The Creative Project Used to Teach Musical Skills

1942 ◽  
Vol 28 (6) ◽  
pp. 48
Author(s):  
Jose' D. Masters
Keyword(s):  
Creative Project ◽  
Musical Skills

Brokering reflective spaces: Experiential learning in a summer opera program

2021 ◽  
pp. 147402222110074
Author(s):  
Kelly Bylica ◽  
Sophie Louise Roland ◽  
Laura Benjamins
Keyword(s):  
Experiential Learning ◽  
Critical Reflection ◽  
Music Performance ◽  
Theory And Practice ◽  
Learning Program ◽  
Musical Skills ◽  
Musical Engagement ◽  
High Level ◽  
Practice Framework ◽  
The Impact

Formal music performance studies within university settings strive to prepare the next generation of performers and pedagogues for musical engagement beyond university. Yet literature suggests that these spaces of study do not always lead to a sense of readiness for potential professional worlds, due in part to a lack of opportunities for guided, in-depth, critical reflection that helps students connect theory and practice. This article articulates findings from a study that sought to consider the impact of deliberate opportunities for reflection in The Accademia Europea dell’Opera (AEDO), a university-affiliated summer opera intensive experiential learning program. Utilizing a communities of musical practice framework, researchers worked collaboratively to help participants engage in guided critical reflection as they developed high-level musical skills through rehearsals and performances. This article specifically considers the ways in which a ‘broker’ helped participants develop practices of reflection and personal agency both within and beyond this context.

scholarly journals Exploring post-degree employment of recent music alumni

2019 ◽  
Vol 37 (1) ◽  
pp. 142-155 ◽  
Author(s):  
Julia Brook ◽  
Sue Fostaty Young
Keyword(s):  
Mixed Methods ◽  
Research Design ◽  
Mixed Methods Research ◽  
Degree Program ◽  
Music Programs ◽  
Employment Success ◽  
Musical Skills

The purpose of this research was to identify the various types of employment held by music alumni at one university. We also compare the perceptions of alumni who currently work primarily in music with those of alumni who work outside the field. A mixed-methods research design that relied on surveys and interviews was used to gather data. Alumni employed primarily outside the field held a wide variety of roles and many reported incorporating their musical skills in these roles and they continued to engage in a variety of activities within the field of music. Those whose employment was primarily in music were more likely to have reported choosing to enroll in a music degree program with an express intention of gaining music-focused employment. Findings from this study illustrate that while graduates of music programs do find employment success, further investigation is necessary to identify the breadth of roles available, yet untapped, for music graduates and the perhaps entrepreneurial requirements for engagement in them. Our findings also point to the need for music programs to realign curriculum to better reflect the ever-expanding music sector.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

scholarly journals Montreal Battery of Evaluation of Amusia: Validity evidence and norms for adolescents in Belo Horizonte, Minas Gerais, Brazil

2012 ◽  
Vol 6 (4) ◽  
pp. 244-252 ◽  
Author(s):  
Marília Nunes-Silva ◽  
Vitor Geraldi Haase
Keyword(s):  
Single Case ◽  
Minas Gerais ◽  
Dimensional Structure ◽  
Short Version ◽  
Validity Evidence ◽  
Musical Ability ◽  
Musical Skills ◽  
Belo Horizonte ◽  
Almost All ◽  
The City

ABSTRACT The Montreal Battery of Evaluation of Amusia (MBEA) is a battery of tests that assesses six music processing components: scale, contour, interval, rhythm, metric, and music memory. The present study sought to verify the psychometric characteristics of the MBEA in a sample of 150 adolescents aged 14-18 years in the city of Belo Horizonte, Minas Gerais, Brazil, and to develop specific norms for this population. We used statistical procedures that explored the dimensional structure of the MBEA and its items, evaluating their adequacy from empirical data, verifying their reliability, and providing evidence of validity. The results for the difficult levels for each test indicated a trend toward higher scores, corroborating previous studies. From the analysis of the criterion groups, almost all of the items were considered discriminatory. The global score of the MBEA was shown to be valid and reliable (r K-R20=0.896) for assessing the musical ability of normal teenagers. Based on the analysis of the items, we proposed a short version of the MBEA. Further studies with larger samples and amusic individuals are necessary to provide evidence of the validity of the MBEA in the Brazilian milieu. The present study brings to the Brazilian context a tool for diagnosing deficits in musical skills and will serve as a basis for comparisons with single case studies and studies of populations with specific neuropsychological syndromes.

scholarly journals Can the adoption of informal approaches to learning music in school music lessons promote musical progression?

2017 ◽  
Vol 34 (2) ◽  
pp. 127-151 ◽  
Author(s):  
Susan Hallam ◽  
Andrea Creech ◽  
Hilary McQueen
Keyword(s):  
Focus Groups ◽  
Music Teachers ◽  
Approaches To Learning ◽  
Musical Skills ◽  
Music Lessons ◽  
Stage 4 ◽  
School Music ◽  
The Impact ◽  
Three Phases

The aim of this research was to explore the impact of the adoption of the Musical Futures approach on the musical progression of students in Musical Futures’ Champion schools. The research took place over three years in three phases with 733 students and 28 music teachers completing questionnaires. Data from the interviews with 39 staff and focus groups of 325 students provided greater insights into the questionnaire responses. Overall, teachers reported that Musical Futures had enhanced the musical progression of their students and increased take up at Key Stage 4. In some cases this had led to changes in the qualifications on offer with an emphasis on those which were vocational rather than academic. This created some tensions in catering for the needs of different groups of students who had a range of different musical skills.

scholarly journals No creative person is an island: Organisational culture, academic project-based creativity, and the mediating role of intra-organisational social ties

2014 ◽  
Vol 17 (1) ◽  
pp. 52-75
Author(s):  
Leon AG Oerlemans ◽  
Frien Van Kessel ◽  
Saskia Van Stroe
Keyword(s):  
Organizational Culture ◽  
Social Ties ◽  
Social Embeddedness ◽  
Environmental Orientation ◽  
Creative Project ◽  
Performance Orientation ◽  
Mediating Role ◽  
Creative Person ◽  
Culture Dimensions

This paper examines the relationship between perceptions of organizational culture, academics’ social embeddedness, and their creative paper project output. It argues that the extent to which researchers working on paper projects are socially embedded by having social ties with colleagues inside and outside their academic department (but within the same university) is a causal step linking organizational values and norms to creative outputs. This study, however, does not find support for the proposed mediating effects. Instead, results indicate that three organizational culture dimensions – i.e. performance orientation, environmental orientation, and innovation support – affect employees’ creative project output through their social embeddedness outside the department (but within their own university). As the organizational culture and social embeddedness of employees outside the department are both contextual factors that (either indirectly or directly) matter for the generation of creative project outputs by researchers, this study concludes that “no creative person and no project is an island”. 

Improvisational Practices in Elementary General Music Classrooms

2013 ◽  
Vol 61 (4) ◽  
pp. 379-395 ◽  
Author(s):  
Lisa M. Gruenhagen ◽  
Rachel Whitcomb
Keyword(s):  
Music Educators ◽  
General Music ◽  
Musical Skills ◽  
Percussion Instruments ◽  
Elementary General Music ◽  
Pitched Percussion ◽  
Musical Understanding ◽  
Ongoing Support ◽  
Music Classrooms

Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.

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