scholarly journals EXPANDING THE CIRCULATION OF FOREIGN STUDENTS IN THE ASPECT OF SOCIO-CULTURAL EDUCATION

2021 ◽  
Vol 10 (34) ◽  
Author(s):  
N.E PETROVA ◽  
Keyword(s):  
Foreign Students ◽  
Test Material ◽  
Cultural Education ◽  
Musical Education ◽  
School Of Music ◽  
Musical Works ◽  
Musical Traditions ◽  
Russian Composers ◽  
Goals And Objectives

The article provides a methodological description of the lesson on the topic "Music and We: Famous Russian Composers" using regional material of a socio-cultural nature. At the beginning of the lesson, a system of goals and objectives is given, aimed at the formation and development of knowledge, abilities and skills. Then the structure of the lesson is given, indicating the test material on the stated topic and comments on each part. The lesson is based on a mini-lecture by the teacher about famous Russian composers (P.I.Tchaikovsky, M.I. Glinka, I.P. Mussorgsky, S.V. Rachmaninov, G.V. composers, fragments of their musical works. The teacher can choose the composer himself, about whose life and work the text will be read. The indispensable condition is the use of regional material. So, in this particular lesson, the author proposes to include information about G.V. Sviridov, who is directly related to the Kursk province, where he was born and received his primary musical education. In addition, folk musical traditions characteristic of this region are reflected in his work. The Kursk School of Music bears the name of the famous Kurian composer. The story about the Kursk composer can be accompanied by a presentation depicting streets, buildings, monuments associated with the name of the composer and familiar to students.

Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments

2020 ◽  
Vol 19 (3) ◽  
pp. 68-75
Author(s):  
N.I. Anufrieva ◽  
◽  
A.P. Efremenko ◽  
Keyword(s):  
Training Programs ◽  
Traditional Approach ◽  
Teaching Methodology ◽  
Music Pedagogy ◽  
Folk Culture ◽  
University Teachers ◽  
Avant Garde ◽  
Musical Education ◽  
Musical Works ◽  
Educational Potential

the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

scholarly journals Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China

2019 ◽  
Vol 7 (3) ◽  
pp. 126-137
Author(s):  
Kang Yunyu
Keyword(s):  
Educational Institutions ◽  
Compositional Techniques ◽  
Musical Work ◽  
Republic Of China ◽  
Piano Repertoire ◽  
Musical Works ◽  
Effective Performance ◽  
Personal Qualities ◽  
Russian Composers ◽  
Selection Of

The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.

scholarly journals 7. A Model of Integrality of Musical and Teaching Activities at the Lesson of Musical Education

2016 ◽  
Vol 11 (1) ◽  
pp. 58-65
Author(s):  
Marina Caliga
Keyword(s):  
Music Education ◽  
Teaching Activities ◽  
Musical Education ◽  
Student Integration ◽  
Musical Works ◽  
Musical Knowledge ◽  
The Subject

Abstract In this article the author investigates and applies accumulated experience in music education through the methodological integrality of musical didactic activities at musical education lesson. In this regard, musical didactic activities are not only pedagogical acts of transmission of musical knowledge, but their mission is the living of sound messages, the discovery of self through art and student integration through musical didactic activities. Integrating through musical didactic activities, students discover, create, analyze, summarize, compare, apply, reflect, operating various mechanisms of musical didactic activities, becoming not only the receiver, but also the subject of musical works.

Giulia Frasi: Singer of Sentiment

2020 ◽  
Author(s):  
Jonathan Rhodes Lee
Keyword(s):  
Eighteenth Century ◽  
Contemporary Culture ◽  
Musical Education ◽  
Artistic Representation ◽  
Musical Works ◽  
Public Persona ◽  
English Stage

Abstract Handel and his artistic collaborators worked in an age that prized the moral potential of emotion, particularly as mobilized in artistic representation. From weeping comedies and moving she-tragedies on the English stage to sentimental novels in the private closet and even powerfully moving sermons from the nation’s pulpits, eighteenth-century audiences received a constant onslaught of emotionally charged rhetoric that aimed at inspiring virtue. This article provides several examples of how Handel’s music, particularly his works of the 1740s and 1750s, operated within this contemporary culture of sentiment; it uses the career of Handel’s last leading lady, Giulia Frasi (fl. 1742–72), as an illustration of the nexus between these ethical-aesthetic trends, Handel’s musical works, and this singer’s career. Examination of Frasi’s musical education, the works that she performed, and her public persona shows that she cultivated a place in the culture of sentiment, both on and off the stage.

Alec Wilder

2013 ◽  
Author(s):  
Philip Lambert
Keyword(s):  
New York ◽  
Popular Song ◽  
Concert Music ◽  
School Of Music ◽  
Popular Songs ◽  
Eastman School Of Music ◽  
Gunther Schuller ◽  
Part Time ◽  
Musical Traditions ◽  
Woodwind Quintets

The music of Alec Wilder (1907–1980) blends several American musical traditions, such as jazz and the American popular song, with classical European forms and techniques. Stylish and accessible, Wilder's musical oeuvre ranged from sonatas, suites, concertos, operas, ballets, and art songs to woodwind quintets, brass quintets, jazz suites, and hundreds of popular songs. Wilder enjoyed a close musical kinship with a wide variety of musicians, including classical conductors such as Erich Leinsdorf, Frederick Fennell, and Gunther Schuller; jazz musicians Marian McPartland, Stan Getz, and Zoot Sims; and popular singers including Frank Sinatra, Mabel Mercer, Peggy Lee, and Tony Bennett. In this biography and critical investigation of Wilder's music, Wilder's early work as a part-time student at the Eastman School of Music, his ascent through the ranks of the commercial recording industry in New York City in the 1930s and 1940s, his turn toward concert music from the 1950s onward, and his devotion late in his life to the study of American popular songs of the first half of the twentieth century are chronicled. The book discusses some of his best-known music, such as the revolutionary octets and songs such as I'll Be Around, While We're Young, and Blackberry Winter, and explains the unique blend of cultivated and vernacular traditions in his singular musical language.

The Virtuoso of Submissiveness

2020 ◽  
pp. 60-109
Author(s):  
Harry White
Keyword(s):  
Comparative Analysis ◽  
Reception History ◽  
Musical Form ◽  
Liturgical Music ◽  
Two Agents ◽  
Musical Works ◽  
History Of ◽  
Musical Traditions ◽  
The Difference ◽  
Stile Antico

This chapter turns to Fux’s engagement with the imperial liturgy and his vigilant custodianship of its received musical traditions. It argues that the principal reception history of Fux as a composer, vested in the ongoing Complete Edition of his works (Gesamtausgabe) inadequately comprehends his actual significance because it privileges his compositions as self-standing musical works. By deconstructing this reception history we can distinguish between Fux’s habitual obedience to the dynastic style (which resulted in a large but blandly-achieved corpus of liturgical music) and two agents of musical refuge which satisfied (by contrast) the composer’s longing for musical form. The first of these is Palestrina and the “stile antico,” through which Fux achieved a much finer corpus of sacred works. The second is the Da capo aria as a model of tonal discourse through which Fux discovered an alternative to the restless changes of texture and technique demanded by the imperial liturgy. Both agents draw Fux into the orbit of Bach. This chapter closes with a comparative analysis of three Da capo arias by each composer. This analysis affirms that the intimacy between musical servitude and imaginative autonomy is of no less significance than the difference between them.

Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin

2021 ◽  
Vol 66 (2) ◽  
pp. 123-132
Author(s):  
Eszter Szabó
Keyword(s):  
20Th Century ◽  
Classical Music ◽  
Common Element ◽  
Early 20Th Century ◽  
Musical Language ◽  
Professional Musicians ◽  
Russian Music ◽  
Life Paths ◽  
Musical Traditions ◽  
Russian Composers

"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "

The Idea of the 1920s in Russian Music Today

2017 ◽  
Author(s):  
William Quillen
Keyword(s):  
Twentieth Century ◽  
Dark Side ◽  
Soviet Period ◽  
Avant Garde ◽  
Russian Music ◽  
Musical Works ◽  
To Come ◽  
Russian Composers ◽  
Post Soviet Period

This chapter examines evocations of the early Soviet avant-garde in new compositions of the post-Soviet period, investigating how contemporary Russian composers imagine the modernist culture of the pre-Stalinist past and its significance. It is based upon interviews conducted by the author with contemporary Russian composers and analyses of recent musical works. As we will see, composers relate to the early Soviet avant-garde in a variety of ways. Importantly, attitudes to the 1920s are not merely celebratory: even some of the individuals today most interested in the early Soviet avant-garde see a dark side to its legacy, finding within modernist art of the Soviet 1920s disturbing messages about Russia’s fate or the course of the twentieth century, or even more sinister prophecies of larger tragedies to come.

MUSICAL EDUCATION SKILLS: PROBLEMS AND SOLUTIONS

2019 ◽  
pp. 115-122
Keyword(s):  
Music Education ◽  
Continuing Education ◽  
Educational Institutions ◽  
Music Pedagogy ◽  
Children's Music ◽  
Musical Education ◽  
Problems And Solutions ◽  
Further Development ◽  
Goals And Objectives ◽  
Art Schools

The article discusses the professional skills of a teacher in the field of music education, its formation and improvement, his/her spiritual outlook, processes directly related to the level of culture, problems and solutions in these processes. Continuing music education, namely children's music and art schools, music and art lyceums and colleges, and then continuing education at higher educational institutions, are an important factor for obtaining excellent musicians and singers. Music is an important part of the spiritual culture of mankind. The process of music education contributes to creativity, creating opportunities for young talents to show their work. The participation of students faresees the work with other in the process of creativity. Students' activity is an important prerequisite for the development of creativity, and a creative approach to each of them is an important issue for the further development of musical abilities and students' performance. At all stages of the educational system, specific goals and objectives are manifested in the performance of young singers and musicians. Universal classifications of music pedagogy are studied.

Some Linguistic Observations

Tempo ◽  
1946 ◽  
pp. 255-257
Author(s):  
Béla Bartók
Keyword(s):  
Russian Music ◽  
Musical Works ◽  
Russian Composers ◽  
Professional Critics

Russian music is getting more and more popular nowadays: works of hitherto unknown Russian composers emerge each season and are performed at our concerts beside the older standard works. The works themselves are, or at least should be, of course, the thing that matters most in this connection, and not the names or personalities of the authors. Many of us enjoy the sight of old cathedrals, and find delight in pictures or poems of anonymous painters and poets without bothering to know who the architects or authors were. One wonders if it would not be preferable—though not to some of the professional critics—to have musical works performed without indicating the names of their composers. However this may be, the general usage requires the mentioning of the composer, and this for many reasons. As long as this usage is observed, it is perhaps no pedantry to insist upon a correct and consistent spelling of the composers' names. While this requirement is pretty well satisfied in general, this is by no means the case with the names of Russian composers. Let us quote some examples.

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