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1
Emerson, Kathryn, Victoria Williamson, and Ray Wilkinson. "Once more, with feeling: Conductors’ use of assessments and directives to provide feedback in choir rehearsals." Musicae Scientiae 23, no. 3 (July 20, 2019): 362–82. http://dx.doi.org/10.1177/1029864919844810.
Анотація:
In this article Conversation Analysis is used to explore the way that conductors give feedback in choir rehearsals through the use of assessments and directives. Assessments and directives have previously been investigated in some forms of music teaching and rehearsing, although not in choir rehearsals. There is also a paucity of research on the methods by which a conductor may give feedback following an episode of singing by the choir. This analysis is based on 19 hours of choir rehearsal data, involving eight choirs and nine conductors. We show that conductors’ feedback turns typically consist of two particular communicative behaviours: assessments and directives, either occurring singly or in various combinations. Assessments explicitly evaluate (positively or negatively) the just-produced singing of the choir, and directives explicitly tell the choir something about how members should sing in the future. However, the data reveal that assessments can also function implicitly to direct how the choir should sing, and directives can implicitly evaluate singing. Assessments and directives can be done in depicted forms (e.g., using sung vocalisations and gestures), as well as verbal descriptive forms. These findings highlight the distinctive ways that conductors produce feedback within rehearsals and some of the particular inferences that choir members must draw on to understand this feedback, as well as how change and improvement in the choir’s singing may be affected on a turn-by-turn basis.
2
Schneider, B. "Guest Editor's Introduction: Teaching to the Choir." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 8, no. 3 (October 1, 2008): 405–12. http://dx.doi.org/10.1215/15314200-2008-002.
3
Batey, Angela. "Teaching Music through Performance in Choir: Volume 1." Music Educators Journal 92, no. 1 (September 2005): 27. http://dx.doi.org/10.2307/3400220.
4
Lazcano, Antonio. "Teaching Evolution in Mexico: Preaching to the Choir." Science 310, no. 5749 (November 3, 2005): 787.1–789. http://dx.doi.org/10.1126/science.1115180.
5
Ferrer, Rita, Joan Puiggalí, and Montse Tesouro. "Choral singing and the acquisition of educational values." International Journal of Music Education 36, no. 3 (December 21, 2017): 334–46. http://dx.doi.org/10.1177/0255761417741521.
Анотація:
The main objective of this study was to observe the extent to which the practice of collective singing in children’s and youth choirs offers a way of teaching values. The main working tool used was a questionnaire that was completed by the choir conductors and singers of the different choirs surveyed. The purpose of the questionnaire was to assess if choral singing can be a space for working on and developing values, and if these values lead to improvements in the overall education of the person. On the one hand, choir conductors considered respect to be the most important value for a choral group and friendship the most valuable aspect for singers. This view was not shared by the singers, who considered friendship to be less important. On the other hand, they agreed on the influence of respect and communication and that spontaneity is undervalued.
6
Ilić, Miona. "The presence and importance of choirs made up of students from younger grades of primary school in Serbia." Norma 25, no. 1 (2020): 93–108. http://dx.doi.org/10.5937/norma2001093i.
Анотація:
Considering the fact that the elementary school students do not have enough information on proper singing, vocal technique and using and taking care of their voice, this paper analyzes the importance of choir singing at this age, the presence of such choirs in Serbian elementary schools, and the reasons that make their formation difficult. Relying on the relevant literature, the paper analyzes the data obtained through a questionnaire on the presence of choirs made up of pupils from younger grades of primary school, as well as on the views of teachers on the reasons for the current situation. The research has shown that in the majority of schools in Serbia choir singing is not taught at all, due to the lack of motivation of teaching staff resulting from unfavorable financial circumstances. Such data are of vital importance, since only an insight into the actual situation can enable us to work on the improvements in the pedagogical practice.
7
Kastantin, Joseph, and Milorad Novicevic. "Teaching the Choir: Challenges of a Learner-Centred Simulation." Accounting Education 17, no. 2 (June 2008): 209–12. http://dx.doi.org/10.1080/09639280601167529.
8
Rickels, David A., Wesley D. Brewer, Kimberly H. Councill, William E. Fredrickson, Michelle Hairston, David L. Perry, Ann M. Porter, and Margaret Schmidt. "Career Influences of Music Education Audition Candidates." Journal of Research in Music Education 61, no. 1 (March 5, 2013): 115–34. http://dx.doi.org/10.1177/0022429412474896.
Анотація:
In this descriptive study, we examined the influences and experiences motivating students to enter college-level music schools as reported by a population of precollegiate students auditioning (but not yet accepted) to music education degree programs. As a follow-up to a published pilot study, this research was designed to quantify the various experiences respondents had as part of their precollege school and community programs that related to teaching and music. Results indicate a strong connection between respondents’ primary musical background and future teaching interest. The top three influential experiences were related to high school ensemble membership (band, choir, orchestra), and the most influential group of individuals in the decision to become a music educator were high school ensemble directors. Respondents from all four primary background groups (band, choir, orchestra, and general or other) rated private lesson teaching as their second strongest future teaching interest, just behind teaching at the high school level in their primary background. Respondents rated parents as moderately influential on their desire to become a music teacher.
9
Suleymanova, Dilorom, and Shoxida Ataboyeva. "Issues Of Professional Training Of Future Music Teachers In Working With The Choir." American Journal of Social Science and Education Innovations 02, no. 11 (November 30, 2020): 453–57. http://dx.doi.org/10.37547/tajssei/volume02issue11-76.
Анотація:
This article describes the future pedagogical activities of future music teachers studying in the higher education system, the qualifications and skills necessary for them to work with choirs. Also, today there are a lot of shortcomings in the teaching process, introducing students to the art of vocal and choral. In addition to the concluding remarks of the article, the authors gave a number of effective methods and recommendations.
10
Reifinger, James L. "Teaching Pitch Notation–Reading Skills." General Music Today 33, no. 3 (December 7, 2019): 21–28. http://dx.doi.org/10.1177/1048371319891419.
Анотація:
The teaching of music-reading skills has been cited as a neglected area of music education needing improvement. Music reading is the process of translating notation into sounds. Producing the notated sounds by singing, more specifically referred to as sight-singing, is especially demanding because it requires the individual to first mentally construct aural images of the sounds, an essential process that is challenging to teach and assess. This article describes a series of activities for teaching music-reading skills in general music or choir, focusing mainly on reading and singing pitch notation, though many of the ideas could also be used to teach rhythm reading. The activities are sequential, are easy to implement, and allow for the assessment of skill acquisition at various stages of development.
11
Kennedy, Claire, and Tiziana Miceli. "Lingua e comunità in coro." Australian Review of Applied Linguistics 40, no. 2 (December 1, 2017): 140–58. http://dx.doi.org/10.1075/aral.40.2.04ken.
Анотація:
Abstract This article concerns a special learning space populated by Italians and Italian learners: the choir formed in Brisbane as a joint initiative between a community association and the Italian teaching staff at Griffith University. Our aim, in involving our students in the choir, was to bring them together with L1 speakers in an environment that would be stimulating but supportive, given the collective, creative goal. We envisaged that interaction in this space would help develop the students’ language proficiency, intercultural competence, and cultural knowledge, while also bringing the psychosocial benefits of choral singing identified by recent research. These benefits include positive emotions, social support and friendship, an antidote to anxiety and stress, and a shared sense of commitment. Evaluation of findings from the project suggest that the choir did foster students’ learning together with wellbeing.
12
Dem’yanko, Natalija. "ACTIVITY OF THE ART STUDIES DEPARTMENT IN POLTAVA INSTITUTE OF PUBLIC EDUCATION IN THE PERIOD FROM 1921 TO 1933 YEAR." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 128–39. http://dx.doi.org/10.33989/2226-4051.2018.17.176291.
Анотація:
The article outlines the essence of the activity of the Department of Art Studies in Poltava Institute of Public Education (INO) for the training of pedagogical staff in the period from 1921 to 1933. The material and organizational-methodical conditions of its creation and functioning under direction of the famous Ukrainian musicologist, teacher, ethnographer, choreographer, conductor and composer V. M. Verkhovinets are revealed. The main directions of department's activity are described: musical- theoretical, conductor-choir, instrumental-performing, methodical training of future teachers; organization of research work and pedagogical practice of students in various educational institutions; preparation of concert programs and performances of student choir and other amateur art groups; conducting active public and cultural- mass work within the educational institution, city and region. The forms of educational process organization, including lecture classes, laboratory and scientific workshops, scientific observations and experiments, practice of teaching, studying of techniques, textbooks, scientific and educational and popular literature of corresponding specialties, labor practices, holding of student conferences for discussion of practical results are determined. The features of organization and diverse activities (educational, rehearsal, concert) of student choir in Poltava INO are revealed. Methods and principles (scientific, systematic, consistency, accessibility, visibility, unity of theory and practice of teaching educational disciplines are revealed).
13
Bernāts, Guntars, and Andrejs Mūrnieks. "THE CHALLENGES, RISKS AND PROSPECTS OF THE REALISATION OF THE MUSIC METHODOLOGY MODULE OF ONE – YEAR EDUCATION PROGRAMME." Education. Innovation. Diversity. 1, no. 2 (May 26, 2021): 24–30. http://dx.doi.org/10.17770/eid2021.1.5428.
Анотація:
The reform of teachers’ education commenced by the Ministry of Education and Science provides an opportunity to obtain a qualification as a teacher within one year, encompassing studies based in a working environment for those who already have higher education. The goal of the research is to identify the challenges, risks and perspectives of the realization of the module “Music methodology” of the study course “Integrated methods in Teaching Culture Understanding and Self-expression in Art” within the one-year study programme “Skolotājs”. The research compared study course plans in music teaching and choir work methodology at two Latvian higher education institutions, as well as at two foreign higher education institution, where a qualification as a music teacher at a comprehensive school can be attained. The research was undertaken based on an analysis of theoretical sources, providing an understanding about a synthesis of varying contemporary methodological approaches. It encompasses the acquisition of a knowledge of cultural history and the history of music, the style and future directions of popular music, desirably not just theoretically but practically as well, in the education of the students. The actualization of such study courses as music teaching methodology, the research process in music teaching, music history and stylistics, the psychology of music, conducting, choir/vocal ensemble work, methodology and music project management are important for the high quality and integrated acquisition of music teaching methodology.
14
Kennedy, Mary Copland. "The Gettin' Higher Choir: Exploring culture, teaching and learning in a community chorus." International Journal of Community Music 2, no. 2 (October 1, 2009): 183–200. http://dx.doi.org/10.1386/ijcm.2.2-3.183_1.
15
Corbalán, Mara, M. Puy Pérez-Echeverría, Juan-Ignacio Pozo, and Amalia Casas-Mas. "Choral conductors to stage! What kind of learning do they claim to promote during choir rehearsal?" International Journal of Music Education 37, no. 1 (October 24, 2018): 91–106. http://dx.doi.org/10.1177/0255761418800515.
Анотація:
Current research on choral practice has studied various aspects of interpretation and different strategies for improving rehearsal. This article considers the amateur choral rehearsal as a setting for teaching and learning music. It analyses choir conductor profiles that may be related to conceptions of teaching and learning and their possible relationship with the implicit theories of teaching and learning. A questionnaire was administered to 41 conductors, considering three variables (expert/non-expert, teacher/non-teacher, and children’s/adult choir conductor). Quantitative evaluation through different cluster analyses showed three conductor profiles: Traditionals, including conductors who use little supervision, few different ways of representation other than corporeal, poor difficulty management and greater use of repetition during the rehearsal; a Focus on Reading profile, conductors who, in addition to using moderately complex processes, rely heavily on reading the score; and finally a Focus on Learning and Representation profile including non-experts and teachers, who use different representation modes in the rehearsal (corporeal, audio, visual, combined) and other complex processes such as transferring learning or metacognition. We also found significant differences among conductors for score processing levels. Finally, some features common to all three profiles characterise the choral environment as a peculiar field of musical learning, which may suggest some strategies for learning music.
16
Shaw, Julia T. "“Knowing Their World”." Journal of Research in Music Education 63, no. 2 (July 2015): 198–223. http://dx.doi.org/10.1177/0022429415584377.
Анотація:
The purpose of this collective case study was to explore how successful urban choral educators use contextual knowledge to inform pedagogical practice. With choirs in nine of a large midwestern city’s demographically varied residential neighborhoods, a children’s choir organization provided a research setting that offered a unique view of urban teachers’ contextual knowledge. The study’s ethnically diverse participants taught in multiple classrooms each week, providing opportunities to explore how the same teacher responded to more than one demographic setting. Participants relied upon knowledge of learners, knowledge of context, and personal practical knowledge to successfully navigate the urban environment. Findings were interpreted in light of Geneva Gay’s five essential elements of culturally responsive teaching to illustrate how the teachers enacted contextual knowledge through culturally responsive practice. Implications for music teacher education are discussed based on the findings.
17
Millican, J. Si, and Sommer Helweh Forrester. "Core Practices in Music Teaching: A Delphi Expert Panel Survey." Journal of Music Teacher Education 27, no. 3 (October 13, 2017): 51–64. http://dx.doi.org/10.1177/1057083717736243.
Анотація:
The pedagogical content knowledge framework has been used to decipher the complexities of teaching by integrating subject matter knowledge with knowledge of teaching and knowledge of learners. Researchers in math, English, and history have modified this framework to identify core teaching practices within their disciplines. Core teaching practices are those that novices can begin to master and have a direct impact on student success. We developed a preliminary list of core practices in music using a Delphi panel approach. This panel of public school and college teachers with expertise in band, choir, orchestra, and elementary music found that modeling, sequencing instruction, and deconstructing musical concepts were core teaching practices that apply across a wide variety of teaching and learning contexts. The panel felt developing knowledge of and relationships with students was important for in-service teachers, but other practices should be developed first by novice teachers.
18
Caliga, Marina. "12. The Methodology of Music Education Lesson Completeness by Means of the Vocal-Choral Singing Dominant Activity." Review of Artistic Education 19, no. 1 (April 1, 2020): 93–99. http://dx.doi.org/10.2478/rae-2020-0012.
Анотація:
AbstractChoral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.
19
Walling, Catherine Bennett. "Intercultural exchanges in South Africa: Exploring music teacher experiences, understandings, and practices." International Journal of Music Education 38, no. 2 (October 2, 2019): 252–66. http://dx.doi.org/10.1177/0255761419877574.
Анотація:
The purpose of this study was to examine the experiences of four US music educators during and after a 3-week adult choir camp in South Africa. Findings reveal that the camp positively influenced music teacher understandings and practices, both during and after the exchange. Throughout the camp, participants navigated race, privilege and prejudice and expressed value for a vast array of shared experiences with choir mates, teachers, and homestays. Participants reflected regularly on processes of learning new musics, describing growth through authentic and at times challenging activities. Furthermore, all participants recognized that firsthand experiences were essential to deep learning. During the camp, all participants expressed hopes of bringing new ideas and music home; 2 months after returning to their classrooms, 3 of the 4 participants reported the teaching of South African songs along with modified pedagogical approaches. Ultimately, participants shared that the trip had impacted them in various personal ways, noting increased tolerance, patience, kindness, confidence and hope.
20
Salvador, Karen, Allison Paetz, and Abby Lewin-Zeigler. "Being the Change: Music Teachers’ Self-Reported Changes in Mindset and Practice." Update: Applications of Research in Music Education 39, no. 1 (May 25, 2020): 17–26. http://dx.doi.org/10.1177/8755123320925754.
Анотація:
Music educators sometimes enter the workforce un(der)prepared to design and implement inclusive instruction. The purpose of this descriptive interview study was to explore practicing teachers’ self-reported changes in mindset and practice as they worked to become more inclusive. Participants ( N = 20) were music educators with between 1 and 17 years of teaching experience. All participants taught some combination of preK–12 students in general music, choir, band, orchestra, jazz, and other music classes in 10 states. We present qualitative analysis from two sets of interviews concerning self-reported changes in mindsets and teaching practices. We conclude with implications of this study for practicing teachers who wish to enact more equitable and just classroom practices.
21
Palmer, C. Michael. "Perceptions of Cooperating Music Teachers on Service Motives, Relationships, and Mentoring Strategies During Student Teaching." Journal of Music Teacher Education 28, no. 1 (January 7, 2018): 24–39. http://dx.doi.org/10.1177/1057083717750078.
Анотація:
The purpose of this qualitative study was to examine the perceptions of four cooperating teachers concerning their role in the music student teaching experience. Participants included an elementary music educator, middle school band director, high school band director, and a high school choir director. Research questions were (a) What are the personal and professional motivations for hosting a student teacher? (b) How do cooperating teachers describe relationships with student teachers? and (c) What strategies do cooperating teachers use in mentoring student teachers? Data collected included two interviews with each participant and a focus group interview. Participants expressed a desire to help the next generation of music teachers and an eagerness to learn new teaching strategies from interns and collaborate with them in a co-teaching model. Relationships were built around student teachers’ skill sets, personality, and work ethic. Mentoring strategies included modeling, facilitating learning opportunities, and regular discussion and reflection activities.
22
Batņa, Liene. "Music in school teaching processes through the centuries." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 423. http://dx.doi.org/10.17770/sie2013vol1.568.
Анотація:
Acquisition of music terms is a significant component in a contemporary music lesson in a comprehensive school nowadays. Methodology of teaching music as a separate branch in Latvia started developing in the beginning of the 20th century with the analysis of music educators’ experience published by I. Palevics. However, music as a subject at school has a longer history therefore it would be important to explore the pedagogic role of music in different periods because during music lessons not only students’ musicality and personal development are facilitated but also the tradition of singing which includes the tradition of Song Festival is maintained. In 2008 the tradition of Baltic Song and Dance Festival was included in the UNESCO List of Representative Human Non-material Culture Heritage. Therefore it is important to explore what pedagogic aspects had provided the vital capacity of Song and Dance Festival tradition throughout centuries. The aim of the article is to analyze the place of music in the pedagogic process in different historic periods. When analyzing the topicality of the article, following aim has been nominated: to explore - how the music learning traditions are formed in Latvian schools, polyphony and choir traditions, teacher education, the knowledge of music teaching inheriting from generation to generation until the.
23
Pivnitskaya, Olga V. "A True Teacher Is the One from Whom You Want to Learn All Your Life." Musical Art and Education 8, no. 3 (2020): 149–58. http://dx.doi.org/10.31862//2309-1428-2020-8-3-149-158.
Анотація:
This article is an attempt to show the beginning of Eduard Borisovich Abdullin’s creative path in the pedagogy of music education, in particular, his experience in teaching as an artistic director and conductor of the choir studio “Melodia” of the Palace of Pioneers in the city of Podolsk, Moscow Region. As a graduate student of the Lenin Moscow State Pedagogical Institute, the young teacher achieved tremendous creative success: the choir studio under his direction performed in the Great Hall of the Moscow Conservatory, the Column Hall of the House of Unions, the P. I. Tchaikovsky Concert Hall, in the Kremlin Palace of Congresses; toured in the cities of the USSR and European countries. On the first television channel, two hour-long television programs were shown. The studio of the State House of Radio Broadcasting and Sound Recording has released educational records. For almost half a century, the “Melodiya” studio continued to meet with its leader, and all members of the choir strove to attend them in order to meet their Teacher again. Special attention is paid to the significance of the fundamental works by Eduard Borisovich Abdullin, which became the basis for the pedagogical interpretation by the author in his research activities of the conceptual provisions of the methodology of pedagogy of music education. The sequential expansion of the problem field of the conducted musical pedagogical research is described: from the theoretical substantiation of the model for the development of the Central Russian folk song tradition by children to the formation of a new direction of research searches associated with the use of various vocal techniques at the junction of different genres.
24
Mendonça, Natália, and Natalia Fonseca. "Blog as supporting tools in the teaching-learning process of clinical semiology." International Journal of Health Education 2, no. 1 (July 4, 2018): 114. http://dx.doi.org/10.17267/2594-7907ijhe.v2i1.1885.
Анотація:
Background: By technology advance, the medical teaching needed an update to support all changing, araising new tools for learning and medical practice. Summary: The Clinical Semiology Blog is a project developed by monitors of the discipline Clinical Semiology I, together with faculty members from the Bahiana School of Medicine and Public Health with the purpose of developing skills and disclosure of a high quality content. The blog is divided in sections making possible the development of many skills. Summary of the results: The Semiology Blog works as a source of learning to students and monitors. The development of each publication demands different skills, making possible the continuos update and sourcing for knowledge. Keeping active is a difficult choir, so is group work, those are the main difficulty to continue with the project. Conclusion: The Semiology blog has shown to be an important tool of learning to monitor and students. The difficulty inherited to this project turns out to be an important way of developing technical skills, to personal growth and bounding.
25
Piech-Sławecka, Joanna. "The benefits of working on improvisation in a choir for the development of stage competences." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 89–102. http://dx.doi.org/10.5604/01.3001.0010.5354.
Анотація:
Improvisation in a choir is a competence that can be developed. It influences musicality and allows for the realization of both unnotated works and compositions including elements of improvisation. Experiences of pedagogues and conductors show that this technique can be applied while working with a choral ensemble and its benefits may comprise the following: improved vocal and interpretational competences, development of choristers’ musical imagination, better cooperation within a group as well as more attentive listening to each other. These qualities translate directly into a set of stage competences in choral performance. Among the discussed problems, there can be found issues regarding selected concepts of teaching improvisation, its outcomes and an impact of that skill on an individual and group development.
26
Bates, Vincent C., Jason B. Gossett, and Travis Stimeling. "Country Music Education for Diverse and Inclusive Music Classrooms." Music Educators Journal 107, no. 2 (December 2020): 28–34. http://dx.doi.org/10.1177/0027432120956386.
Анотація:
Despite its rich heritage and enduring popularity, country music has historically been marginalized in American music education, usually in favor of more “high-brow” musical practices. This article explores potential explanations for this imbalance within the context of a general overview of cultural and social considerations and implications related to this important American art form. Finally, we outline practical steps that music teachers can take toward more inclusive and diverse approaches to music teaching and learning to include country music critically and as appropriate to meet students’ needs and interests. These steps include applications within current approaches to band, orchestra, choir, general music, songwriting, and guitar.
27
Zavadska, Galina. "THE TECHNOLOGY OF DEVELOPING HARMONIC HEARING." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 530. http://dx.doi.org/10.17770/sie2014vol2.647.
Анотація:
In Latvia, the development of harmonic hearing takes an important place in the process of training pre-service music teachers, because a music teacher is a conductor of a school choir or a conductor of some other choir collective. The issues relating to the system of properties of harmonic musical hearing have been highlighted in a range of scientific works by different authors (Teplov, 1947; Sloboda, 1988; Petrushin, 1997). However, at present the understanding of the nature and ways of developing harmonic hearing is sometimes quite controversial. This, first of all, can be attributed to the complexity of the interrelations between harmonic hearing and general psychic processes: perception, presentation, reproduction, memory, and thinking. The interconnectedness of general human and specific, individual qualities makes this problem difficult to study. The solution of the problem is made difficult by the fact that a collective teaching at sol-fa classes in a higher education establishment often conflicts with learners’ individual peculiarities and problems of developing their harmonic hearing. Within the frame of the case study the technology of developing harmonic hearing based on the strategy of experiential learning (model by David Kolb, 1984) has been worked out. The presented technology is grounded on individual students’ learning styles and on the author’s model of developing harmonic hearing (Zavadska, 2012b).
28
Gozdecka, Renata. "Dydaktyka uniwersytecka Beaty Dąbrowskiej. Przywołania chwil minionych." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 25. http://dx.doi.org/10.17951/l.2016.14.2.25.
Анотація:
<p>The article presents the teaching work of Beata Dąbrowska (1960-2016) at Maria Curie-Skłodowska University, Institute of Music. During over 30 years of her work at the University, Beata Dąbrowska – a conductor and teacher – educated several dozen graduates. As part of her teaching duties, she taught courses in choral conducting, reading the scores, vocal band, methodology of conducting vocal band, and in choir and choral literature. The classes in these subjects focused on choral music, which she liked the most. This text presents the methods and the style of her work during classes in choral conducting, reading the scores and choral literature. The description of her teaching, including, inter alia, manual and technical aspects of conducting, repertoire and interpretative issues, has been complemented with the remembrances by her students: graduates of the Institute of Music: Milena Lis and Izabela Urban and students – Kinga Rdzak and Jagoda Pondel. These memories confirm that Professor Dąbrowska – a person of great personal culture – conducted her classes with extreme calm and self-control. She was a demanding teacher but at the same time she created a warm and cordial atmosphere.</p>
29
Cohen, Mary L. "Writing between Rehearsals." Music Educators Journal 98, no. 3 (March 2012): 43–48. http://dx.doi.org/10.1177/0027432111434743.
Анотація:
Excellent musical ensembles have a strong sense of communal identity among the participants. Because of scheduling challenges and performance priorities, it is difficult to build camaraderie during rehearsal time other than through music making. This article explores the processes, benefits, and challenges of implementing a writing component in an ensemble for the purposes of building camaraderie and assessing individuals. The writing component described here is used with a joint community/prison choir consisting of college students, community members, and prisoners. Ideas are included for teacher-conductors who want to develop their musicians’ learning through invitations to write. Activities involved in this project may include scripts for concert introductions, program notes, creative writing explorations, concepts to share during rehearsal, and interdisciplinary teaching.
30
Payne, Ian. "The Will and Probate Inventory of John Holmes (d 1629): Instrumental Music at Salisbury and Winchester Cathedrals Revisited." Antiquaries Journal 83 (September 2003): 369–96. http://dx.doi.org/10.1017/s0003581500077738.
Анотація:
The recent discovery of probate material relating to John Holmes (d 1629), a provincial Jacobean cathedral organist and composer, provides three valuable references to the use of musical instruments at Salisbury Cathedral before the Civil War. These prove that the Choristers' House, where Holmes lived, contained in 1629 a consort of viols, with other (unspecified) instruments, four virginals and an organ. This evidence, though fragmentary and circumstantial, may be read in the context of what is known about the practice of instrumental music in other English cathedrals. The references can then be used to support three generally accepted theses: first, that viols were used for teaching purposes (and possibly also in a flourishing adult musical circle centred on Salisbury Cathedral, for which there is strong circumstantial evidence), rather than in liturgical contexts; second, that sackbutts and cornetts most probably doubled the voices in the choir; and third, that the organ remained the principal instrument of choral accompaniment even in the first decade of the Restoration period. Holmes had previously served as organist and master of the choristers at Winchester Cathedral, where there is also circumstantial evidence of viol-teaching activity since 1618, where wind instruments were employed (probably liturgically) in the sixteenth century, and where Holmes may have composed at least one piece of instrumental consort music, most probably for teaching purposes.
31
Baughman, Melissa. "Mentorship and Learning Experiences of Preservice Teachers as Community Children’s Chorus Conductors." Journal of Music Teacher Education 29, no. 2 (September 25, 2019): 38–52. http://dx.doi.org/10.1177/1057083719876116.
Анотація:
A service-learning model may be used to provide preservice music teachers with authentic context learning experiences and a range of pedagogical benefits, but research evidence specific to choral music contexts is limited. The purpose of this study was to investigate two preservice music teachers’ experiences as interns with a community children’s chorus. Through an examination of verbal and written reflections, I sought to understand how interns perceived themselves as music teachers, their ability to implement and recall specific instructional strategies, connections they made between teaching young singers in a community choir context and future field work in public school settings, and mentor influence. Study participants were two junior-level music education majors and two children’s chorus conductors. Data collection methods included questionnaires, interns’ weekly video journals, one semistructured interview with each mentor, and one video-stimulated recall interview with each intern. Both interns assisted in teaching a weekly, 60-minute choral rehearsal for 10 consecutive weeks, and attributed their increased confidence as music teachers to this experience. They also discovered their own deficiencies in error detection and choosing teaching methods on the spot. Mentors had a positive impact on the interns’ overall experience. Implications for music education include the need to engage preservice teachers in all types of authentic context learning experiences, and to further explore the mentor’s role in these experiences.
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Niemtsova, Liliya. "Forms and methods of organizing extracurricular musical and educational work." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 7(138) (July 27, 2021): 87–91. http://dx.doi.org/10.31392/npu-nc.series15.2021.7(138).18.
Анотація:
The article is devoted to the review and analysis of forms and methods of organization of extracurricular music-educational work, which would promote the development of children, the formation of their musical culture, creative attitude to life and art. As well as these forms and methods will contribute to the development of patriotism and students’ aesthetic. Extracurricular music-educational work complements music lessons and aims to expand the musical horizons of children, deepen their knowledge, as well as improve performance skills and abilities. The organization of extracurricular musical activities involves compliance with certain guidelines. The success of a variety of work combined to develop musical skills depends largely on how well students master and feel the need for different musical activities. The obtained musical skills of the participants have a way out: together they prepare themed evenings, concerts, perform at holidays and reviews. This gives them the opportunity to feel the need and importance of the ability to own a musical instrument. In the process of teaching singing, the teacher solves many problems related to the development of students' voices and the acquisition of vocal and choral skills and abilities necessary for artistic expression. With choral singing activists, you can prepare an article for the school wall newspaper, in which to talk about the importance of creating a choir, the prospects for its development and immediate tasks; draw up a colorful poster announcing the organization of the choir, where to indicate the days and hours of listening to all who wish to sing.
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N., Mikhailova. "Sergiy Prokopov: phenomenon of the creative personality." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 6–21. http://dx.doi.org/10.34064/khnum1-52.01.
Анотація:
Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flying. The repertoire of the choir is extremely wide and diverse from the Renaissance to contemporary domestic and foreign compositions, different in genres and subjects, which is quite difficult for the amateur team. That is why the professional recognition of the children’s choir under the guidance of S. M. Prokopov is confirmed by many honorary awards of national and international competitions and choral festivals. Following the traditions of Kharkiv choral school, Prokopov S. M., while heading the choir of the students of the Choral Conducting Department of KhNUA named after I. P. Kotlyarevsky, greatly changed not only the repertoire policy of the choir, but also revised the correlation of teaching-educational and concert-performing tasks. The choral class is not only a solid base platform for the professional education of future choirmasters-specialists. The choir of students, under the guidance of S. M. Prokopov, is a full-fledged performing collective, whose power makes it possible to perform compositions of great forms. Working on the sound of the choir, at the stage of a warm-up, he relies on the artistic principles of the sound production, which represent a peculiar emotional and psychological setting for the further professional communication between the choirmaster and the singers. Such accentuation of attention on the complex of psychological tasks during the performance of vocal-choral exercises helps to combine and correlate the emotional and psychological state and technical capabilities of the singers with subsequent performing intentions. The key to the work of the master is a special relation to the interaction of the language and musical intonation. Expressiveness as a conscious singing is impossible without the right intonation, a clear pronunciation, an emotional exaltation in the process of performing a choral composition. The pedagogical activity of S. M. Prokopov continues in the class on conducting and relies on both the methodical foundations, theoretical positions, the generalizations of outstanding teachers, choirmasters, symphony conductors and many years of the own experience of the teacher, the conductor, and the conductor-choirmaster. Actually, his pedagogical style is characterized by a high level of culture, sophisticated taste, and deep knowledge of the specialty and in the related fields of both the humanities and social sciences. The sphere of interests of scientific activity of S. М. Prokopov covers various areas of the choral art. The scientific and methodical works by S. M. Prokopov outlines a range of issues related to the problems of the choral performance, the choral pedagogy and the educational process of formation of conductors-choirmasters at different stages of development. Professor S. M. Prokopov’s active and responsible life position prompts him for the public-education activities. Holding the post of the Head of the Kharkiv branch of the Association called “The Choir Society named after M. Leontovych”, on his initiative the significant competitions and festivals of the choral art take place, and they are known not only within Ukraine but also abroad. Sergiy Mykolayevych presents reports on the relevant issues of the choral art at international and all-Ukrainian conferences, conducts numerous master classes, lectures and concerts. Conclusions and the perspectives of the further research. Sergiy Prokopov is an example of a universal musician. To highlight one, the main of the directions of his activities is impossible. The teacher, choral conductor, scientist, talented organizer and musical-public figure, his work is a vivid example of creative and personal enthusiasm. The prospect of the further development of the topic is related to the in-depth study of the various spectra of S. M. Prokopov’s creative activities, his personal contribution to the development of Ukrainian culture.
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VanWeelden, Kimberly, Virginia Wayman Davis, and Laura Singletary. "No Fear, Just Fun!: Meaningful, Memorable Musicking in Secondary General Music." General Music Today 32, no. 3 (March 17, 2019): 13–19. http://dx.doi.org/10.1177/1048371319834921.
Анотація:
Secondary general music is hard to define. For some, this denotes an accelerated version of elementary general music or a decelerated version of a college music appreciation course. Others view this as any nontraditional ensemble geared for middle or high school students, such as guitar, keyboard, or steel pans. Still, for others, secondary general music is not so much a stand-alone course as it is any time devoted to teaching fundamental skills to students in band, orchestra, and choir so they may more successfully perform the repertoire. The authors acknowledge each of the above-listed views as valid; thus, rather than debate what is secondary general music, we will highlight each viewpoint in a three-part series. The first of this series will focus on a class structure where students experience various activities all while learning music fundamentals, studying music history, and developing music literacy skills.
35
Kennedy, Mary Copland, and Susan Carol Guerrini. "Patriotism, nationalism, and national identity in music education: ‘O Canada,’ how well do we know thee?" International Journal of Music Education 31, no. 1 (June 22, 2012): 78–90. http://dx.doi.org/10.1177/0255761411433722.
Анотація:
The purpose of the study was to determine Canadian secondary school choral students’ skill in singing the national anthem. The sample ( N = 275) consisted of students from 12 schools, representing six provinces in Canada. Students were audio taped singing ‘O Canada’ in English, French, or in a combination of both languages and subsequently completed a questionnaire. Results indicated that few students could sing the national anthem perfectly. Although students were significantly more accurate in remembering the lyrics than in singing the melody ( p < .0001), only 67% were judged proficient in lyrics whereas a mere 46% were judged proficient in melody. Possible reasons for these poor results include the frequency with which students sing the anthem in secondary schools, the fact that three-quarters named a classroom teacher in the early/elementary years as being the one responsible for teaching them the anthem, the shift to solo versus group singing in public events, and the inconsistency with which music education is delivered in elementary schools. Implications for practice indicate that more emphasis be placed on assisting choir members to sing the anthem accurately, more opportunities be provided in secondary schools for students to sing the anthem, and more curricular attention be placed on teaching students both English and French versions.
36
Hash, Phillip M. "Music Education at the New York Institution for the Blind, 1832–1863." Journal of Research in Music Education 62, no. 4 (December 17, 2014): 362–88. http://dx.doi.org/10.1177/0022429414555983.
Анотація:
The purpose of this study was to document the history of music education at the New York Institution for the Blind (NYIB) from the opening of the school in 1832 through the tenure of the facility’s first music director, Anthony Reiff. Research questions pertained to the school’s origin and operation and to its music curriculum, pedagogy, faculty, ensembles, and resources. The NYIB provided a home and education for students ages eight to twenty-five. The music program served as recreation and vocational training and as a means of promoting the school. Reiff joined the faculty in 1835 and established a band and choir that performed throughout the city and surrounding states. In 1847, the board of managers hired George F. Root as head of vocal music and named Reiff director of the instrumental division. Sigismund Laser replaced Root in 1855 and remained at the NYIB until 1863, when both he and Reiff left the school. The faculty at the NYIB developed and promoted effective methods for teaching music to people with blindness and prepared graduates to serve as church musicians, piano tuners, and music educators. Findings from this study might serve to remind music educators of past pedagogical methods and principles applicable in teaching students who are blind today.
37
Dudareva, M. A. "Sophia or Apophatic reality in Alexander Blok’s poem «A girl was singing in a church choir»." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 129–39. http://dx.doi.org/10.17588/2076-9210.2020.3.129-139.
Анотація:
The paper presents a coherent analysis of the famous poem by Alexander Blok «A Girl Was Singing in a Church Choir...» in an extensive historical and cultural context. Much attention is paid to the poetics of color, the colorative «white», which is characterized by semantic tension and brings the reader into the ontological space of the text. In the poem, the image of the girl is associated with white color and light, which shows that the heroine belongs to the higher, heavenly world and is opposed to «everyone» from the temple, which is in darkness. The play of light and shadow acquires a sacred nature and makes it possible to raise the question of the apophatic tradition, the appearance of «evening light» and «unfading light». The image of the heroine is also viewed from the perspective of the teaching on Sophia by Vladimir Solovyov, whose legacy was addressed by the poet. Blok draws parallels with the Russian folklore tradition, analyzing the last stanza, the image of a crying child. The appeal to folklore is fruitful, since Blok was well acquainted with oral folk art, as evidenced by the fact that he was the author of the article «Poetry of Conspiracies and Spells», written in the same period as the object of the current study, the poem «A Girl Was Singing in a Church Choir...». However, the authors of this paper interpret folklore not narrowly, but include in its field rituals, ceremonies, and pre-genre formations. The work is based on a holistic analysis of the artistic text using structural-typological, comparative, and systematic-comprehensive (culturological) research methods. These methods allow highlighting the ontological dimension in the poem, revising the views on the images of the girl and the child that have established in literary studies, avoiding unambiguousness in interpretation.
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Killian, Janice N., and Michele L. Henry. "A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance." Journal of Research in Music Education 53, no. 1 (April 2005): 51–65. http://dx.doi.org/10.1177/002242940505300105.
Анотація:
High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.
39
Bouwma-Gearhart, Jana. "Research University STEM Faculty Members’ Motivation to Engage in Teaching Professional Development: Building the Choir Through an Appeal to Extrinsic Motivation and Ego." Journal of Science Education and Technology 21, no. 5 (November 1, 2011): 558–70. http://dx.doi.org/10.1007/s10956-011-9346-8.
40
Тeriaieva, L. A. "Pedagogical conditions and innovative technologies in the process of learning discipline “Choral Conducting”." Musical art in the educological discourse, no. 2 (2017): 141–44. http://dx.doi.org/10.28925/2518-766x.20172.14144.
Анотація:
Innovation of modern education is competence-based approach, which requires the students to receive sturdy theoretical knowledge and practical skills on the basis of interdisciplinary connections between choral conducting with other psycho-pedagogical and related musical academic disciplines. To achieve this goal it is necessary to create the appropriate pedagogical conditions. Creation of conditions depends on the organization of training, competence and experience of the teacher. Favorable pedagogical conditions always have a positive effect on the quality of students’ training in choral conducting, efficiency and intensification of their training. We offer to develop methodological competence of future music teachers in choral conducting classes following these pedagogical conditions: continual self-improvement of teachers; enhancing the motivation of learning through the use of exercises in choral conducting on visual means, multimedia and other modern computer technologies; complete methodological support for choral conducting and related musical disciplines by educational programs; independent work of students on improving their methodological competence; teaching students to be confident in their ability and own conductor’s skills; creative contact at classes on choral conducting between the future music teacher, teacher and accompanist, as well as between the future music teacher and the choir group. This article focuses on the requirement to create favorable conditions for teachers in the classses in choral conducting. It is considered, analysed and proposed pedagogical conditions which reveal psychological and pedagogical problems and highlight the ways to overcome them. Favorable conditions of teaching in choral conducting have a positive impact not only on the development of methodical competence, but also on quality of future music teachers’ training.
41
Tozer, Malcolm. "From Prussia with Love: Music at Uppingham School, 1853–1908." Journal of Historical Research in Music Education 41, no. 2 (June 27, 2018): 105–31. http://dx.doi.org/10.1177/1536600618784543.
Анотація:
Music played little part in the education of British children before 1853 when Edward Thring was appointed headmaster of Uppingham Grammar School in the English Midlands. Thring created an innovative holistic curriculum for the two dozen boys of this rural boarding school and he appointed a musician as the third addition to his staff to form a teaching faculty of five; by the time of Thring’s death in 1887 and a school roll now three hundred, the full-time music team numbered six. Almost all came from Prussia: early appointments stayed only a year or two but later ones, including Paul David—"Music and Choir Master”—made Uppingham their permanent home. Over the course of four decades, David—a member of the Mendelssohn and Schumann circle, and friend of Brahms and Sterndale Bennett—raised music to a high level of distinction and a broad level of participation beyond all other schools and, through his lifelong friendship with Josef Joachim, he attracted many celebrated musicians to perform to and play alongside his boys. None of this, however, would have happened but for a chance meeting in Rome in 1852.
42
Walden, Jennifer. "A pile of drums: Putting theory into practice in culturally diverse music education." International Journal of Music Education 38, no. 1 (October 11, 2019): 79–92. http://dx.doi.org/10.1177/0255761419871358.
Анотація:
This article provides music educators with practical ways to (a) build school community through culturally diverse music and informal performances and (b) inculcate global perspectives into music programs (including concert band and choir) through culturally diverse music. In an autoethnographic style, the article tells a story that spans 2 years in a challenging situation: an international school in a country wrought with political and economic instability. It examines community building and inculcating global awareness from four perspectives. The first perspective reviews engagement in cultural diversity in music education through the lens of recently completed PhD research. It looks what scholars are writing about culturally diverse music education and how these ideas subsequently look in practice. Second, 30 years of personal experience teaching culturally diverse music are tied in, including ideas for student engagement in music classes. The third perspective includes practical ideas: how culturally diverse music can be integrated to broaden a program and rejuvenate interest in music. Finally, the fourth reveals responses from students experiencing learning through culturally diverse music. Examples, transcriptions, and recommended resources are included, leaving music teachers with useful, sustainable approaches for culturally diverse inclusivity.
43
Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.
Анотація:
In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century.
When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location.
According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.
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Kushnir, K. "Peculiarities of valuable competencies development of future teacher of musical art." Musical art in the educological discourse, no. 3 (2018): 25–31. http://dx.doi.org/10.28925/2518-766x.2018.3.2531.
Анотація:
The article is devoted to the current problem of modern art, especially music education. It reveals peculiarities of valuable competencies development of future teacher of musical art in conductoing-choral training at a higher education institution. The society is interested in development a highly-qualified specialist, who has high level of valuable competencies development, who meets the demands to the teacher in modern school. It is emphasized that the future teacher of musical art should be mobile, use computer technologies, take an active part in a socio-cultural environment, all this will contribute to achieve high results in the level rising of the conception under analysis determined and grounded in the article. The theoretical and practical aspects of professional mobility as a complex integrative quality of the future specialists are examined. Modern computer technologies, combined with the latest educational technologies, become effective means in the development of professional thinking of the future teacher of musical art, which allows to supplement and change the nature of the teacher’s activity, which will contribute to the spiritual development of the individual as well as development of their valuable competencies. The essence of values competencies is revealed and provides a definition of the concept of «valued competencies of the future teacher of musical art, in the conductor-choir training». Specialists of higher education institutions can find the information contained in this article useful for improving the training of future teachers of musical art and use it in teaching disciplines of the conducting-choral cycle.
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Progler, J. "Teaching the Ordinary: What’s in a Chair?" Radical Teacher, no. 89 (February 24, 2011): 76–77. http://dx.doi.org/10.5406/radicalteacher.89.0076.
46
Progler, J. "Teaching the Ordinary: What’s in a Chair." Radical Teacher 113 (February 14, 2019): 79–80. http://dx.doi.org/10.5195/rt.2019.603.
47
Progler, J. "Teaching the Ordinary: What’s in a Chair?" Radical Teacher 89, no. 1 (2010): 76–77. http://dx.doi.org/10.1353/rdt.2010.0024.
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Tsuranova, Oksana. "The role of N. Ilminsky and S. Rachinsky in the formation of the personality of S. Smolensky." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 10–25. http://dx.doi.org/10.34064/khnum2-16.01.
Анотація:
Background. The modern system of national education, including music, is on the path of reorganization and reformation. Creating new educational models, it is useful to refer to the samples, time-tested, created by people whose names are permanently inscribed in the European cultural and historical fund. This confirms the life and work of Stepan Vasilyevich Smolensky (1848–1909) – teacher, medievalist, composer, regent, reformer of the music education system, public and cultural figure, ideologist of the New Direction of Orthodox Music of the late XIX – first half of the XX centuries. The formation of the ideology of the musician-teacher, the approval of his convictions became possible in many ways thanks to the support of two of his contemporaries, outstanding pedagogical figures – N. Ilminsky and S. Rachinsky. Objectives. The purpose of the article is to reveal the personal interaction of S. Smolensky with N. Ilminsky, S. Rachinsky, to appraise the contribution of the latter to the formation and development of his ideological positions, which determined the direction of further professional activity. Methods. The article uses the method of historicism, which allows us to consider the phenomena of artistic culture, enlightenment and education in the dynamics of their formation. Results. The formation of S. Smolensky took place in the Kazan period of life under the influence of Nikolai Ilminsky and Sergey Rachinsky. Nikolai Ivanovich Ilminsky (1822–1891) – orientologist, mission temissionary-teacher, biblical scholar, takes a special place in the biography of Stepan Vasilyevich Smolensky. The scientific works of N. Ilminsky cover a wide area of knowledge, like that: theology, linguistics, foreign translation, pedagogy and missionary work. His scientific studies, their practical implementation, which have not lost their relevance even nowadays, put Nikolai Ivanovich in a row of prominent figures of the Orthodox enlightenment of small peoples of the Volga region, Ural region and Siberia. The merits of N. Ilmisnky belongs to the founding of the first schools for small nations of the Volga region, as well as the teachers’ seminary in Kazan, where S. Smolensky was invited to the post of teacher of singing, history and geography. Church singing was considered in the missionary policy of the government as an important strategic element of introducing baptized aliens to orthodoxy. To this end, S. Smolensky was involved in a large-scale project of translating religious chants into the languages of the national small peoples of the Volga region, which determined the direction of his entire musical and singing work. Fully sharing the beliefs of N. Ilminsky, the young teacher focused on teaching church singing, in the moral and educational significance of which he infinitely believed. The lack of a methodical program for this discipline in public schools made S. Smolensky delve into this area of knowledge, as a result of which he developed the author’s system of teaching the named subject. In his pedagogical activity, S. Smolensky made extensive use of the methodological manuals created by him, which became an indispensable teaching material for future teachers. Here in Kazan, with the assistance of N. Ilminsky was opened a new page in the life of S. Smolensky, his deep immersion in the field of paleographic research. In Kazan, in the period of close cooperation with N. Ilminsky, typical features of S. Smolensky’s future activity were outlined, which received its brilliant application in the next Moscow period of life, during his leadership and reforming the Synodal School of Church Singing and Choir. S. Smolensky called his last teacher Sergei Alexandrovich Rachinsky (1833–1902) – professor and founder of the Department of Plant Physiology, Moscow University, a teacher, corresponding member of the Imperial St.-Petersburg Academy of Sciences. The acquaintance of S. Smolensky and S. Rachinsky occurred on the basis of the folk soil, based on Orthodox ideals. Foresight of judgment and deep knowledge of ancient church chants gave S. Rachinsky the right to take an active part in the scientific and educational activities of S. Smolensky. This confirms the extensive work carried out by S. Smolensky on the harmonization of the main Orthodox chants, undertaken at the insistence of his elder friend. The reforms carried out by S. Smolensky in Moscow and St.-Petersburg were fundamentally based on the education system of S. Rachinsky, aimed at developing the national element. Conclusions. A powerful monolith in the face of the polyglot and the manager N. Ilminsky, set off by the elegance of the artistic, but at the same time «meekly obstinate» nature of the educator-creator S. Rachinsky multiplied to the personality of Stepan Vasilyevich. In turn, the example of the life and work of S. Smolensky set a high tone and indicated a movement vector for many respectable professionals of musicians, teachers, choir masters, and scientists. Faith S. Smolensky, by lifeblood of the folk song and znamenny chant, inspired a wide range of composers, including P. Chesnokov, A. Kastalsky, S. Rachmaninov, A. Grechaninov, A. Nikolsky, N. Golovanov, K. Shvedov, Vik. Kalinnikov and others. Becoming one of the founders of medievalism in the area of church music, S. Smolensky outlined the main components of a scientific search in the history and theory of ortodox church singing, in the course of which A. Preobrazhensky, A. Nikolsky and others. A gifted teacher and organizer, S. Smolensky showed an example of the work of exemplary musical institutions whose school was attended by the greatest choirmaster of the last century: P. Chesnokov, N. Golovanov, N. Danilin, S. Zharov, A. Egorov and others. What has been said gives the right to assert that we can be fruitful in history, provided, like S. Smolensky, we will with intense effort learn from our forefathers, carefully looking at the value of their professional and life experience.
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Mazaeva, I. A. "School of English for Political Scientist." MGIMO Review of International Relations, no. 5(38) (October 28, 2014): 221–24. http://dx.doi.org/10.24833/2071-8160-2014-5-38-221-224.
Анотація:
Department of English Language № 7 was founded in 2001. Originally its teaching staff included the specialists of the Department of English Language Chair. Since its inception, the chair has paid particular attention to the introduction of innovative teaching methods and techniques. This is realized by a competence-based and personalized approach, implemented by I.A. Winter as well as and cognitive and communicative approaches to education. The development of intellectual, communicative and personal qualities of students and the teachers is the main goal of the educational process, achieved by the teaching staff witch the use of innovative competence-oriented teaching techniques, and types of assessment at the different levels of education.
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Keith, Susan. "The Teaching Chair: When Administrative and Classroom Worlds Collide." Department Chair 31, no. 4 (March 2021): 13–14. http://dx.doi.org/10.1002/dch.30380.