"MUSICAL READING": A PEDAGOGICAL APPROACH OF M. F. GNESIN

2021 ◽  
Vol 1 (3) ◽  
pp. 148-156
Author(s):  
А. В. Turintseva ◽  
Keyword(s):  
Semantic Content ◽  
Practical Work ◽  
Music Teacher ◽  
Pedagogical Approach ◽  
Xxth Century ◽  
Human Speech ◽  
Graphic Form ◽  
Musical Harmony ◽  
Human Voice ◽  
Poetic Text

The article investigates the approach based on "musical reading", developed by music teacher Mikhail Gnesin in the early XXth century. The paper studies the prerequisites, basic provisions and principles of "musical reading" as a highly emotional way of reading a poetic text by note, preserving the nature and specific features of human speech. The author reveals a connection between M. Gnesin's ideas and B. Asafiev's intonational concept. A step-bystep "musical reading" integration into the practical work of theatre actors is considered. The rhythmic reading approach is described and the examples of using various metrhythmic means of musical expression to convey the emotional and semantic content are given. Introduction of speech intonation into music is discussed both in terms of the fixation of the specific characteristics of speech intonation in graphic form and applying this method in practice. The article concludes the prospects of using the method of "musical reading" by the professional theatre artists and arts students (developing speech-based choirs, ensembles and dialogues according to the laws of musical harmony; creating unique speech-and-music works, where human voice with its specific timbre and accompaniment are integral parts of the artistic whole).

scholarly journals Synergies in subject parallels: Coteaching “music-drama”

2021 ◽  
Author(s):  
Marie-Helene Zimmerman Nilsson ◽  
Colette Murphy
Keyword(s):  
Process Research ◽  
Shared Responsibility ◽  
Experienced Teachers ◽  
Music Teacher ◽  
Learning Needs ◽  
Proximal Development ◽  
Pedagogical Approach ◽  
Music Drama ◽  
Field Notes

AbstractThis case study contributes with a new coteaching design, in which experienced teachers from two different aesthetic subjects are planning, teaching and evaluating together in higher education, more specifically in general preschool teacher education. The aim of the study is to analyse how two drama teachers and a music teacher reflect on their coteaching. Coteaching, when teachers teach together with shared responsibility to meet their students’ learning needs, is a pedagogical approach to enable an active learning process. Research and practice in coteaching have emerged, mostly designed with coteachers within the same subject. However, more research is needed about teachers from different subjects coteaching together. The theoretical framework is sociocultural, with special emphasis on aspects of learning from ‘the other’ in praxis by working in a zone of proximal development (ZPD). Analysed data consist of field notes and audio-recorded teacher group conversations. Main findings show synergies in subject parallels, based on the analysis of coteachers’ reflections as learning processes within their ZPD. In conclusion, a major contribution in terms of synergy in coteaching appears in subject parallels related to specific subject matter concepts, where music and drama are intertwined in the classroom as “music-drama”, as a new dimension.

Animal listening

2021 ◽  
Vol 6 (1) ◽  
pp. 27-38 ◽  
Author(s):  
Shane Butler
Keyword(s):  
Human Language ◽  
Human Speech ◽  
Medieval Manuscripts ◽  
Poetic Text ◽  
Jakob Von Uexküll ◽  
Von Uexküll

The ‘Elegy on the Nightingale’ is a curious Latin poem of uncertain (but probably post-classical) date and authorship that is transmitted by several medieval manuscripts. It offers a catalogue of animal sounds rich in what linguists call iconicity, and literary scholars, onomatopoeia: to read these verses aloud is to imitate the sounds being described. The poem begins in address to the nightingale of its title, praised for her ability to make music by mimicking all she hears. By the end has the poem itself done the same? For all their playfulness, the verses strike at the heart of our own theoretical commonplaces, starting with the supposed arbitrariness of the sign, always unsettled by such examples, exceptional though they may be. So too did the writing down of non-human sounds preoccupy ancient linguists, who sought to segregate them from language proper. Nevertheless, it is difficult to deny that these sound-words conjure what they name, especially since, in many cases, it is only our ability to match their sounds to animals we can still hear that enables us to know what the poem is saying. What happens to our understanding of the poetic text as a transcription of human speech or song when we take it seriously as a recording of non-human sound? And even more dramatically, what happens to our understanding of human language when we strive (as this poem strives, albeit surreptitiously) to listen with non-human ears? With some help from the animal imaginings of Jakob von Uexküll, this article attempts some preliminary answers.

ROCK OPERA GENRE AND ITS OUTSTANDING EXAMPLES IN THE MUSICAL CULTURE OF THE LAST THIRD OF THE XXTH CENTURY

2020 ◽  
Vol 1 (3) ◽  
pp. 168-172
Author(s):  
Xia Tsihan ◽  
Keyword(s):  
Musical Theater ◽  
Life Forms ◽  
Musical Culture ◽  
Xxth Century ◽  
Organic Part ◽  
Poetic Text ◽  
History Of ◽  
The Media ◽  
Modern Mass ◽  
Rock Opera

The article reveals the features of rock opera as a genre of mass musical culture in the last third of the XXth century. On the example of two outstanding genre samples — "Jesus Christ Superstar" by E. Lloyd-Webber and T. Rice and "The Star and Death of Joaquin Murieta" by A. Rybnikov and M. Zakharov — the specifics of the plot interpretation, dramaturge organization, musical and expressive means and life forms of the work are considered. At the same time the author presents the background content of the two rock operas, the characteristics of their creators and the history of the first performance. The conclusion is drawn about their significance in modern mass musical culture. The media side of a rock opera is also emphasized, which tunes it to comparison with the art of cinema, establishing a connection between rock opera and musical, as one of the most popular and communicative genres of modern musical theater. The conclusions highlight the liveliness and innovation of the two works, which are an organic part of rock aesthetics. Both works introduce into the musical and poetic text "lexemes" the spoken language of youth as markers of the genre and attributes of belonging to rock culture. Until now, they are undisputed masterpieces of world popular music and stage culture.

scholarly journals ИСПОЛЬЗОВАНИЕ ИНФОРМАЦИОННО- КОММУНИКАЦИОННЫХ ТЕХНОЛОГИЙ НА ОСНОВЕ ДИСТАНЦИОННОГО ОБУЧЕНИЯ В ПРОЦЕССЕ ПОДГОТОВКИ БУДУЩИХ УЧИТЕЛЕЙ МУЗЫКИ

2021 ◽  
Author(s):  
М. С. Макашева ◽  
◽  
А. Б. Палымбетова ◽  
Keyword(s):  
Distance Learning ◽  
Information And Communication Technologies ◽  
Applied Research ◽  
Music Teachers ◽  
Communication Technologies ◽  
Practical Work ◽  
Music Teacher ◽  
The Usa ◽  
Practical Guidelines ◽  
Information And Communication

The article deals with the use of information and communication technologies in the process of instrumental training of music teachers based on distance learning. The analysis of comparing and matching different viewpoints of modern teachers from the USA, Russia and Kazakhstan, who explore the issues regarding the use of information and communication technologies in the process of individual music lessons in the context of distance learning, was carried out. The practical guidelines for the use of information and communication technologies in the process of distance learning were developed to improve the performing skills of the future music teacher. Based on the applied research on the use of distance learning in the process of training specialists and practical work in the field of musical and performing pedagogy, the pedagogical terms for the use of information and communication technologies were determined. The analysis of the application possibilities was carried out and the pedagogical terms for the use of information and communication technologies in the training of future music teachers were suggested in this article.

scholarly journals THE FORMATION OF FUTURE MUSIC ART TEACHER`S METHODOLOGICAL COMPETENCE IN THE PROCESS OF PEDAGOGICAL PRACTICE

2020 ◽  
Vol 1 (1) ◽  
pp. 43-49
Author(s):  
Larisa Bezemchuk ◽  
Volodymyr Fomin
Keyword(s):  
Music Education ◽  
Professional Training ◽  
Practical Work ◽  
Three Dimensions ◽  
Music Teacher ◽  
Academic Disciplines ◽  
Practical Training ◽  
Pedagogical Practice ◽  
Wide Range ◽  
Interdisciplinary Integration

Object. The article`s aim is to study formation of the methodological competence of a music teacher`s potential in practical work as well as to determine the effective forms and methods of professional training of the bachelor students during their pedagogical practice at schools. Methods. Conventional pedagogical research methods were applied: theoretical analysis of scientific and pedagogical literature, comparative analysis, empirical and modeling methods. Results. In the course of the research, the essence of methodological competence in the context of solving the issues of a potential music teacher’s professional training was theoretically substantiated. It is determined that the content of the curriculum for higher education 014 Secondary Education (Music) focuses the applicant of the first bachelor’s degree on the formation of «polyphonic» methodological and pedagogical thinking. It is proved that this type of thinking is a priority one for mastering the methodological constructions of the updated subjects «musical art» and «art». It is covered the conceptual core for structuring of the main professionally oriented academic disciplines: «Methods of music education» and «Pedagogical practice». The basis of such a structuring is a didactic matrix of art lessons of poly-artistic direction. It is proposed to use the principle of interdisciplinary integration for the development of students’ methodological skills in three dimensions of musical art mastering: improvement-transformation-modeling. Modeling of professional situations in the process of pedagogical practice by means of creation of individual methodological maps of students is carried out. A special place in the methodological and practical work of students was taken by various forms of individual creative tasks on music pedagogy. This significantly affected the level of professional training, and separately – the practical and creative component of the formation of the students’ methodological base. Among the methods that aroused the greatest interest of students during pedagogical practice it should be point out the holding of master classes, music-pedagogical trainings, discussions the issues of pupils’ teaching by art means. A wide range of practical issues was solved due to introduction of interactive teaching forms, like «music aquarium», «art cafe», «brainstorming», «facilitation discussion» as well as imitating music and game technologies. Conclusions. Summarizing the results of the study, it can be pointed out that the practical training of a modern music teacher should be carried out in the plane of integration processes affected the renewal of a music lesson as a lesson of poly-artistic content. It is proposed to consider the formation of methodological competence from the standpoint of the systematic approach to teaching. It is carried out modeling of professional situations based on the principles of interdisciplinary integration. It was found that the most effective form of students’ work during school practice is the creation of individual methodological maps.

scholarly journals Antithesis as a structural and semantic principle of organizing a poetic text (Based on the poetry of Anna Akhmatova)

2021 ◽  
Vol 21 (2) ◽  
pp. 166-170
Author(s):  
Susanna А. Stanislavskaya ◽  
Keyword(s):  
Semantic Content ◽  
Structural Features ◽  
Poetic Text ◽  
Anna Akhmatova

The article explores antithesis as the main structural and semantic principle of organizing the poetic context, focusing on the structural features and semantic content of antithesis in the poetic works of Anna Akhmatova. The article presents temporal, spatial, subjective, abstract antitheses and their implementation in various syntactic constructions of poetic text.

The ‘Hoffmann’s complex’ in the Dramatic Trilogy of A. Blok (A Puppet Show, King on the Square and The Unknown Woman)

2019 ◽  
Vol 15 (2) ◽  
pp. 112-127
Author(s):  
Vera V. Koroleva
Keyword(s):  
Semantic Content ◽  
Modern World ◽  
Romantic Irony ◽  
Musical Harmony ◽  
Puppet Show ◽  
The Grotesque

The article examines the ‘Hoffmann’s complex’ in the lyrical trilogy of A. Blok: pictorial and musical harmony (synesthesia of arts); romantic irony and grotesque; the problem of mechanization of life and a human, which is revealed in the images-symbols of the mask, a doll, a puppet and a double. Synesthesia is an important part of Blok’s style, manifested in the special lyricism of the works, which helps to reveal the subtle soul of the lyrical hero. The problem of mechanization of life and human in the Blok’s dramas is revealed in the images of a mask, a doll, a double, which express one of the sides of the poet’s contradictory soul and appear as a reaction to the imperfection of the modern world. Another embodiment of the mechanization of life and a human is the problem of merging the mask and the actor, as a result of which the actor loses his true face. Important elements of Aleksandr Blok’s lyrical style in the trilogy are rooted in the tradition of Hoffmann’s romantic irony and the grotesque, which get a new semantic content in dramas: the creative irony of Hoffmann transforms in a devastating irony in Blok’s works.

scholarly journals Loop Station Conducting (LSC): A Study on Live Looping as an Ensemble Conducting Approach

2020 ◽  
pp. 131-150
Author(s):  
Ola Buan Øien
Keyword(s):  
Focus Group ◽  
Research Question ◽  
Music Technology ◽  
Pedagogical Practices ◽  
Music Teacher ◽  
Pedagogical Approach ◽  
Self Study ◽  
Teacher Students ◽  
Meaning Interpretation ◽  
Empirical Material

This practice-oriented self-study is motivated by an apparent gap in the literature on music technology research in both performative and pedagogical practices. Thus, the aim is to investigate live looping as a style of ensemble conducting guided by the following research question: “What perspectives relevant to conducting can live looping offer as an ensemble conducting approach?” Using three contexts of hermeneutic meaning interpretation to analyze empirical material collected during interviews with a nine member focus group of music teacher students at a Norwegian university, I find that live looping through loop station conducting as an ensemble conducting approach offers several perspectives relevant to conducting, in that it can achieve the following: Create anticipation, evoke a sense of mastery and a sense of feeling secure, serve as an efficient supplement to conducting, create an immediate and holistic impression of the end result, and serve as a creative and/or pedagogical approach.

scholarly journals Pastoral and the Principles of Its Stylization (Based On the Material of Vocal Music)

2021 ◽  
pp. 104-112
Author(s):  
Lei Huang
Keyword(s):  
Vocal Music ◽  
Point Of View ◽  
Practical Significance ◽  
Musical Language ◽  
Republic Of China ◽  
Human Voice ◽  
The World ◽  
Poetic Text ◽  
Psychological Mechanism ◽  
Mechanism Of Recognition

The purpose of this paper is to reveal the role of stylization as a style­forming principle in the evolution of the pastoral genre based on textbook chamber­vocal compositions (arias by W. A. Mozart), as well as little­known ones. The methodology. The proposed research differs from other studies, which are close in the topic (T. Livanova, A. Korobova, A. Taylor and others), by an interpretative­cognitive approach dictated by the challenges of modern performing practice. A comparative analysis of pastoral semantics in European and Chinese poetics was also used. The results. On the basis of vocal miniatures created in the XX century (S. Vasylenko “Pastoral” op. 45, No. 5 and A. Rudianskyi “Lotus” and “The Flute on the Water” from the cycle “The Lake of White Lotus” (2001), a parallel of the European pastorals and ancient Chinese poetry from the point of view of a pastoral person in different pictures of the world has been drawn. The onto­sonological foundation of the pastoral is made up of a human voice accompanied by a shepherd’s pipe, landscape sound painting (the singing of birds, the murmur of a brook), and the vastness of natural landscapes (plain air). The author develops the conceptual apparatus of the theory of the pastoral to reveal the richness of various composing interpretations of the genre, its dynamics: “semantics of the pastoral”, “ontology of the pastoral image”, “pastoral person”, “pastoral picture of the world”. The topicality of the interpretative­comparative analysis is the conclusion about the necessary principles of stylization of the pastoral: the presence of a genre invariant with its own stable, psychological mechanism of recognition by listeners; historical distancing from the prototype (ancient poetry, baroque opera); creative synthesis of many traditions of the artistic existence of the genre and the signs of its national musical attribution. Poetic text and symbolization of the musical language are also the mechanisms of stylization of the pastoral in vocal music. Musical and poetic symbols, created by the author’s intuition, form a new life for the pastoral in the creative work of the XX century composers. If the composer’s interpretation of the genre invariant of the pastoral has ensured its viability for millennia, then the performer of pastoral compositions is responsible for their genre and style “purity”. The performers must master the technique of recreating the sound­like world of a pastoral person. The practical significance of the topic is confirmed by the fact of the actualization of the pastoral in the performance of the XXI century, due to the systematic inclusion of its samples into the concert repertoire of vocalists (including those from the People’s Republic of China), which requires appropriate historical and theoretical knowledge when modelling the behaviour of a pastoral person in the modern cultural situation.

The model of facture of Russian poetic texts

2021 ◽  
pp. 107-117
Author(s):  
Владимир Борисович Барахнин ◽  
Ольга Юрьевна Кожемякина ◽  
Ирина Владимировна Кузнецова ◽  
Вера Алексеевна Карпова
Keyword(s):  
Distinctive Feature ◽  
Complex Analysis ◽  
Structural Model ◽  
Semantic Content ◽  
Reference Book ◽  
Automatic Determination ◽  
Poetic Text ◽  
Poetic Texts ◽  
Definition Of

При исследовании зависимости смыслового содержания поэтических текстов от их метроритмических характеристик и строфики возникает необходимость в описании фактур - совокупностей названных характеристик поэтических текстов. В статье сформулировано определение фактуры - структурной модели поэтического текста, которая однозначно определяет метроритмический и строфический шаблон стихотворного текста; представлены алгоритмы определения метра и стопности, а также строфики стихотворения, позволяющие определить его фактуру. В ходе работы создана таблица всех фактур, встречающихся в стихотворениях А.С. Пушкина, с приведением примеров строф для каждого типа фактуры The dependence of the semantic content of poetic texts on their metrorhythmic characteristics and the structure of stanzas requires describing the factures - the combination of these characteristics of poetic texts. The purpose of this article is to formulate the definition of facture as a structural model of a poetic text, which uniquely determines the metrorhythmic and strophic pattern of a poetic text, and also to develop the algorithms for automatic determination of facture. To achieve this goal, an algorithm for automatic determination of meter and number of feet, as well as the algorithm for automatic determination of the structure of stanzas of poems, has been developed. A distinctive feature of the algorithm for automatic determination of meter and number of feet of poems is to take into account the real problems of accentuation, which are associated with the presence of homographs, proclitics, etc., moreover, in the case of detection of a lexeme in a line that cannot be unambiguously accentuated using the automatic accentuation methods, it is used to establish the possible accentuation “by analogy” based on the accentuation of unambiguously accentuated lines. The algorithm for automatic determination of the structure of stanzas is based on the identification of the rhyming lines on the basis of their consonance. The testing of the algorithm was carried out on the corpus of poems by A.S. Pushkin, for which the "Metric Reference Book"was manually created in the 1930s with a description of metrorhythmics and stanzas. The developed algorithm showed the almost complete compliance of the results of the automatic determination of the factures with the metrorhythmic and strophic characteristics given in the reference book. Thus, the algorithm for automatic facture detemination which is developed and programmatically implemented by the authors of the paper, can be a reliable tool for the complex analysis of metrorhythmic and strophic characteristics of Russian poetic texts

Sign in / Sign up

Export Citation Format

Share Document