scholarly journals PECULIARITIES OF THE FUTURE MUSIC TEACHERS’ VOCAL TRAINING BY MEANS OF THE IMPEDANCE FORMATION AS A BASIC PROTECTIVE MECHANISM OF THE VOICE FUNCTION

2020 ◽  
Vol 2 (21) ◽  
pp. 161-164
Author(s):  
V.I. Pavlichuk ◽  
V.A. Chaika
Keyword(s):  
Music Teachers ◽  
Protective Mechanism ◽  
Vocal Training ◽  
The Future ◽  
The Voice

scholarly journals Methods of developing artistic empathy of future Music teachers in the process of vocal training

2020 ◽  
Vol 2020 (4 (133)) ◽  
pp. 71-78
Author(s):  
Olena Hudz
Keyword(s):  
Music Teachers ◽  
Psychological Research ◽  
Theoretical Research ◽  
Musical Work ◽  
Vocal Training ◽  
The Future ◽  
Arts Teachers ◽  
Inner World ◽  
Artistic Image ◽  
Research Analysis

The article substantiates the essence, content and method of developing artistic empathy. The purpose of the article is to substantiate the methods of vocal training that are effective in developing the artistic empathy of the future Music teachers. The purpose of the article is realised through the use of methods of theoretical research: analysis, synthesis, generalisation, deduction, induction, extrapolation. The article clarifies the meaning of the concept "empathy" as a psychological process based on penetration into the inner world of a person. Empathy is interpreted as the integration of emotional and cognitive aspects of cognition. The components of empathy in the context of psychological research have been determined. Empathy as a factor in regulating the effectiveness of pedagogical communication has been studied. Empathy acts as a tool for establishing emotional contact. The procedural aspect of empathy in the context of the teacher's activity is considered. The content of artistic empathy is considered as a process of sympathising with artistic phenomena. Artistic empathy is defined as the basis for comprehending an artistic image. In the context of Music teachers’ activities, artistic empathy is defined as a complex personal and professional entity that allows us to identify the emotional state of a person or the emotional portrait of a musical work. The artistic empathy causes a reaction of sympathy, which optimises artistic and pedagogical communication. It is noted that the vocal training of future Music teachers creates a unique platform for the development of artistic empathy. Two vectors of the artistic empathy within the activities of Music Arts teachers have been considered: empathic penetration into the emotional world of a musical work, and empathic penetration into the emotional world of students in the process of artistic and pedagogical communication. A list of effective methods of the vocal training which is aimed at developing art empathy of the future teachers of Musical Arts has been offered: a method of reflexive adjustment, a method of empathic supervision, a method of emotional collections, a method of vocal improvisation.

Music and Social Justice

2021 ◽  
Author(s):  
Cathy Benedict
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Elementary Students ◽  
Music Teachers ◽  
Elementary Music ◽  
Elementary Student ◽  
Teachers And Students ◽  
The Voice ◽  
Elementary Music Education ◽  
The Way

This book challenges and reframes traditional ways of addressing many of the topics we have come to think of as social justice. Offering practical suggestions for helping both teachers and students think philosophically (and thus critically) about the world around them, each chapter engages with important themes through music making and learning as it presents scenarios, examples of dialogue with students, unit ideas, and lesson plans geared toward elementary students (ages 6–14). Taken-for-granted subjects often considered sacrosanct or beyond the understanding of elementary students, such as friendship, racism, poverty, religion, and class, are addressed and interrogated in a way that honors the voice and critical thinking of the elementary student. Suggestions are given that help both teachers and students to pause, reflect, and redirect dialogue with questions that uncover bias, misinformation, and misunderstandings that too often stand in the way of coming to know and embracing difference. Guiding questions, which anchor many curricular mandates, are used throughout in order to scaffold critical and reflective thinking beginning in the earliest grades of elementary music education. Where does social justice reside? Whose voice is being heard, and whose is being silenced? How do we come to think of and construct poverty? How is it that musics become used the way they are used? What happens to songs initially intended for socially driven purposes when their significance is undermined? These questions and more are explored, encouraging music teachers to embrace a path toward socially just engagements at the elementary level.

Conclusion

2019 ◽  
pp. 283-290
Author(s):  
Jennifer Richards
Keyword(s):  
Oral Reading ◽  
Literary Texts ◽  
Digital Medium ◽  
Technological Revolution ◽  
The Real ◽  
Printed Books ◽  
Digital Books ◽  
The Future ◽  
Future Work ◽  
The Voice

The Conclusion looks forward to future cross-disciplinary work on the physical voice. It reflects on why a literary scholar might be interested in the physical voice, recalling that literary texts are full of voices that make reference to the real voice off the page. It also suggests why a Renaissance literary historian might have something distinctive to offer future work on the voice, recalling the inter-relationship in this period between voice and printed books. It recognizes that a new technological revolution is well underway that is changing our relationship with print. It briefly considers how the digital medium uses or ignores voice, and asks whether a new history of oral reading can enable us to imagine different ways of interacting with—and immersing ourselves in—the print/digital books of the future.

scholarly journals The Future of Fluorides and Other Protective Agents in Erosion Prevention

2015 ◽  
Vol 49 (Suppl. 1) ◽  
pp. 18-29 ◽  
Author(s):  
Adrian Lussi ◽  
Thiago Saads Carvalho
Keyword(s):  
Surface Layer ◽  
Calcium Phosphates ◽  
Protective Layer ◽  
Tooth Surface ◽  
Protective Mechanism ◽  
Titanium Tetrafluoride ◽  
Near Surface ◽  
Protective Agents ◽  
The Future ◽  
Erosion Prevention

The effectiveness of fluoride in caries prevention has been convincingly proven. In recent years, researchers have investigated the preventive effects of different fluoride formulations on erosive tooth wear with positive results, but their action on caries and erosion prevention must be based on different requirements, because there is no sheltered area in the erosive process as there is in the subsurface carious lesions. Thus, any protective mechanism from fluoride concerning erosion is limited to the surface or the near surface layer of enamel. However, reports on other protective agents show superior preventive results. The mechanism of action of tin-containing products is related to tin deposition onto the tooth surface, as well as the incorporation of tin into the near-surface layer of enamel. These tin-rich deposits are less susceptible to dissolution and may result in enhanced protection of the underlying tooth. Titanium tetrafluoride forms a protective layer on the tooth surface. It is believed that this layer is made up of hydrated hydrogen titanium phosphate. Products containing phosphates and/or proteins may adsorb either to the pellicle, rendering it more protective against demineralization, or directly to the dental hard tissue, probably competing with H+ at specific sites on the tooth surface. Other substances may further enhance precipitation of calcium phosphates on the enamel surface, protecting it from additional acid impacts. Hence, the future of fluoride alone in erosion prevention looks grim, but the combination of fluoride with protective agents, such as polyvalent metal ions and some polymers, has much brighter prospects.

scholarly journals FORMATION OF MUSICAL AND AESTHETIC CULTURE OF FUTURE TEACHERS OF MUSICAL ART BY MEANS OF THE FESTIVAL MOVEMENT

2021 ◽  
Vol 1 (192) ◽  
pp. 26-31
Author(s):  
Volodуmуr Сherkasov ◽  
Keyword(s):  
Music Teachers ◽  
Positive Impact ◽  
Music Performance ◽  
Music Teacher ◽  
Aesthetic Perception ◽  
Future Teachers ◽  
Aesthetic Taste ◽  
The Future ◽  
The Creation ◽  
Education And Development

The article substantiates the formation of musical and aesthetic culture of future teachers of music by means of the festival movement. The substantiation of the festival-competition «Steps to Mastery» is just being held on the basis of the Centralukrainian State Pedagogical University named after Volodymyr Vynnychenko. Music culture in the context of training future music teachers in higher education is interpreted by us as a complex dynamic phenomenon that integrates knowledge, skills and abilities in major musicological disciplines, experience in various types of music performance, the level of intellectual and creative abilities of future music teachers art, readiness for active musical and creative activity and increase of values of musical art. Aesthetic culture of the future music teacher is defined as a holistic, complex personal education, characterized by globalization of aesthetic worldview, level of aesthetic education and development, refined aesthetic taste, aesthetic perception and response to works of music, as well as the creation of aesthetic values in life and art. Musical and aesthetic culture of the future music teacher is the core of his professional culture, spiritual values and personal intellectual and artistic image. In the process of studying music-theoretical, instrumental and vocal-choral disciplines, future music teachers form an emotional and value attitude to the creative heritage of composers who were able to recreate the style, character and atmosphere of the era, which forms a holistic picture of the world, allows to think and focus those events that affected social change and contributed to progressive neoplasms in society. Participation in the festival movement promotes the creation of relationships between innovation, technology and creativity, the search for innovative and creative ideas. There is a presentation of the professional level of performers and musical groups, creative interaction is formed in the context of a new system of communication and a new model of cultural life. Music festivals have a positive impact on the preservation of cultural heritage, the promotion of national and world values.

scholarly journals Pedagogical self-efficacy of future music teachers: factors and ways of development

2017 ◽  
pp. 133-135 ◽  
Author(s):  
T. I. Kremeshna
Keyword(s):  
Professional Development ◽  
Self Efficacy ◽  
Music Teachers ◽  
Emotional State ◽  
Self Regulation ◽  
Future Teacher ◽  
Previous Experience ◽  
Future Teachers ◽  
The Future ◽  
Mechanisms Of Development

The article deals with the problem of pedagogical self-efficacy, which is closely related to the search for new ways to improve pedagogical activity, to increase the level of professionalism and competitiveness of the future teacher. The author investigates the essence of this concept, its role in the professional development of future teachers, determines the factors and mechanisms of development of pedagogical self-efficacy of future music teachers, in particular: previous experience of success and failures, observation of students’s observation of professional achievements of other people, verbal belief, physical and emotional state of personality, self-cognition as a futuremusic teacher, self-regulation, etc.

A Preliminary Study on the Need for Structured Vocal Seminars for Fitness Instructors to Prevent Voice Disorders and Improve Overall Voice Use During Instruction

2020 ◽  
Vol 5 (2) ◽  
pp. 435-438 ◽  
Author(s):  
Sara Davis
Keyword(s):  
Voice Disorders ◽  
Vocal Folds ◽  
Online Questionnaire ◽  
Vocal Training ◽  
Adequate Care ◽  
Fitness Industry ◽  
Instructor Role ◽  
Class Instruction ◽  
The Voice ◽  
Voice Use

Purpose The purpose of this study was to determine and demonstrate the need for structured vocal training/seminars for fitness professionals to prevent voice disorders and improve overall voice use during instruction. Method Approximately 230 fitness professionals responded to an anonymous online questionnaire consisting of 20 items addressing voice care, voice use, vocal demands, and self-reported vocal difficulties within the fitness instructor role. The survey was distributed via SurveyMonkey, and the answers contributed to the data results (see Appendix ). Results The data display overwhelming agreement among fitness professionals that voice has an important role in and major impact on every class. The majority of respondents consider themselves occupational voice users but affirm they have never had a vocal training, although they feel a vocal training would be beneficial for their work in the fitness industry and they would be interested in attending such a training. A majority of respondents also teach three or more classes per week and qualify as “vocal athletes.” Over half of the respondents perceive themselves to be inadequately hydrated, and the majority also report hoarseness at some point related to their jobs teaching fitness classes. A majority of those surveyed have experienced a feeling of straining the voice/using effort during and/or after instruction of classes and also report being social/talkative individuals outside class instruction—therefore displaying a consistent use of voice in and outside their “work” setting, implying high vocal demand and full vocal schedules with reduced time for vocal rest. Conclusions The results of this study indicate that there is an imperative need to educate and empower fitness professionals to take adequate care of their voices and use their voices in the most healthy, efficient, effective, and dynamic ways possible to create outstanding classes, motivate clients, and protect their instrument (larynx/vocal folds) while doing so.

Ensuring the Future of Public Service Television for the Benefit of Citizens

2018 ◽  
Keyword(s):  
Public Service ◽  
High Quality ◽  
Specific Content ◽  
Point Of Use ◽  
The Future ◽  
The Voice

This chapter sets out the beliefs of the Voice of the Listener & Viewer (VLV). VLV believes that public service television should be universally available, available to all free at the point of use, and provide something for everyone, including impartial and accurate news and other high-quality content for the benefit of the whole of UK society. Ofcom was established to ensure that the needs of the citizen and consumer are met. These needs may differ but both are equally important. VLV also believes that increased competition alongside deregulation of broadcasting has led to an increase in the volume of more popular genres and a reduction in the mainstream provision of UK-specific content which benefits citizens.

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