AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS

2021 ◽  
Vol 6 (12) ◽  
pp. 77-86
Author(s):  
Gulnar MIRZEYEVA
Keyword(s):  
Music Education ◽  
Piano Music ◽  
Development Stage ◽  
Main Function ◽  
Music Schools ◽  
Russian Music ◽  
Different Types ◽  
The Aesthetic ◽  
Russian Composers ◽  
Musical Genres

The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus, with the increase in the content features of art-concert studies, new features such as programming and integration with other genres were observed in Russian music. Interest in piano in Azerbaijan in the late 19th and early 20th centuries first appeared in aristocratic strata, but gradually spread to a wider area. The development of the art of performing on the piano also influenced the creativity of the composer an gave impetus to the formation of the national repertoire for this instrument. Although the etude genre in the works of Azerbaijani composers is not common in the works of European and Russian composers, there are important examples only in the early stages of the formation of miniatures. Azerbaijani composers E.Nazirova, F.Guliyeva, A.Azizov, A.Abbasov, Niyazi, J.Hajiyev, R.Shafag, Kh.Mirzezadeh and others managed to create interesting examples of this genre. One of the main features of the analysis of Azerbaijani somposers etudes is that these examples are pioneered for educational purposes. For this reason, some of the studies we analyzed (M.Mirzayev, J.Hajiyev etc.) are aimed at the first stage of music education with its small volume and simple structure. Studies of relatively large artistic and technical complexity (E.Nazirova,Niyazi,F.Guliyeva) are suitable for the upper classes of music schools. Although the evolution of the study genre and the features of its various genres are not embodied in these works with the splendour seen in the works of European and Russian composers, Azerbaijan is an interesting example of piano music in its educational repertoire. As a result, we can say that the etude genre is not a special development stage in the works of Azerbaijani composers, but each of the existing examples is important in the formation of the aesthetic tastes of young pianists, musical performances on a national basis, and it is successfully applied in the educational repertoire.

scholarly journals Features of teaching piano in pop-jazz style

2020 ◽  
pp. 135-138
Author(s):  
T. V. Sachkova ◽  
Keyword(s):  
Music Education ◽  
Approaches To Teaching ◽  
Traditional Methods ◽  
Music School ◽  
Music Schools ◽  
Russian Music ◽  
The Past ◽  
Piano Repertoire ◽  
Jazz Style ◽  
And Training

Russian music school has undergone major changes over the past 20–30 years. The emergence of mass musical styles and genres and their huge popularity, the opening of pop and jazz faculties and training areas, as well as private music schools and studios – all this aff ects the approaches to teaching piano in modern preprofessional music education. The approaches to the development of performing piano skills described in this article include not only traditional methods of studying the academic piano repertoire, but also methods of development in pop and jazz stylistics, using which one can achieve both improved fluency and the development of new sound skills.

Ethnomusicology and the Meeting of Knowledges in Music

2021 ◽  
pp. 185-206
Author(s):  
José Jorge de Carvalho
Keyword(s):  
Music Education ◽  
Latin American ◽  
Western World ◽  
Music Schools ◽  
Dance Theater ◽  
Musical Tradition ◽  
European Universities ◽  
Musical Traditions ◽  
Musical Genres ◽  
The University

Universities in Latin America (and, to a certain extent, in the entire non-Western world) were created in the colonial and republican periods as replicas of modern European universities, which had stabilized criteria for the classification, organization, and hierarchy of knowledge and for the legitimation of truth following closely the Napoleonic and Humboldtian reforms in the 1800s. Traditional Latin American traditions of knowledge, both scientific and artistic, were discriminated against and totally excluded from the university curricula in the name of an exclusively eurocentric epistemic paradigm. As a consequence of this epistemicide, all the music schools today, both basic and superior, teach primarily the erudite European musical genres, whereas the popular, Indigenous and African-derived musical traditions, which are extremely rich in the entire continent, do not form part of the curriculum available for music students. In order to offer a positive alternative to this monothematic and historically limited musical environment, we have devised the methodology of the Meeting of Knowledges, through which masters of traditional music, most of them people with little or no formal literacy, are hired to teach regular courses in music, dance, theater, and correlated arts, in courses given equal relevance and prestige to those of the Western erudite musical tradition. Started in the University of Brasília in 2010, the Meeting of Knowledges has already expanded substantially. This chapter sums up the theoretical and methodological foundations of the Meeting of Knowledges and explore connections with other epistemic and political interventions in ethnomusicology and music education.

scholarly journals Spirituality as a Category of Musical Art and Education

2020 ◽  
Vol 8 (2) ◽  
pp. 34-53
Author(s):  
Lyudmila A. Rapatskaya
Keyword(s):  
Music Education ◽  
Moral Education ◽  
Cultural Analysis ◽  
Modern Music ◽  
Public Consciousness ◽  
Musical Renaissance ◽  
Language Of Music ◽  
Russian Composers ◽  
Pedagogical Research ◽  
Musical Genres

Postmodern methodology, which influenced the development of the human sciences of the XXI century, teaches researchers to freely use any concepts and definitions outside of the original semantic context. The author of the article, opposing this practice, defends the traditional methodological foundations of the national pedagogy of music education, identifying the problem of ambiguity and inconsistency of understanding the category of spirituality in modern music and pedagogical research. Identification of the original meanings and clarification of the categorical specifics of spirituality is impossible outside of theological sources that capture the “mechanisms” of centuries-old experience of spiritual knowledge of the world and man. Recognizing the spirituality as the highest reality of human existence, it is suggested that in the pedagogy of music education this category is the basis for a dialogue of scientific and religious knowledge. Scientific interpretation of the category of spirituality in musical art and education is impossible without the correct “translation” of theological pedagogical attitudes into the language of music and musical creativity. Historical and cultural analysis of spirituality as a “super-understanding” of the existence of music is revealed using a comparison of religious meanings with the real sound “analogs”. The appeal to the Russian musical heritage allowed us to identify significant trends between “spiritual” and “artistic”. The first trend is the dominance of spirituality in temple music. It is confirmed by the birth of the artistic Canon of Orthodox temple singing, which emphasizes the semantic depth and grace of prayer texts. The article highlights the norms of the embodiment of spirituality in music, born in the bowels of the theory of its “inspired” origin, as well as the time cycle of the revival of the spiritual dominant in the phenomenon of the “Orthodox musical Renaissance”. Another trend is related to the development of spirituality in secular musical genres. The article notes the ambiguity of the contact between “spiritual” and “artistic” in secular music, the semantic diversity in the implementation of spirituality by Russian composers from its Evangelical understanding to mystical “author’s” interpretations. The transformation of the content components of spirituality into morality in the public consciousness of Russia and their further interaction contributed to the formation of the now widespread, but clearly insufficiently researched concepts of “spiritual and moral education” and “spiritual and moral culture”. In the content of modern music and pedagogical education, the moral component outside of its spiritual context is taken into account to a greater extent. All the above points to the need to develop a new master’s degree program that takes into account the following interrelated factors: the centuries-old experience of embodying spirituality in the musical art, the secular nature of the training of future music teachers.

Creating Space For The Piano (Barriers And Permeability Of Social Space)

2020 ◽  
Vol 2 (09) ◽  
pp. 264-272
Author(s):  
Sharipova A.R. ◽  
Sidikova A.M.
Keyword(s):  
Music Education ◽  
Social Space ◽  
Piano Music ◽  
The State

The article is devoted to the issue of the formation and development of piano art in Uzbekistan. The material characterizes the interaction between composers, interpreters and listeners of piano music. Using such methods as comparative-historical, theoretical-analytical, musical-critical, performing, the analysis of the state of the piano art of Uzbekistan is carried out. The topic under consideration will be of interest to specialists working in the field of music education. The issue of the state of the piano art in Uzbekistan requires further study.

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.

The Role of Understanding on Architectural Beauty: Evidence From the Impact of Semantic Description on the Aesthetic Evaluation of Architecture

2021 ◽  
pp. 003329412110021
Author(s):  
Sizhe Liu ◽  
Wei Zhang ◽  
Xianyou He ◽  
Xiaoxiang Tang ◽  
Shuxian Lai ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Supplementary Information ◽  
Aesthetic Evaluation ◽  
Abstract Description ◽  
Social Meanings ◽  
Different Types ◽  
Appearance Design ◽  
The Aesthetic ◽  
The Impact

There is evidence that greater aesthetic experience can be linked to artworks when their corresponding meanings can be successfully inferred and understood. Modern cultural-expo architecture can be considered a form of artistic creation and design, and the corresponding design philosophy may be derived from representational objects or abstract social meanings. The present study investigates whether cultural-expo architecture with an easy-to-understand architectural appearance design is perceived as more beautiful and how architectural photographs and different types of descriptions of architectural appearance designs interact and produce higher aesthetic evaluations. The results showed an obvious aesthetic preference for cultural-expo architecture with an easy-to-understand architectural appearance design (Experiment 1). Moreover, we found that the aesthetic rating score of architectural photographs accompanied by an abstract description was significantly higher than that of those accompanied by a representational description only under the difficult-to-understand design condition (Experiment 2). The results indicated that people preferred cultural-expo architecture with an easy-to-understand architectural appearance design due to a greater understanding of the design, providing further evidence that abstract descriptions can provide supplementary information and explanation to enhance the sense of beauty of abstract cultural-expo architecture.

Treating Afro hair loss: signs, symptoms and specialist interest

2021 ◽  
Vol 10 (5) ◽  
pp. 190-197
Author(s):  
Ingrid Wilson
Keyword(s):  
Black Women ◽  
Hair Loss ◽  
Factors Affecting ◽  
Different Types ◽  
Recent Developments ◽  
Hair Care ◽  
Care Practices ◽  
The Aesthetic ◽  
The Impact ◽  
Symptoms And Signs

This article explores the different types of hair loss that black women may experience more than other groups of patients. Properties of African hair and the impact of hair care practices are discussed, as well as factors affecting the presentation of other hair loss conditions. It is important for the aesthetic practitioner to be able to distinguish between the temporary forms of hair loss that they can help to treat and the permanent or scarring forms of hair loss, which need a prompt referral to a dermatologist with a specialist interest in hair. Prompt recognition and referral can help to delay the progression of hair loss. The symptoms and signs that patients and practitioners should be alerted to are explored, as well as the treatments that can help and where referrals may be necessary. Recent developments and gaps in knowledge are summarised.

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

scholarly journals Securing Software Systems - A Survey

2020 ◽  
Author(s):  
Yong Weixiong ◽  
Kohei Dozono ◽  
Robin Lee ◽  
Alvin Kon Soon Seng ◽  
Fatima tuz Zahra
Keyword(s):  
Development Process ◽  
User Behavior ◽  
Development Stage ◽  
Security And Privacy ◽  
Software Systems ◽  
Privacy Concerns ◽  
Policy Awareness ◽  
Secure Software ◽  
Different Types ◽  
Development Processes

This paper aims to discuss the standard guidelines of the development process of secure software and will give justification on different types and ways of the software development processes. Additionally, a survey is conducted, the aim of which is to observe user behavior towards software system usage, user attitude in terms of privacy and policy awareness, security and privacy concerns. This is followed by discussion on how to secure software systems in development stage.

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