RUSSIAN FOLKLORE IN MASS MUSICAL EDUCATION OF CHILDREN IN PRE-REVOLUTIONARY RUSSIA (60s — 80s of the XIXth century)

2021 ◽  
Vol 1 (2) ◽  
pp. 151-159
Author(s):  
N. A. Ursegova ◽  
Keyword(s):  
Practical Experience ◽  
Music Educators ◽  
Folk Song ◽  
Theoretical Research ◽  
Educational Institutions ◽  
Music Pedagogy ◽  
Modern Music ◽  
Musical Education ◽  
Xixth Century ◽  
Folk Song Arrangements

The 60s — 80s of the XIXth century were the period of arousing interest in music pedagogy and awareness of the need to develop theoretical research for organizing musical education and upbringing of children in family and school, representing the first musical collections for children based on Russian folklore. The analytical base of the research (sources) are collections of folk song arrangements, created with a specific pedagogical purpose, both for special educational institutions and for students of mass schools. Its content allows to demonstrate the views of Russian teachers, music educators and composers on the use of Russian folklore in the system of mass musical education for children. The most important achievement of the studied period is the appearance of the first children's song collections with a realized scientific approach to the publication of folklore works for pedagogical purposes, in which authentic melodies are presented without accompaniment written by the composer, and the song texts are supplemented with information about specific geographical recording location and performers. Theoretical and practical experience of musical education gained in the second half of the XIXth century is very valuable for modern music pedagogical science and practice.

MUSICAL EDUCATION SKILLS: PROBLEMS AND SOLUTIONS

2019 ◽  
pp. 115-122
Keyword(s):  
Music Education ◽  
Continuing Education ◽  
Educational Institutions ◽  
Music Pedagogy ◽  
Children's Music ◽  
Musical Education ◽  
Problems And Solutions ◽  
Further Development ◽  
Goals And Objectives ◽  
Art Schools

The article discusses the professional skills of a teacher in the field of music education, its formation and improvement, his/her spiritual outlook, processes directly related to the level of culture, problems and solutions in these processes. Continuing music education, namely children's music and art schools, music and art lyceums and colleges, and then continuing education at higher educational institutions, are an important factor for obtaining excellent musicians and singers. Music is an important part of the spiritual culture of mankind. The process of music education contributes to creativity, creating opportunities for young talents to show their work. The participation of students faresees the work with other in the process of creativity. Students' activity is an important prerequisite for the development of creativity, and a creative approach to each of them is an important issue for the further development of musical abilities and students' performance. At all stages of the educational system, specific goals and objectives are manifested in the performance of young singers and musicians. Universal classifications of music pedagogy are studied.

Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures

2020 ◽  
pp. 39-63
Author(s):  
Evan S. Tobias
Keyword(s):  
Social Media ◽  
Music Educators ◽  
Participatory Culture ◽  
Music Pedagogy ◽  
Music Learning ◽  
Media Arts ◽  
Learning And Teaching ◽  
Musical Engagement ◽  
Musical Practices ◽  
Pedagogy And Curriculum

Contemporary society is rich with diverse musics and musical practices, many of which are supported or shared via digital and social media. Music educators might address such forms of musical engagement to diversify what occurs in music programs. Realizing the possibilities of social media and addressing issues that might be problematic for music learning and teaching calls for conceptualizing social media in a more expansive manner than focusing on the technology itself. Situating people’s social media use and musical engagement in a larger context of participatory culture that involves music and media may be fruitful in this regard. We might then consider the potential of social media and musical engagement in participatory cultures for music learning and teaching. This chapter offers an overview of how people are applying aspects of participatory culture and social media in educational contexts. Building on work in media studies, media arts, education, and curricular theory, the chapter develops a framework for translating and recontextualizing participatory culture, musical engagement, and social media in ways that might inform music pedagogy and curriculum. In this way, it may help music educators move from an awareness of how people engage with and through music and social media in participatory culture to an orientation of developing related praxis.

Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments

2020 ◽  
Vol 19 (3) ◽  
pp. 68-75
Author(s):  
N.I. Anufrieva ◽  
◽  
A.P. Efremenko ◽  
Keyword(s):  
Training Programs ◽  
Traditional Approach ◽  
Teaching Methodology ◽  
Music Pedagogy ◽  
Folk Culture ◽  
University Teachers ◽  
Avant Garde ◽  
Musical Education ◽  
Musical Works ◽  
Educational Potential

the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

scholarly journals Musical Education in Urban Primary Schools of Russia in the Second Half of the 19th – Early 20th Centuries

2019 ◽  
Vol 7 (3) ◽  
pp. 151-162
Author(s):  
Nina P. Rikhter
Keyword(s):  
Music Education ◽  
Urban Schools ◽  
Primary Schools ◽  
Folk Songs ◽  
Musical Instruments ◽  
Modern Music ◽  
Musical Education ◽  
Teaching Aids ◽  
The Status ◽  
Compulsory Subject

In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

Business Oriented Systems Maintenance Management

2011 ◽  
pp. 326-344 ◽  
Author(s):  
Malin Nordstrom ◽  
Tommy Welander
Keyword(s):  
Business Processes ◽  
Practical Experience ◽  
Theoretical Research ◽  
It Systems ◽  
Proposed Model ◽  
System Maintenance ◽  
Systems Maintenance ◽  
Business Changes ◽  
Business Needs ◽  
Relationship Of

In the introduction to this chapter, we discuss some of the common problems in maintenance. In order to solve these problems, we find it necessary to think in a new way, including the relationship of businesses to the system maintenance. The world outside organisations changes continuously, and the business processes and functions must change with it. However, if we only maintain information technology (IT) and do not co-manage the business changes accordingly, IT will not change at the same pace as the business changes. It would result a gap between the business needs and services provided by the IT product. In that case, IT systems would not be able to provide sufficient business value. The main part of this chapter contains a management model for solving these problems, based on theoretical research and practical experience. The central theme of the model is the connection between the business needs and systems maintenance. This is achieved by maintaining maintenance objects rather than the systems, establishing micro-organisations for each maintenance object where business processes as well as the system are represented. Our proposed model is widely used in more than 50 organisations in Sweden. In conclusion, some future trends and central concepts of the model are discussed.

Ethnographic Concerts in the Service of Empire

2020 ◽  
pp. 209-254
Author(s):  
Adalyat Issiyeva
Keyword(s):  
Detailed Analysis ◽  
Ethnic Minorities ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Language ◽  
Russian Culture ◽  
Russian Composers ◽  
Folk Song Arrangements

This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.

Form created by performance: Bartók's recording of his Improvisations op. 20

2007 ◽  
Vol 48 (1-2) ◽  
pp. 103-111
Author(s):  
Ron Atar
Keyword(s):  
Simple Structure ◽  
Folk Song ◽  
Personal Style ◽  
Performance Style ◽  
Current Article ◽  
The One ◽  
Folk Song Arrangements ◽  
Special Case

Abstract Bartók's “Continental” 1942 recording of Improvisations op. 20 provides us with invaluable insights into his aesthetics and nature. This is a special case study in which Bartók redesign the composition through his performance. In this rendition the simple structure of most of the eight pieces that construct the composition (alternations between arrangements of the Hungarian peasant songs and transitions section in between them), turn into temperamental micro-drama of associations, flowing without any hesitations from Bartók's mind to his fingers. The folk song arrangements are played in various performing styles, related directly to the written texture, while the transition sections played in more personal style. Here, in these transitional sections, Bartók the romantic, emotional pianist is revealed. These transitions are used by him as improvisatory pauses, used mainly for musical reflections dealing with his performance style of the preceded folk song arrangement or the one that follows. The current article introduces and examines some of the insights evoked by Bartók's recording of this composition.

scholarly journals Folk-Song in Modern Music

1913 ◽  
Vol 54 (849) ◽  
pp. 716
Author(s):  
M. D. Calvocoressi
Keyword(s):  
Folk Song ◽  
Modern Music
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