scholarly journals History and Theory of Musical Writing as an Academic Discipline

2019 ◽  
Vol 7 (1) ◽  
pp. 95-106
Author(s):  
Stanislav E. Englin
Keyword(s):  
Music Education ◽  
Academic Discipline ◽  
Modern Concept ◽  
Historical Period ◽  
Objective Data ◽  
Training Course ◽  
Multidimensional Problem ◽  
Musical Thinking ◽  
Significant Step ◽  
History And Theory

The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.

scholarly journals Powojenny dorobek polskiej nauki w zakresie historii i teorii bibliotekoznawstwa

2017 ◽  
Vol 60 ◽  
pp. 71-95
Author(s):  
Anna Tokarska
Keyword(s):  
Academic Discipline ◽  
Library Science ◽  
Academic Training ◽  
University Level ◽  
Science Concepts ◽  
Post War ◽  
History And Theory

THE POST-WAR ACHIEVEMENTS OF POLISH SCHOLARSHIP IN THE HISTORY AND THEORY OF LIBRARY SCIENCEThe author of the paper explores the development of the concept of Polish post-war library science as an academic discipline and demonstrates the wealth of achievement in librarianship studies. Theoretical reflections and the on-going discussion about the scope of library science provide a background for a presentation of practical solutions applied in the work of libraries. The author presents library science concepts as well as authors of important publications contributing to the development of the discipline, practical librarian tasks and academic training of librarians. In addition, she analyses librarianship achievements with regard to characteristic, statutory tasks and functions of libraries as well as typology, showing their significance to librarianship practice in Poland and to the quality of academic training of librarians. There is also a brief description of the profile of the librarianship curriculum at the leading university-level institutions providing education to librarians.

scholarly journals RESEARCH ACTIVITIES AS FORMATION FACTOR OF MUSICAL THINKING OF PERSONALITY

2018 ◽  
pp. 46-52
Author(s):  
G. Nagorna
Keyword(s):  
Music Education ◽  
Formation Factor ◽  
Research Activity ◽  
Research Activities ◽  
Holistic Process ◽  
Musical Thinking ◽  
Integral Process ◽  
Critical Activity ◽  
The Individual

The article reveals the problem of organizing research activities of students of musical universities as the main factor influencing the formation of their musical thinking. To achieve this goal, music education is transformed as a holistic process of musical research based on reflexive modeling, and musical research as a musician’s self-critical research activity. It is found that only in a systematic study by future musicians of facts, phenomena, circumstances of the musical process, it is possible to develop generalized skills to determine and achieve the goal of musical research, develop value-methodological strategy and tactics of relations in the process of interaction with the subjects of this research, self-assess the results of their research activities. In addition, development of musical thinking of personality is aimed at achieving its professional reasonableness as a universal quality, providing understanding and comprehension of the holistic process of musical research and determining mastering the value-methodological culture. In the process of the research, the following is undertaken: the methodology of the criterion-value approach is substantiated as the leading strategy of the personality-activity approach to students of music universities in the process of development of their musical thinking; the types of research activities (reasonable, organizational-informational, creatively transformative, evaluating) and their interrelation on the basis of the principles of unity of the universal and particular, simple and complex are revealed; the research self-critical activity of the future musician is revealed as a criterion of the truth of his musical thinking, aimed at mastering the professional reasonableness of the individual; analysed the role of the reflexive control of the formation of musical thinking of the individual and the holistic process of musical research. The involvement of future musicians in research self-critical activity, as well as the implementation of the reflexive control of the process of development of musical thinking, provided significant positive changes in the levels of development of this thinking. If reflexive management of the process of development of musical thinking contributed to the development of rational and creative individuality, then reflexive modeling of the holistic process of musical research made it possible to achieve self-management of the student’s personality, which led to the development of dialogical thinking, actualization of the independence of professional ideas, judgments, inferences, activation of self-criticism, priority to solving complex problems . As a result of the study, the appropriateness of the realization of the personality-activity approach to students of musical universities in the process of development of their musical thinking are derived: the increase in the effectiveness of the implementation of the personal-activity approach to students during the formation of their musical thinking depends on the degree of implementation of the reflexive management of the integral process of musical research; the achievement of the goal and result of the development of musical thinking — mastering professional reasonableness of a musician — is determined by the degree of effectiveness of the implementation of the personality-activity approach in the process of formation of the specified thinking with future musicians.

scholarly journals Formation of a Scientific and Educational Model of Musical-Psychological Anthropology

2020 ◽  
Vol 8 (3) ◽  
pp. 65-81
Author(s):  
Alla V. Toropova
Keyword(s):  
Graduate Students ◽  
Music Education ◽  
Music Teachers ◽  
Academic Discipline ◽  
Fine Arts ◽  
Educational Process ◽  
Psychological Anthropology ◽  
State University ◽  
Interdisciplinary Field ◽  
Methodological Approaches

The article presents an understanding of the value attitudes and methodological approaches to the construction of the educational discipline “Musical-psychological anthropology”, developed by the author and tested in the educational process at the Faculty of Musical Arts of the Institute of Fine Arts of Moscow Pedagogical State University. The directions of development in the discipline content the ideas and aspirations by E. B. Abdullin are outlined. The connection of the actual problems of pedagogy and psychology of music education with the experience of setting tasks for the project activities of graduate students in the course of Musical-psychological anthropology is shown. Some research results of graduate students which contribute to the development of Music-Psychological Anthropology as an interdisciplinary field and academic discipline at a university, focused on current problems of music education, as well as on the development of professional reflection of music teachers are presented.

scholarly journals SPIRITUAL AND PHYSICAL FOUNDATIONS OF MUSICAL PERCEPTION

2021 ◽  
Vol 1 (195) ◽  
pp. 114-118
Author(s):  
Valentin Reva ◽  
Keyword(s):  
Music Education ◽  
The Body ◽  
Physical Work ◽  
Creative Imagination ◽  
Personal Meanings ◽  
Sound Communication ◽  
Musical Perception ◽  
Musical Thinking ◽  
Sensory Responses ◽  
Motor Actions

Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the realm of the unconscious, which creates obstacles to perception, should be considered as untenable. Auditory-motor actions, including gestures, facial expressions, pantomimics, kinesics, and other bodily manifestations, are nothing more than the unified languages of music, the techniques of nonverbal sound communication peculiar to humans. The system «music-body-consciousness» generates intonation-sound associations of an artistic type, emphasizing the synergetic essence of musical perception, openness to self-completion, resonant spiritual response, actualizing auditory attention. Motor reactions are an essential factor in the emergence of artistic associations, musical thinking, and reflection. The mechanisms of musical perception linked with sensorimotor responses to the intonation of music. In this case, muscle activity acts as a mediating link between sensory responses and emotions transmitted in music. They are associated with the simplest semantic elements of musical perception. Musical perception is based on the synthesis of thought and feeling, spiritual and physical, and aesthetic experiences do not arise spontaneously, like physiological reactions. They are the result of painstaking spiritual and physical work, a symbiosis of artistic imagination and creative imagination, which determine the culture of musical perception of a person. It is impossible to find the experience of empathy, emotional responses to the meaning of music as self-expression of another person's soul, without working them through the mechanisms of bodily perception, which, in fact, is the main pathos of music education. Spiritual and bodily perception of music provides a unique opportunity to feel the present, the real presence in it, the coordination of personal life aspirations with the humanistic attitudes of art culture. Pedagogical comprehension of spiritual and bodily processes expands the possibilities of educating musical perception in secondary schools, overcoming the deficit of theoretical knowledge about music, skills of analysis of musical works, saturation of classes in search of personal meanings in art.

How far do tests of musical ability shed light on the nature of musical intelligence?

1999 ◽  
Vol 16 (1) ◽  
pp. 39-50 ◽  
Author(s):  
Christopher Murphy
Keyword(s):  
Music Education ◽  
Developmental Psychology ◽  
Human Intelligence ◽  
Musical Ability ◽  
Musical Intelligence ◽  
The Past ◽  
Musical Thinking ◽  
Traditional Sense ◽  
Way Of Knowing ◽  
Shed Light

This article suggests that traditional conceptions of musical ability, as advanced in the psychometric tradition of psychology, tell us very little about the nature of musical behaviour and how it is developed. The psychometric tradition, with its view that musical ability is innate rather than learned, has exerted a powerful and potentially damaging influence on the practice of music education over the past fifty or so years. It is only relatively recently, mainly in the field of Developmental Psychology, that these ideas have been challenged. In contrasting theories advanced by different psychological schools the article gives a broader perspective to the psychological debate on human intelligence / musical ability and shows the context in which musical behaviour might be viewed as a distinct or even autonomous form of intelligence – a ‘way of knowing’. It suggests that musical thinking should be considered as an ‘intellectual’ as well as aesthetic mode of thought and that musical ability, in the traditional sense, has little educational utility or relevance to music as a curriculum subject in schools.

scholarly journals The Formation of the Methodical System of Teaching Classical Harmony in the People’s Republic of China

2020 ◽  
Vol 8 (2) ◽  
pp. 87-108
Author(s):  
Boris R. Iofis ◽  
Qui Xiaona
Keyword(s):  
Music Education ◽  
Academic Discipline ◽  
People’S Republic Of China ◽  
Crowding Out ◽  
Art Practice ◽  
People's Republic Of China ◽  
Republic Of China ◽  
Internal Logic ◽  
National Characteristics ◽  
History Of

The article discusses the stages of the formation of the methodological system of teaching classical harmony in the People’s Republic of China. Analysis of the historical reveals the peculiarities and problems of teaching this section of the corresponding academic discipline, established in the national system of musical and musical-pedagogical education. The internal logic of this process is determined by the following parameters: the nature of the correlation of foreign experience with national characteristics and the presence (or opportunity) of other modules in the structure of the training course. On this basis, seven periods of the history of the teaching of classical harmony in China’s music education were identified and analyzed: 1842–1911 (formation of prerequisites); 1912–1926 (accumulation of primary empirical experience); 1927–1951 (methodic model of the Shanghai Conservatory); 1952–1965 (introduction of the Soviet pedagogical paradigm); 1966–1976 (crowding out foreign artistic influences and values from the cultural space); 1977–1997 (restoration of the Soviet methodic model against the backdrop of the adoption in art practice of modern forms of “Western” music and the national style based on pentatonic; 1998 - up to now (reforming the system of teaching harmony).

Toward a Definition of Piano Pedagogy

2019 ◽  
pp. 7-27
Author(s):  
Courtney Crappell
Keyword(s):  
Music Education ◽  
Academic Discipline ◽  
Piano Pedagogy ◽  
General Knowledge ◽  
Knowledge And Skills ◽  
Performance Training ◽  
Teacher Training Programs ◽  
And Performance ◽  
Definition Of

Chapter 1, “Toward a Definition of Piano Pedagogy,” seeks to define the discipline of piano pedagogy and describe its significance in preparing pianists for teaching careers. It begins with an outline of the historical emergence of pedagogy as an academic discipline and the formation of practical teacher-training programs. It then describes how collaborations between faculties in music education and performance led to the growing popularity of piano pedagogy coursework in the twentieth century. Finally, it seeks to demonstrate how studies in piano pedagogy combine the knowledge and skills acquired through performance training with general knowledge about music and education to more fully prepare artists for careers in teaching.

scholarly journals The melodic dictation in the traditions of Russian music education

2016 ◽  
Author(s):  
Lola Dzhumanova
Keyword(s):  
Music Education ◽  
Western Europe ◽  
Comprehensive Model ◽  
Level System ◽  
Saint Petersburg ◽  
Russian Music ◽  
Academic Subject ◽  
Melodic Dictation ◽  
Musical Thinking ◽  
Logical Representation

In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that  became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.

scholarly journals Music education in Ukraine: meetings in history

2017 ◽  
pp. 73-77
Author(s):  
L. Y. Protsiv
Keyword(s):  
Music Education ◽  
18Th Century ◽  
Music Pedagogy ◽  
Music Culture ◽  
Short Period ◽  
The Future ◽  
Musical Thinking ◽  
The Status ◽  
History Of ◽  
The Aesthetic

The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representatives of Western European polyphonic school, and came very close to the theory of temperatio, so well presented in Bach’s art. Supporting Kyiv concept of education at Slavonic, Latin and Greek schools, which involved a combination of eastern and western elements of education, national and European cultural and educational traditions, M. Dyletskyi formulated the aesthetic principles of choral art, revealed progressive pedagogical ideas. Age of Baroque and Enlightenment was the epoch of Great Travelers and symbolic meetings. In search of truth and artistic ideal philosophers, artists, musicians traveled in Europe. Various meetings took place — real and unreal, sometimes at an interval of a century, but they determined “symbolic insight into the future”. An important meeting took place at the end of the 18th century in Vienna. The Ukrainians met a famous countryman, composer D. Bortnyanskyi. Since then, composer’s music became a model of his proficiency, the embodiment of the Ukrainians’ spiritual outlook. He was called “the Ukrainian Mozart”, “Our Palestrina”, and he became a kind of a “bridge” between the European polyphonists and “classicists”, and also composers–romanticists, who also were influenced by his works. Age of Baroque and classicism, “Golden Age” in the Ukrainian music culture has acquired the status of “epic time” aimed at eternity, when a relatively short period of time defined the future way for historical development. The presence of such parallels and “meetings in history”, actualizing the past at the request of the future, defines metahistorical nature of history of music education in Ukraine.

Developing an understanding of appraising music with practising primary teachers

1995 ◽  
Vol 12 (2) ◽  
pp. 127-158 ◽  
Author(s):  
Patricia Flynn ◽  
George Pratt
Keyword(s):  
Music Education ◽  
Working Group ◽  
National Curriculum ◽  
Primary Teachers ◽  
Central Concept ◽  
Musical Thinking ◽  
Music Specialists ◽  
The Way

paper deals with a central concept in music education, that of ‘appraising’ music. Through a series of incidents surrounding the development of the Music National Curriculum this concept, new to many, was left undefined. Using research which shows how people cope with change and successfully take on innovations, a need for deeper information on what appraising entails, and the underlying principles involved, was identified – that is, the ‘how-to’ and ‘principles’ knowledge of appraising. The paper reports research carried out with a group of teachers to define the activity of appraising music in a way which takes account of real classroom situations and can be used by the 90% of primary teachers who are not music specialists. Because the definition is developed by teachers it is more likely to be understood by other teachers. The paper ends with an example of a programme of work which uses the developed understanding. This includes nine areas of appraising, an explanatory definition and four stages in the process of appraising as well as an understanding of progression in this activity using seven words to indicate progression and identifying a ‘putting in’ and ‘drawing out’ stage within this.The children's appraising and progression is discussed and the paper argues that, in choosing this term, the Music Working Group has identified the way in which we come to know and understand the processes involved in music and musical thinking within the three activities of Composing, Performing and Listening.

Sign in / Sign up

Export Citation Format

Share Document