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Littérature scientifique sur le sujet « Career in music publicity »

Auteur : Grafiati

Publié le 27 juillet 2024

Mis à jour le 29 juillet 2024

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Articles de revues sur le sujet "Career in music publicity"

Platte, Nathan. "Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)." 19th-Century Music 34, no. 3 (2011): 211–36. http://dx.doi.org/10.1525/ncm.2011.34.3.211.

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Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only was the Mendelssohn-Korngold score given greater consideration during the film's making, but also audiences were reminded to listen to the film's music, a facet rarely acknowledged in other contemporaneous publicity drives. Importantly, these changes were effected and rationalized through the self-conscious foregrounding of the music, principles, and rhetoric of nineteenth-century Romanticism. Documents at the Warner Bros. Archive reveal how the confluence of these factors not only established the unusual tenor of Korngold's career within the Hollywood studio system but also helped construct the film composer's public image as an incongruously independent artist working within an otherwise collaborative medium.

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Nagel-Frazel, Maeve. "The Queen of the Violin." Current Musicology, no. 109/110 (September 6, 2023): 1–24. http://dx.doi.org/10.52214/cm.v109i.8994.

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The commercialized nineteenth century lyceum circuit provided the vehicle for Camilla Urso (1840-1902) to become America's first celebrity female violinist. Vizualizing six seasons between 1873-83 where Urso toured under lyceum bureau management in digital maps of my own creation, I argue industrialized transportation networks combined with the commercialized advertising and publicity of the lyceum circuit created a popular concert model that expanded Urso's audience and raised her concert fees. Urso's time on the lyceum circuit laid the foundation for her transnational career. Urso was never solely a lyceum musician, though exploring the role of lyceums and their bureaus in her career plays a key role in determining how she rose to fame and became America's most celebrated female violinist. Futhermore, Urso's lyceum career argues for classical music as a rural and commercial phenomenon of American popular culture in the nineteenth century.

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Parler, Samuel. "DeFord Bailey in Country Music's Multiracial Canon." Journal of the American Musicological Society 73, no. 1 (2020): 53–94. http://dx.doi.org/10.1525/jams.2020.73.1.53.

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DeFord Bailey (1899–1982), an African American harmonica virtuoso, performed regularly on the Grand Ole Opry radio program from 1926 to 1941 and afterward fell into obscurity. Decades later, however, he was inducted into the Country Music Hall of Fame (2005), overseen by the Country Music Association (CMA), amid calls to diversify a predominantly white country music canon. Motivated by racially progressive ideals and seeking to rehabilitate the genre's image, many fans and industry advocates misrepresented Bailey's achievements in the surrounding conversations, or they relied upon essentializing notions of black music in their advocacy on his behalf. Resistance to his candidacy for the Hall was cited as evidence of the industry's institutionalized racism. While his eventual induction allowed the CMA some room in which to refute that charge and promote a multiracial narrative for the genre's history, consistent with its long-standing desire to cultivate middle-class respectability, that same multiracial narrative obscured Bailey's role in the production of a distinctly white image for country music in the 1920s and 1930s. Highlighting this discrepancy, this article compares the historical and contemporary reception of Bailey's music and legacy, drawing upon newspaper accounts, Opry promotional materials, archival interviews, and commercial recordings. Opry broadcasts played host to blues, blackface, and other racially coded repertoires; Bailey's blues-based style did not distinguish him from his white Opry peers. Opry marketing worked assiduously to present a singular white image for the show and its repertoire, marginalizing or obscuring Bailey's racial identity in its programming and publicity. In this manner, Bailey's career has paradoxically been made to serve narratives asserting both the whiteness and the multiracialism of country music.

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O'Leary, James. "Oklahoma!, “Lousy Publicity,” and the Politics of Formal Integration in the American Musical Theater." Journal of Musicology 31, no. 1 (2014): 139–82. http://dx.doi.org/10.1525/jm.2014.31.1.139.

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The achievements of Rodger and Hammerstein’s Oklahoma! (1943) are well known: since the musical opened, critics have proclaimed it a new version of the genre, distinguished by its “integrated” form, in which all aspects of the production—score, script, costume, set, and choreography—are interrelated and inseparable. Although today many scholars acknowledge that Oklahoma! was not the first musical to implement the concept of integration, the musical is often considered revolutionary. Building on the work of Tim Carter, I use the correspondence and press materials in the Theatre Guild Collection of the Beinecke Rare Book and Manuscript Library at Yale University to situate the idea of integration into two intimately related discourses: contemporary notions of aesthetic prestige and World War II-era politics. By comparing the advertising of Oklahoma! to the Guild’s publicity for its previous musical productions (especially Porgy and Bess, which was labeled integrated in 1935), I demonstrate that press releases from the show’s creative team strategically deployed rhetoric and vocabulary that variously depicted the show as both highbrow and lowbrow, while distancing it from middlebrow entertainment. I then describe how the aesthetic register implied by this tiered rhetoric carried political overtones, connotations that are lost to us today because the word “integration” has become reified as a purely formal concept.

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Gahan, Peter. "Bernard Shaw, New Journalist (1885–1898)." Shaw 41, no. 2 (2021): 264–318. http://dx.doi.org/10.5325/shaw.41.2.0264.

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ABSTRACT As Shaw's authorized biographer Archibald Henderson put it in the second of three biographies: “While Shaw may have a dozen labels—art critic, music critic, drama critic, novelist, dramatist, rationalist, Socialist, publicist, harlequin, sage, statesman, prophet—he has only one profession: journalism.”1 Especially remembered now for his achievements as playwright, whether in the vanguard of the New Drama at the end of the nineteenth century or as the established dramatist of world fame throughout the first half of the twentieth, Shaw worked first and last as a journalist in a working life stretching seventy-five years. Dan H. Laurence devoted nearly three hundred pages of the second volume of Bernard Shaw: A Bibliography (1983) itemizing Shaw's contributions to newspapers and periodicals between 1875 and 1950, amounting to almost four thousand entries.2 For fourteen of those years, from 1885 to 1898, he led the career of a full-time journalist, mostly as a critic of the fine arts, but criticism was by no means the whole story of Bernard Shaw's fourteen-year career as a full-time journalist sketched out in what follows.

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McDonald, James R. "Farm aid: A publicity event." Popular Music and Society 10, no. 3 (1986): 95–98. http://dx.doi.org/10.1080/03007768608591253.

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Susilo, Sophia Reni. "EFFECT OF EMPLOYER BRANDING AND PRESTIGE ON INTENTION TO APPLY IN THE TOP 5 E-COMMERCE IN INDONESIA." Jurnal Ilmiah Bisnis dan Ekonomi Asia 16, no. 2 (2022): 241–59. http://dx.doi.org/10.32815/jibeka.v16i2.758.

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Employer branding is the image and reputation of the organization as an ideal place to work. The purpose of this study was to determine the effect of the employer's brand strategy on the intention to apply for jobs in the top five e-commerce in Indonesia. This research was conducted on students at seven universities in Jakarta representing the second-level regions of DKI Jaya. The sampling method used probability sampling with cluster sampling. Data was collected by distributing questionnaires. This type of research is quantitative and uses the SmartPLS 3.0 program. The results showed that publicity had a significant effect on the work environment, task attractiveness, and pay attractiveness, publicity had no significant effect on career opportunities, WOM had a significant effect on the work environment, task attractiveness, and pay attractiveness, advertising had a significant effect on the work environment. and career opportunities, advertisements have no significant effect on task attractiveness and pay attractiveness, work environment, pay attractiveness, career opportunities, and prestige have a significant effect on intentions to apply for work, while task attractiveness does not significantly affect intentions to apply for work. Overall, the employer's brand strategy and prestige influence job application intentions.

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Lim, H. A. "Music Therapy Career Aptitude Test." Journal of Music Therapy 48, no. 3 (2011): 395–417. http://dx.doi.org/10.1093/jmt/48.3.395.

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Cho, Bo ram. "A Fact-Finding Survey on Freshman of 2022: Focusing on K University." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 16 (2023): 93–110. http://dx.doi.org/10.22251/jlcci.2023.23.16.93.

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Objectives This study aimed to obtain implications for university operation by analyzing expectations and attitudes toward college life, academic and career plans, etc. through a fact-finding survey of freshmen at k university in 2022. Methods The survey in this study was conducted online over three days from December 20, 2022 to December 22, 2022, and was analyzed using SPSS.  Results The implications of the study results are as follows. First, universities should provide opportunities to work on campus and expand scholarships. Second, it is necessary to provide admission information sessions and publicity programs for high school graduates, and expand publicity and experience programs during application writing and application period. Third, the university website needs to be improved. Fourth, it is necessary to improve the university's image and increase satisfaction. Fifth, practical/practical classes should be expanded. Sixth, the teaching and learning center should improve basic learning programs, self-development programs, and learning clubs to help with learning and time management. Seventh, the employment career center should expand courses for acquiring licenses and help career exploration by utilizing special lectures by seniors and external experts. Eighth, the student counseling center should pay attention to the academic problems, aptitude, and career problems of freshmen.  Conclusions This study is meaningful in that it identified the characteristics and needs of k university freshmen and suggested a direction for establishing freshman programs and systems based on them.

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Lian, Jue. "A Study on Thinking about Career Cognitive Planning Education for College Music Students." European Journal of Education and Pedagogy 4, no. 2 (2023): 1–6. http://dx.doi.org/10.24018/ejedu.2023.4.2.584.

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Music major college students are a unique group in both general universities and conservatories. They have strong personalities, rich feelings, and have the youth and vitality of art students. Therefore, it is of great relevance to develop career education based on the main characteristics of music major college students. For music majors, there are relatively various career paths, such as music education, performance, broadcasting, media, and other industries. Therefore, the “employment issue” for most music majors has become one of the more popular topics at present. This paper explores the current career planning as well as career awareness of music college students by using 259 college students enrolled in the Department of Music of Inner Mongolia Normal University in 2017 and 2018 as the main research subjects. The results show that only 6% of music major college students know a lot about employment policies, and still 38% of music major college students know less about employment policies as well as career awareness. The results show that the overall status of career planning development of music majors is at an intermediate level and still needs to be improved. Therefore, it is very meaningful and important for universities to strengthen the career planning education for music majors’ career awareness.

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Thèses sur le sujet "Career in music publicity"

Branscome, Eric E. "Music Career Opportunities and Career Compatibility: Interviews with University Music Faculty Members and Professional Musicians." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28398/.

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This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music careers that may change the professional expectations of these careers.

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Boston, Shiela C. "Satis N. Coleman (1878-1961) her career in music education /." Full text available online (restricted access), 1992. http://images.lib.monash.edu.au/ts/theses/Boston.pdf.

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Siebert, Johanna J. "Why music teachers remain in the profession : conversations with career music educators /." Digitized version, 2007. http://hdl.handle.net/1802/5629.

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Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16074/1/Julie_Ballantyne_Thesis.pdf.

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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.

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Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.

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Munnelly, Karen Patricia. "Understanding Career & Degree Expectations of Undergraduate Music Majors." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1490135404312177.

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Jansen, van Rensburg Wim Petrus. "Interpreting music consumption data published by the music industry to inform the career choices of music graduates." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62641.

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Bowen, Hustedt Michele Ann. "The life and career of Himie Voxman." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/465.

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Corley, Scott Randolph. "Thomas Lee Dvorak: a career as music educator and conductor." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2198.

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Thomas Lee Dvorak (b. 1941) uniquely blended his experience as a music educator with his long career as a collegiate conductor. In his ten-year career as a public school instrumental music educator, Dvorak taught bands at the elementary, middle school or junior high, and high school levels. During this time, he encountered beginning instrumental music instructional methods that allowed his beginning band students to advance at a rapid pace. Dvorak parlayed his school band teaching experience with his growing reputation in band music education into an appointment to the music education faculty at the University of Michigan. At Michigan, Dvorak combined his experience and duties in music education with a conducting position when he was assigned to conduct the University of Michigan Youth Band/Wind Ensemble in 1975. After being named its Director of Bands in 1979, Dvorak created a similar symbiotic role for himself at the University of Wisconsin--Milwaukee (UWM) when he founded the Greater Milwaukee Youth Wind Ensemble in 1982. Throughout his twenty-seven year tenure as Director of Bands at UWM, Dvorak also combined education and conducting through the mentorship of graduate conducting students, his sponsorship of new and original music for young/developing bands, and his outreach work with Milwaukee-area school band programs. Dvorak also enjoyed a reputation as an insightful interpreter of wind band music, a leader of national professional organizations, authority on wind band repertoire, and as a frequently invited guest conductor of school, collegiate, and professional ensembles Thomas Dvorak retired from UWM in May 2007 and was named Professor Emeritus of Music.

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Kehrberg, Kevin Donald. "“I’LL FLY AWAY”: THE MUSIC AND CAREER OF ALBERT E. BRUMLEY." UKnowledge, 2010. http://uknowledge.uky.edu/gradschool_diss/49.

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Albert E. Brumley (1905-1977) was the most influential American gospel song composer of the twentieth century, penning such “classics” within the genre as “Jesus, Hold My Hand,” “I’ll Meet You in the Morning,” “If We Never Meet Again,” “Turn Your Radio On,” and “Rank Strangers to Me.” His “I’ll Fly Away” has become the most recorded gospel song in American history with over one thousand recordings to date, and several of his works transcend cultural boundaries of style, genre, race, denomination, and doctrine. However, the racialized historiography of American gospel music has left Brumley—from America’s lesser-known white gospel traditions of convention singing and southern gospel music—largely untouched by scholarly scrutiny. Comprising nearly four hundred works, most of which appeared in annual shapenote gospel songbooks published during the 1930s and 1940s, Brumley’s music is central to many Americans’ religious identity. This thesis represents the first thorough, academic assessment of his music, career, and his work’s cultural impact. Deeper examinations of the composer’s personal life and his work as a songwriter, as well as a fresh look at his publishing business’s growth and development, contribute a more complete biography. A broad analysis of his output—including a complete thematic catalogue of his published works—provides a framework for interpreting Brumley’s general compositional style and offers a context for understanding his music’s enduring legacy within popular music history, especially southern gospel, black gospel, and country music. Research into the cultural history of one particular Brumley work—“I’ll Fly Away”—and its various incarnations in music, television, film, and other outlets acts as a lens through which to view his impact on American music and society. This thesis ultimately argues that Brumley’s compositions have influenced the development of religious and popular music in America much more significantly than indicated by current scholarship, and that his music has become an important medium for American cultural expression that stretches well beyond the confines of the convention-singing and southern gospel traditions. As a result, it recognizes him as an emblematic figure of American music deserving inclusion within the ranks of its greatest contributors.

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Livres sur le sujet "Career in music publicity"

Reed, Laura. Publicity handbook for music teachers. Music Teachers National Association, 1989.

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Pettigrew, Jim. The Billboard guide to music publicity. Billboard Books, 1997.

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Pettigrew, Jim. The Billboard guide to music publicity. Billboard Books, 1989.

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Museum, Botswana National. National Museum publicity material. Botswana National Museum, 2009.

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Cann, Simon. Jumpstart your music career. Course Technology, Cengage Learning, 2012.

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group), Camera Obscura (Musical. My maudlin career. 4AD, 2009.

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Baskerville, David. Music business handbook & career guide. 5th ed. Sherwood Pub. Co., 1990.

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Baskerville, David. Music business handbook & career guide. 6th ed. Sage Publications, 1995.

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Adam, Judith. Music librarianship as a career. International Association of Music Libraries, Archives and Documentation Centres (United Kingdom Branch), 1990.

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Baskerville, David. Music business handbook & career guide. Sherwood Publishing Co, 1990.

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Chapitres de livres sur le sujet "Career in music publicity"

Donham, Tammy, Amy Sue Macy, and Clyde Philip Rolston. "Publicity." In Marketing Recorded Music, 4th ed. Focal Press, 2022. http://dx.doi.org/10.4324/9781003153511-13.

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Nápoles, Jessica, and Rebecca B. MacLeod. "Career." In Clifford K. Madsen’s Contributions to Music Education and Music Therapy. Routledge, 2020. http://dx.doi.org/10.4324/9781003015024-4.

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Downs, Jace. "Beyond Publicity Stills." In The Photographer's Career Guide to Shooting Production Stills for Film and Television. Routledge, 2022. http://dx.doi.org/10.4324/9781003183129-33.

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Slay Carr, Cheryl. "Defining Career Duality." In Music Business Careers. Routledge, 2019. http://dx.doi.org/10.4324/9781351058391-3.

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Slay Carr, Cheryl. "The Career Duality Dilemma." In Music Business Careers. Routledge, 2019. http://dx.doi.org/10.4324/9781351058391-2.

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Amir, Sayed Mohammad. "Audience and Music Research." In A Career in Radio. Routledge India, 2023. http://dx.doi.org/10.4324/9781003438861-13.

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Allen, Paul. "Managing Your Own Music Career." In Artist Management for the Music Business, 5th ed. Focal Press, 2022. http://dx.doi.org/10.4324/9781003179009-6.

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Chun, Edna B., and George S. T. Chu. "Protean Shifts: Musicians Overcoming Major Career Challenges." In Transformational Music Teaching. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-38920-7_8.

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Mittner, Lilli, and Hilde Synnøve Blix. "Career Paths in Higher Music Education." In Gender Issues in Scandinavian Music Education. Routledge, 2021. http://dx.doi.org/10.4324/9781003038207-9.

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Guza, Meldra. "A Guide to Building a Portfolio Career: Understanding the Gig Economy." In The Music Business for Music Creators. Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-39.

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Actes de conférences sur le sujet "Career in music publicity"

Arakelyan, Shushan, Fred Morstatter, Margaret Martin, Emilio Ferrara, and Aram Galstyan. "Mining and Forecasting Career Trajectories of Music Artists." In HT '18: 29th ACM Conference on Hypertext and Social Media. ACM, 2018. http://dx.doi.org/10.1145/3209542.3209554.

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Wicaksono, H. "Student Interest of Music Career in Vocational School Yogyakarta Indonesia." In Proceedings of the 2nd International Conference on Local Wisdom, INCOLWIS 2019, August 29-30, 2019, Padang, West Sumatera, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.29-8-2019.2289116.

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Wagoner, Cynthia. "To Teach or Not to Teach? The Impact of COVID-19 on Music Teachers' Career Decisions." In 2022 AERA Annual Meeting. AERA, 2022. http://dx.doi.org/10.3102/1882235.

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Green, Gloria. "Students, Mental Health, and Working in the Music Industry: Are University Music Business and Recording Industry Programs Doing Enough to Prepare Students for the Psychological Impact of a Career in the Music Industry?" In MEIEA Summit 2023. Music and Entertainment Industry Educators Association, 2023. http://dx.doi.org/10.25101/23.18.

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Prelovšek, Anita. "Music in the Life and Works of Boris Leonidovich Pasternak." In Socratic lectures 10. University of Lubljana Press, 2024. http://dx.doi.org/10.55295/psl.2024.i30.

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Abstract: This article describes how the life and works of Boris Pasternak were strongly connected with music. Pasternak began his artistic career as a musician, namely a pianist and student of composition. His interest in music was contributed by his acquaintance with the composer Alexander Scriabin, who made a strong impression on the young Pasternak and inspired him to music. Pasternak devoted several chapters to Scriabin in his short prose Safe Conduct and Essay in Autobiography. A few years later, when Pasternak gave up music, his sense of the musicality of the verse remained in his poetry. Even in his prose work, we can find several passages that mention music or musicians. Pasternak uses musical examples to describe the outer and inner world of his literary heroes. This article focuses on Pasternak's prose work, especially on the novel Doctor Zhivago and the autobiographical works Safe Conduct and Essay in Autobiography, but also gives a very few examples from his rich poetry. Keywords: Boris Pasternak, Doctor Zhivago, Scriabin, Musicality of the verse

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Barbosa, Gabriel R. G., Bruna C. Melo, Gabriel P. Oliveira, Mariana O. Silva, Danilo B. Seufitelli, and Mirella M. Moro. "Hot Streaks in the Brazilian Music Market: A Comparison Between Physical and Digital Eras." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19440.

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Consuming music through streams has made huge volumes of data available. We collect a part of such data and perform cross-era comparative analyses between physical and digital media for successful artists within the music market in Brazil. Given an artist’s career, we focus on hot streak periods defined as high-impact bursts occurring in sequence. Specifically, we construct artists’ success time series to detect and characterize hot streak periods for both physical and digital eras. Then, we assess their features, analyze them in the genre scale, and perform a cluster analysis to identify groups of artists with distinct success levels. For both physical and digital eras, we find the same clusters: Spike Hit Artists, Big Hit Artists, and Top Hit Artists. Our insights shed light on significant changes in the dynamics of the music industry over the years, by identifying the core of each era.

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Cosciug, Svetlana, and Victoria Melnic. "Excentric dances by Vitaly Verhola: a young composer in search of his own style." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.

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The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and eloquently illustrates the self-expression searches of a young composer at the beginning of his career. The piano writing for four hands gives both Eccentric Dances an orchestral sound.

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Akhmetvalieva, Meyserya Garafovna. "ON THE ISSUE OF THE RESPONSIBILITY OF SAVING HEALTH - THE PRIORITY IN THE PROFESSIONAL TRAINING OF VOCALISTS: RESEARCH." In Themed collection of papers from Foreign international scientific conference «Joint innovation - joint development». Part 1. Ьу НNRI «National development» in cooperation with PS ofUA. June 2023. Crossref, 2023. http://dx.doi.org/10.37539/230629.2023.98.96.033.

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Strengthening the health of the nation is a nationwide task. Health care is necessary not only to maintain a person's general physical condition. These are also conceptual tasks of professional longevity, career success. In the development of professional qualities of musicians, not only music classes are important, but also physical and psychological well-being. A survey was conducted among vocal students in order to determine the factors affecting the health of performers, as well as methods and means that can help preserve the health of the voice. The results of this study suggest the formulation of proposals for building a system of assistance to vocalists to preserve and improve the condition of the voice.

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Waszkiewicz, Elizabeth. "Multidimensional Educational Models Recommended by Innovative Agonology – Examples of Physical Education and Music Education." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003499.

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Almost all types of education are in some sense multidimensional, even if it is difficult to ascribe formal, or passion-driven, experiential, cognitive-behavioral competences closely related to the subject of education to the teaching subject (an individual or a team). From the perspective of the mission of innovative agonology, the most valuable ways, methods, forms and means of educational activities are those whose use (in a session, in a cycle, or as a ‘passion for life’) stimulates as much as possible some aspect of somatic, mental and social health, but also at least one element (component) of survival.From a broader point of view, i.e. the social mission of evidence-based science, the important premise is that although humans are genetically adapted to operate in terrestrial environments, however, they are also active underground, in water, in the air and in space. In each of these environments, one pole of the continuum of survival possibilities accumulates minimal health criteria, while the opposite pole – a long list of factors that mean inevitable death. This diversity of human operating environments and the roles they fulfill within them implies the legitimacy of recommending very complex educational models, some of which require multilevel selection.Apart from individual career paths, swimming and wrestling (even if pursued without the pressure of sports performance) optimally stimulate the somatic dimension of health (hard-respiratory capacity, strength and endurance of the largest muscle groups and flexibility) compared to other sporting activities. The survival dimension is already diverse. For instance, swimming skills increase the chance of survival in an aquatic environment while hand-to-hand combat skills increase the likelihood of effective self-defense in situations of physical aggression. And wrestling is a contact sport (psychophysical activity involving a permanent ‘dialogue of minds and bodies’), so it qualifies as a model that also stimulates the mental dimension of health. Moreover, in general, also the adepts of other martial arts interact in a peculiar way with the centuries-old heritage of the cultures from which these arts originate (social dimension of health). Unfortunately, the effective and attractive status of educational models based on martial arts is depreciated by the pathology of bloody fights of neo-gladiatorship. These spectacles are promoted and camouflaged in the public sphere precisely under the banner of mixed martial arts (the first part of the phrase ‘mixed’ is only 31.25% of the name).Brazilian capoeira is an example of a multifaceted educational model that combines martial art with music. Although innovative agonology is an appropriate science for formulating justifications at the interface between these two arts (martial art and music), the well-established standards of music education are its competition. These standards include respect for centuries-old traditions and multiculturalism, a commitment to routine with an awareness of the unlimited potential for creating beauty and positive emotions. The coordinating perfectionism of the instrumentalists is also admired. However, a hypothesis is justified: ignoring scientific knowledge (including human motor skills) from areas of activity other than music is the cause of, among other things, interpersonal conflicts (for instance teacher-student) and negative effects encompassing all dimensions of health.

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Rapports d'organisations sur le sujet "Career in music publicity"

Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.

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Inter-American Development Bank Cultural Center Annual Report 2000. Inter-American Development Bank, 2001. http://dx.doi.org/10.18235/0005700.

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The IDB Cultural Center ended 2000 with a successful balance of diverse activities. Throughout the year, the IDB Cultural Center produced 32 events, including 5 art exhibitions, 13 concerts and music workshops, 11 lectures and 3 presentations of "La Cátedra Siglo XXI Lecture Series." These activities attracted an estimated 15,000 visitors to the Bank, and received publicity in over 120 local, national and international newspaper, magazine, radio and TV reviews; these included two major feature articles in the bilingual magazine "Cordialidad" (Copa Airlines in Flight Magazine) and the trilingual magazine "Cariforum."

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Inter-American Development Bank Cultural Center Annual Report 1999. Inter-American Development Bank, 1999. http://dx.doi.org/10.18235/0005850.

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The IDB Cultural Center ended 1999 with a successful balance of diverse programs. Throughout the year, the IDB Cultural Center produced 32 events, including art exhibitions, concerts, music workshops and lectures. These activities attracted an estimated 14,000 visitors to the Bank, and received publicity in over ninety local, national and international newspaper, magazine, radio and TV reviews. The Cultural Center's impact on the local Washington community was recognized this year with a nomination for the Center as a finalist in the Mayor's Arts Awards, in the field of Excellence in Service to the Arts.

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Inter-American Development Bank Cultural Center Annual Report 2001. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005701.

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The IDB Cultural Center ended 2001 with a successful balance of diverse programming. In the Region and throughout the year, the IDB Cultural Center contributed to the implementation of 40 socio-cultural projects in 25 countries. At headquarters, the Center produced 32 events, including 5 art exhibitions, 13 concerts and music workshops, 12 lectures and 2 presentations of "La Cátedra Siglo XXI Lecture Series." These activities attracted an estimated 15,000 visitors to the Bank and 7,000 to traveling exhibitions. As a result, the Center received over 200 local, national and international newspaper, magazine, radio and TV reviews. The publicity generated by the Center's activities enhanced the image of the IDB as an institution concerned with all aspects of development, and promoted a positive view of Latin America and the Caribbean.

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