Moving Artistry

2021 ◽  
pp. 14-27
Author(s):  
Mary Ellen Pinzino
Keyword(s):  
Vocal Technique ◽  
Music Classroom ◽  
And Performance ◽  
Full Body

Chapter 2 addresses the power of movement in the development of children’s artistry. It presents movement as the embodiment of children’s artistry, propelling the awakened musical mind to full body engagement. It addresses the importance of flowing movement and weighted movement in terms of both music development and choral artistry. It applies movement in the development of vocal technique and energy in singers and addresses movement in rehearsal and performance. It applies movement directly to the teaching of a new song, implementing ideas presented in this book up to this point. This chapter builds on concepts presented in Chapter 1, moving the foundations of artistry into sheer musicality in both the music classroom and children’s chorus. Insights gained from this chapter can be applied to singers of all ages and used with any methodology. Understandings from this chapter can lead to improving choral performance at all levels.

Giving Voice to Children's Artistry

2021 ◽  
Author(s):  
Mary Ellen Pinzino
Keyword(s):  
Professional Development ◽  
The Other ◽  
Artistic Expression ◽  
Seventh Grade ◽  
Practical Application ◽  
Music Learning ◽  
Vocal Technique ◽  
Music Classroom ◽  
Older Singers

This book addresses the development of children’s artistry in the music classroom and children’s chorus. It unveils children’s artistry, identifying its characteristic behaviors, its progression of development and necessary components for growth, and guides the practical application of principles addressed. The book addresses the development of children’s artistry from the perspective of both the choral art and the process of music learning, with each informing the other, rooting artistry in music learning and developing artistry in an ongoing manner throughout childhood. It presents the musical mind as the gateway to children’s artistry. It discusses the power of movement in the embodiment of children’s artistry. It examines song and its role in the development of children’s artistry, demonstrating how rhythm, melody, and text—independently and together—influence children’s developing artistry musically, expressively, and vocally, at all ages and stages. Musical examples throughout demonstrate principles presented, provide professional development with tonalities, meters, movement, and songs, and offer a multitude of songs of increasing difficulty for the music classroom and children’s chorus that compel the musical mind, prompt artistic expression, and enable vocal technique. Practices and techniques that facilitate the development of children’s artistry are included, and the book can be used with any methodology. This book leads teachers to draw artistry out of every child and draw every child into the choral art. Content is intended for application with children from kindergarten through seventh grade, though it is also appropriate with older singers in the process of developing artistry.

Awakening Artistry

2021 ◽  
pp. 5-13
Author(s):  
Mary Ellen Pinzino
Keyword(s):  
Native Language ◽  
Music Learning ◽  
Music Classroom

Chapter 1 offers the gateway to artistry in every child. It presents the musical mind, distinguishing it from the thinking mind, with the musical mind’s native language of rhythm, melody, and movement rather than words. It addresses the power of meter and tonality over the musical mind, how the musical mind develops a sense of meter and a sense of tonality, and how to teach to the musical mind. The journey unfolds seamlessly, taking the musical mind into the choral art and drawing artistry out of every child. This chapter lays the groundwork for subsequent chapters, rooting artistry in the process of music learning, and presenting the foundation for children’s artistry in both the music classroom and children’s chorus. Understanding gained from this chapter can be applied to singers of all ages and stages, and practices can be implemented with any methodology.

Conclusion

2021 ◽  
pp. 241-262
Author(s):  
M.I. Franklin
Keyword(s):  
Case Studies ◽  
Music And Politics ◽  
And Performance ◽  
Politics Of Race ◽  
Political Economic

The Conclusion draws on the empirical findings of each chapter in order to theorize—reflect on—our way “out” of these case studies. It follows on from the conceptual and methodological themes laid out in Chapter 1, challenges presented to scholarship across the disciplinary spectrum that looks to locate and track where, and how, “politics” (of race, class, gender, and religion) are now being rendered as and through music. Chapter 7 recapitulates the main themes from each chapter as references to audio clips, suggested listening, in order to underscore the findings of this study: how music-and-politics and, or music-as-politics sound within, and between sociocultural and political economic settings. Getting closer to how these practices and sound archives work means taking into account creative practices and performance cultures not only of music making but also of music taking. This final chapter can also function as an introduction for the book as the flipside of Chapter 1.

Introduction

Kick It ◽  
2020 ◽  
pp. 1-8
Author(s):  
Matt Brennan
Keyword(s):  
Social History ◽  
Performance Practice ◽  
New Technologies ◽  
The Social ◽  
The Status ◽  
History Of ◽  
And Performance ◽  
Creative Artists

This chapter explains the motivations for researching the social history of the drum kit. It traces the history of drummer jokes and outlines the structure of the chapters to follow. Chapter 1 traces the racist roots of linking drummers to primitive stereotypes and contrasts this against the cleverness of drummers that culminated in the invention of the drum. Chapter 2 shows how drummers in fact contributed to redefining the boundaries between noise and music. Chapter 3 reveals how drummers developed new conventions of literacy while standardizing both the components and performance practice of their instrument. Chapter 4 examines the development of the status of drummers as creative artists. Chapter 5 looks at drumming as a form of musical labour. Chapter 6 considers attempts to replace the drum kit and drummers with new technologies, and how such efforts ultimately underscored the centrality of the drum kit as part of the contemporary soundscape.

Student-Centered Classrooms

2016 ◽  
Vol 103 (2) ◽  
pp. 20-26 ◽  
Author(s):  
Dee Hansen ◽  
Leslie A. Imse
Keyword(s):  
Teacher Evaluation ◽  
Teacher Evaluations ◽  
Music Teacher ◽  
Student Centered ◽  
Student Centered Learning ◽  
Comprehensive Musicianship ◽  
Music Classroom ◽  
And Performance ◽  
Problem Solve ◽  
And Behavior

Music teacher evaluations traditionally examine how teachers develop student music-learning objectives, assess cognitive and performance skills, and direct classroom learning experiences and behavior. A convergence of past and current educational ideas and directives is changing how teachers are evaluated on their use of student-centered instructional approaches in the music classroom. These are classrooms facilitated rather than directed by the teacher in which students regularly communicate, collaborate, self-reflect, problem solve, and peer-evaluate about their learning. The authors trace the influence of three important initiatives that, among others, contributed to the implementation of student-centered learning in music classrooms: Arts PROPEL, Comprehensive Musicianship, and 21st Century Skills. The article also explores relationships between these entities, the National Music Standards, and teacher evaluation and provides an innovative model of teacher evaluation.

scholarly journals 3D Photoacoustic Tomography System Based on Full-View Illumination and Ultrasound Detection

2019 ◽  
Vol 9 (9) ◽  
pp. 1904 ◽  
Author(s):  
Mingjian Sun ◽  
Depeng Hu ◽  
Wenxue Zhou ◽  
Yang Liu ◽  
Yawei Qu ◽  
...  
Keyword(s):  
Imaging System ◽  
Photoacoustic Imaging ◽  
Performance Testing ◽  
Vertical Motion ◽  
Laser Illumination ◽  
Full View ◽  
3D Tomography ◽  
Tomography System ◽  
And Performance ◽  
Full Body

A 3D photoacoustic computed tomography (3D-PACT) system based on full-view illumination and ultrasound detection was developed and applied to 3D photoacoustic imaging of several phantoms. The system utilized an optics cage design to achieve full-view uniform laser illumination and completed 3D scanning with the rotation of a dual-element transducer (5 MHz) and the vertical motion of imaging target, which obtains the best solution in the mutual restriction relation between cost and performance. The 3D-PACT system exhibits a spatial resolution on the order of 300 μm, and the imaging area can be up to 52 mm in diameter. The transducers used in the system provides tomography imaging with large fields of view. In addition, the coplanar uniform illumination and acoustic detection configuration based on a quartz bowl greatly enhances the efficiency of laser illumination and signal detection, making it available for use on samples with irregular surfaces. Performance testing and 3D photoacoustic experiments on various phantoms verify that the system can perform 3D photoacoustic imaging on targets with complex surfaces or large sizes. In future, efforts will be made to achieve full-body 3D tomography of small animals and a multimodal 3D imaging system.

Reformation Tragedy and Revelation

2019 ◽  
pp. 45-80
Author(s):  
Russ Leo
Keyword(s):  
Human History ◽  
Book Of Revelation ◽  
Fundamental Relationship ◽  
And Performance

Chapter 1 explores how Reformed dramatists and theologians alike turned to tragedy to comprehend escalating tensions in Reformation Europe. Dramatic experiments like Thomas Naogeorgus’ Pammachius, Francesco Negri’s Tragedia intitolata Libero Arbitrio, and John Foxe’s Christus Triumphans reframed the events depicted in the book of Revelation in deliberately tragic terms; the influential Heidelberg theologian David Pareus, in turn, described Revelation itself as a tragedy, tracing the origins of the genre to Scripture itself, laying claim to tragedy’s prophetic and literary resources in the process. Pareus not only recruited poetic concepts for exegetical purposes, he asserted the fundamental relationship between Scripture, tragedy, and the shape of human history. Across these works tragedy is crucial to the experience of Reformation—requiring, for the tragedians, flexible and experimental notions of form and performance and, for Pareus, supple approaches to tragedy and typology.

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