scholarly journals Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Maria Dymnikowa ◽  
Elena A. Ogorodnikova ◽  
Valentin I. Petrushin
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Music Performance ◽  
Musical Instrument ◽  
Emotional Memory ◽  
Musical Performance ◽  
Music Pedagogy ◽  
Target Level ◽  
Structural Components ◽  
Effective Work

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level. 

Music education promotes lifelong engagement with the arts

2017 ◽  
Vol 46 (2) ◽  
pp. 155-173 ◽  
Author(s):  
Kenneth Elpus
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Music Performance ◽  
Musical Instrument ◽  
The United States ◽  
Music Appreciation ◽  
National Endowment ◽  
School Based ◽  
The Arts ◽  
Education Participation

The purpose of this study was to understand the effects of school-based music education on later adult engagement with the arts using nationally representative data from the U.S. National Endowment for the Arts 2012 Survey of Public Participation in the Arts. The probability of adult arts engagement as performer/creator and patron/consumer was estimated as functions of prior school-based music and arts education participation with statistical covariate control applied for demographic variables known to vary with music education status. Results suggest that both music performance and music appreciation courses are strongly associated with later arts participation as patron/consumer and performer/creator, even after controlling for socioeconomic status, sex, and race/ethnicity. Former music appreciation students were 93% more likely to attend classical music or opera performances as adults and 255% more likely to play a musical instrument as adults than were non-participants. Former music performance students were 342% more likely to play a musical instrument, 258% more likely to sing, and 186% more likely to take photographs as an artistic endeavor than were non-participants. Results of this study suggest that lifelong engagement with music and the arts is one measurable outcome of school-based music education in the United States.

scholarly journals Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies

2019 ◽  
Vol 3 (1) ◽  
pp. 78-100 ◽  
Author(s):  
Elin Angelo ◽  
Øivind Varkøy ◽  
Eva Georgii-Hemming
Keyword(s):  
Music Education ◽  
Performance Studies ◽  
Classical Music ◽  
Music Performance ◽  
Subject Position ◽  
Policy Changes ◽  
Collaborative Discourse ◽  
Higher Education Reforms ◽  
The Awakening ◽  
Data Informed

Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.

scholarly journals Pedagogies of Performance

2020 ◽  
Vol 37 (1) ◽  
pp. 63-93
Author(s):  
Joshua Navon
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Student Assessment ◽  
Music Performance ◽  
Principal Mode ◽  
Musical Works ◽  
Archival Documents ◽  
Teachers And Students ◽  
Felix Mendelssohn ◽  
Faithful Interpretation

The development of modern styles of elite music education played a crucial role in entrenching Werktreue as the dominant practice within classical music performance. Focusing on Germany’s first conservatory, the Leipzig conservatory, which was founded in 1843, this article analyzes how Werktreue, understood as a set of tacit competencies and sensibilities that must be learned by musicians, was produced at a single historical site. Archival documents of the institution, as well as the correspondence and writings of teachers and students like Felix Mendelssohn, William Rockstro, and Ethel Smyth, show that the central objective of musical pedagogy was the faithful interpretation of musical works. Isolated as a discrete subject of training, performing musical works also functioned as the principal mode of student assessment through semesterly examinations. To transmit the necessary skills for this paradigm of performance, pupils’ bodily capacities (Technik) and ability to understand and interpret canonic compositions (Vortrag) became essential targets of conservatory pedagogy. Ubiquitous visibility among students, and the intense competition that this visibility engendered, went hand in hand with institutionalizing styles of musical expertise that continue to this day. In exploring these developments, this article asks how the productive power of modern conservatory training contributed not only to Werktreue’s rise over a wide geography, but also to the remarkable stability with which it has pervaded performance practice across multiple generations.

scholarly journals Intrapersonal skills and music performance in elementary piano students in Spanish conservatories: Three case studies

2019 ◽  
Vol 38 (1) ◽  
pp. 93-112
Author(s):  
Emilia Campayo-Muñoz ◽  
Alberto Cabedo-Mas ◽  
David Hargreaves
Keyword(s):  
Music Education ◽  
Music Performance ◽  
Research Process ◽  
Musical Performance ◽  
Emotional Skills ◽  
School Year ◽  
Piano Students ◽  
Intrapersonal Skills ◽  
Interpersonal Dimension ◽  
The Relationship

This study is based on the premise that emotional skills—comprised of an intrapersonal dimension and an interpersonal dimension—help to achieve personal balance, which in turn can enhance performance. Following from this premise, the improvement of music students’ emotional skills might have a positive effect on their musical performance. The recognized relationship between music and emotion therefore suggests that music education is a suitable context for developing emotional skills. The article examines the relationship between intrapersonal skills and the musical performance of elementary students studying the piano in a Spanish conservatory. The research was developed as an action research process and involved the study of three 10-year-old students. A set of activities were designed specifically for students attending the third course of piano studies; these activities were intended to develop students’ intrapersonal skills throughout the school year and were implemented in the subjects of piano and ensemble playing in parallel with the musical tasks. The relationship between intrapersonal skills and musical performance is investigated and discussed for each of the three cases.

Gamifying Classical Music

2018 ◽  
Author(s):  
William Gibbons
Keyword(s):  
Music Education ◽  
Case Studies ◽  
Mobile Applications ◽  
Classical Music ◽  
Musical Performance ◽  
Music Appreciation ◽  
Contemporary Culture

This chapter addresses the ways in which classical music lends itself to gamification, a pervasive trend in contemporary culture in which aspects of games are applied to non-game activities to encourage desired behaviors. The chapter presents two case studies of recent mobile applications that illustrate different approaches to the gamification of classical music. The first of these discusses the Young Person’s Guide to the Orchestra, an app that updates traditional, and problematic, approaches to music education, namely, music appreciation. The second case study considers Steve Reich’s Clapping Music, an app that embraces the interactivity of games to blur the lines between education and musical performance.

scholarly journals Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

2021 ◽  
pp. 95-112
Author(s):  
Robin Rolfhamre
Keyword(s):  
Higher Education ◽  
Music Performance ◽  
Musical Instrument ◽  
State University ◽  
Music Pedagogy ◽  
Higher Education Funding ◽  
Performance Study ◽  
Professional Musicians ◽  
University Funding ◽  
State Higher Education

Recent world developments have put a strain on the humanities in general, and higher education music performance study degree-programmes in particular. In an educational system currently promoting consumer-product relationships where the music performance teacher is very much accountable for the students’ development into professional musicians and, recently, also sustainable world citizens, we must give more attention to what, whom and why we educate? This chapter is an armchair analytical philosophical continuation of a paper published elsewhere (Rolfhamre, 2020). Taking the lead from Julia Annas’ (2011) virtue-as-skill, I will, here, elaborate on what implications the Norwegian state higher education funding system may have on the higher education music performance teacher’s perceived mandate from the perspectives of music pedagogy, rhetoric and virtue ethics. First, I pursue three different usages of the verb “to buy” to exemplify why I find the chapter’s title to be relevant and valid. This sets the premises for the following turn to rhetoric to highlight the starting point’s persuasive functions and incentives. Subsequently, I briefly relate the argument to Butlerian performativity to emphasise its relation to normativity, inclusion-exclusion and the theoretical possibility of “breaking free”. From this position, I draw on Aristotelian phronesis, mainly through the position held by Hansen (2007) to sketch up an ecology in which I ask how this all affects the teacher’s mandate?

scholarly journals Voicelikeness as Discursive Strategy: An Instrumental Masterclass Case Study

2020 ◽  
pp. 102986492092668
Author(s):  
Kristine Anne Healy ◽  
Graham R. Gibbs
Keyword(s):  
Social Construction ◽  
Classical Music ◽  
Single Case ◽  
Music Performance ◽  
Musical Instrument ◽  
Single Case Study ◽  
Discursive Strategy ◽  
The Voice ◽  
Western Classical Music

To play a musical instrument in the way that one would sing is a goal that has been shared and documented by performers of Western classical music for several centuries. It is still common to hear performers in the 21st century encouraging each other to aspire to performance ideals that are linked to aspects of vocality. Taking voicelikeness not as an identifiable property of sound but rather as a social construction, this study investigates what an instrumental musician can do when they invoke the notion of voicelikeness, using discourse analysis to probe data from a single case study of a flute masterclass. We contend that, while the “truth” about any one instrumentalist’s claim to vocality may be impossible to verify, observing the ways in which such a claim is built up, shared, and defended can reveal the musical values that are being shaped and disseminated by musicians in a given set of circumstances. Applying a discourse approach to the analysis of an actual social encounter exposes how an instrumental musician can draw upon existing ideas about the voice to construct ideal musical practice. We conclude that stories of voicelikeness in discourse amongst instrumental musicians are not only about making a sound that is in some way vocal, they can also be used to transmit the norms of classical music performance from expert performer to developing performer.

scholarly journals Music-listening regulates human microRNA transcriptome

2019 ◽  
Author(s):  
Preethy S. Nair ◽  
Pirre Raijas ◽  
Minna Ahvenainen ◽  
Anju K. Philips ◽  
Liisa Ukkola-Vuoti ◽  
...  
Keyword(s):  
Music Education ◽  
Neuronal Plasticity ◽  
Classical Music ◽  
Music Performance ◽  
Long Term Potentiation ◽  
Mapk Signaling ◽  
Music Listening ◽  
Musical Aptitude ◽  
Seasonal Plasticity ◽  
Microrna Sequencing

AbstractHere, we used microRNA sequencing to study the effect of 20 minutes of classical music-listening on the peripheral blood microRNA transcriptome in subjects characterized for musical aptitude and music education and compared it to a control study without music for the same duration. In participants with high musical aptitude, we identified up-regulation of six microRNAs (hsa-miR-132-3p, hsa-miR-361-5p, hsa-miR-421, hsa-miR-23a-3p, hsa-miR-23b-3p, hsa-miR-25-3p) and down-regulation of two microRNAs (hsa-miR-378a-3p, hsa-miR-16-2-3p) post music-listening. The up-regulated microRNAs were found to be regulators of neuron apoptosis and neurotoxicity, consistent with previously reported neuroprotective role of music. Some up-regulated microRNAs were reported to be responsive to neuronal activity (miR-132, miR-23a, miR-23b) and modulators of neuronal plasticity, CNS myelination and cognitive functions like long-term potentiation and memory. miR-132 and DICER, up-regulated after music-listening, protect dopaminergic neurons and is important for retaining striatal dopamine levels. miR-23 putatively activates pro-survival PI3K/AKT signaling cascade, which is coupled with dopaminergic signaling. Some of the transcriptional regulators (FOS, CREB1, JUN, EGR1 and BDNF) of the up-regulated microRNAs are sensory-motor stimuli induced immediate early genes and top candidates associated with musical traits. Amongst these, BDNF is co-expressed with SNCA, up-regulated in music-listening and music-performance, and both are activated by GATA2, which is associated with musical aptitude. Some of the candidate microRNAs and their putative regulatory interactions were previously identified to be associated with song-learning, singing and seasonal plasticity networks in songbirds and imply evolutionary conservation of the auditory perception process: miR-23a, miR-23b and miR-25 repress PTEN and indirectly activates the MAPK signaling pathway, a regulator of neuronal plasticity which is activated after song-listening. We did not detect any significant changes in microRNA expressions associated with music education or low musical aptitude. Our data thereby show the importance of inherent musical aptitude for music appreciation and for eliciting the human microRNA response to music-listening.

Mahler Is a DJ: Reconducting Classical Music Education

2020 ◽  
Vol 28 (2) ◽  
pp. 220
Author(s):  
Koopal ◽  
Vlieghe ◽  
de Baets
Keyword(s):  
Music Education ◽  
Classical Music

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

Sign in / Sign up

Export Citation Format

Share Document