scholarly journals Third Position as a Home Position Alternative: A Survey of Views and Approaches of Violin/Viola Instructors

SAGE Open ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 215824402110151
Author(s):  
Eylem Arıca
Keyword(s):  
Music Education ◽  
Method Books ◽  
String Pedagogy ◽  
Home Position ◽  
Left Hand ◽  
The Third ◽  
Music Associations ◽  
Positive Experiences ◽  
Level Training ◽  
School Curricula

Although violin/viola pedagogues who use the third position as the home position in beginning-level teaching have reported positive experiences, school curricula and most pedagogues’ repertoires remain limited to method books that use the first position. The reasons for this preference have not been adequately addressed in string pedagogy and music education research. This study therefore aimed to examine the opinions of violin/viola trainers on the use of the third position as home position through a survey. A questionnaire sent to various music associations, schools, and violin/viola educators internationally yielded a sampling of 160. The results showed that 73.1% of the participants hold the opinion that the third position is not widely used in beginning-level training, and 63.5% think that method books that employ the technique are insufficient. However, 53.1% of the participants believe that using the third position as the home position may have benefits; 61.1% think that the left hand takes the ideal shape in the third position; and 68.3% think that a wider availability of method books would increase the number of trainers who use the technique to teach. The study found that further research of the technique is necessary, especially for educators who are interested in using it.

How well do voice-hearing assessment measures capture the positive experiences of individuals?

2019 ◽  
Author(s):  
Lucy Armstrong ◽  
Lorna Hogg ◽  
Pamela Charlotte Jacobsen
Keyword(s):  
Systematic Review ◽  
Lived Experience ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Hearing Assessment ◽  
Positive Experiences ◽  
Assessment Measures ◽  
Stage 1 ◽  
The Voice

The first stage of this project aims to identify assessment measures which include items on voice-hearing by way of a systematic review. The second stage is the development of a brief framework of categories of positive experiences of voice hearing, using a triangulated approach, drawing on views from both professionals and people with lived experience. The third stage will involve using the framework to identify any positve aspects of voice-hearing included in the voice hearing assessments identified in stage 1.

Integrating multicultural music education into the public elementary school curricula in Thailand

2019 ◽  
Vol 37 (4) ◽  
pp. 547-560 ◽  
Author(s):  
Nantida Chandransu
Keyword(s):  
Elementary School ◽  
Public Schools ◽  
Music Education ◽  
Education System ◽  
Culturally Diverse ◽  
Formal Education ◽  
Classical Music ◽  
Multicultural Music Education ◽  
Multicultural Music ◽  
School Curricula

This article reflects on various challenges encountered during a pilot action-based research “Integrating Multicultural Music Education into the Elementary School Curricula of Public Schools in Thailand.” This project was set up to develop lesson plans, activities, teaching tools and evaluation methods for music teachers. As a pilot-curriculum model, it pays particular attention to cross-cultural understanding for helping Thai children gain a sense of cultural conceptualization and the skills necessary for growing up in a racially, religiously, and culturally diverse society. This research attempts to explore possibilities for various music cultures introduced to the formal education system in Thailand, which had previously restricted music education to nationalist-based Thai music and certain samples of Western classical music. Once children discover multiple music cultures, their perspectives are broadened. The outcomes of this research will also be beneficial for future instruction designs. The attempt to update music education in the Basic Education level to accommodate changing social and cultural contexts affected by globalization and urbanization will raise awareness of cultural diversity and the direction of music education curriculum development. Music education through the Thai formal education system is one method of preparing children to grow up in a culturally diverse world.

scholarly journals Introduction: The Politics of Diversity in Music Education

2021 ◽  
pp. 1-11
Author(s):  
Alexis Anja Kallio ◽  
Kathryn Marsh ◽  
Heidi Westerlund ◽  
Sidsel Karlsen ◽  
Eva Sæther
Keyword(s):  
Education Research ◽  
Cultural Identity ◽  
Music Education ◽  
Final Section ◽  
Music Teachers ◽  
The Political ◽  
Nation State ◽  
The Third ◽  
Nuanced Understanding ◽  
Policy Agendas

AbstractThe Politics of Diversity in Music Educationattends to the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist, and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas to critically consider the ways in which understandings about society are upheld or unsettled and the ways in which knowledge about diversity is produced. This chapter provides an overview of the scholarly foundations that this book builds upon before introducing the four sections of the book and contributing chapters. The first section of the book focuses on the politics of inquiry in music education research. The second section attends to the paradoxes and challenges that arise as music teachers negotiate cultural identity and tradition within the political frames and ideals of the nation state. The third section considers diversities that are often overlooked or silenced, and the final section turns to matters of leadership in higher music education as an inherently political and ethical undertaking. Together, chapters work towards a more critical, complex, and nuanced understanding of the ways in which the politics of diversity shape our ideals of what music education is, and what it is for.

scholarly journals Dermatoglyphic pattern in the men with essential hypertension, who are carriers of the polymorphic genes of angiotensin II type 1 receptors

2018 ◽  
pp. 29-36
Author(s):  
V. O. Ruzhanska
Keyword(s):  
Heart Failure ◽  
Essential Hypertension ◽  
Angiotensin Ii ◽  
Cardiovascular Diseases ◽  
Chronic Heart Failure ◽  
Left Hand ◽  
The Third ◽  
Polymorphic Genes ◽  
Ulnar Loop

Essential hypertension and its common complication - chronic heart failure, is one of the most significant medical, economic and social problems in the XXI century. At the same time, this pathology is 30-40% genetically predisposed. One of significant pathogenic factors is the inheritance of definite variants of genes, coding the receptors to angiotensin II type 1. For this reason, the effective and inexpensive researches for screening of the mentioned genetic phenomenon are being carried out. Objective: to improve the screening diagnostic methods for carriers of polymorphic genes of angiotensin II type 1 receptors with essential hypertension and essential hypertension complicated by chronic heart failure. There were studied dermatoglyphic prints of men 40-60 years, who are carriers of polymorphic gene variants of angiotensin II type 1 receptor with no cardiovascular diseases (n=79), male patients with essential hypertension and hypertrophy of the myocardium (stage II), II-III stages (n=62) and essential hypertension (n=50) complicated by chronic heart failure, residents of Podillya region of Ukraine. Genotyping of the gene of angiotensin II type 1 receptor was performed using polymerase chain reaction. All patients included in the control group and those with essential hypertension underwent dermatoglyphic examination of fingers on both hands using modern portable rolling scanner Futronic FS50 (Korea). Interpretation and decoding of dermatoglyphic prints was conducted by T. D. Gladkova’s method. Statistical analysis was done on personal computer using standard statistical package “STATISTICA 10.0”. The found ulnar loop was dominant dermatoglyphic print regardless of the presence or absence of essential hypertension and chronic heart failure in 40-60 year old men. Besides, positive correlation relationship was revealed between the inheritance gene of angiotensin II type 1 receptors and fingerprint patterns: the third finger on the left hand in males with no cardiovascular pathology (weak strength) and the second finger on the right hand in patients with essential hypertension (medium strength). In individuals with no cardiovascular diseases, carriers of genotype A1166A, prevalence of ulnar loop on the third finger of left hand is higher than in carriers of C allele gene of angiotensin II type 1 receptors. In males with essential hypertension, carriers of C allele, degree of incidence of the whorl on the second finger of right hand is significantly higher than in carriers of genotype А1166А, offering the possibility to determine the carriership of a particular gene of angiotensin II type 1 receptors. Carrying out dermatoglyphic examination in patients with an increase in blood pressure and determining the variant of carrier of the gene of the receptor to angiotensin II type 1 will make it possible to facilitate the selection of those individuals who in the future need to spend all the necessary amount of research to confirm the diagnosis of essential hypertension and the possible development of complications of the course of this cardiovascular disease.

Corrections

1978 ◽  
Vol 24 (5) ◽  
pp. 834-834
Keyword(s):  
Left Hand ◽  
Standard Curve ◽  
The Third ◽  
Glycocholic Acid ◽  
Hand Column

Abstract volume23 p 900: Insert decimal in figures in Table 1, to read: See Table in the pdf File p 2067, left-hand column, line 8: mp is 106-107.5 °C p 2108: The first equation in column two should read See equation in the pdf File p 2109: Under the section on Standard curve, the third sentence has a part missing; it should read "the midrange (Table 2) of the [U-3H]glycochenodeoxycholic acid (c - 20.6 ± 7) and of the [U-3H]glycocholic acid. ...". In the last paragraph of this paper, the correct references are (5-7, 9). p 2189: In this paper, Figures 3 and 4b should be interchanged. volume24 The addresses of the authors of the notes beginning on pages 149 and 150 were inadvertently interchanged.

Historical background to establishment of the national instrumental guitar education in the context of music education development

2017 ◽  
pp. 86-91
Author(s):  
A. S. Kovalenko
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Historical Background ◽  
Professional Musicians ◽  
Education Development ◽  
The Third ◽  
National Performance ◽  
Performance Abilities ◽  
Guitar Class ◽  
Second Period

The article highlights the historical background to establishment of national instrumental guitar education in the context of music education development. We consider historical events that have influenced the dynamics of the formation of competencies of guitar education in Ukraine. Based on the analysis of the scientific literature the author shows that guitar education in Ukraine is a relatively new phenomenon. It is examined historical preconditions of the development of national guitar education in the context of three periods of development of music education. During the first period, guitar education is not systemic. Guitar playing is popular among Lviv seminarians and as home performance. The second period is characterized by the fact that guitar art emerges from the global crisis, which has been reflected in national performance and pedagogy. Playing the guitar attracts the attention of professional musicians; it is examined performance abilities of the instrument, its structure and repertoire. During this period, guitar education acquires systemic features. The performance of the guitar players improves significantly, and the repertoire is replenished with the best examples of world classical music. The third period is characterized by intensification of competitive activity in the field of guitar performance. A guitar class appears in the Kyiv Conservatory. In postwar times, the development of guitar performances is influenced by the political situation and sensorship. Besides, the third period is characterized by the flowering of national performers’ schools, the intensification of international relations with foreign guitar performers and educators, which is the basis for the establishment and development of national instrumental guitar education.

Excavations at Al Mina, Sueidia: III. The Red-figured Vases

1939 ◽  
Vol 59 (1) ◽  
pp. 1-44 ◽  
Author(s):  
J. D. Beazley
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
Left Hand ◽  
The Third ◽  
Right Hand ◽  
Ground Line ◽  
Selection Of

I am indebted to Sir Leonard Woolley for his invitation to publish the red-figured vases found in his excavations at Al Mina; to Mr. Martin Robertson, who has helped me in many ways, and was the first to notice many of the joins; to Mr. C. O. Waterhouse for the drawings and photographs. I give only a selection of the finds, but have omitted, I think, little of importance. The red-figure is all Attic.The black-figure from Al Mina is scanty, poor, and no older than the earliest red-figure sherds found there, which are from eye-cups:—1. Three fragments of an eye-cup. The largest measures 0·041 m. across. A, part of the left-hand eye; shank and heel of the figure, cutting across the tear-gland. B, part of the left-hand eye and of the ground-line. The fragment not figured gives another bit of eye. Not one of the very earliest eye-cups: about 525.2. There is no saying whether a third fragment of an eye-cup belongs to the last or not: the cup was bilingual, and part of the b.f. interior remains, a centaur with a stone in his right hand: greatest breadth 0·060 m.Red-figure does not become plentiful at Al Mina until well on in the third quarter of the fifth century. In the fourth century the import increases. There is little archaic red-figure, and most of what there is belongs to the end of the period.

“Singing” in a primary school of the interwar period in the context of nationwide educational-ideological conceptions – source analysis

2020 ◽  
Vol 7 (1(11)) ◽  
pp. 125-140
Author(s):  
Danuta Pietraszewska
Keyword(s):  
Music Education ◽  
Interwar Period ◽  
Source Analysis ◽  
Music Pedagogy ◽  
National Education ◽  
Political Ideas ◽  
Leading Role ◽  
Depth Analysis ◽  
Political Idea ◽  
School Curricula

One of the first objectives of the Polish state, restored after the period of partitions, was to develop a new, standardized and nationwide system of public education. During the interwar period, school curricula objectives were affected by changing political powers and reflected the government’s pursuits and ideas. In the first years after regaining independence, the focus was placed on the idea of national education and the development of good morals, alumni’s independence, as well as the necessity of learning through hands-on experience. The May Coup changed rules of the political system and, as a result, led to the formulation of an educational ideal emphasizing the concept of a state and the cult of the marshal Piłsudski’s figure. The article analyses assumptions of the “Singing” program so as to find an answer to the question of how the state’s political ideas were implemented on the grounds of general music education. A pedagogical-historical perspective, providing the context for musical issues, was adopted. An in-depth analysis of sources, such as legal acts, school curricula and pedagogical journals from the period of 1918-1939, showed that the leading role in delivering pedagogical-ideological objectives belonged to the teaching of singing as a form of education, and to a school song with patriotic, religious or ludic topics, which formed the rudiments of education and music pedagogy. Research findings indicate a relation between a political idea and content-related, methodological matters regarding education and music pedagogy.

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