scholarly journals ANTONIO SALIERI PEDAGOGICAL SCHOOL

2021 ◽  
pp. 110-117
Author(s):  
I. Tsebriy
Keyword(s):  
Franz Schubert ◽  
Music Pedagogy ◽  
Musical Life ◽  
Choral Singing ◽  
Stringed Instruments ◽  
Musical Thinking ◽  
Johann Nepomuk Hummel ◽  
Antonio Salieri ◽  
Eighteenth And Nineteenth Centuries

The article deals with the pedagogical school of Antonio Salieri, which was formed in the last quarter of the eighteenth – first quarter of the nineteenth centuries. This school was an artistic phenomenon, given that A. Salieri taught not only one instrument, but a whole set of musical disciplines (composition, counterpoint, conducting, solo and choral singing, harpsichord, stringed instruments, etc.). A. Salieri's School is also unique because of the highest professional level preparation of a whole plaid of talented and even brilliant musicians - Ludwig Beethoven, Franz Schubert, Johann Nepomuk Gummel Franz Xaver Süsmayr, Anselm Hüttenbrüsner, Ignaz Carlethal Moscheles. Cavalieri, Anna Milder-Hauntmann, Anna Kraus-Vranitsky, etc. Based on sources and scientific works, the author of the article argues that the contribution of A. Salieri to the music pedagogy of the eighteenth and nineteenth centuries is invaluable. Antonio Salieri's pedagogical legacy is a unique phenomenon – he taught composition, instrumentation, instrument, vocals, counterpoint, homophony, polyphony, and most importantly - musical thinking. Many ingenious composers have left a unique legacy, but not many of them can boast of such a large number of students who have shown themselves in all spheres of musical life in the European world. We will not be mistaken when we say that Antonio Salіeri was unique in this. It is unlikely that the pedagogical legacy of another great musician will include pedagogue and methodologist Johann Nepomuk Hummel, the genius composer of all ages L. Beethoven, one of the first romantics – F. Schubert, vocalists - "opera stars'' Catherine Valba-Kanz, Fortunate Franquette, Amalia Josef-Mozatta. And this list can go on and on because the total number is over sixty.

scholarly journals Formation of the Regional Choral Performing School

2015 ◽  
pp. 94-98
Author(s):  
Marina N. Drozhzhina ◽  
Nina V. Pomortseva
Keyword(s):  
Musical Life ◽  
Choral Singing ◽  
Art School

Explores the issue of development of the modern choral performing in the Kemerovo region. The authors define the notion of “art school” and its features, analyse emergence of the academic choral singing as the successful phenomenon of musical life in the region.

Pulling at Harp Strings

2020 ◽  
pp. 69-100
Author(s):  
Keith Howard
Keyword(s):  
Musical Instruments ◽  
Music Pedagogy ◽  
The Core ◽  
Stringed Instruments ◽  
Percussion Instruments ◽  
Western Instruments ◽  
Detailed Work ◽  
New Instruments

Chapter 3 is the second of two chapters that outline and analyze the development of North Korea’s kaeryang akki—updated “improved” or “reformed” versions of traditional musical instruments. It extends the discussion of Chapter 2, critiquing the underlying ideology, which holds that Korean instruments should match Western counterparts, but that Western instruments must be subservient to the Korean soundworld, and introducing key musicians and institutions, and music pedagogy. Data from published resources is matched to the author’s detailed work with key performers in Pyongyang, interviews with musicologists, and evidence gleaned from notations and recordings. It notes how some instruments have disappeared from public view, and asks why this is so. The core of the chapter considers stringed instruments. Some instruments have been developed in multiple versions to match Western orchestral equivalents or to serve specific functions, while new instruments have also been created. The chapter also considers “reformed” percussion instruments.

scholarly journals ”En ny musikuppfostran”: Reformpedagogiska anspråk i Siljanskolans bildningsinnehåll

2016 ◽  
Vol 3 (1) ◽  
pp. 47-74
Author(s):  
Juvas Marianne Liljas
Keyword(s):  
Personal Development ◽  
Music Teaching ◽  
Music Pedagogy ◽  
Musical Life ◽  
Alternative Pedagogy ◽  
Education Politics ◽  
Reform Pedagogy ◽  
History Of ◽  
New Form ◽  
International Character

”A new form of musical upbringing”: Pretenses of reform pedagogy content in the Siljan schoolIn this article, I describe the Siljan school in Tällberg as a Swedish example of alternative pedagogy. The overall questions relate to the reform pedagogy content of the school and its ability to give Swedish music teaching a new form of musical upbringing. An important issue is how the Siljan school as a model for Swedish reform has been inspired by the reform pedagogy movements in USA and Germany. The analysis is thus based on the Alm couple’s ability to give the school an international character which shines light on Swedish reforms in the greater context of reform pedagogy. With its basis in discursive education of the 1930s, two main questions are discussed: what perspective on musical education can be identified in the personal development ethos of the Siljan school? How can the school’s relation to the reform pedagogy music movement during the start of the 1900s be understood? From a hermeneutic perspective, the article contributes by investigating how the Siljan school can have affected decisions in education politics, Swedish schooling, and Swedish musical life. In summary, the article contributes with new knowledge on a chapter in the history of Swedish music pedagogy.

Setting the Stage

Tallis ◽  
2020 ◽  
pp. 75-86
Author(s):  
Kerry McCarthy
Keyword(s):  
Musical Training ◽  
Musical Life ◽  
Choral Singing ◽  
The World

We do not know where Tallis received his musical training, but we can catch a glimpse of the world of his youth by looking at an important book of music from that generation. The Antiphonale of 1519–20 is a vast printed collection of traditional plainchant for use in church. It contains many melodies Tallis used in his own works, and it shows us what everyday musical life would have looked like for a young musician in Catholic England. This chapter follows the Antiphonale through Advent and the Christmas season, discussing the old traditions of choral singing and the teaching of choristers.

On the Theoretical Expression of Music in France during the Renaissance

1994 ◽  
Vol 13 ◽  
pp. 249-273 ◽  
Author(s):  
Philippe Vendrix
Keyword(s):  
Theoretical Expression ◽  
Musical Life ◽  
Musical Thought ◽  
French Music ◽  
Hard Time ◽  
Renaissance Period ◽  
Musical Thinking ◽  
History Of ◽  
Musical Renaissance ◽  
French Composers

It may not always seem obvious to begin a study of French music in the Renaissance with a reference from the theoretical field. By entitling his study ‘Ut musica poesis’ Howard Mayer Brown attempted to remedy this shortcoming. However, without in any way disparaging his work, this results in a series of paradoxes and uncertainties about the links which in France during the Renaissance period unite musical practice and musical thought, whether this be philosophical or theoretical. It is true that expressions like ‘musical renaissance’ or ‘musical humanism’, easy and pernicious terms, have a hard time in the French field. And it is precisely because these terms are easy and pernicious that they can be used in this way. For while there has never been any question of doubting the role of French composers in constructing the musical landscape of the Renaissance, it has never, on the other hand, been imaginable to write a history of humanism in French musical thinking of the Renaissance. It is rather as if, causing a sudden break in the course of history, French writers and theorists of the fifteenth and sixteenth centuries had abandoned the art of sound to the practitioners, composers and performers alone. But no Western culture exists which can have a musical life without thought, and without the will to discover in it a pretext, a paradigmatic function or even an experimental field.

scholarly journals 4E Music Pedagogy and the Principles of Self-Organization

2018 ◽  
Vol 8 (8) ◽  
pp. 72 ◽  
Author(s):  
Andrea Schiavio ◽  
Dylan van der Schyff
Keyword(s):  
Music Education ◽  
Cognitive Processes ◽  
Philosophy Of Mind ◽  
Explanatory Power ◽  
Self Organization ◽  
Music Pedagogy ◽  
Close Collaboration ◽  
Present Contribution ◽  
Musical Life ◽  
Musical Skills

Recent approaches in the cognitive and psychological sciences conceive of mind as an Embodied, Embedded, Extended, and Enactive (or 4E) phenomenon. While this has stimulated important discussions and debates across a vast array of disciplines, its principles, applications, and explanatory power have not yet been properly addressed in the domain of musical development. Accordingly, it remains unclear how the cognitive processes involved in the acquisition of musical skills might be understood through the lenses of this approach, and what this might offer for practical areas like music education. To begin filling this gap, the present contribution aims to explore central aspects of music pedagogy through the lenses of 4E cognitive science. By discussing cross-disciplinary research in music, pedagogy, psychology, and philosophy of mind, we will provide novel insights that may help inspire a richer understanding of what musical learning entails. In doing so, we will develop conceptual bridges between the notion of ‘autopoiesis’ (the property of continuous self-regeneration that characterizes living systems) and the emergent dynamics contributing to the flourishing of one’s musical life. This will reveal important continuities between a number of new teaching approaches and principles of self-organization. In conclusion, we will briefly consider how these conceptual tools align with recent work in interactive cognition and collective music pedagogy, promoting the close collaboration of musicians, pedagogues, and cognitive scientists.

‘A “new music” from nothing’: György Ligeti’s Musica ricercata

2008 ◽  
Vol 49 (3-4) ◽  
pp. 203-230
Author(s):  
Márton Kerékfy
Keyword(s):  
Turning Point ◽  
Early Career ◽  
New Music ◽  
Musical Language ◽  
Musical Life ◽  
Compositional Technique ◽  
Romanian Folklore ◽  
Musical Thinking ◽  
Experimental Project ◽  
Musica Ricercata

The beginning of the 1950s marks a turning-point in György Ligeti’s early career. By that time Ligeti had become disappointed regarding his rather marginal position in Hungarian musical life, and he might well have felt some dissatisfaction with his own artistic output, as well. He recognized that he should leave his former style and build up his own expressive means and musical language from elementary material. For this purpose, he set himself certain compositional tasks, and imposed restrictions on pitch content, intervals, and rhythms ‘as if to build up a “new music” from nothing’. Accordingly, Musica ricercata , which is the first fruit of his experimental project, marks a renewal of Ligeti’s musical thinking primarily on terms of the compositional technique. The present study examines the main problems of compositional technique raised in Musica ricercata (primarily that of chromaticism and dense polyphony) and points out significant influences shown in the work (such as those of Bartók, Stravinsky, and Romanian folklore).

scholarly journals Music education in Ukraine: meetings in history

2017 ◽  
pp. 73-77
Author(s):  
L. Y. Protsiv
Keyword(s):  
Music Education ◽  
18Th Century ◽  
Music Pedagogy ◽  
Music Culture ◽  
Short Period ◽  
The Future ◽  
Musical Thinking ◽  
The Status ◽  
History Of ◽  
The Aesthetic

The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representatives of Western European polyphonic school, and came very close to the theory of temperatio, so well presented in Bach’s art. Supporting Kyiv concept of education at Slavonic, Latin and Greek schools, which involved a combination of eastern and western elements of education, national and European cultural and educational traditions, M. Dyletskyi formulated the aesthetic principles of choral art, revealed progressive pedagogical ideas. Age of Baroque and Enlightenment was the epoch of Great Travelers and symbolic meetings. In search of truth and artistic ideal philosophers, artists, musicians traveled in Europe. Various meetings took place — real and unreal, sometimes at an interval of a century, but they determined “symbolic insight into the future”. An important meeting took place at the end of the 18th century in Vienna. The Ukrainians met a famous countryman, composer D. Bortnyanskyi. Since then, composer’s music became a model of his proficiency, the embodiment of the Ukrainians’ spiritual outlook. He was called “the Ukrainian Mozart”, “Our Palestrina”, and he became a kind of a “bridge” between the European polyphonists and “classicists”, and also composers–romanticists, who also were influenced by his works. Age of Baroque and classicism, “Golden Age” in the Ukrainian music culture has acquired the status of “epic time” aimed at eternity, when a relatively short period of time defined the future way for historical development. The presence of such parallels and “meetings in history”, actualizing the past at the request of the future, defines metahistorical nature of history of music education in Ukraine.

scholarly journals The metamorphoses of concernity aesthetics in Krzysztof Penderecki’s violins and doppio concerts

2019 ◽  
pp. 279-289
Author(s):  
Nataliya Samostrokova
Keyword(s):  
Significant Role ◽  
Chamber Orchestra ◽  
String Instruments ◽  
Self Reflection ◽  
Avant Garde ◽  
New Horizons ◽  
Stringed Instruments ◽  
Musical Thinking ◽  
Krzysztof Penderecki

The First and Second Concerts for violin and orchestra and the Concerto doppio for violin and viola with orchestra by Krzysztof Penderecki are analyzed in terms of expressing the concernity idea. An attempt was made to trace the dynamics of concernity aesthetics in the mentioned works. It is emphasized that works in different genres for stringed instruments became the artist’s art search laboratory, at the same time, the pinnacles of the main compositional and stylistic periods in the composer’s life. It is a 1960 avant-garde piece for 52 strings chamber orchestra ―The Crying for Hiroshima Victims‖ and 48 Strings ―Polymorphia‖, written a year later. The Master’s return to subtle self-reflection is a milestone, and string instruments have also played a significant role in this process. It has been determined that the metamorphoses of concerto aesthetics in semantic invariant of violin concert on the example of violin concerts by K. Penderecki manifested in the following dynamics: in the works of the author deep tragedy (the First concert), deeply reflexive, sophisticated, and sophisticated music were manifested. Thus, the concertize process in the works is carried out through a return to the symphonic thinking and theatrical procedural, while the musical thinking of the ―last great symphonist‖ (First and Second concerts) is supplemented by the iconic work of neo-romantic stylistics with vivid virtuosity (Concerto doppio). Such polar stylistic features create an artistic concept and predetermine the metamorphoses of concernity aesthetics in the Master’s violin and doppio concerts, which is a movement from form to process, when concertize as a process becomes the main concernity idea. New horizons of such development constitute further prospects of this research.

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