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Artículos de revistas sobre el tema "Instrumental ensembles"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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1

Larikova, Liudmyla. "Women’s Bandura Ensembles. Aspects of Working with Small Vocal Ensembles." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 37–42. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260413.

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The paper describes the specific features in the functioning of women’s bandura ensembles. In particular, it gives a historiographical picture of vocal-instrumental bandura performance, describes the stages of academisation of women’ssinging in bandura ensembles, and overviews the main methodological approaches of work with women’s vocal-instrumental bandura ensembles. Women’s bandura ensembles as an academic genre trend of Ukrainian musical culture have three fields of study: vocal and instrumental (performers), genre and stylistic (composers), and social and educational (cultural). Also, it
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2

Pratt, George. "Music for instrumental ensembles." British Journal of Music Education 5, no. 3 (November 1988): 320–22. http://dx.doi.org/10.1017/s0265051700006732.

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3

Kysliak, Bohdan. "Ukrainian folk instrumental ensemble music-making in the historical process." Aspects of Historical Musicology 28, no. 28 (December 28, 2022): 24–37. http://dx.doi.org/10.34064/khnum2-28.02.

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Statement of the problem. The ensemble is a type of collective musicmaking that dates back to ancient times and is an integral factor in the spiritual life of any nation. For Ukrainian culture, the traditions of the folk-instrumental ensemble have always been important, because they were associated with labor and ceremonial-ritual functions in society, people’s daily life, and secular forms of musical art. The article singles out significant elements of the process of academicization and chamberization of accordion ensembles in order to determine the characteristic features of Ukrainian folk-i
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4

Davis, Virginia Wayman, Laura Singletary, and Kimberly VanWeelden. "General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles." General Music Today 33, no. 1 (March 29, 2019): 6–14. http://dx.doi.org/10.1177/1048371319839112.

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In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary
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5

Ray, James, and Karin S. Hendricks. "Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles." Journal of Research in Music Education 66, no. 4 (October 19, 2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.

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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that wa
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6

Danyliuk, M., and Ya Danyliuk. "Creative guidelines of folk­instrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries." Culture of Ukraine, no. 81 (September 21, 2023): 69–76. http://dx.doi.org/10.31516/2410-5325.081.09.

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The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
 The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative met
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7

Mokrohuz, Inna. "Modern instrumental and orchestral art of the Bukovyna region." Aspects of Historical Musicology 31, no. 31 (July 27, 2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.

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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is than
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8

Imran, Sheik, and Pradeep N. "A Review on Ensemble Machine and Deep Learning Techniques Used in the Classification of Computed Tomography Medical Images." International Journal of Health Sciences and Research 14, no. 1 (January 19, 2024): 201–13. http://dx.doi.org/10.52403/ijhsr.20240124.

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Ensemble learning combines multiple base models to enhance predictive performance and generalize better on unseen data. In the context of Computed Tomography (CT) image processing, ensemble techniques often leverage diverse machine learning or deep learning architectures to achieve the best results. Ensemble machine learning and deep learning techniques have revolutionized the field of CT image processing by significantly improving accuracy, robustness, and efficiency in various medical imaging tasks. These methods have been instrumental in tasks such as image reconstruction, segmentation, cla
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9

Roseth, Nicholas E. "A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana." Journal of Research in Music Education 68, no. 3 (September 1, 2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.

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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at high
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10

Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles." Music Educators Journal 109, no. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.

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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.
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11

McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (December 2004): 343–56. http://dx.doi.org/10.1177/002242940405200406.

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This study is an examination of the relationship between gender and participation in high school and college instrumental jazz ensembles. Student demographic and attitudinal information was collected using the researcher-designed Instrumental Jazz Participation Survey (IJPS). Undergraduate college band students ( N=628) representing 15 programs offering degrees in music education were surveyed. Gender and jazz ensemble participation were found to be related at both levels; 52% of women and 80% of men surveyed reported playing jazz in high school, and 14% of women and 50% of men played in colle
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12

Lygina, Elena Vladimirovna. "The principle of modeling as a means of classification of instrumental ensembles with a domra." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 11–19. http://dx.doi.org/10.7256/2453-613x.2021.2.35117.

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The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and s
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13

Tucker, Olivia. "Mastery Goals and Intrinsic Motivation in Instrumental Ensembles." Music Educators Journal 106, no. 4 (June 2020): 30–35. http://dx.doi.org/10.1177/0027432120901767.

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How do we motivate students to practice and persist when facing challenges inherent in learning to play an instrument? In this article, I synthesize research findings into strategies to encourage students’ mastery goal orientations and intrinsic motivation. Educators can use these strategies in the classroom or as inspiration to create innovative ways of supporting student motivation in instrumental music.
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14

Plescan, Irina. "Piano trio in the composers’ creation of the Republic of Moldova: historical and theoretical aspects." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 78–83. http://dx.doi.org/10.55383/amtap.2022.2.13.

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The chamber- instrumental ensemble is one of the oldest types of instrumental ensembles in music art, having a rich history. It is vividly represented in the composers’ creative work of different epochs, national schools and styles, ranging from European baroque to modern music. Regarding the whole variety of instrumental compositions in chamber music, the piano chamber-instrumental ensemble occupies the first place, thus, one of the most popular genres of chamber-instrumental ensemble can be considered the piano trio genre. In the present article, the evolution of Moldovan chamber instrumenta
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15

Palamara, Jason. "Diverse instrument symphonic ensembles: Making sustainable music amid unsustainable situations." Journal of Popular Music Education 7, no. 2 (June 1, 2023): 195–203. http://dx.doi.org/10.1386/jpme_00113_1.

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Music technology-focused ensembles such laptop orchestras have become mainstays at higher education institutions. Nevertheless, the perpetual innovation inherent in the mandate of such a group presents some unique challenges in the post-pandemic academic landscape. In the post-COVID period of supply chain breakdowns and budget-obsessed administrations, building an ensemble focused on technology may become prohibitively expensive. As traditional music departments struggle with lower enrolment, expanding large ensembles to include a more diverse corpus of instruments would solve multiple problem
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16

STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (January 11, 2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.

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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of p
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17

Moore, Thomas R. "This is My Instrument: An Approach Towards Performance Practice for Integrated Concerts." INSAM Journal of Contemporary Music, Art and Technology, no. 10 (July 15, 2023): 90–108. http://dx.doi.org/10.51191/issn.2637-1898.2023.6.10.90.

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The Belgium-based Nadar Ensemble is a new music ensemble that specializes in performing curated and integrated concerts. In this case ‘integrated’ infers that all aspects of the concert are taken into consideration. Questioning, developing, and instrumentalizing video, light and sound design (including live electronics), costuming, decor, and even personnel such as a conductor and other roles typically inherent to an ensembles’ tradition, have become an integral part of Nadar’s and other similar ensembles’ concert programming. In this paper I will specifically lay out the manners in which the
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18

Stronko, Borislav. "Local Assembly in the Orchestral Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 70–84. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296798.

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The artistically important phenomenon of the temporary separation of ensembles from the orchestral whole, which lasts for a certain structural unit of the composition, is considered. This phenomenon is called "local ensemble". The principles of distinguishing in the existing literature between orchestral solos and soloist ensembles as mainly a group sound effect are defined. The scientific novelty of the study, which stems from a special view of the orchestra as a field of intersection and emergence of instrumental ensembles, is substantiated. A comparative analysis of scores from different er
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19

Polk, Keith. "Instrumental music in the urban centres of Renaissance Germany." Early Music History 7 (October 1987): 159–86. http://dx.doi.org/10.1017/s0261127900000577.

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Modern scholarship about Renaissance instrumental music has suffered from a scarcity of musical sources. Consequently current research efforts often seem to operate in the manner of archaeological excavations; at times it is only as one layer is painstakingly uncovered that the configurations of another are revealed. This was certainly the experience of this contribution, which began as an investigation into late fifteenth-century Italian instrumental practices. The early phases of the Italian study involved sifting through many archival documents, and one initial miscellaneous impression was
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20

Jiang, Yiqun. "Development of modern folk and instrumental ensembles in China." Interactive science, no. 8 (October 20, 2016): 27–29. http://dx.doi.org/10.21661/r-113232.

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21

Ryan, Charlene, and Nicholle Andrews. "An Investigation Into the Choral Singer's Experience of Music Performance Anxiety." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 108–26. http://dx.doi.org/10.1177/0022429409336132.

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The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs ( N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their use of coping mechanisms. Results indicated that performance anxiety was a common experience for these choral singers. Solo performances were reported to be more anxiety inducing than ensemble experiences, but performing in instrumental ensembles ind
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22

Jankovic-Begus, Jelena. "Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic." Muzikologija, no. 19 (2015): 83–117. http://dx.doi.org/10.2298/muz1519083j.

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The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special
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23

Sacks, Jonah, and Benjamin E. Markham. "Modifying a recital hall to extend its range of use: A case study." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A236. http://dx.doi.org/10.1121/10.0011177.

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Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble
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24

Jiang, Yiqun. "Basic Rules for the Formation of Chinese Folk Instrumental Ensembles." Университетский научный журнал, no. 62 (2021): 173–78. http://dx.doi.org/10.25807/22225064_2021_62_173.

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25

Tan, Leonard. "Concept Teaching in Instrumental Music Education." Update: Applications of Research in Music Education 35, no. 2 (August 1, 2016): 38–45. http://dx.doi.org/10.1177/8755123315604455.

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This article is a review of research literature on the teaching of concepts in instrumental music education. It is organized in four parts (a) the value of concept teaching in large instrumental ensembles, (b) time spent teaching concepts during rehearsals, (c) approaches to concept teaching, and (d) implications for music education. Research has indicated that there is value to teaching conceptually. Time invested in teaching concepts has not been found to detract from performance goals; on the contrary, performance may be enhanced. Musical concepts may be taught via positive and negative ins
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26

Stephanie Prichard. "Music Practice Instruction in Middle School Instrumental Ensembles: An Exploratory Analysis." Bulletin of the Council for Research in Music Education, no. 213 (2017): 73. http://dx.doi.org/10.5406/bulcouresmusedu.213.0073.

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27

McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (2004): 343. http://dx.doi.org/10.2307/3345387.

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28

Shaymukhametova, Liudmila N. "Contrapuntal Compositions in the Form of Historical Dances in the Conditions of Ensemble Music-Making." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 166–77. http://dx.doi.org/10.56620/2782-3598.2024.2.166-177.

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The musical culture of the baroque period in distinguished for its interest in dances and in ensemble performance, which found its reflection in works for clavier in various genres. The dances presumed a manifold repeated expounding of the initial musical idea initially for clavier by various instrumental ensembles corresponding to two “storylines”: the dancing and presenting the scenes of musical performance. The revival of the ensemble forms of vernacular musical performance intrinsic to the baroque period has become topical in the present-day instruction of piano ensemble. This kind of prac
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29

Palubinskienė, Vida. "Some Aspects of Schoolchild’s and Students’ Ethnic Identity Development Though Ethnic Instrumental Music." Pedagogika 117, no. 1 (March 5, 2015): 98–109. http://dx.doi.org/10.15823/p.2015.070.

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One of the basic objectives of contemporary pedagogy is developing youth’s national musical culture. In the course of history, when the idea of Lithuanian independence used to become realistic and tangible, special attention was paid to identity issues. The efforts to sustain and to thoroughly foster our traditions, customs, language and ethnical music had the greatest impact on the development of Lithuanian people’s national awareness. The essential categories characterizing the Lithuanian national identity have been and remained self-awareness, language, customs, folk art, and ethnical instr
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May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.

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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only o
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31

Cabacov, Dmitrii. "The main problems of modern research on chamber instrumental music in Russia, Ukraine and Belarus." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 67–73. http://dx.doi.org/10.55383/amtap.2022.2.11.

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In the center of the author’s attention are the problems of chamber instrumental music in the Eastern European countries: the renewal of the musical language, the genre and stylistic searches, the significant compositional achievements in the field of chamber music. Young musicologists rely in their research on the works of L. Raaben, a recognized authority in the field. They consider the role of the chamber instrumental genres in the artistic space of the Silver Age, present the evolution of the genre of a large ensemble with the participation of the piano, analyze the problems of the history
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32

Lanina, T. O. "Theoretical Basis of Vocal Ensemble Performance." Musical art in the educological discourse, no. 2 (2017): 46–50. http://dx.doi.org/10.28925/2518-766x.20172.4650.

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The article covers scientific bases of contemporary vocal performing as a specific genre of music culture. The ontological, culturological, communicative and esthetical aspects of ensemble vocal performing are exhaustively presented. The literary works on history and theory of ensemble performing have been analysed. The focus has been placed on ensemble forms of vocal performing and vocal instrumental ensembles. The term ‘ensemble’ has been defined and genre characteristics of contemporary vocal ensemble have been singled out with further analysis of their distinctive structural features and f
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33

Hebert, David G. "The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission." Journal of Research in Music Education 49, no. 3 (October 2001): 212–26. http://dx.doi.org/10.2307/3345707.

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Instrumental music education in Japan has long emphasized wind bands, and in recent decades, Japanese bands have achieved a level of performing excellence that arguably rivals all other nations. This case study of Japan s premier wind ensemble provides insights applicable to bands throughout the nation. The study explores the influence of the ensembles repertoire and educational activities, traces its religious origins, and examines Frederick Fennell's role as musical ambassador. The findings suggest that Japan has not only assimilated and mastered the band genre, but it has transformed the tr
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34

Iniutochkina, Nina. "Algorithms of interpretation of poly-timber vocal and instrumental ensembles in the concertmaster class." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 27–46. http://dx.doi.org/10.34064/khnum1-70.02.

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Statement of the problem. A significant part of the repertoire in the concertmaster class is chamber vocal works that engage the synthesis of Word and Music, that is, the inseparable trinity of the poetic text, its vocal embodiment, and instrumental accompaniment, which calls for the need for accurate correlation of the efforts of the singer and concertmaster, the performers’ synergy. And although chamber vocal works mostly have purely piano accompaniment, in some cases a part of a string or wind instrument is added to it, and then the mentioned trinity of musical and poetic synthesis is compl
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35

Furdychko, Andrii, and Olesya Ilyenko. "VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 63–67. http://dx.doi.org/10.24061/2411-6181.2.2021.270.

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The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of
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36

Ovchinnikov, Pavel, and Marina Leonidovna Zaitseva. "Moscow Jazz School of the 1950s and 1960s: leading soloists and collectives." PHILHARMONICA. International Music Journal, no. 2 (February 2023): 51–60. http://dx.doi.org/10.7256/2453-613x.2023.2.40897.

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The subject of the study is the creativity of the leaders of the Moscow jazz school of the 1950s and 1960s: the variety orchestra at the Moscow State Orchestra under the direction of E. Rosner, the jazz orchestra of the Central Chamber of Artists Yu. The Saul Variety Orchestra conducted by O. Lundstrom. The article summarizes the results of the study of the domestic jazz art of the 1950s and 1960s, substantiates the trend in the development of instrumental jazz, and characterizes the repertoire policy of Moscow jazz ensembles. The hypothesis of the influence on the development of the national
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37

Коденко И. И. "ФОРМИРОВАНИЕ АУТЕНТИЧНОГО ИСПОЛНИТЕЛЬСТВА КАК ТЕНДЕНЦИЯ МУЗЫКАЛЬНОЙ КУЛЬТУРЫ XX-XXI ст." Science Review, № 9(26) (30 листопада 2019): 12–18. http://dx.doi.org/10.31435/rsglobal_sr/30112019/6815.

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The article is devoted to the study of the authentic performance periods formation and the definition of their specifics. The evolution of the origin and formation of ancient ensembles, both instrumental and vocal, and their rapid growth around the world are analyzed. The works of many researchers are devoted to the study of ancient music: V. P. Kachmarchik, R. Taruskin, N. V. Sikorskaya, etc. but the lack of musicians attention and theoretical studies to the issues of specificity and authentic performance development are emphasized. As a result of work the review of the most known ensembles a
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38

Durrant, Colin. "Towards a Model of Effective Communication: A Case for Structured Teaching of Conducting." British Journal of Music Education 11, no. 1 (March 1994): 57–76. http://dx.doi.org/10.1017/s0265051700002011.

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Recent teaching with PGCE secondary music students has revealed that conducting ensembles is a musical activity in which they have variable knowledge, skills and experience. It is a general expectation, nevertheless, that music teachers still conduct choral and instrumental ensembles as part of their job in schools, and some may also undertake such roles in the wider community. This paper seeks to identify from research literature aspects of effective conducting that warrant greater attention. This forms part of a research project which is exploring definitions of effective conducting and maki
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39

Dickey, Marc R. "A Comparison of Verbal Instruction and Nonverbal Teacher-Student Modeling in Instrumental Ensembles." Journal of Research in Music Education 39, no. 2 (1991): 132. http://dx.doi.org/10.2307/3344693.

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Kubik, Olha. "ENSEMBLE IN THE BANDURA ART IN THE CENTER OF THE UKRAINIAN DIASPORA: CULTURAL-HISTORICAL ASPECTS OF DEVELOPMENT." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 220–25. http://dx.doi.org/10.25264/2409-6806-2020-31-220-225.

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The article analyzes the ensemble work of the diaspora bandura players. It is noted that ensemble music has its origins in the so called “kobzarism” in Ukraine. The development of bandura art in the diaspora of the twentieth century occurred differently. This is due to the chronological, spatial, geographical and cultural factors of the countries of the world where the bandura cells were located. The history of the appearance of Ukrainian bandura players on the territories of other continents is covered, and the emigration waves that became the impetus for the development of bandura art abroad
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Lukashenko, Larisa. "REVIVAL FOLK PERFORMANCE IN UKRAINE: ORIGIN, PROGRESS, ACHIEVEMENTS (FROM THE LATE 1970S TO THE PRESENT)." Problems of music ethnology 18 (December 22, 2023): 75–92. http://dx.doi.org/10.31318/2522-4212.2023.18.294832.

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The development of the new history of Ukraine contributes to the fact that the using of folklore in various directions of modern culture (a process generally called folklorism) is constantly in an upward direction. In recent decades, there has been a growing public interest to folk music and revival folk performance as well.
 Although the history of Ukrainian reconstructive performance dates back to more than four decades, it remains almost unexplored, which justifies the relevance and scientific novelty of the proposed study. This is partly due to the fact that the scientific definition
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42

Clementson, Casey J. "A mixed methods investigation of flow experience in the middle school instrumental music classroom." Research Studies in Music Education 41, no. 1 (June 19, 2018): 43–60. http://dx.doi.org/10.1177/1321103x18773093.

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Although flow theory is one way of measuring the quality of a student’s experience in a music ensemble, the majority of flow research utilizes samples of high school or collegiate level musicians thus causing us to generalize findings to young adolescent (middle school) populations. Using a convergent parallel mixed methods design, the purpose of this study was to examine factors that may contribute to flow experiences of students in a middle school band. Quantitative data (surveys that included the Experience Sampling Method) and qualitative data (case study of an eighth grade band) were anal
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Cheng, Lee, Chi Hin Leung, and Wing Yan Jasman Pang. "Audience’s Perceived Expectancy and Authenticity of Classical Music Performance by Digital Musical Instrument Mobile Apps." Music Perception: An Interdisciplinary Journal 41, no. 2 (December 1, 2023): 132–47. http://dx.doi.org/10.1525/mp.2023.41.2.132.

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Classical music is characterized by its standardized practices and established patterns of audience behavior. Recent advancements in digital musical instrument (DMI) and mobile technology may potentially offer a means by which the art form can further evolve. This paper presents a study that aims to examine the audience’s perception of classical music concerts performed by ensembles using DMI mobile apps and tablets. A mixed-methods approach was employed, including a questionnaire survey administered to audiences (N = 141) attending a classical music concert featuring repertoire performed by D
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Allsup, Randall Everett. "Mutual Learning and Democratic Action in Instrumental Music Education." Journal of Research in Music Education 51, no. 1 (April 2003): 24–37. http://dx.doi.org/10.2307/3345646.

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This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups cul
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Silvey, Brian A., and Mark Montemayor. "Effects of Internal and External Focus of Attention on Novices’ Rehearsal Evaluations." Journal of Research in Music Education 62, no. 2 (May 19, 2014): 161–74. http://dx.doi.org/10.1177/0022429414530434.

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The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of tim
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Bebak, Marek. "Carmelite music ensembles in the Greater Poland province in the eighteenth century. Musicians and their repertoire." Muzyka 68, no. 4 (December 29, 2023): 20–37. http://dx.doi.org/10.36744/m.2442.

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This article deals with the musical culture of the Carmelites of the Ancient Observance in the territory of Greater Poland in the 18th century and has been prepared on the basis of archival materials stored in Polish and foreign archives. In 1743, the monastic authorities of the Greater Poland Province introduced a decree according to which secular musicians were to be removed from Carmelite ensembles. The text therefore identifies those Carmelite centres where vocal and instrumental ensembles were active in the 18th century (Poznań, Markowice, Gdańsk, Kcynia, Obory, Drohobycz and Płońsk, as w
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Mazur, D. V. "PEDAGOGICAL CONDITIONS AND METHODS OF DEVELOPMENT OF PROFESSIONAL REFLECTION OF FUTURE LEADERS OF INSTRUMENTAL ENSEMBLES." Innovate Pedagogy, no. 26 (2020): 130–34. http://dx.doi.org/10.32843/2663-6085/2020/26.25.

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Knight, Jeff R. "The Atlantic Multidecadal Oscillation Inferred from the Forced Climate Response in Coupled General Circulation Models." Journal of Climate 22, no. 7 (April 1, 2009): 1610–25. http://dx.doi.org/10.1175/2008jcli2628.1.

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Abstract Instrumental sea surface temperature records in the North Atlantic Ocean are characterized by large multidecadal variability known as the Atlantic multidecadal oscillation (AMO). The lack of strong oscillatory forcing of the climate system at multidecadal time scales and the results of long unforced climate simulations have led to the widespread, although not ubiquitous, view that the AMO is an internal mode of climate variability. Here, a more objective examination of this hypothesis is performed using simulations with natural and anthropogenic forcings from the Coupled Model Interco
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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.

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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrai
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Gooch, Riki. "An Indigenous embodiment of Conduction: Collective composition for traditional Māori instruments and beyond." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 303–15. http://dx.doi.org/10.1386/jpme_00123_1.

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This article looks at the indigenization of Butch Morris’s Conduction methodology by embodying it within ngā taonga puoro (traditional Māori musical instruments and practice). It explains the transition of Conduction from western music ensembles to a Māori instrumental orchestra. This is an examination of how the alteration of Morris’s conducting vocabulary can offer an alternative to the challenges faced with writing for ngā taonga pūoro within the context of western musical notation and how the recording process contributed to this development.
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