FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)

2021 ◽  
pp. 179-184
Author(s):  
Nina V. Pomorceva ◽  
◽  
Tatyana I. Moroz ◽  
Keyword(s):  
Industrial Structure ◽  
Educational Institution ◽  
Music Performance ◽  
Culture Industry ◽  
Professional Musicians ◽  
Musical Life ◽  
Music Schools ◽  
Industrial Region ◽  
Cultural Traditions ◽  
Kemerovo Oblast

Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.

Increment of Fatigue, Depression, and Stage Fright During the First Year of High-Level Education in Music Students

2012 ◽  
Vol 27 (1) ◽  
pp. 43-48 ◽  
Author(s):  
Horst Hildebrandt ◽  
Matthias Nübling ◽  
Victor Candia
Keyword(s):  
Music Performance ◽  
Music Students ◽  
Stage Fright ◽  
Negative Effects ◽  
Professional Musicians ◽  
Freshman Year ◽  
Work Related ◽  
Custom Made ◽  
Before And After ◽  
High Level

BACKGROUND: Public opinion associates music performance with pleasure, relaxation, and entertainment. Nevertheless, several studies have shown that professional musicians and music students are often affected by work-related burdens. These are closely related to stress and anxiety. OBJECTIVE: Scrutinizing specific health strains and work attitudes of music students during their freshman year of high-level education. METHODS: One hundred five students in three Swiss music universities were part of a longitudinal study using standardized assessment questionnaires. Before and after their first study year, some custom-made questionnaires designed to fit the particular work environment of musicians were used together with the already validated inquiry instruments. RESULTS: Fatigue, depression, and stage fright increased significantly. CONCLUSIONS: Our results indicate more study is needed and attempts should be made to minimize the stress level, improve the students’ ability to cope with stress, and otherwise reduce their risk for injury. This appears particularly important considering the long-term negative effects of stressors on individuals’ health as revealed by modern research.

LITERATURE AND MUSICAL LIFE IN KREMENETS UKRAINIAN GYMNASIUM (1918–1938 YEARS)

2019 ◽  
pp. 112-118
Author(s):  
Oksana Lehkun
Keyword(s):  
High School ◽  
High School Students ◽  
Intellectual Development ◽  
Educational Institution ◽  
Teaching Staff ◽  
School Students ◽  
Musical Life ◽  
National Education ◽  
State Archives ◽  
Main Component

The article deals with literary and artistic life at the Kremenets Ukrainian Gymnasium named after Ivan Steshenko. On the basis of archival materials the teaching staff of the educational institution, which functioned in the territory of the Second Rzeczpospolita, was studied. The author notes that the main component of state formation in the years of the Ukrainian People's Republic was the formation and development of Ukrainian national education and culture. The first step in implementing the national school reform was the creation of conditions for the introduction of the Ukrainian language in high school and the opening of new Ukrainian gymnasia. Numerous documents stored in the State Archives of the Ternopil region (351, «Private Ukrainian Gymnasium of Joint Training in Kremenets»), reveal the activity of the educational institution and confirm its prominent role in the educational life of the Ukrainian population of Kremenets. The researcher emphasizes the pedagogical skills of the teaching staff of the Kremenets Ukrainian Gymnasium, and the understanding of the important role of education in the process of preserving national dignity and spirituality contributed to the formation of students' professional and intellectual development. In its activity, the Ukrainian gymnasium has repeatedly faced difficulties: lack of funding, lack of premises adapted properly to educational needs, lack of appropriate material and technical base, but it became the center of high culture and education. The content of the first issue of the handwritten literary and artistic magazine "Youth" was analyzed, on the basis of the memoirs of the student of the gymnasium and the editor of the almanac U. Samchuk, the names of the members of the literary circle were established. The main aspects of the cultural-artistic collaboration of the teaching staff and the students' collectives of the gymnasium with Prosvita Society are revealed. The musical activity of high school students was traced and the programs of concert performances were explored. Based on the memories of former students of the gymnasium, the repertoire of the theater circle under the direction of G. Berezovsky was considered, and the study of high school students at the School of National Dances V. Avramenko was analyzed. The names of well-known writers and public figures who studied in the Ukrainian gymnasium were established.

Reflection and the classical musician

2017 ◽  
Author(s):  
Mary Hunter ◽  
Stephen Broad
Keyword(s):  
Reflective Practice ◽  
Classical Music ◽  
Music Performance ◽  
Professional Musicians ◽  
Student Practice ◽  
Classical Musicians

Reflective practice takes on a particular shape in classical music. The aim of this chapter is to identify some elements of classical music that distinguish it from other genres of music, and to consider how these elements may affect the kind of reflection in which classical musicians—and classical musicians-in-the-making—engage. The chapter, which is partly based on student practice diaries and interviews with professional musicians, argues that the distinguishing elements of classical music performance are a focus on interpretation, interest in following the composer’s intentions, concern about excessive demonstration of the performer’s ego, and a respect for the printed score as the ultimate repository of truth about the work. These elements seem to encourage musicians to frame their choices either with little acknowledgement of their own agency or in terms that reflect some tension between what they feel and what they perceive as the composer’s intentions. Much work remains to be done on the ways in which these self-abnegations or uncertainties play out, but by bringing their underlying ideologies to the surface young performers in particular could fruitfully harness as well as challenge them.

Complicating factors in studio teaching dynamics: Dyad dissolution in post-secondary music studios

2020 ◽  
pp. 1321103X1987107 ◽  
Author(s):  
Gina Ryan
Keyword(s):  
Teaching And Learning ◽  
Rating Scales ◽  
Music Performance ◽  
Essential Element ◽  
Music Schools ◽  
Post Secondary ◽  
Personal Connection ◽  
Professional Goals ◽  
Secondary Music ◽  
Four Levels

Relationship dynamics between students and teachers are an essential element of one-on-one teaching and learning in music schools. The purpose of this study was to investigate factors leading to student–teacher dyad dissolution in post-secondary music performance studios. A total of 30 students and 30 teachers were interviewed. Interview questionnaires contained closed-ended rating scales and open-ended questions. Unstructured responses were transcribed, coded by units that each represented a contributing factor to dyad dissolution, and then subjected to a frequency count to determine decisive factors leading to dyad dissolution. All factors were subjected to the Framework of Social Levels, which is based on four levels – Interpersonal, Self, Other, and Outside. The majority of students’ dissolution factors were attributed at the Interpersonal level, whereas the majority of teachers attributed dissolution to factors at the Student ( Other) level. Participants cited several factors leading to dyad dissolution including different expectations, different professional goals, poor communication, incompatible personalities, student commitment, teacher teaching abilities, lesson satisfaction, and lack of personal connection.

scholarly journals Tolerance in young people in the tuition in an educational institution

2018 ◽  
Vol 20 (4) ◽  
pp. 237-242
Author(s):  
I M Uliukin ◽  
A V Berezovskii ◽  
V N Bolekhan ◽  
E S Orlova
Keyword(s):  
Young People ◽  
Interpersonal Communication ◽  
Social Relations ◽  
Intercultural Sensitivity ◽  
Educational Institution ◽  
Effective Interaction ◽  
Human Interaction ◽  
Cultural Traditions ◽  
Joint Activities ◽  
Conflict Situations

Аbstract. The issues of tolerance in young people in the process of learning in an educational institution are analyzed. At present, representatives of different cultural traditions, principles of life are forced to share one geographical space. This rapprochement, as real experience shows, does not always proceed peacefully and calmly. Interethnic (intercultural) tension, right up to open confrontation, ethnocentrism, xenophobia - all this testifies to serious problems in modern social relations. There is an opinion that in spite of all the relevance and discussion of this topic in broad social science circles there are no unified approaches to understanding the essential characteristics of the phenomenon of tolerance, there is no understanding of who and how tolerant relations are possible, what are the mechanisms for achieving this goal, Some people see it as a kind of a panacea through which only it is possible to save and preserve civilization, while others believe that it serves only to symbolically hide and cure the real schism and indifference that humanity is exhibiting. A theoretical analysis of the essence of the concept of «tolerance» is reduced to the fact that tolerance by origin is a social category (arises and manifests itself in the process of human interaction with society, with man); it fixes a special (non-violent) type of relationship between a person and society. A characteristic feature of tolerance is the stability of manifestations: at the level of consciousness, it manifests itself in the form of an individual’s attitude, and at the level of behavior as a conscious action or deed, as co-creation. Often, researchers formulate such tasks of psychological and pedagogical activity on the formation of ethnic tolerance of students as the formation of a value attitude to one’s own and other ethnocultures; the formation of motivation for intercultural cooperation; fostering a positive attitude towards cultural differences, the development of intercultural sensitivity; development of skills and skills for effective interaction with representatives of different cultures in the spirit of peace, ethnic tolerance and mutual understanding. Therefore, an important condition for joint activities is the creation in groups with a mixed national composition of an atmosphere of inter-ethnic understanding and tolerance, where everyone, regardless of ethnicity, feels comfortable, open to interaction with others, where ethical standards of behavior in interpersonal communication are observed. That is, the cognitive and emotional components of tolerance are most significant when there are contradictions, clashes of values, dissent in conflict situations. Wherein a tolerant behavior is characterized by the ability not to actualize the conflict, which in turn is determined by the level of upbringing and education.

scholarly journals Dr. Ron Shroyer : an historical study of his career and contributions to Central Methodist University

2017 ◽  
Author(s):  
◽  
Ryan McLouth
Keyword(s):  
Teaching Style ◽  
Music Performance ◽  
Detailed Examination ◽  
Compositional Style ◽  
Historical Study ◽  
University President ◽  
Professional Musicians ◽  
Teaching Career ◽  
Performance Skills ◽  
Concert Programs

Purpose: The purpose of this historical study was to document the teaching career and achievements of Dr. Ronald Shroyer at Central Methodist University in order to examine the contributions made by Dr. Shroyer to his students, the institution, and the music profession. Method: The following data was collected during this study: (a) interviews with Dr. Shroyer, (b) written surveys from his former students and colleagues, (c) interviews with former Central Methodist University President Marianne Inman, (d) observations of Dr. Shroyer's informal interactions with others, (e) scores from compositions that he wrote, (f) professional and informal writings that he composed, (g) letters collected from correspondences with others, and (h) concert programs in which he appeared as a performer or those that included his music. Organization Chapter 2 of this study begins the chronological examination of Dr. Shroyer's life from birth to the beginning of his career. Chapter 3 serves as a chronology of Dr. Shroyer's career while at Central Methodist University. Chapter 4 is a detailed examination of his musical compositional style, his work as an arranger, and his music performance skills. Chapter 5 documents Dr. Shroyer as a pedagogue, and his teaching style. His influence on the Central Methodist University community from 1976 to today is described in Chapter 6. Chapter 7 is a summation of the findings from the study as a whole. Conclusion: Dr. Shroyer was effective in many ways during his career. As a teacher, performer, composer, colleague, and administrator, he contributed to Central Methodist University and continues to positively influence teachers, students, and his community. He made a lasting impact on the institution through his role as an administrator and faculty member, and affected the lives of students who studied with him privately, in the classroom, and in ensembles. Dr. Shroyer also left his mark on the music profession as a composer. His music has been featured by many institutions, at conferences, and has been performed by professional musicians. He is highly regarded as a performer, one who possesses great versatility, and has impressed fellow players and audience members.

scholarly journals A retrospective of the research on musical expression conducted at CEGeME

2019 ◽  
Author(s):  
Maurício Loureiro ◽  
Tairone Magalhaes ◽  
Davi Mota ◽  
Thiago Campolina ◽  
Aluizio Oliveira
Keyword(s):  
Graduate Program ◽  
Music Performance ◽  
Three Dimensional ◽  
Digital Signal ◽  
Audio Signals ◽  
Professional Musicians ◽  
School Of Music ◽  
Musical Gesture ◽  
Belo Horizonte ◽  
Music Performance Research

CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.

scholarly journals Support for Children with Disabilities, who Live in the Industrial Region

2021 ◽  
Vol 13 (3) ◽  
pp. 189-210
Author(s):  
Valentyn Teslenko
Keyword(s):  
Children With Disabilities ◽  
Educational Institution ◽  
Integrated Approach ◽  
Social Adaptation ◽  
Practical Implementation ◽  
Industrial Region ◽  
Economic Support ◽  
City District ◽  
Environment Identification ◽  
Further Development

The article discusses theoretical and modeled framework practical aspects of supporting children with disabilities living in an industrial region. The main goal was to study the traditions and trends of providing socio-psychological, pedagogical and economic support to the above population with further development of theoretical foundations of rehabilitation and social adaptation of children with disabilities in the industrial region and framework justification of socio-pedagogical support program.social and pedagogical realities of one of the industrial regions of Ukraine. It is proved that the basis of the regional model of social and pedagogical support of children with disabilities is always the appropriate state model, as well as the general guidelines and traditions of its implementation adopted in this region. Such guidelines for the Donetsk industrial region are: understanding the problems of children with disabilities not as medical and pedagogical, but as socio-pedagogical; an integrated approach to the use and integration of great opportunities of the industrial region (strong socio-economic and pedagogical potentials and opportunities of all subjects of socio-pedagogical support of children with disabilities); targeted, comprehensive nature of socio-pedagogical support. The mechanism of implementation of the regional program of social and pedagogical support of children with disabilities in an industrial region has been modeled. Its structure includes sectors and areas of activity, the level of implementation (regional, city (district), educational institution), and its implementation consists in systematic activities for the implementation of socio-pedagogical diagnostics of the child and youth environment, identification of the goal and priority areas of activity at the regional level and development of strategic and tactical measures for the practical implementation of the regional action program.

Figures and Forms of Analysis Practice

2020 ◽  
pp. 52-76
Author(s):  
Rémy Campos
Keyword(s):  
Cultural History ◽  
Art Criticism ◽  
Music Performance ◽  
Musical Analysis ◽  
Listening Skills ◽  
Genetic Criticism ◽  
Professional Musicians ◽  
Musical Works ◽  
Long Time ◽  
History Of

For the last twenty years, studies of the history of musical analysis have undergone considerable revision. For a long time, analytical theories had monopolized the attention of historians (Ian Bent, for example). Then, the terms of analytic practice have become a new field of research (cf. Nicholas Cook’s contributions). By shifting interest to the conception and use of analytical discourse, musicologists have pursued an interest in intellectual tools and their dissemination. New players appeared: analysts themselves (and not only their ideas), and amateur and professional musicians made use of the increasing emphasis on analysis in the last two centuries. Finally, related research topics emerged: listening skills, genetic criticism, analysis of music performance—ideas all of are presented in this chapter and which are supported by an extensive bibliography. This chapter will present an overview of these recent changes: the development of musical analysis linked to several major changes in the cultural history (the literacy of musicians, the success of hermeneutics, art criticism or philology, the growing autonomy of art); how the analysis changed the way of composing musical works but also the profession of composer; the globalization of analysis beyond national traditions.

scholarly journals Performance anxiety in professional musicians: a systematic review on prevalence, risk factors and clinical treatment effects

2019 ◽  
Vol 49 (14) ◽  
pp. 2287-2306 ◽  
Author(s):  
I. Fernholz ◽  
J. L. M. Mumm ◽  
J. Plag ◽  
K. Noeres ◽  
G. Rotter ◽  
...  
Keyword(s):  
Risk Factors ◽  
Systematic Review ◽  
Intervention Studies ◽  
Case Reports ◽  
Music Performance ◽  
Performance Anxiety ◽  
Behavioural Therapy ◽  
Assessment Tools ◽  
Professional Musicians ◽  
Cross Sectional

AbstractMusic performance anxiety (MPA) is one of the most common disorders among professional musicians, nevertheless, little is known about the disease. With this systematic review, prevalence, risk factors and treatment procedures for MPA were assessed, and for the first time, quality assessments were carried out for all studies using standardized assessment tools. A systematic literature search was conducted via search algorithms in the databases MEDLINE, EMBASE, CINAHL, PsycArticles, PsycInfo and ERIC. Included were case reports, case–control, cohort, cross-sectional and intervention studies examining professional musicians with MPA. For quality assessment, adapted tools of the National Heart, Lung, and Blood Institute were used. A total of 43 studies were included (10 case reports, 21 intervention, 11 cross-sectional, one cohort study). Quality ratings ranged from −11 to 6 out of a maximum of 15/16 points for cross-sectional/cohort studies and −4 to 11 out of 18 points for intervention studies. The prevalence of MPA was between 16.5% and 60%. More women than men were affected and musicians older than 45–50 years reported less MPA than younger musicians. Regarding treatment cognitive behavioural therapy (CBT) and β-blockers were most often researched with beneficial results for CBT. However, studies with adequate control groups for CBT interventions are needed to clarify its efficacy. Studies showed methodological weaknesses, especially in the selection of participants, recording of influencing factors, blinding of interventions, randomization of participants and analysis of comorbidity. Recommendations for further research are made.

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