scholarly journals On the Expressive Techniques and Artistic Conception of Chinese Flute Playing Works

2021 ◽  
Vol 2 (4) ◽  
Author(s):  
Zhinuo Tang

This paper discusses the performance of Chinese styled works from the perspective of flute playing and the related theories of music aesthetics. As for the technique of music expression, the paper thinks that it is necessary to pay attention to the shaping of music image and the expression of music emotion to realize the unity of music expression and performance skills. In terms of the presentation of meaning and rhyme, it is necessary to highlight artistic conception in the blend of scenes, and reflect the charm through the use of embellish cavity skills and the performance of spiritual temperament.

Author(s):  
A. Drutsé

The modern world popularity of the nai — a traditional Romanian instrument — has identified interest in writing this article. This problematic constitutes the circle of our research interest as a doctoral candidate, but also as a concert performer, a graduate of the Academy of Music, Theater and Fine Arts. One of the most interesting aspects of the study of nai is its technical improvement since 60s of the 20th century, which led to the acquisition of a number of new, innovative skills and performance skills. In this article we have identified some pages of the modern history of the manufacture of this ancient instrument associated with these processes.


2020 ◽  
Vol 49 (7) ◽  
pp. 20200154
Author(s):  
Ann Wenzel ◽  
Louise Hauge Matzen ◽  
Rubens Spin-Neto ◽  
Lars Schropp

Objectives: To assess dental students’ ability to recognize head positioning errors in panoramic (PAN) images after individual learning via computer-assisted-learning (CAL) and in a simulation clinic (SIM). Both cognitive skills and performance in patient examination were assessed. Methods and materials: 60 students (mean age 23.25 years) participated in lectures on the relation between PAN-image errors and patient’s head position. Immediately after they took a test, based on which they were randomized to three groups: control (CON) group, CAL group, and SIM group (both CAL and training in a simulation clinic with a phantom). 4–5 weeks after intervention/no intervention, all students individually examined a patient with PAN-exposure. A blinded rater, not knowing group allocation, supervised patient exposure and assessed student’s performance (correct/incorrect head position in three planes). 1–2 weeks after, the students scored positioning errors in 40 PAN-images. Differences in cognitive test scores between groups were evaluated by ANOVA and in patient examination by χ2 tests, and within-group differences by sign-tests. Results: No statistically significant difference in cognitive test scores was seen between the SIM and CAL group, while the CON group scored lower (p < 0.003). In all groups, several students positioned the patient incorrectly in the Frankfort horizontal plane. All students performed well in the sagittal plane. Students in SIM group positioned the patient more correctly in the coronal plane. Conclusions: Training with CAL increased students’ cognitive skills compared with a control group. Simulated patient exposure with a phantom increased to some extent their performance skills in examination of patients.


Author(s):  
Olesya V. Arzamastseva ◽  
Larisa A. Tyurina

The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leading specialists in the field of music education and performance. The high degree of influence of the level of professional training of performers-vocalists on the national musical culture is proved. Practical recommendations for work on singing sound production in the process of professional training of pop-jazz singers in modern music educational institutions are presented.


Author(s):  
Jane W. Davidson

This article explores the fundamental role of bodily movement in the development of musical knowledge and performance skills; in particular, how the body can be used to understand expressive musical material and to communicate that meaning to coperformers and audience. The relevance to the educator is explored (whether working with a child or adult beginner, or a more advanced learner). The article is divided into six main sections, tracing the role of body movement skill in music production, expressive musical performance, developing learners to play their musical instruments with technical and expressive appropriateness, coperformer coordination, and projection for audience perception. The work builds on a growing interest in the embodied nature of musical experience. The article concludes with case study observations of practical insights and applications for the teacher.


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2018 ◽  
Vol 20 (4) ◽  
pp. 46-48

1981 ◽  
Vol 29 (1) ◽  
pp. 23-30 ◽  
Author(s):  
James N. Anderson

The purpose of this study was to investigate the effect of using tape-recorded aural models for home practice on selected sight-reading and performance skills of sixth-grade clarinet students. The experimental design was a pretest-posttest control-group design with an additional posttest measure. It was predicted that students in the experimental group would do significantly better than students in the control group with regard to pitch reading, rhythm reading, tempo accuracy, and intonation accuracy as measured by the sight-reading and performance tests. It was also projected that students in the experimental group would complete more music exercises during the study than students in the control group. The statistical analysis indicated no significant difference between the experimental and control groups with regard to either the skills measured or the number of music exercises completed during the study. These results appear to indicate that tape-recorded aural models used in this study had no observed effect on the selected music skills.


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