scholarly journals Evolution of Views on Music as a Universal Language of Mankind and Its Representation in the System of General Music Education

2019 ◽  
Vol 7 (2) ◽  
pp. 144-154
Author(s):  
Bela S. Rachina
Keyword(s):  
Music Education ◽  
Art History ◽  
Historical Perspective ◽  
Modern Art ◽  
General Music ◽  
Musical Language ◽  
Spiritual Values ◽  
Universal Language ◽  
Art Historians ◽  
Basic Concepts

The article is devoted to the consideration of the essence of the phenomenon “music”, its fundamental laws and mechanisms of influence on a person. The author explores the evolution of the views of major philosophers and art historians on the content of musical art in a historical perspective. Modern art has expanded research horizons, allowed scientists to trace the genesis of musical art. The consequence of this process is the possibility of a deeper understanding of the content of the concepts “music” and “musical art” during the comparison. Reflections on the development of musical art and the innovations caused by them in the pedagogy of music education are based on three basic concepts of art history: intonation, genre, style. As a result, the author considers the problem of the development of the intonational continuum of musical art, as well as stylistic (artistic, historical, national, individual, composer, etc.), genre, diversity of musical language. The author, trying to answer the question of how to acquaint modern schoolchildren with the invaluable legacy of musical art and show the features of the new musical world created by our contemporaries, explores the problem of choosing a range of musical phenomena determined by the historical era, the corresponding musical language, the formation of the intonational intonational thesaurus, etc. The article consistently substantiates the importance of musical art in the process of preserving the most important spiritual values of our civilization.

Hans Sedlmayr (1896–1984): Structural Approach and Pre-Modern Values

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Angel Angelov ◽  
Keyword(s):  
Art History ◽  
Modern Art ◽  
Socialist Realism ◽  
Public Debate ◽  
Structural Approach ◽  
Sacred Text ◽  
Modern Conception ◽  
Art Historians ◽  
History Of

The prevailing part of art historians, critics and theoreticians from the mid-1950s even until today feels related to the means of expression of the modernist art trends from the last decade of 19th c. until the end of 1960-s. Modernism has become a sacred text, whose complexity should be interpreted, but not criticized. Sedlmayr’s conception of art is built on moral, religious, aesthetic and political grounds, which are the very reason for the actuality of his works – both in the specialized sphere of art history and in the wider public debate on values. That is why I will analyse his structural approach mainly in relation to his anti-modern conception of art. This is the task of this study. Sedlmayr’s effort to turn art history into a “strict science” is an independent part of his scientific pursuit; it is in relation, but is not subordinate to his conception of modern art. Those publications of his are discussed but only in the specialized literature on history of the methods in humanities, while his conception against modern art acquires an exceptional popularity. Because of that reason his theoretic contribution to the study of art remains in a penumbra. I argue that Sedlmayr’s conception has the following coinciding points with the official understanding of art in the time of socialism: – A denial to estimate art with aesthetic criteria, which the ideologists of socialist realism define as formalism, and Sedlmayr as aesthetism; – In socialism art should represent a positive ideal; Sedlmayr calls this ideal “human measure”; – Art should habituate to morals; – A conviction that the modern art from the end of 19th c. on is decadent; – A criticism against the “dehumanization” of art.

scholarly journals The analysis of artistic heritage of Anton Ažbe in light of the new facts

2020 ◽  
pp. 149-160
Author(s):  
Yulia Sergeevna Meretskaya
Keyword(s):  
Art History ◽  
Modern Art ◽  
Stylistic Analysis ◽  
Black Girl ◽  
Creative Development ◽  
Works Of Art ◽  
New Information ◽  
Art Historians ◽  
The Subject ◽  
Artistic Heritage

The object of this research is the artistic heritage of Slovenian painter and teacher of painting Anton Ažbe (1862-1905) and its interpretation in the works of art historians and testimonies of his students and contemporaries. The subject of this research is the graphic and painting works of Anton Ažbe. The goal consists in reconsideration of the existing within modern art history understanding of the vector of creative path of the painter. Particular attention is given to his painting “The Black Girl” and clarification of the date of its creation. In the course of writing this article, the author applied the method of formal-stylistic analysis for meeting the precise purpose of the article. The scientific novelty of this study consists in reinterpretation of creative development of the Slovenian painter and teacher of painting Anton Ažbe based on the new information of the date of creation of one of his signature paintings – “The Black Girl”. The main conclusion lies in characteristics of the evolutionary stages of creative development of Anton Ažbe.

scholarly journals ‘We Are Gathering Experience’

2022 ◽  
pp. 255-260
Author(s):  
Alethea Rockwell
Keyword(s):  
Performance Art ◽  
Art History ◽  
Modern Art ◽  
The Past ◽  
Art Historians ◽  
Art Pedagogy

In recent years, critics and art historians have pointed to an ‘educational turn’, a rise in participatory pedagogical art projects and artist-led experimental schools. This essay considers artist-led projects and museum programmes that restage or reenact educational experiments from the past, analysing their limits and possibilities in the study and presentation of modern art history. Much like performance art, pedagogy is ephemeral and contingent, and yet it differs in that it does not establish a fixed spectatorial role. To be understood it must be participated in, for, as Josef Albers described his teaching, ‘we are gathering experience’.

Alternative Assessment for Music Students with Significant Disabilities

2019 ◽  
pp. 224-241
Author(s):  
Donald DeVito ◽  
Megan M. Sheridan ◽  
Jian-Jun Chen-Edmund ◽  
David Edmund ◽  
Steven Bingham
Keyword(s):  
Public School ◽  
Music Education ◽  
Students With Disabilities ◽  
Student Performance ◽  
Alternative Assessment ◽  
Performance Outcomes ◽  
General Music ◽  
Significant Disabilities ◽  
School Music ◽  
K 12

How is it possible to move beyond assessment for the purposes of evaluating teacher proficiency and student performance outcomes and instead to consider assessment for understanding student musical experiences and preferences for the purpose of promoting lifelong musical engagement? This chapter includes and examines three distinct music education approaches that have been taken at the K–12 Sidney Lanier Center School for students with varying exceptionalities in Gainesville, Florida. Megan Sheridan illustrates inclusion and assessment using the Kodály approach. David Edmund and Jian-Jun Chen-Edmund examine creative lessons developed for exceptional learners in a general music setting. Steven Bingham and Donald DeVito illustrate adaptive jazz inclusion and performance for public school and university students with disabilities. This collaborative development in qualitative music assessment has taken place through (1) developing methods of communicating recognition of student engagement and affective responses during inclusive engagement in public school music education settings, specifically in Kodaly-based music instruction, K–12 general music classes, and secondary jazz ensembles; (2) using students’ interest and engagement as a means of curriculum development and assessment in inclusive public school music settings; and (3) building collaborative relationships with parents and the community for post-school lifelong music learning.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

Scott Joplin: A Guide for Music Educators Part III—Ragtime Spaces

2021 ◽  
pp. 104837132110344
Author(s):  
Kendra Kay Friar
Keyword(s):  
Music Education ◽  
Music Educators ◽  
General Music ◽  
Racial Uplift ◽  
Student Activities ◽  
Cultural Contexts ◽  
Cultural Globalization ◽  
Music Standards ◽  
Entrepreneurial Activities ◽  
K 12

Scott Joplin was an African American composer and pianist of singular merit and influence. This article is the final entry in a three-part series considering the biographical, artistic, and cultural contexts of Joplin’s life and work and their use in K–12 general music education. “Ragtime Spaces” focuses on cultural globalization and the modernist entertainment aesthetic which supported Joplin’s work. Scott Joplin’s creative and entrepreneurial activities embodied humanism, racial uplift, and craftsmanship at a time when society became increasingly racially segregated and dehumanized. The discussion is followed by suggested student activities written in accordance with National Association for Music Education’s 2014 National Music Standards.

Baroque and the Political Language of Formalism (1845–1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr

2015 ◽  
Author(s):  
Evonne Levy
Keyword(s):  
Intellectual History ◽  
Political Thought ◽  
Art History ◽  
Architectural History ◽  
The Political ◽  
Nazi Party ◽  
Political Views ◽  
The World ◽  
Art Historians ◽  
Central Argument

<P>This study in intellectual history places the art historical concept of the Baroque amidst world events, political thought, and the political views of art historians themselves. Exploring the political biographies and writings on the Baroque (primarily its architecture) of five prominent Germanophone figures, Levy gives a face to art history, showing its concepts arising in the world. From Jacob Burckhardt’s still debated "Jesuit style" to Hans Sedlmayr’s <I>Reichsstil</I>, the Baroque concepts of these German, Swiss and Austrian art historians, all politically conservative, and two of whom joined the Nazi party, were all took shape in reaction to immediate social and political circumstances. </P> <P>A central argument of the book is that basic terms of architectural history drew from a long established language of political thought. This vocabulary, applied in the formalisms of Wölfflin and Gurlitt, has endured as art history’s unacknowledged political substrate for generations. Classic works, like Wölfflin’s <I>Kunstgeschichtliche Grundbegriffe</I> are interpreted anew here, supported by new documents from the papers of each figure.</P>

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