scholarly journals Proposal of the Simple Three-Phase Musicians Career Model (Preparation/Education, Active Playing and Fading/Extention) Reflecting Subjective Aspects of Professional Musician´S Life

2019 ◽  
Vol 8 (3) ◽  
pp. 5509-5515
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Career Stages ◽  
Music Teaching ◽  
Professional Musicians ◽  
Time Limits ◽  
Professional Musician ◽  
Three Phase ◽  
Career Model ◽  
Model Preparation

Careers of professional musicians are unique and their development cannot be fully generalized, as shown by interviews with instrument players and singers of classical music and musical in Slovakia. Their careers do not include all standard career stages; only three of them were identified in all respondents: preparation (tied with music education), active playing (associated with growth, peaks, crises, decrease) and career fading/extinction. The time limits of these stages cannot be set, as they considerably differ. Majority of musicians claim to overcome a professional crisis. A common feature of all respondents' careers is music teaching job at a certain point in their own careers

Historical background to establishment of the national instrumental guitar education in the context of music education development

2017 ◽  
pp. 86-91
Author(s):  
A. S. Kovalenko
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Historical Background ◽  
Professional Musicians ◽  
Education Development ◽  
The Third ◽  
National Performance ◽  
Performance Abilities ◽  
Guitar Class ◽  
Second Period

The article highlights the historical background to establishment of national instrumental guitar education in the context of music education development. We consider historical events that have influenced the dynamics of the formation of competencies of guitar education in Ukraine. Based on the analysis of the scientific literature the author shows that guitar education in Ukraine is a relatively new phenomenon. It is examined historical preconditions of the development of national guitar education in the context of three periods of development of music education. During the first period, guitar education is not systemic. Guitar playing is popular among Lviv seminarians and as home performance. The second period is characterized by the fact that guitar art emerges from the global crisis, which has been reflected in national performance and pedagogy. Playing the guitar attracts the attention of professional musicians; it is examined performance abilities of the instrument, its structure and repertoire. During this period, guitar education acquires systemic features. The performance of the guitar players improves significantly, and the repertoire is replenished with the best examples of world classical music. The third period is characterized by intensification of competitive activity in the field of guitar performance. A guitar class appears in the Kyiv Conservatory. In postwar times, the development of guitar performances is influenced by the political situation and sensorship. Besides, the third period is characterized by the flowering of national performers’ schools, the intensification of international relations with foreign guitar performers and educators, which is the basis for the establishment and development of national instrumental guitar education.

scholarly journals Communities of practice in the conservatory: learning with a professional musician

2015 ◽  
Vol 33 (1) ◽  
pp. 27-42 ◽  
Author(s):  
Esa Virkkula
Keyword(s):  
Music Education ◽  
Communities Of Practice ◽  
Practice Research ◽  
Sociocultural Learning ◽  
Professional Musicians ◽  
Music Schools ◽  
Professional Musician ◽  
Opportunities For Learning ◽  
Jazz Music ◽  
Evaluation Of Learning

This article examines the sociocultural learning of popular and jazz music in communities of practice as part of secondary vocational music education in a Finnish conservatory. The research is based on performance workshops which were implemented as a joint effort between professional musicians and music students. These workshops are suggested as a method of utilising communities of practice. Research outcomes show that the workshops include opportunities for learning and developing musicianship on many levels. The potential of sociocultural learning should be recognised in music schools and teachers should develop learning environments which utilise it. Learning from playing experiences and from the evaluation of learning outcomes are largely the students' responsibility who require autonomy, initiative, the ability to solve problems and collaborate, and a readiness to reflect on experiences.

scholarly journals Music as a transforming agent in the individual’s life

2018 ◽  
pp. 05-40
Author(s):  
Luiz Renato Da Silva Rocha ◽  
Rafael Da Silva Rocha ◽  
Luiz Vanderlei Rocha
Keyword(s):  
Labor Market ◽  
Music Teaching ◽  
Professional Musicians ◽  
Initial Formation ◽  
Professional Performance ◽  
Evangelical Churches ◽  
Professional Musician ◽  
Documentary Analysis ◽  
Music Market ◽  
First Moment

This work is about music as a transforming agent in the individual’s life, a study that includes a reflection of how Christian and secular music is viewed and the possible contributions of this context to understand more about their differences. And it had as general objective: to analyze the musical formation received in the evangelical churches and as specific objectives: to understand how the evangelical churches, has generated professional musicians for the labor market, to investigate the advantages of music teaching in evangelical churches as well as to analyze the challenges faced by evangelical musicians in their professional performance. The methodology applied was qualitative and developed in two moments: in the first moment documentary analysis and in the second moment, interview through a questionnaire with five evangelical musicians. According to the interviewees and in their reflections, it was allowed to understand the initial formation until the life of a professional musician, we observed that there is a great opening in the music market for these professional musicians called evangelical Christians that has naturally been growing and contributing to supply the bands in general as professional and competent musicians.

Arab students’ perceptions of university music education in the United Arab Emirates: A discussion of music education and cultural relevance

2019 ◽  
Vol 37 (4) ◽  
pp. 524-535
Author(s):  
Emily Good-Perkins
Keyword(s):  
Music Education ◽  
United Arab Emirates ◽  
Classical Music ◽  
Cultural Relevance ◽  
Music Teaching ◽  
Structured Interviews ◽  
Musical Identity ◽  
Personal Connection ◽  
Culturally Sustaining Pedagogy ◽  
Musical Traditions

The purpose of this study was to explore with five Arab young adults their perceptions of Western and Arabic musical cultures as well as their perceptions of the Western classical vocal teaching they experienced at an American-modeled university in the United Arab Emirates. Of interest were issues of cultural relevance and the role of music and music education in Arab society. Data collection methods for this study included individual, semi-structured interviews with each participant and three focus group discussions. This paper will explore the following four themes from the interviews: Theme 1: Western classical university music teaching was incongruent with Arabic classical music teaching. Theme 2: Despite the incongruencies, participants found the university music experience to be transformative. Theme 3: Participants have a strong personal connection to Arabic music. Theme 4: Lack of music education has cultural ramifications; however, it is a complex issue. Using Paris’ conception of culturally sustaining pedagogy as a theoretical lens through which to view participants’ perceptions of music and music education in the United Arab Emirates as well as the juxtaposition of heritage and emergent musical traditions within a globalized traditional society, issues of cultural relevance, personal transformation, and musical identity will be further discussed.

scholarly journals La motivación en la música como eje de la formación profesional

2020 ◽  
pp. 1-9
Author(s):  
Mara Lioba Juan-Carvajal ◽  
Dargen Tania Juan-Carvajal ◽  
María Vdovina
Keyword(s):  
Music Education ◽  
Career Choice ◽  
Family Support ◽  
Young Age ◽  
Early Age ◽  
Music Teaching ◽  
Motivational Strategies ◽  
Professional Musicians ◽  
Education Plans ◽  
General Culture

In some countries, music teaching is present in the study plans since an early age for kids. This provides the schoolchildren with general culture and, in certain cases, encourages them to continue their musical studies at higher levels of education. The decision to major as a musician, though, implies a great sacrifice for a teen who, in ideal terms, would start from a young age and would have family support, but towards adolescence, requires various motivational strategies that encourage him to finish his studies at a bachelor's level. The career choice related to music education is diverse in most of the Mexican states; however, in many cases, music is not the main focus of the education plans. These considerations led to this reflection, which aims to recapitulate and examine the aspects that motivate students to train as professional musicians.

scholarly journals In Terms of Music Teachers, the Evaluation of Music Types in the Curriculum for Music in Secondary Education in Turkey

2014 ◽  
Vol 2 (1) ◽  
pp. 19
Author(s):  
Gülnihal Gül
Keyword(s):  
Middle School ◽  
Music Education ◽  
Folk Music ◽  
Classical Music ◽  
Music Teachers ◽  
Music Teaching ◽  
School Music ◽  
The Republic ◽  
Education In Turkey ◽  
Teaching Programs

Along with the establishment of the Republic, a song repertoire consisting of transferred songs was previously endeavoured to be formed by taking school music samples of foreign countries and writing Turkish words below them. Afterwards, with the same percept, an imitation songs repertoire was attempted to be formed by our composers. Since the 1950s, the idea that school music should be on the axis of folk music and that music education should be carried out through school music samples composed from the close environment of the child has begun to take place. Together with the various developments since the 1970s, the tendency towards soft music has strengthened in society and also interest in Turkish classical music has increased. Moreover, since the 1970s, soft and classical music samples have begun to be used in music education, which was built on folk music in 1968. Thus, high school music teaching programs which went into effect in 1986 were prepared accordingly. Today, the sense that bringing to the classroom appropriate samples of vital music types in society, getting the student to learn at least one example of each music type and introducing these types is dominating. In this study, music types in middle school music teaching programs in Turkey were endeavoured to be evaluated in terms of music teachers. The subject was researched with the case study method which is one of the qualitative research methods. The oriented exemplification method was used in the study and 5 music teachers working in a middle school participated in the study group. The data was analysed by forming the necessary coding and themes. According to the obtained findings, results and suggestions were given place.

Mahler Is a DJ: Reconducting Classical Music Education

2020 ◽  
Vol 28 (2) ◽  
pp. 220
Author(s):  
Koopal ◽  
Vlieghe ◽  
de Baets
Keyword(s):  
Music Education ◽  
Classical Music

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

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