Marxian programmatic music: a stage in Mendelssohn’s musical development 1

Creativity is the focus of research in various areas. The present paper focuses on creativity in music and the role of the teacher in stimulating and developing it in an individual’s musical development. It highlights the importance of evaluating musical ideas, the creative process and final products. The Music Olympiad involves a presentation of competitor’s own compositions. In the research, we analysed the characteristics of the compositions written for and performed at the first three Slovene Music Olympiads.

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Discerning Musical Development: Using Computers to Discover What We Know

Journal of Aesthetic Education ◽

10.2307/3332966 ◽

1988 ◽

Vol 22 (1) ◽

pp. 75 ◽

Cited By ~ 16

Author(s):

Larry Scripp ◽

Joan Meyaard ◽

Lyle Davidson

Keyword(s):

Musical Development

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Ida Halpern: A Post-Colonial Portrait of a Canadian Pioneer Ethnomusicologist

Canadian University Music Review ◽

10.7202/1014415ar ◽

2013 ◽

Vol 16 (1) ◽

pp. 41-59

Author(s):

Kenneth Chen

Keyword(s):

British Columbia ◽

First Nations ◽

Coast Salish ◽

Factors Affecting ◽

Post Colonial ◽

Musical Development

The work of Ida Halpern (1910–87), one of Canada's first musicologists and a pioneer ethnomusicologist, has been largely ignored. This essay illuminates her most important contribution to the musical development of this country: the documentation of Native musics. Halpern devoted some four decades to recording and analyzing over five hundred songs of the Kwakwaka'wakw, the Nuuchahnulth, the Haida, the Nuxalk, and the Coast Salish First Nations of British Columbia—a truly remarkable achievement considering that a large part of her fieldwork was conducted during a period when it was illegal for Native cultures to be celebrated, much less preserved. The author discusses the strengths and weaknesses of her methodology as well as some factors affecting the reception of her work by academic peers and by the communities she worked with. While Halpern did not always thoroughly investigate context, she endeavoured to write heteroglossically and to invent a theory that accounted for the music of these songs.

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Reading the Romancero: A journey from the score to the sound with a non-professional choir

Psychology of Music ◽

10.1177/03057356211042081 ◽

2022 ◽

pp. 030573562110420

Author(s):

Aoife Hiney

Keyword(s):

Hierarchical Structure ◽

Musical Development ◽

Collective Processes ◽

Musical Interpretation ◽

The Individual ◽

Inclusive Processes ◽

Personal Reflections ◽

Musical Literacy ◽

A Performance

This case study focuses on the processes involved in co-constructing an interpretation of Mario Castelnuovo-Tedesco’s Romancero Gitano with a non-professional choir. Rehearsals began in April 2018 and culminated with a performance in June 2018. In order to develop an understanding of the individual and collective processes involved, data were generated through autoethnography and journaling. These texts tracked our regular weekly rehearsals, any extra individual practice, and the performance experience. Seven journals were subsequently compiled and analyzed together with my autoethnography. The findings show that the bulk of the writings focused on technical questions like correctly executing the information contained in the score, with significantly fewer references to other aspects of musical interpretation, such as timbre, or personal reflections regarding our perception of the music and our journey in learning and performing the work. Furthermore, the texts reveal a hierarchical structure within the choir, especially related to perceived levels of musical literacy and/or institutionalized knowledge. In this article, I discuss the various experiences relating to the process of co-constructing a musical interpretation, together with the potential of journaling to develop reflexive, conscious, and inclusive processes of collective musical development within the context of a non-professional choir.

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S. PROKOFIEV'S "FLEETING MOMENTS": CHOREOGRAPHIC INTERPRETATION OF THE PIANO MASTERPIECE

Arts education and science ◽

10.36871/hon.202003014 ◽

2020 ◽

Vol 1 (3) ◽

pp. 115-125

Author(s):

E. O. Tsvetkova ◽

Keyword(s):

Musical Development ◽

Musical Characteristics ◽

Ballet Music ◽

Piano Cycle

The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle "Fleeting Moments". The first one belongs to the outstanding Russian ballet master K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier. Both compositions are considered in the context of such a trend as "plastic interpretation of non-ballet music". There is a special demand for S. Prokofiev's works (not only ballet scores, but also "non-ballet" opuses) among choreographers, who are attracted by the theatrical nature of the composer's talent: brightness and sharpness of musical characteristics, reliance on "sound gesture", ability to reproduce rhythmic intonation of mood. The "Fleeting Moments" cycle as a whole and in terms of individual pieces is analyzed from the standpoint of openness to choreographic embodiment and compliance with canonical ballet forms and situations. It is underlined that in Goleizovsky's ballet a deeply felt emotion is brought to the fore. Due to the precise adherence to the logic of musical development, conceived as chamber-like this composition embodies the prototype of choreographic symphonism. In Neumeier's ballet, on the contrary, the dramatic plot is emphasized. The choreographer achieves an extraordinary impact by combining classical and modern elements in choreographic vocabulary, supplementing them with movements of free plasticity.

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FRENCH BALLET AT THE END OF THE XIXTH CENTURY (JAVOTTE, 1896)

Arts education and science ◽

10.36871/hon.202001011 ◽

2020 ◽

Vol 1 (1) ◽

pp. 86-94

Author(s):

A. P. Grutsynova ◽

◽

Keyword(s):

Turn Of The Century ◽

Xxth Century ◽

Musical Development ◽

Male Roles ◽

Xixth Century ◽

History Of ◽

Critical Responses

The article is devoted to the Camille Saint-Saëns ballet Javotte. This ballet is considered in the context of the development of the French choreographic theater of the late XIXth century. The author briefly reviews the history of the productions of Javotte in different cities (Lyon, Royan, Paris) and specifies the information about the authors of the choreography in each version. Based on critical responses related to performances at the turn of the century, it is proved that the tradition of playing male roles by travesty dancers was not common even at that time. The performance of the role of Jean in the ballet Javotte by male dancer confirms this thesis (Lyon, 1896 — Jean Soyer de Tondeur; Paris, 1909 — Léo Staats). It is concluded that the plot of the ballet continues the tradition of the comic ballet, while musically (along with many scores of other French ballets) it starts a series of ballets of the XXth century, striving for miniaturization and unity of musical development. The article uses a rare graphic material that visualizes the production of Javotte.

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How I Think

Adolescents on Music ◽

10.1093/oso/9780190671358.003.0007 ◽

2020 ◽

pp. 61-80

Author(s):

Elizabeth Cassidy Parker

Keyword(s):

Self Determination ◽

Brain Growth ◽

Musical Development ◽

Musical Thinking

Chapter 3 examines adolescent brain growth, musical thinking, and motivation. Adolescents on music share how they think about music, how they view themselves, and what challenges they have faced in their musical development. Included in chapter 3 is an exploration of Ryan and Deci’s metatheory of motivation, titled self-determination, and Dweck and Molden’s self-theories or mindset. In the middle of the chapter, a brief discussion ensues of adolescents’ experiences as creative thinkers. At the end of the chapter, recommendations are proposed as to how educators’ regular and consistent communication and positive modeling represent critical supports to adolescent musical development.

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