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.

scholarly journals One Database, Four Monofunctional Dictionaries

2017 ◽  
Vol 26 (50) ◽  
pp. 119
Author(s):  
Henning Bergenholtz ◽  
Inger Bergenholtz
Keyword(s):  
Classical Music ◽  
World Music ◽  
Historical Background ◽  
Music Students ◽  
User Group ◽  
Good Tool ◽  
Professional Musicians ◽  
Music Schools ◽  
Commercial Music ◽  
Cognitive Problem

A dictionary is an information tool. In the last century most dictionaries were constructed as polyfunctional tools following a broad and imprecise understanding: A dictionary is to be used by everyone for every kind of communicative and cognitive problem. But normal tools are not polyfunctional. If you go to a shop and ask for a saw, you have to specify first what you are going to saw: a big tree or a small piece of plywood. After having explained that, you will be offered a monofunctional saw. So it should be, too, for the information tool: A good tool is a tool designed for a certain function and for a certain user group for certain needs. This paper will argue for the need of dictionary designs for monofunctional dictionaries. Doing that, we need to be aware of the fact that a lexicographical database is not a dictionary. A database contains data which can be presented in one or more monofunctional or polyfunctional dictionaries.The database of the dictionary in question comprises 4.015 (September 30st, 2012) cards with definitions, historical background, synonyms, references and links, pictures etc. Outgoing from this database, four different dictionaries are presented. All of them are dictionaries on musical terms mainly from the world of classical music, but also from commercial music and the so-called world music. The music dictionaries intend to be tools for music students in universities and music schools, for both amateurs and professional musicians and for every interested person who wants aid when reading texts on music or who wishes to get further information on musical terms and topics.

scholarly journals Proposal of the Simple Three-Phase Musicians Career Model (Preparation/Education, Active Playing and Fading/Extention) Reflecting Subjective Aspects of Professional Musician´S Life

2019 ◽  
Vol 8 (3) ◽  
pp. 5509-5515
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Career Stages ◽  
Music Teaching ◽  
Professional Musicians ◽  
Time Limits ◽  
Professional Musician ◽  
Three Phase ◽  
Career Model ◽  
Model Preparation

Careers of professional musicians are unique and their development cannot be fully generalized, as shown by interviews with instrument players and singers of classical music and musical in Slovakia. Their careers do not include all standard career stages; only three of them were identified in all respondents: preparation (tied with music education), active playing (associated with growth, peaks, crises, decrease) and career fading/extinction. The time limits of these stages cannot be set, as they considerably differ. Majority of musicians claim to overcome a professional crisis. A common feature of all respondents' careers is music teaching job at a certain point in their own careers

Pengaruh Pemberian Moringa oleifera Terhadap Kuantitas dan Kualitas Semen Sapi Peranakan Ongole

2020 ◽  
Vol 7 (2) ◽  
pp. 119
Author(s):  
Lukman Affandhy ◽  
Muchamad Luthfi ◽  
Dian Ratnawati ◽  
Frediansyah Firdaus
Keyword(s):  
Data Analysis ◽  
Analysis Of Variance ◽  
Research Method ◽  
Moringa Oleifera ◽  
The Third ◽  
Randomized Design ◽  
Leaf Powder ◽  
Completely Randomized Design ◽  
Second Period

ABSTRAK  Penelitian bertujuan untuk mengetahui pengaruh pemberian bubuk daun Moringa oleifera (MO) terhadap kuantitas dan kualitas semen sapi peranakan ongole (PO). Metode penelitian menggunakan percobaan lapang dengan rancangan acak lengkap dengan tiga perlakuan pemberian MO sebesar 0 kg/ekor/hari (P1); 0,05 kg/ekor/hari (P2) dan 0,1 kg/ekor/hari (P3). Analsis data menggunakan one way analysis of variance. Masing-masing perlakuan terdiri atas empat ekor dengan tiga periode pengamatan sebagai ulangan, yaitu periode pertama dan ketiga tanpa MO, dan periode kedua diberikan MO pada P2 dan P3. Hasil penelitian menunjukan bahwa volume dan pH semen perlakuan P1, P2 dan P3 tidak berbeda semua periode pengamatan. Motilitas massa spermatozoa P2 dan P3 periode kedua dan ketiga menunjukan nilai +++ berbeda nyata (P<0,05) dibandingkan dengan P1 (++); motilitas individu  perlakuan P1 menunjukkan nilai terendah 60,56±2,94 % (P<0,05) dibandingkan P2 dan P3 pada periode kedua dan ketiga (75,50±2,29 dan 72,50±2,34%). Konsentrasi spermatozoa P2 dan P3 periode kedua dan ketiga menunjukkan rata-rata  >1.350 juta/ml berbeda nyata (P<0,05) daripada P1 (876±152juta/ml), sedangkan total spermatozoa motil menunjukkan nilai tertinggi 5.647±829 juta/ml pada P3 periode kedua.Viabilitas spermatozoa P2 dan P3 menunjukkan nilai >88-89 % beda nyata (P<0,05) daripada P1 (<84 %) pada periode kedua dan ketiga, sedangkan nilai abnormalitas spermatozoa yang terbaik adalah P2 sebesar 4,30% pada periode kedua dan P3 sebesar 5,33% pada periode ketiga. Disimpulkan pemberian bubuk daun MO dengan dosis 0,1 kg/ekor/hari dapat memperbaiki kuantitas dan kualitas semen (viabilitas dan total spermatozoa motil) sapi pejantan PO.Kata kunci:  kuantitas dan kualitas semen, Moringa oleifera, sapi pejantan ABSTRACTThe research aimed to determine the effect of Moringa oleifera (MO) leaf powder on the quantity and quality of semen of ongole crossbreed. The research method used was a field experiment with a completely randomized design with three treatments giving MO of 0 kg/head/day (P1); 0.05 kg/head/day (P2) and 0.1 kg/head/day (P3). Each treatment consisted of four heads with three periods of observation as replications, namely the first and third periods without MO, and the second period was given MO on P2 and P3. Data analysis used a one-way analysis of variance. The results showed that the volume and pH of semen treated P1, P2, and P3 didn’t different in all observation periods. The second and third period spermatozoa mass motility of P2 and P3 showed that the value of +++ was significantly different (P<0.05) compared to P1 (++); Individual motility of P1 treatment showed the lowest value 60,56±2,94 % (P<0.05) compared to P2 and P3 in the second and third periods (75,50±2,29 and 72,50±2,34%). The second and third periods of P2 and P3 spermatozoa concentrations showed an average of >1,350 million/cc significantly different (P<0.05) than P1 (876±152 million/cc), while the total motile spermatozoa showed the highest value of 5,647±829 million/cc in the second period P3. The spermatozoa viability of P2 and P3 showed values >88-89% significantly different (P<0.05) than P1 (<84%) in the second and third periods, while the best spermatozoa abnormalities were P2 at 4.30% in the second period and P3 at 5.33% in the third period. It was concluded that the giving of MO leaf powder at a dose of 0,1 kg/head/day could improve the quantity and quality of semen (viability and total motile spermatozoa) of Ongole Crossbreed bulls. Keywords: bulls, Moringa oleifera, quantity and quality of semen

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.

Assessment in Music Classes in China

2019 ◽  
pp. 338-357
Author(s):  
Dennis Ping-Cheng Wang
Keyword(s):  
Music Education ◽  
National Curriculum ◽  
National Standards ◽  
Historical Background ◽  
Policy And Practice ◽  
Education Assessment ◽  
Music Assessment ◽  
Chinese Music ◽  
Curriculum Guidelines ◽  
Valid Assessment

This chapter outlines the historical background and current development of music education assessment in China. Following the revision of the national curriculum guidelines in 2011, the chapter analyzes (1) the value of the national standards at different school levels, (2) how the national standards affect teachers and schools, and (3) how much the teachers read/follow the guidelines in China. This chapter investigates and examines how assessment policy and practice are used in Chinese music classrooms from elementary, middle, and high schools. Furthermore, it discusses how local music teachers assess their music students and the effectiveness of the national curriculum guidelines used in music classes. The author determines that the current practice of music assessment at all school levels in China is too basic and not diversified. Designing a valid assessment that allows students at all levels to demonstrate their learning outcomes seems to be necessary for music education in China.

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

scholarly journals Perception and learning of relative pitch by musicians using the vibrotactile mode

2021 ◽  
pp. 102986492110152
Author(s):  
Carl Hopkins ◽  
Saúl Maté-Cid ◽  
Robert Fulford ◽  
Gary Seiffert ◽  
Jane Ginsborg
Keyword(s):  
Hearing Loss ◽  
Music Education ◽  
Success Rate ◽  
Normal Hearing ◽  
Pitch Discrimination ◽  
Professional Musicians ◽  
Profound Hearing Loss ◽  
Relative Pitch ◽  
Significant Difference ◽  
Schools For The Deaf

This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.

Analysis of gender, age and disability representation in music education textbooks: A research update

2018 ◽  
Vol 36 (4) ◽  
pp. 494-508 ◽  
Author(s):  
Mª del Mar Bernabé-Villodre ◽  
Vladimir E. Martínez-Bello
Keyword(s):  
Music Education ◽  
Research Team ◽  
European Law ◽  
Female Characters ◽  
Professional Musicians ◽  
Virtual Absence ◽  
Coding Scheme ◽  
Women And Girls ◽  
Time Periods ◽  
Curricular Materials

According to International and European Law, teachers are encouraged to analyse, challenge and to help to eliminate sexist stereotypes and distortions in curricular materials. We aimed to characterize and compare the efficacy of implementation of the gender equality-based approach in the Spanish educational system, through a content analysis of the illustrations in music education (ME) textbooks following a coding scheme constructed by the research team according to guidelines from previous studies about the depiction of women and girls in ME textbooks during two periods of Spanish democracy: before (1992–2005); and after (2006–2015). Our major findings were: (a) female characters were under-represented in both time periods studied; (b); the stereotype of women as amateur but not professional musicians is not perpetuated in the current primary ME textbooks; (c) both children and adults independently of gender were portrayed interacting with others; (d) despite the fact that women teachers are actively participating in schools, ME textbooks do not faithfully reflect that reality; and (e) the virtual absence of females and males with disabilities suggests that this aspect of inclusion is still pending. Notwithstanding, ME textbooks printed after 2006 tended to challenge some traditional stereotypes pertaining to how females and males think, play and act within the musical world.

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