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Artículos de revistas sobre el tema "Youth Orchestra"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 15 de febrero de 2022

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1

Carlson, Alexandra. "The Story of Carora: The Origins of El Sistema." International Journal of Music Education 34, no. 1 (2015): 64–73. http://dx.doi.org/10.1177/0255761415617926.

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Venezuela’s youth symphony program, the Fundación Musical Simón Bolívar, commonly referred to as “El Sistema,” combines musical achievement with learning important life skills through orchestral practice and performance. Although the history most commonly reported outside Venezuela is of the program’s director, José Antonio Abreu, hosting a rehearsal of music students in a Caracan parking lot in 1975, El Sistema’s origins are equally owed to another orchestra. That same year, arts advocate Juan Martínez founded Venezuela’s first children’s orchestra in the Venezuelan city of Carora alongside t

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2

Pope, David A. "An Analysis of the Repertoire Performed by Youth Orchestras in the United States." String Research Journal 9, no. 1 (2019): 35–49. http://dx.doi.org/10.1177/1948499219851378.

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The purpose of this study was to develop a deeper understanding of repertoire performed by youth orchestras in the United States. Through an online survey, youth orchestra administrators ( N = 39) provided information about repertoire performed by their program’s premier orchestra during their 2015-2016 season. Orchestras performed 302 different pieces of music by 158 different composers. The Firebird by Igor Stravinsky, Carmen Suite No. 1 by Georges Bizet, and Ruslan and Ludmilla Overture by Mikhail Glinka were performed most frequently. Approximately three quarters of all compositions were w

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3

Brooks, Richard, and Donald Martino. "Divertisements; For Youth Orchestra." Notes 41, no. 4 (1985): 782. http://dx.doi.org/10.2307/940884.

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4

Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer

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5

Head, Raymond. "John Foulds." Tempo 59, no. 232 (2005): 52–53. http://dx.doi.org/10.1017/s0040298205230152.

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FOULDS: Three Mantras op. 61b3; Lyra Celtica, Concerto for voice and orchestra op. 501; Apotheosis (Elegy) for violin and orchestra op. 182; Mirage op. 20. 1Susan Bickley (mezzo), 2Daniel Hope (vln), 3City of Birmingham Youth Chorus, City of Birmingham Symphony Orchestra c. Sakari Oramo. Warner Classics 2564 61525-2.

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6

Turner, Kay-Alana, Craig S. Escamilla, and Enrique Henry R. Venta. "The Symphony Of Southeast Texas In 2015: A Regional Orchestra Navigating New Horizons." Journal of Business Case Studies (JBCS) 12, no. 2 (2016): 61–68. http://dx.doi.org/10.19030/jbcs.v12i2.9623.

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The Symphony of Southeast Texas (Beaumont, TX) is the only professional symphony orchestra between Houston, TX, and Lake Charles, LA. From 2010- 2014, the organization focused on resolving internal management and financial challenges. Additionally, the orchestra identified 3 major goals: (1) To be an orchestra able to play anything, (2) To be an orchestra reaching 1/3 of the local population each season, and (3) To be an orchestra hosting a music school with a full youth orchestra. As the 2014 -2015 season began, these initiatives created a position full of possibilities for the orchestra’s ne

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7

RUBINOFF, KAILAN R. "Cracking the Dutch Early Music Movement: the Repercussions of the 1969 Notenkrakersactie." Twentieth-Century Music 6, no. 1 (2009): 3–22. http://dx.doi.org/10.1017/s1478572210000034.

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AbstractThe Notenkrakersactie of 17 November 1969 was a landmark event for Dutch musical life: a group of composers disrupted a concert of the Concertgebouw Orchestra, protesting against the orchestra's lack of contemporary music programming. Scholars have tended to interpret this protest as a watershed for the avant-garde, but historical performance – not just contemporary music – proved to be a significant beneficiary. Early Musicians, like New Musicians, had common political goals and appealed to the youth counterculture. Ensuing reforms to the federal arts subsidy system, state-funded musi

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8

Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS." ARTSEDUCA 29, no. 29 (2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.

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    Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical S

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9

Cho, Soomin, Hyunjoo Kim, and Jeonggi Lim. "Critical success factors in the orchestra for underrepresented youth." Center for Social Welfare Research Yonsei University 54 (September 30, 2017): 5–26. http://dx.doi.org/10.17997/swry.54.1.1.

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10

Cho, Soomin, Hyunjoo⋅ Kim, and Jeonggi Lim. "Critical success factors in the orchestra for underrepresented youth." Korean Journal of Social Welfare Research 54 (September 30, 2017): 5–26. http://dx.doi.org/10.17997/swry.54.1.1.

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11

Fried, Eric. "The Art of Programming for the Youth Symphony Orchestra." American String Teacher 47, no. 4 (1997): 59–66. http://dx.doi.org/10.1177/000313139704700410.

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12

Serov, Iurii Eduardovich. "Youth Symphony of Boris Tishchenko." Философия и культура, no. 1 (January 2021): 1–9. http://dx.doi.org/10.7256/2454-0757.2021.1.34982.

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The subject of this research is youth oeuvre of the prominent Russian composer of the second half of the XX century Boris Tishchenko. The symphony &ldquo;Crainquebille&rdquo; was composed in 1958 based on the eponymous acute social story by Anatole France on misadventures of a Parisian greengrocer, a &ldquo;little man&rdquo; who was caught up in the wheel of justice. In 1993, the composer renamed the symphony &ldquo;Crainquebille&rdquo; into &ldquo;French&rdquo;. Special attention is given to symphonic dramaturgy, programmability in music, and interrelation betw

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13

Lister, John Rodney. "BBC Proms 2013: Gerald Barry, Peter Eötvös, Nishat Kahn, Frederic Rzewski and Mark Anthony Turnage." Tempo 68, no. 267 (2014): 55–57. http://dx.doi.org/10.1017/s0040298213001356.

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Mark Anthony Turnage's Frieze – performed by the National Youth Orchestra of Great Britain, conducted by Vasily Petrenko, on 11 August – and Nashit Kahn's The Gate of the Moon, a concerto for sitar and orchestra – performed by Kahn himself with the BBC National Orchestra of Wales, conducted by David Atherton on 12 August – both raise the question of how, in a new piece, one can meaningfully reference other music. Turnage's work was commissioned by the Royal Philharmonic Society to celebrate the organisation's bicentennial and to share a programme as their most famous and, probably, greatest co

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14

Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.

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Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory

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15

Harten, Michael, and Jennifer Rabold. "An Interview with Benjamin Zander: Conductor of the Boston Philharmonic Orchestra and the New England Conservatory Youth Philharmonic Orchestra." Journal of Education 190, no. 1-2 (2010): 55–58. http://dx.doi.org/10.1177/0022057410190001-209.

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16

Lee, Dong-Hee. "A Study on the Interconceptual Change and Educational Effects of Members of Multicultural-Based Youth Orchestra : Focused on Interviews and Surveys with Members of the Sori-eoul Youth Orchestra." Tongyang Ŭmak 49 (June 30, 2021): 117–55. http://dx.doi.org/10.33452/amri.2021.49.117.

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17

Ramnarine, Tina. "Musical performance as storytelling: Memory, European integration, and the Baltic youth philharmonic оrchestra?" Muzikologija, № 16 (2014): 83–103. http://dx.doi.org/10.2298/muz1416083r.

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Storytelling has been theorized as a performative, narrative practice, but it has not been employed often as a trope in studies of musical performance. This article outlines a theoretical context for exploring the possibilities of such a conceptual move within musicology by referring to the anthropological and performance studies approaches of Turner and Schechner. Benjamin?s reflection on the storyteller as a narrator of memory and history frames the presentation of a case-study on the Baltic Youth Philharmonic Orchestra.

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18

Conway, Paul. "John Tavener round-up." Tempo 59, no. 234 (2005): 55–56. http://dx.doi.org/10.1017/s004029820521032x.

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JOHN TAVENER: The Veil of the Temple. Choir of the Temple Church, Holst Singers, Patricia Rozaro (sop) c. Stephen Layton. RCA 82876661542.TAVENER: Lament for Jerusalem. Patricia Rozario (sop), Christopher Joey (counter-ten), Sydney Philharmonic Chorus, Australian Youth Orchestra c. Thomas Woods. ABC Classics 476 160–5.TAVENER: Birthday Sleep; Butterfly Dreams; The Second Coming; Schuon Hymen; As one who has slept; The Bridal Chamber; Exhortation and Kohima; Shunya. Polyphony c. Stephen Layton. Hyperion CDA67475.

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19

Childress, Charles C. “Curt.” "The National Youth Orchestra Foundation: A Different Approach to Funding New String Music Programs." American String Teacher 56, no. 1 (2006): 44–46. http://dx.doi.org/10.1177/000313130605600107.

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20

Mahany, Barbara. "They've Got Pluck: CHA Youth Orchestra a Survival Kit for Kids in Public Housing." American String Teacher 41, no. 4 (1991): 57–59. http://dx.doi.org/10.1177/000313139104100433.

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EDITORIAL: Sweet Notes in the Projects The notion of letting children in Chicago Housing Authority developments take violins, cellos and string basses home to practice music composed a few centuries before the birth of Michael Jackson or Kool Moe Dee may seem bizarre to some, particularly those who have the benighted belief that nothing good can come out of “the projects.” It is a novel idea but, as Chicago has seen with CHA night basketball, the novel often sounds like nonsense but works quite nicely. The good that can be found in the quarter-million children who call CHA developments home is

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21

Egana-delSol, Pablo, Dante Contreras, and Juan Pablo Valenzuela. "The impact of art-education on human Capital: An empirical assessment of a youth orchestra." International Journal of Educational Development 71 (November 2019): 102105. http://dx.doi.org/10.1016/j.ijedudev.2019.102105.

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22

Britsch, Lisa. "Investigating Performance-related Problems of Young Musicians." Medical Problems of Performing Artists 20, no. 1 (2005): 40–47. http://dx.doi.org/10.21091/mppa.2005.1007.

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Many investigators have expressed concern about the paucity of research literature on the subject of younger musicians, particularly adolescents, and little is known about their performance-related injuries. This study was undertaken to explore this neglected area. Ninety-seven students in four youth orchestras in a midsized midwestern city were surveyed to examine the relationships between such factors as practice time and pain, to explore what students do when they experience pain while playing, and to determine whether students have been exposed to any injury prevention education. Few repor

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23

Perkins, Deborah, and Bruce Wood. "String Instrument Education Made Possible: Cross Timbers Youth Orchestra Elementary Strings Brings Music to Parents' Ears." American String Teacher 55, no. 3 (2005): 84–86. http://dx.doi.org/10.1177/000313130505500313.

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24

Sloggie, James, and James Ross. "Music in Scottish Secondary Schools: Towards a New Vision." British Journal of Music Education 2, no. 3 (1985): 267–77. http://dx.doi.org/10.1017/s0265051700000632.

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This is the story of a remarkable change in approach to musical education which has taken place in Scottish secondary schools during recent years.Readers will bear in mind that the system of education in Scotland is independent of, and different from, that established in England. It is administered locally by education authorities which, together with head-teachers, are responsible for the curriculum taught within the schools. The Secretary of State for Scotland, nevertheless, retains an overall responsibility for the structure and balance of the school curriculum, which he fulfils by providin

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25

Dakon, Jacob M., and Elene Cloete. "The Violet experience: Social interaction through eclectic music learning practices." British Journal of Music Education 35, no. 1 (2017): 57–72. http://dx.doi.org/10.1017/s0265051717000122.

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In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic

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26

Cohen and Palidofsky. "Changing Lives: Incarcerated Female Youth Create and Perform with the Storycatchers Theatre and the Chicago Symphony Orchestra." American Music 31, no. 2 (2013): 163. http://dx.doi.org/10.5406/americanmusic.31.2.0163.

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27

Burd, Gary. "The musical brain: A meeting of minds." Biochemist 24, no. 6 (2002): 16–17. http://dx.doi.org/10.1042/bio02406016.

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The Royal Institution's special summer event this year was a day-long public forum on one of the most rapidly developing fields of human research. The examination of the relationship between music and brain-function has been going on in earnest for around a decade. Several leading experts in the field gave presentations, and following the forum, there were two evening performances by the National Youth Orchestra and the Orpheus Centre. The event was sponsored by the International Foundation for Music Research and the Kohn Foundation. Baroness Susan Greenfield demonstrated the role of the Royal

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28

Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. The

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29

Willett, Ralph. "Hot swing and the dissolute life: youth, style and popular music in Europe 1939–49." Popular Music 8, no. 2 (1989): 157–63. http://dx.doi.org/10.1017/s0261143000003342.

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In the late thirties, the syncopated rhythms of American jazz swept through Europe, an event encouraged by both the US record industry and Hollywood. In Germany, Fascist resistance to jazz culminated in the imposition of a ban by the Reich Chamber of Music on ‘jazzified, judified dance music’, a convenient way of dealing with American competition. Nevertheless Gene Krupa and Teddy Wilson were still entered in Brunswick's German catalogue for 1939, and German bands continued to swing (on radio and records) into the forties. It is not wholly surprising to read of Goebbels and Goering dancing, in

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30

Power, Anne M., and Sarah J. Powell. "Engaging young string players in metacognition." International Journal of Music Education 36, no. 4 (2018): 659–70. http://dx.doi.org/10.1177/0255761418771989.

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This article is about one focus of a two-year project researching the Penrith (NSW Australia) Youth Music Program offered at the Joan Sutherland Performing Arts Centre. The Penrith Youth Music Program has been designed to encourage young string players through a program of guided rehearsals and tutorials with mentoring by performers from the Australian Chamber Orchestra. This article focuses on a part of the research that has engaged the young string players in reflection on their own progress. Eight young string players are the focus here, drawn from the whole study that encompasses 27 instru

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31

Coffill, Brian. "Charles Ives’s Decoration Day: A Conductor’s Guide." SAGE Open 9, no. 1 (2019): 215824401882035. http://dx.doi.org/10.1177/2158244018820353.

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Charles Ives’ Decoration Day, a dreamy haze of almost-forgotten memories and half-remembered tunes, depicts recollections American Civil War through the eyes of a Connecticut youth at the end of the nineteenth century. The work, originally published as the second movement of Ives’ New England Holidays Symphony for orchestra, is a musical representation of the composer’s childhood memories of that eponymous holiday. This paper links Ives’ own descriptions of the composition, his childhood, and his memories of the somber annual memorial to the musical gestures in the score, synthesizing extant s

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32

Belchior, Pedro. "“Cuícas e pandeiros para Stokowski ouvir!”." Revista de História, no. 179 (February 7, 2020): 01–29. http://dx.doi.org/10.11606/issn.2316-9141.rh.2020.146365.

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Em 1940, no contexto da chamada Política da Boa Vizinhança, o regente Leopold Stokowski (1882-1977) visitou alguns países da América do Sul em turnê com a All-American Youth Orchestra. Por meio da análise de fontes da imprensa e do acervo documental do Museu Villa-Lobos, o presente artigo pretende iluminar aspectos relacionados à gravação do disco Native Brazilian Music, que reuniu, sob a iniciativa de Stokowski, alguns expoentes da música popular do Rio de Janeiro – como Donga, Pixinguinha e João da Baiana. O trabalho discute o papel desempenhado por músicos na esfera diplomática e argumenta

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33

McCombie, Charles W., and Joseph C. Smith. "Harold Horace Hopkins. 6 December 1918-22 October 1994." Biographical Memoirs of Fellows of the Royal Society 44 (January 1998): 239–52. http://dx.doi.org/10.1098/rsbm.1998.0016.

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Harold Horace Hopkins was born in Leicester, the last of the six children of William E. Hopkins, ‘a hand for a small baker’, and Teresa F. Hopkins. Throughout his childhood and youth the family experienced the hardships of the 1920s and 1930s, with his father unemployed for much of the time. But his efforts to get a good, broad education were encouraged, particularly by his mother, whose strong socialist principles incorporated a great respect for education. During his years at a local state elementary school he attended various Sunday schools (attendance was required, but no particular denomi

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34

Kartomi, Margaret. "A response to two problems in music education: the Young Australian Concert Artists programme of the Australian Youth Orchestra." Music Education Research 10, no. 1 (2008): 141–58. http://dx.doi.org/10.1080/14613800701871603.

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35

Schwab, B., and A. Schultze-Florey. "Velopharyngeal Insufficiency in Woodwind and Brass Players." Medical Problems of Performing Artists 19, no. 1 (2004): 21–25. http://dx.doi.org/10.21091/mppa.2004.1004.

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Velopharyngeal insufficiency (VPI) has received little attention in the medical literature. The aim of the present study was to determine the extent to which VPI constitutes a problem for woodwind and brass musicians. A total of 148 musicians (professionals from a symphony orchestra and students, the latter mainly from a national youth orchestra) were asked if they were aware of the phenomenon of VPI and whether they experienced it. Intraoral pressure measurements were performed to determine pressure peaks, mean pressure, and maximum attainable pressures. Of the 148 musicians, 81 were aware of

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36

Lafontant Di Niscia, Attilio. "Unveiling the Dark Side of Tonewoods: A Case Study about the Musical Instrument Demand for the Venezuelan Youth Orchestra El Sistema." Action, Criticism, and Theory for Music Education 18, no. 3 (2019): 259–88. http://dx.doi.org/10.22176/act18.3.259.

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37

Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.

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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This pos

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38

Song, Tian. "Composer – Artist: The role of pianist Hsu Fei Ping in the creative activity of Huang An Lun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 43–60. http://dx.doi.org/10.34064/khnum1-50.04.

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Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An

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39

Hooker, Lynn M. "The Kodály and Rajkó Methods: Voices, Instruments, Ethnicity, and the Globalization of Hungarian Music Education in the Twentieth Century." Hungarian Cultural Studies 6 (January 12, 2014): 130–47. http://dx.doi.org/10.5195/ahea.2013.117.

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Music is one of the fields in which Hungary has distinguished itself around the world, and music education is an arena in which Hungarian methods have had a profound impact. The basic principles of Hungarian music-pedagogical methods, developed by Zoltán Kodály (1882–1967) and his disciples and thus known as the Kodály method, are systematic instruction in sight-singing using “movable-do” solfège and rhythmic syllables, with the ideal of developing music literacy in all children through high-quality music, mainly classical and folk repertoire for choirs. Another type of well-known Hungarian mu

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40

Avins, Styra. "Brahms, Beethoven, and a Reassessment of the Famous Footsteps." Nineteenth-Century Music Review 18, no. 2 (2021): 269–82. http://dx.doi.org/10.1017/s1479409820000270.

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To speak of Brahms and Beethoven in the same breath is almost a cliché: Brahms was intimately conscious of Beethoven's music from early youth. This article describes the details of his youthful involvement, the compositions he had in his repertoire as well as those other works which had a powerful effect on his development. By age 20, Brahms was frequently compared to Beethoven by people who met him or heard him play. My interest is in the way he was influenced by Beethoven and the manner in which he eventually found his own voice.The compositional history of his First Symphony provides the pr

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41

Hobson, Stephen. "The Omaha Area Youth Orchestras: An Investment in Youth." American String Teacher 40, no. 2 (1990): 39–41. http://dx.doi.org/10.1177/000313139004000215.

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42

최나영 and Sunghye Kim. "Effectiveness of Orchestral Foundation Program for the Disadvantaged Youth." Journal of Education & Culture 23, no. 4 (2017): 311–32. http://dx.doi.org/10.24159/joec.2017.23.4.311.

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43

Hong, Joohee. "Data Envelopment Analysis in the Strategic Management of Youth Orchestras." Journal of Arts Management, Law, and Society 44, no. 3 (2014): 181–201. http://dx.doi.org/10.1080/10632921.2014.937888.

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44

Aponte-Moreno, Marco. "Transformational Leadership: Lessons from the Venezuela's System of Youth Orchestras." Journal of Leadership Studies 12, no. 3 (2018): 40–47. http://dx.doi.org/10.1002/jls.21587.

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45

van Niekerk, Caroline, and Maria Typpo. "STTEP by STEPP in the spirit of Umuntu ungumuntu ngabantu." British Journal of Music Education 29, no. 1 (2012): 75–89. http://dx.doi.org/10.1017/s0265051711000349.

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In a recent article, ‘Sttepping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth’, ‘sttepping’ was noted as no spelling error. The same applies here; reference is to STTEP Music School, an outreach project at the University of Pretoria. STTEP teaches the playing of orchestral instruments, plus background areas like music theory, to disadvantaged learners. Ethnographic and case study research of STTEP, its teachers, pupils and administrators, over the period 2005–2009 was conducted within a sociological meta-theoretical framework. From t

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Hospital, Michelle Marie, Staci Leon Morris, Eric F. Wagner, and Eva Wales. "Music Education as a Path to Positive Youth Development: An El Sistema-Inspired Program." Journal of Youth Development 13, no. 4 (2018): 149–63. http://dx.doi.org/10.5195/jyd.2018.572.

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The El Sistema music education philosophy links positive individual and social development through musical education. This study is a longitudinal examination of the impact of participation in an El Sistema-inspired program, the Miami Music Project, on positive youth development. We hypothesized that over the course of a school year, participation in ensemble-based after-school music programming would significantly enhance factors associated with positive youth development. Specifically, we evaluated social emotional constructs aligned with the Five Cs of Positive Youth Development: Competence

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Wreede, Katrina, and Karen Ritscher. "Practicing Efficiently—For Teachers." American String Teacher 44, no. 2 (1994): 49–51. http://dx.doi.org/10.1177/000313139404400221.

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Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “

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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.

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Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his world

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van Niekerk, Caroline, and Sanna Salminen. "STTEPping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth." Intercultural Education 19, no. 3 (2008): 191–202. http://dx.doi.org/10.1080/14675980802078509.

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Griffiths, Austin. "Playing the white man’s tune: inclusion in elite classical music education." British Journal of Music Education 37, no. 1 (2019): 55–70. http://dx.doi.org/10.1017/s0265051719000391.

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AbstractThis study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn fro

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