemr.5-2.

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Music Production of De La Salle – College of Saint Benilde is a program first of its kind in the Philippines. Oriented to trail-blaze for 21st century Filipino musicians, the Music Production program is to be found not in a conservatory, but in a School of Design and Arts. As such, the program ensures responsiveness to the needs of the Creative Industries. With the government’s Long-term Development Plan, wherein culture and the arts are seen as key social and economic capitals, something is to look forward for people who innately possess a certain degree of musicality whether in traditional,
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21

Fredyl, B. Hernandez. "Musings on the Engagement of the Neophyte with the Established Archive." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (July 1, 2020): 9–16. https://doi.org/10.30819/aemr.5-2.

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Music Production of De La Salle &ndash; College of Saint Benilde is a program first of its kind in the Philippines. Oriented to trail-blaze for 21st century Filipino musicians, the Music Production program is to be found not in a conservatory, but in a School of Design and Arts. As such, the program ensures responsiveness to the needs of the Creative Industries. With the government&rsquo;s Long-term Development Plan, wherein culture and the arts are seen as key social and economic capitals, something is to look forward for people who innately possess a certain degree of musicality whether in t
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22

Rancāne, Anna. "CONTRIBUTION OF CHOIR CONDUCTORS TERĒZE BROKA AND STANISLAVS BROKS TO THE DEVELOPMENT OF LATGALIAN CULTURE IN DAUGAVPILS IN THE 60s OF THE 20TH CENTURY." Via Latgalica, no. 10 (November 30, 2017): 141. http://dx.doi.org/10.17770/latg2017.10.2774.

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Latgalian culture of the 60s and 70s of the 20th century is still insufficiently studied and evaluated. Although this time in Latvia is marked by the dominance of the Soviet ideology in all spheres of social life, russification, and ban of Latgalian print, there were people who managed to develop Latgalian identity and culture. Terēze Broka (1925) and Stanislavs Broks (1926–1977), the two outstanding choir conductors, are among such people. After graduation from Latvia State Conservatory they were appointed to work in Daugavpils. In this city, characterized by Russian spirit and with no choirs
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23

Lynnyk, M. S. "Rostislav Genika: performer, teacher, composer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.

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Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art,
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24

Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.

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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of g
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25

Krasnoshchok, Kateryna, Olha Hryhoreva, Mariia Talvynska, and Anatolii Tarabanov. "PROFESSOR YULII VAKHRANIOV: THE ART OF PEDAGOGY AND PEDAGOGY IN ART." Aspects of Historical Musicology 25, no. 25 (2021): 221–49. http://dx.doi.org/10.34064/khnum2-25.10.

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Statement of the problem. The professional activity and contribution of Professor Yulii Fedorovych Vakhraniov to the development of the Kharkiv piano school, musical pedagogy and domestic art studies has not yet been adequately covered. This challenge served as the main impetus of writing this work, which is a logical continuation of a number of studies devoted to the work of such outstanding piano teachers of Kharkiv National University of Arts as Regina Horovyts (Rudenko, 2001), Maria Yeshchenko (Kononova, 2009), Vsevolod Topilin (Pinchuk, 2012; 2018): Viktor Siryatsky (Sukhlenko, 2012) and
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26

Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

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Background. The name of Amanda Maier (married – R&amp;#246;ntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter,
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27

Strilets, Andriy. "Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 141–56. http://dx.doi.org/10.34064/khnum2-49.10.

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Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and pra
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28

Strilets, Andriy. "Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 141–56. http://dx.doi.org/10.34064/khnum1-49.10.

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Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and pra
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29

Kuzhba, Mykhailo, and Olha Yurchenko. "OLENA KOSTENKO – THE FOUNDER OF THE KHARKIV TSYMBALY SCHOOL." Aspects of Historical Musicology 22, no. 22 (2021): 135–50. http://dx.doi.org/10.34064/khnum2-22.08.

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Introduction. 2020 became an iconic and significantly groundbreaking year for all mankind. Its events made us change our view on many aspects of our life, which from one side has become a generator to search of new ways and solutions and from another one – emphasized once again the importance of events and processes of the past, reminded of the value of existing assets. All that, of course, didn’t pass by the artistic sphere, in which usual events (concerts, performances, exhibitions, conferences, etc) found their new transformation thanks to opportunities of digital technologies and due to qu
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30

Ostapenko, Anna. "FROM THE PLEYADA OF ASSOCIATE PROFESSOR I. LVIV’S STUDENTS." Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, no. 1 (7) (2018): 50–53. http://dx.doi.org/10.17721/2415-3699.2018.7.13.

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The article briefly analyzed the biography of the students of I.P.Lviv, the associate professor of the Chernihiv Pedagogical Institute. The purpose of our article was to show the biography of the students of the lecturer I.P.Lvov, who was known all the world. Our graduates were born and grew up in the Chernihiv region. We briefly wrote about the graduates of I.P.Lvov, and there are P. Tychyna, H. Verevka, F. Los and V. Dyadychenko. All of them grew up and lived in difficult times, when Ukraine was part of the Soviet Union. I. P. Lvov’s students made an outstanding contribution to science, cult
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31

Biliaieva, N. V. "Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)". Aspects of Historical Musicology 18, № 18 (2019): 171–90. http://dx.doi.org/10.34064/khnum2-18.10.

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Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding m
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32

Andriy, Strilets. "THE CONCERT AND PEDAGOGICAL REPERTORY OF KHARKIV BUTTON ACCORDION SCHOOL IN TERMS OF THE GENRE AND STYLE DYNAMIC." Aspects of Historical Musicology 22, no. 22 (2021): 7–27. http://dx.doi.org/10.34064/khnum2-22.01.

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Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Iva
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33

Mykhailo, Markovych. "Creative principles of Mykola Manoilo’s vocal pedagogy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 200–215. http://dx.doi.org/10.34064/khnum1-60.11.

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Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience
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Samson, David W. "The Establishment of the Swinney Conservatory of Music At Central Methodist University." Journal of Historical Research in Music Education, April 26, 2022, 153660062210856. http://dx.doi.org/10.1177/15366006221085672.

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The Swinney Conservatory of Music at Central Methodist University in Fayette, Missouri has a long history with unique beginnings. After the Civil War, Central College (Central Methodist’s original name) grew alongside a “Female Seminary,” Howard-Payne Female College. Through the late 19th and early 20th centuries, the two schools developed their own distinct musical cultures with Howard-Payne faculty developing a music curriculum, and Central students forming their own musical ensembles. When the schools merged in 1923 these two cultures united to create a conservatory of music at a time when
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Samson, David W. "The Establishment of the Swinney Conservatory of Music At Central Methodist University." Journal of Historical Research in Music Education, April 26, 2022, 153660062210856. http://dx.doi.org/10.1177/15366006221085672.

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The Swinney Conservatory of Music at Central Methodist University in Fayette, Missouri has a long history with unique beginnings. After the Civil War, Central College (Central Methodist’s original name) grew alongside a “Female Seminary,” Howard-Payne Female College. Through the late 19th and early 20th centuries, the two schools developed their own distinct musical cultures with Howard-Payne faculty developing a music curriculum, and Central students forming their own musical ensembles. When the schools merged in 1923 these two cultures united to create a conservatory of music at a time when
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36

Куклев, А. В. "Предыстория Нижегородской – Горьковской консерватории имени М. И. Глинки". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 4(62) (30 грудня 2021). https://doi.org/10.26086/nk.2021.62.4.023.

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В статье на основании ранее не публиковавшихся архивных документов представлен яркий период профессионального музыкального образования в Н. Новгороде, связанный с работой Нижегородской консерватории (1918–1921 годы). Открытая на базе Нижегородского музыкального училища и преобразованная в музыкальный техникум, консерватория за недолгий период работы подготовила значительное число профессиональных музыкантов, собрала замечательный педагогический состав. Череда реорганизаций высшего учебного заведения — Народная консерватория (июль 1918 года – январь 1919 года) – Государственная консерватория (я
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Court, Benjamin. "cardew’s lessons: the scratch orchestra’s amateur democracy (1967–1973)." Music and Letters, June 16, 2022. http://dx.doi.org/10.1093/ml/gcac045.

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ABSTRACT Between 1967 and 1973 Cornelius Cardew taught at three different London institutions—a traditional music conservatory (the Royal Academy of Music), an adult education college (Morley College), and a politically radical free school (the Antiuniversity of London). These schools introduced Cardew to a wide range of technical musical abilities and profoundly affected the composer’s works and pedagogy, culminating in a new musical organization: the Scratch Orchestra. This essay details the political implications of Cardew’s teaching philosophy within the Scratch Orchestra and the lessons t
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Wu, Xiaojun. "Exploring the Development of Contemporary Chinese Flute Art Through Heavenly Tune of Chinese Flute and The Ancient Call." Arts Studies and Criticism 2, no. 1 (2021). http://dx.doi.org/10.32629/asc.v2i1.278.

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In the 21st century, the development of the flute follows the steps of modernization closely, and a batch of outstanding works with novel genre and innovative theme appear. This paper will focus on two new national art funded projects in China. One is the large humanity art epic The Ancient Call by Chinese Flute music college professor Zhang Weiliang from China Conservatory of Music, and the other is Tang Junqiao’s Chinese Flute stage play Heavenly Tune of Chinese Flute. This paper aims to explore the motivation that China’s performance composers create and promote the innovation of the tradit
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Cao, Hong. "Entrepreneurship education-infiltrated computer-aided instruction system for college Music Majors using convolutional neural network." Frontiers in Psychology 13 (July 19, 2022). http://dx.doi.org/10.3389/fpsyg.2022.900195.

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The purpose is to improve the teaching and learning efficiency of college Innovation and Entrepreneurship Education (IEE). Firstly, from the perspective of aesthetic education, this work designs the teacher and student sides of the Computer-aided Instruction (CAI) system. Secondly, the CAI model is implemented based on the weight sharing and local perception of the Convolutional Neural Network (CNN). Finally, the performance of the CNN-based CAI model is tested. Meanwhile, it analyses students’ IEE experience under the proposed CAI model through a case study of Music Majors from Xi’an Conserva
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MacMillen, Ian. "Romani Music Collections, the Ruptured Archive, and Epistemic Justice in the United States." Music & Minorities 3 (November 27, 2024). http://dx.doi.org/10.52413/mm.2024.26.

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Creating collections and archives of genres such as csardas, parallel to holdings of Romantic compositions based on those styles, affords a means for contemporary Romani performance to provoke institutional recognition of Roma’s historical influence on art music. This essay analyzes an instance of such a project at Oberlin College &amp; Conservatory, while also advocating for a rupturing and resuturing of traditional archival data. A Storied People, an online Romani music project bridging collections of musical media and oral histories of csardas musicians in the Hungarian/Slovak Roma communit
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Ida Vujović. "Between building foundational skills and instilling self-guided learning: Solfège pedagogy in higher music education." Royal Conservatoire Research Portal, no. 2 (August 7, 2014). http://dx.doi.org/10.22501/koncon.87162.

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While in some educational systems solfège is taught systematically from a young age (whether in specialized music schools or in classroom music), in other countries it is a compulsory discipline only in professional education. In the latter case, students start learning solfège as teenagers or young adults but by that time they have already developed some of the solfège skills through years of playing an instrument. What these skills exactly are, and what overall musical knowledge students already have, differs from one student to another. Some are already familiar with certain chord progressi
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42

"Abstracts: Language learning." Language Teaching 40, no. 4 (2007): 337–45. http://dx.doi.org/10.1017/s0261444807004594.

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07–533Anh Tuan, Truong &amp; Storch Neomy (U Melbourne, Australia; neomys@unimelb.edu.au), Investigating group planning in preparation for oral presentations in an EFL class in Vietnam. RELC Journal (Sage) 38.1 (2007), 104–124.07–534Bada, Erdogan &amp; Bilal Genc (U Çukurova, Turkey; erdoganbada@gmail.com), An investigation into the tense/aspect preferences of Turkish speakers of English and native English speakers in their oral narration. The Reading Matrix (Readingmatrix.com) 7.1 (2007), 141–150.07–535Beasley, Robert (Franklin College, USA; rbeasley@franklincollege.edu), Yuangshan Chuang &am
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Стоянова, В. И. "THE GENESIS OF SOCIAL AND CULTURAL RELATIONSHIP BETWEEN MOLDOVA AND RUSSIA FROM THE END OF XVIII CENTURY TO 1991 (ON THE EXAMPLE OF MUSICAL ART)." Вестник Адыгейского государственного университета, серия «Регионоведение», no. 2(319) (October 17, 2023). http://dx.doi.org/10.53598/2410-3691-2023-2-319-62-69.

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В канун 150-летней годовщины со дня рождения великого русского пианиста и композитора С.В. Рахманинова (1873-1943), чьё родословное древо восходит к молдавской княжеской династии Мушатинов, уместно вспомнить о многоаспектных культурных взаимоотношениях двух стран. В статье рассматривается хронология развития совместной социокультурной деятельности Молдовы и России на примере музыкального искусства с конца XVIII века и до окончания советского периода. Тема эта не нова, однако существуют еще лакуны, которые необходимо восполнить. Генезис социокультурной деятельности в сфере музыкального искусств
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Tyshchyk, Borys. "ЮРИДИЧНИЙ ФАКУЛЬТЕТ ЛЬВІВСЬКОГО УНІВЕРСИТЕТУ ТА ЙОГО ВИПУСКНИКИ: ЕДЕР ТАДЕЙ ОЛЕКСАНДРОВИЧ". Visnyk of the Lviv University. Series Law, 20 червня 2025, 156–62. https://doi.org/10.30970/vla.2025.80.156.

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The figure of this graduate of the Law Faculty, Tadei Eder, has not received much attention in the legal literature so far. Perhaps this is because until recently he lived and worked, though not entirely in the legal field. Tadei Eder was born in 1943 to a family of indigenous Lvivians in Lviv, where he received his primary and secondary education. Since his youth, he had a natural talent for art, creativity and singing (he had a beautiful tenor voice). He began his career in 1967 as an artist at the opera studio of the Lviv Conservatory, then at the Honoured Choir Trembita. He graduated from
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Connor, Will. "Positively Monstrous!" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2822.

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Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument
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Adams, Jillian Elaine. "Australian Women Writers Abroad." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1151.

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At a time when a trip abroad was out of the reach of most women, even if they could not make the journey, Australian women could imagine “abroad” just by reading popular women’s magazines such as Woman (later Woman’s Day and Home then Woman’s Day) and The Australian Women’s Weekly, and journals, such as The Progressive Woman and The Housewife. Increasingly in the post-war period, these magazines and journals contained advertisements for holidaying abroad, recipes for international foods and articles on overseas fashions. It was not unusual for local manufacturers, to use the lure of travel and
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