scholarly journals Musicians as “Makers in Society”: A Conceptual Foundation for Contemporary Professional Higher Music Education

2021 ◽  
Vol 12 ◽  
Author(s):  
Helena Gaunt ◽  
Celia Duffy ◽  
Ana Coric ◽  
Isabel R. González Delgado ◽  
Linda Messas ◽  
...  
Keyword(s):  
Music Education ◽  
Performing Arts ◽  
Practical Experience ◽  
Professional Musicians ◽  
Conceptual Foundation ◽  
The Arts ◽  
Challenges And Opportunities ◽  
Artistic Vision ◽  
Musical Traditions ◽  
The One

This paper considers the purpose, values and principles underpinning higher music education (HME) as one of the performing arts in a context of turbulent global change. Recognising complex challenges and opportunities in this field, HME is addressed from dual perspectives: educating the next generations of professional musicians, and higher music institutions’ (HMEIs) engagement in society. The paper has a particular focus on the sector within HME that is dedicated to intensive practical craft training for performers, composers, programmers, producers, managers, and teachers. We argue that there is an urgent need for fresh orientating frameworks through which to navigate HME’s development. We examine concepts such as artistic citizenship, social responsibility and civic mission increasingly perceived to be relevant to the sector, and we explore their connexions to concepts of artistic excellence, imagination and creativity, and musical heritage. We identify apparent dichotomies of value within contemporary HME, including between intrinsic and instrumental purpose in the arts, cultural heritage, and new work, artistic imagination and entrepreneurship, and we argue that creative tensions between what have hitherto easily been perceived as opposing concepts or competing priorities need to be embraced. To support our argument we draw on the particular ethnomusicological concept of “musicking,” and we look toward a partnering of artistic and social values in order to enable HME to respond dynamically to societal need, and to continue to engage with the depth and integrity of established musical traditions and their craft. Based on this discussion we propose a conceptual foundation: the “musician as a maker in society,” in which developing vision as a musician in society, underpinned on the one hand by immersion in musical artistry and on the other hand sustained practical experience of connecting and engaging with communities, offers invaluable preparation for and transition into professional life. We propose that this idea, connecting societal and artistic vision and practise, is equally essential for HMEIs as it is for musicians, and sits at the heart of the roles they evolve within their local communities and wider society.

scholarly journals Music Education and Sustainability in Lombok, Indonesia

2019 ◽  
Vol 19 (1) ◽  
pp. 1
Author(s):  
David Harnish
Keyword(s):  
Music Education ◽  
Performing Arts ◽  
Field Research ◽  
Traditional Music ◽  
Educational Institutions ◽  
Male Youth ◽  
Government Interventions ◽  
The Arts ◽  
The Government ◽  
New Generation

This article discusses the challenges of teaching and sustaining music and other performing arts on the island of Lombok in Indonesia. It follows my field research trajectory on the island over a period of 34 years and analyzes the efforts of government interventions, non-government actors, and teachers and educational institutions in the transmission and sustainability of the arts. Interpretations indicate that a combination of globalization, urbanization, social media, everyday mediatization, and Islamization over recent decades negatively impacted traditional musics in specific ways, by problematizing sustainability. However, several agents–individuals inside and outside the government who understood the situation and had the foresight to take appropriate action–developed programs and organizations to maintain or aestheticize the performing arts, sustain musician livelihoods, and engage a new generation of male youth in music and dance. These efforts, supplemented by the formation of groups of leaders dedicated to the study of early culture on Lombok and fresh initiatives in music education, have ushered in new opportunities and visibility for traditional music and performing arts and performing artists.

Music as language: An analogy to be pursued with caution

1997 ◽  
Vol os-29 (1) ◽  
pp. 40-46 ◽  
Author(s):  
Constantijn Koopman
Keyword(s):  
Music Education ◽  
The Arts ◽  
Language And Music ◽  
Musical Traditions

The Conference themes all suggest that music may be considered as a language. However, I argue that this is a misleading analogy. I shall point out some crucial differences between language and music by examining the concept of meaning. Two types of meaning will be distinguished and explained: extrinsic and intrinsic meaning. Whereas the former kind of meaning is typical of language, the latter kind is characteristic of the arts in general and of music in particular. Conceiving music as a language may easily lead us to concentrate on the extrinsic aspects of music rather than on its intrinsic meaning. The distinction between intrinsic and extrinsic meaning is also relevant to understanding music of other cultures. I argue that properties related to intrinsic meaning can generally be apprehended by outsiders more easily than properties related to extrinsic meaning. Since we cannot initiate children fully into all musical traditions and styles in music education, I recommend that we pay special attention to furthering children's sensitivity to intrinsic aspects of music. Thus we can best assure that they gain a passport to musics of all cultures.

scholarly journals Pembelajaran Kontrapung dengan Menggunakan Software Sibelius di Program Studi Pendidikan Musik Fakultas Seni Pertunjukan ISI Yogyakarta

PROMUSIKA ◽  
2019 ◽  
Vol 6 (1) ◽  
pp. 22-30
Author(s):  
Oriana Tio Parahita Nainggolan
Keyword(s):  
Action Research ◽  
Music Education ◽  
Student Learning ◽  
Learning Outcomes ◽  
Performing Arts ◽  
Student Learning Outcomes ◽  
Study Program ◽  
Italian Language ◽  
The Arts ◽  
Education Study

The terminology of counterpoint comes from the Italian language “punctus contra punctum”. Counterpoint consists of two or more melodic lines. The basic counterpoint consisting of two melodic lines (it is usually called inventions two voices). In the study of counterpoint in Music Education Study Program at Performing Arts Faculty, Indonesia Institute of the Arts Yogyakarta, the researcher found that students facing the difficulty in making inventions two voices. Regarding solve the problem, the researcher using Sibelius software as a learning media. This research is a classroom action research with the aims to increase the learning result of students in learning counterpoint by using Sibelius software. The result shows that Sibelius software can simplify and accelerate in making two-part inventions. The data obtained from students’ result in making two-part inventions and questionnaires that distribute to students at the end of the semester. In the preliminary stage, the data showed that only 6 (16, 70%) out of 36 students got excellent marks. This percentage increases until the second cycle, there are 21 (58, 33%) out of 36 students got excellent marks. This result showed the increasing of student learning outcomes in study Kontrapung II by using Sibelius software on making two-part inventions.

scholarly journals Art - Identity – Ideology

2021 ◽  
Vol 11 (2) ◽  
pp. 6-20
Author(s):  
Sorin Crişan
Keyword(s):  
Performing Arts ◽  
The Other ◽  
Other Hand ◽  
The Arts ◽  
The One

Abstract The search for the specificity of the arts implies a reevaluation of the concept of identity and of the relations it draws with the ideology and morality of the time in which the work is represented, on the one hand, and with becoming, and, thus, with the being of creation, on the other hand. Our study takes into account the performing arts (but also the figurative ones), in order to retain those features of convergence or, on the contrary, of divergence, born from the need of the art (any art) to assert itself by difference from the other, and, paradoxically, together with the other.

Narratives of versatility: Approaching multi-instrumentalist music teacher identities

2020 ◽  
pp. 1321103X2095194
Author(s):  
Erkki Huovinen ◽  
Cecilia Frostenson Lööv
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Performing Arts ◽  
Music Teacher ◽  
Educational Systems ◽  
Teacher Narratives ◽  
Subject Positions ◽  
Teacher Identities ◽  
Binary Oppositions ◽  
Musical Traditions

Multi-instrumental musicianship appears in various musical traditions, also frequently figuring in systems of music teacher education. Multi-instrumentalism covers forms of musical creativity and versatile professionalism that differ from ideologies of specialization often emphasized in instrumental music education. Thus, it is relevant to ask whether and how multi-instrumentalism might also shape music teacher identities. This question was explored through a case study of three experienced multi-instrumental teachers in the Swedish system of Schools of Music and Performing Arts – exemplifying a context in which teachers have large freedom to shape their work. Teacher narratives were analyzed with reference to the binary oppositions between versatility versus specialization and musician versus teacher. The results show that multi-instrumentalist teachers may not only occupy subject positions as versatile all-round musicians, but that they may also carve their identities as specialized performers, or adopt teacher-focused identities such as gamemaster, coach, or counselor. Furthermore, for some teachers, the shifts between instruments may themselves involve shifts between such subject positions. Based on our findings, multi-instrumentalism appears as a potent teacher resource within educational systems which are extensively driven by students’ needs and interests.

scholarly journals Strategi Menghafal Penjarian Tangga Nada dalam Mata Kuliah Instrumen Dasar I

2019 ◽  
Vol 20 (1) ◽  
pp. 52-59
Author(s):  
Oriana Tio Parahita Nainggolan
Keyword(s):  
Music Education ◽  
Performing Arts ◽  
Learning Strategy ◽  
Study Program ◽  
Learning Achievement ◽  
The Arts ◽  
Education Study ◽  
The Subject ◽  
Academic Year

Pembelajaran tangga nada merupakan materi dasar dan penting pada pembelajaran piano. Mempelajari tangga nada memberikan manfaat untuk meningkatkan kekuatan dan keterampilan jari dalam bermain piano. Untuk dapat memainkan tangga nada, hal yang harus dilakukan adalah menghafal penggunaan penjarian yang benar. Strategi pembelajaran yang digunakan dalam menghafal penjarian tangga nada adalah dengan mengelompokan penjarian. Pengelompokan penjarian adalah penggunaan penjarian yang sama pada beberapa tangga nada. Penelitian ini dilakukan untuk mengkaji penggunaan strategi pengelompokan penjarian dalam menghafal penjarian tangga nada pada mata kuliah Piano Dasar I. Penelitian ini dilakukan di Program Studi S-1 Pendidikan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta, semester genap tahun akademik 2017/2018. Hasil penelitian menunjukkan bahwa strategi pengelompokan penjarian mempermudah mahasiswa dalam menghafal penjarian tangga nada pada materi Instrumen Dasar I. Scales Fingering Memorization Strategy in the Basic Instrument Course I. Scales play an important role as a fundamental basic to play piano. Studying scales will give students the opportunity not only developing hands coordination but also building the strength of hands and fingers. In doing the scales, the first thing to do is memorizing fingering on every scale, because every scale has their own fingering. The learning strategy to memorize fingering’s scales is by grouping the same fingering that is use for several scales. This research aims to study the use of grouping fingering towards students learning achievement in the subject of Instrumen Dasar I at Music Education Study Program, Performing Arts Faculty, Indonesia Institute of the Arts Yogyakarta, second semester of the academic year 2017/2018. As the result of this study, it can be concluded that grouping fingering help the students to memorize scale’s fingering in learning scales.Keywords: piano; fingering; basic instrument

Orchestrating a new approach to learning

2017 ◽  
Vol 98 (7) ◽  
pp. 23-28
Author(s):  
Michael Kaplan
Keyword(s):  
Music Education ◽  
Elementary School Teachers ◽  
Community Outreach ◽  
Professional Musicians ◽  
New Approach ◽  
Approach To Learning ◽  
Outreach Programs ◽  
Science Technology ◽  
The Arts ◽  
K 12

In 2011, the directors of the Phoenix Symphony came up with a bold plan to improve and expand their community outreach programs. Inspired by the growing movement to integrate the arts with the other subjects in the K-12 curriculum, they created a thriving program called Mind Over Music, which pairs professional musicians with local elementary school teachers, helping them design and deliver lessons that blend music education with instruction in science, technology, engineering, and math.

scholarly journals Audience Experience in an Anti-expert Age: A Survey of Theatre Audience Research

2017 ◽  
Vol 42 (3) ◽  
pp. 307-322 ◽  
Author(s):  
KIRSTY SEDGMAN
Keyword(s):  
Performing Arts ◽  
Expert Knowledge ◽  
Cultural Value ◽  
Audience Research ◽  
Political Climate ◽  
Audience Studies ◽  
Cultural Engagement ◽  
The Arts ◽  
The One ◽  
Critical Overview

Researchers who seek to capture and analyse audiences’ responses are facing a dilemma. In a political climate beleaguered by efforts to delegitimize expertise, what are the implications for a research tradition that seeks to understand cultural value from a range of diverse perspectives? In light of visibility generated by the 2009 publication of Helen Freshwater's Theatre & Audience and the subsequent launch in January 2017 of the international Network for Audience Research in the Performing Arts (iNARPA), the time seems ripe for a detailed critical overview of the audience studies discipline as it has been applied to theatre. In providing that survey, this article contends that the early decades of the new millennium have seen research into arts participation becoming trapped between two colliding agendas. Whereas on the one hand there is a growing pressure to celebrate cultural engagement in all its contradictory forms, there has on the other hand been a simultaneous imperative within the arts to push back against the encroaching de-hierarchization of cultural value beyond critical and scholarly perspectives. By revealing the potentials for and limitations of the field, this article queries how future audience research projects might productively investigate audience experience without diminishing the legitimacy of expert knowledge.

Emerging patterns of artistic organizations in Portugal: A three case studies analysis

2020 ◽  
pp. 84-107
Author(s):  
Vera Borges ◽  
Luísa Veloso
Keyword(s):  
Labour Market ◽  
Economic Crisis ◽  
Performing Arts ◽  
Work Organization ◽  
The Arts ◽  
Emerging Patterns ◽  
New Models ◽  
Organizational Patterns ◽  
New Forms Of Work ◽  
Anal Yses

In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organiza-tions seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal, namely, with the constraints of the labour market. The article anal-yses some of the restructuring processes taking place in three Portuguese artistic organizations, focusing on their contexts, individual trajectories and collective missions for adapting to contemporary challenges of work in the arts. We conclude that organizations are a key domain for understanding the changes taking place.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

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