scholarly journals Excerpts of the History of the Development of the Musical Education in Russia: L.M. Rudolf and His Role in the Establishment of the Saratov Conservatory

2020 ◽  
Author(s):  
Lilia Vishnevskaya ◽  
Natalia Ivanova ◽  
Elena Ponomareva
Keyword(s):  
Musical Education ◽  
History Of

scholarly journals Poscolonial Peruvian Sheep and Their Digital Dreams: Pure Data as a Tool for Conceptual Reconfiguration in Peruvian Musical Education

2021 ◽  
Vol 9 (2) ◽  
pp. 1-16
Author(s):  
José Ignacio Gastón
Keyword(s):  
Main Tool ◽  
Musical Education ◽  
Learning History ◽  
Social Narratives ◽  
Musical Practices ◽  
History Of ◽  
Pure Data ◽  
Musical Creation

In this work, I discuss the use of Pure Data as the main tool for the development of paradigmatic changes in Peruvian musical education, through the implementation of the Laboratorio de Música Electroacústica y Arte Sonoro of the Universidad Nacional de Música in Lima - Perú. This analysis is made taking under consideration the particularities present in the development of the study of technology-based music in the country and the historical shortcoming that have marked that development. This work complements my previous research regarding the relevance of specific social narratives present through the history of the nation in regards to technology and musical innovation. In that sense, it presents a historical that seeks to revert the course of a musical learning history that excludes technology based musical practices associated with Pure Data, from becoming part of the official processes for musical creation in the country.

A Brief Life of a Very Long Life

2018 ◽  
Author(s):  
David Schiff
Keyword(s):  
New York ◽  
Reception History ◽  
Charles Ives ◽  
Musical Education ◽  
Post Modernism ◽  
Piano Lessons ◽  
The Usa ◽  
History Of ◽  
Nadia Boulanger ◽  
Late Works

This chapter outlines the known facts about Carter’s life and tracks the reception history of his music. Carter grew up in a comfortable upper middle class New York household and was groomed to take over the successful importing business founded by his grandfather. His family gave him piano lessons but otherwise discouraged his pursuit of music which only began in earnest when he was in high school and first met Charles Ives. Even after that meeting, Carter studied literature, not music, as a Harvard undergraduate, and only received a full musical education when he went to Paris to study with Nadia Boulanger. This delayed development cast Carter into relative obscurity until the age of forty and critical recognition only came a decade later when he was awarded the first of two Pulitzer Prizes. With the arrival of post-modernism, there was a critical reaction against Carter’s music in the USA, tempered, toward the very end of his life, with some appreciation of the clarity of his very late works.

Կոմիտասի գրադարանը

2021 ◽  
Author(s):  
Սոնա Սիմոնյան
Keyword(s):  
Music Theory ◽  
Church Music ◽  
Musical Education ◽  
History Of ◽  
Professional Research ◽  
Music Books

Կոմիտասից պահպանված գրականությունն ընդգրկում է 300-ից ավելի գիրք, որը չի կազմում նրա գրքացանկի ամբողջական թիվը։ Կոմիտասի գրքերն ուղեկցել են նրան իր կյանքի և գործունեության տարբեր ժամանակահատվածներում, ունեցել են տարբեր գործառույթներ և ծառայել են տարբեր նպատակների՝ կրթությունից մինչև մասնագիտական հետազոտություններ։ Հոդվածում դասակարգված է Կոմիտասի գրականությունը՝ ըստ մասնագիտական, գեղարվեստական և այլ ոլորտների, ներկայացված են տեղեկություններ որոշ գրքերի մասին, ինչպես նաև Կոմիտասի կրթության և գործունեության ճանապարհին այդ գրքերի դերն ու նշանակությունը։ Կոմիտասի գրադարանում ծավալուն տեղ են զբաղեցնում երաժշտական գրքերը՝ ներառյալ հոդվածներ, կլավիրներ, պարտիտուրներ, օպերաների լիբրետոներ և այլն։Կոմիտասի հիմնավոր երաժշտական կրթությունը, տարբեր երկրների և ժամանակների երաժշտության պատմության մասին աշխատությունները, հայ եկեղեցական և հոգևոր երաժշտության մասին մեծ թվով գիտական (ներառյալ խազաբանական) հետազոտությունները, կոմպոզիտորական, խմբավարական, կատարողական գործունեությունը առիթ են եղել բազմաբնույթ գրքերի ձեռքբերմանը։ Հարուստ և բազմատեսակ գրականության ձեռքբերմանը նպաստել են նաև Կոմիտասի մի քանի լեզուների իմացությունը, հետաքրքրությունը հայ և արտասահմանյան գեղարվեստական գրականության, արվեստի և գիտության այլ ճյուղերի հանդեպ։ Կոմիտասի երաժշտական գրականությունն ընդգրկում է երաժշտատեսական, պատմական, գեղագիտական, միջնադարագիտական, ֆոլկլորագիտական, կոմպոզիտորական, կատարողական, մանկավարժական-մեթոդաբանական գրքեր։ The preserved literature that we have received from Komitas includes more than 300 books, which is not the complete number of books on his list. Komitas's books accompanied him in different periods of his life and activities. They had different functions and served different purposes, from education to professional research. In this article, Komitas’s literature is classified according to professional, artistic, and other spheres. Their role and significance in Komitas’s education and activities is presented. Information about special books is also presented. Music books occupy a large place in Komitas's library, including articles, pianos, scores, librettos of operas, etc. Komitas's thorough musical education, works on the history of music of different countries, times, numerous scientific (including “Khaz”) studies on Armenian church music, composing, conducting, and performing activities have been the occasion for acquiring various books. The acquisition of rich and diverse literature was also facilitated by Komitas's knowledge of several languages, his interest in Armenian and foreign fiction, art, and other branches of science. Komitas's musical literature includes music theory, historical, aesthetic, medieval, folklore, composition, performance, and pedagogical-methodological books.

Musical Education of the Under-Twelves (MEUT) 1949-1983: Some aspects of the history of post-war primary music education

1998 ◽  
Vol 15 (3) ◽  
pp. 239-253 ◽  
Author(s):  
Gordon Cox
Keyword(s):  
Music Education ◽  
Musical Education ◽  
History Of ◽  
New Ideas ◽  
Post War ◽  
Changes Over Time ◽  
Over Time

This article traces the history of Musical Education of the Under-Twelves (MEUT) from its birth in 1949 to its demise in 1983. Because it arose from a coalition of pre-war societies and associations it provides a valuable historical link, as well as an example of a later alliance with progressive ideas in education. The paper considers the following questions: What were the historical roots of MEUT? Why was MEUT formed? What new ideas were developed and debated, and how did these relate to traditional concerns? What accounted for the demise of MEUT? Through the investigation of such an association we can better understand how music as a curriculum subject changes over time.

scholarly journals Desuete Names in the Musical Culture History of the Russian Far East: The Khabarovsk Professional Musical Education from the End of the 19th Century to the 1930s

2014 ◽  
pp. 82-87
Author(s):  
Valentina A. Koroleva
Keyword(s):  
Russian Far East ◽  
Far East ◽  
Education History ◽  
Regional Culture ◽  
Musical Culture ◽  
Paris Conservatory ◽  
Musical Education ◽  
Culture History ◽  
History Of ◽  
The 19Th Century

Deals with the first period of the musical education history in Khabarovsk, which is analysed within the frame of the general historical and cultural processes in the Far East. Basing on the local archives documents, the author reconstructs the life and activities of the Khabarovsk musical school founder Jadwiga Sventorzhezkaya, the alumna of the Paris Conservatory who was born into the noble Polish family. The names of the Khabarovsk Musical College professors Nikolsky and Shveinik persecuted in 1937 for political reasons are re­introduced to the regional culture history.

scholarly journals Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica

2017 ◽  
Vol 8 (1) ◽  
pp. 379-390
Author(s):  
Antonietta Gostoli
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
New Music ◽  
Epic Poetry ◽  
Musical Education ◽  
History Of ◽  
The Aesthetic ◽  
And Training

The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

scholarly journals Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica

2017 ◽  
pp. 379-390
Author(s):  
Antonietta Gostoli
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
New Music ◽  
Epic Poetry ◽  
Musical Education ◽  
History Of ◽  
The Aesthetic ◽  
And Training

The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

scholarly journals Una storia della musica e della lirica greca dalle origini al IV secolo a.C. nel De musica attribuito a Plutarco

2021 ◽  
Author(s):  
Antonietta Gostoli
Keyword(s):  
Lyric Poetry ◽  
Social Function ◽  
Fifth Century ◽  
Ancient Greek ◽  
Musical Education ◽  
History Of

Ps. Plutarch’s De musica is an important source for reconstructing the history of ancient Greek music and lyric poetry. It is sharply divided in two parts: the first one is the history of music and lyric poetry, from their mythical origins to the IV century BC; the second one is about the ethical and social function of musical education. The discussion of the first part is about the metrical and rhythmical structure of the pre-Homeric citharodic epic compared to verses of Stesichorus and Terpander; kitharōidikoi and aulōidikoi nomoi, Phrygian origin of aulōidia, musical schools in Sparta in relation to the poetic genres definition. Heraclides of Pontus provides the material for Chapters 3-12 (the main exception being Chapter 11, which is explicity credited to Aristoxenus). He indicates the Anagraphe en Sikyoni as his source about Amphion and the origin of kitharōidia. But the history of aulōidia is attributed to a different writer, Glaucus of Rhegium, who lived in the fifth century and is the earliest musical historian.

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