Fandangos de Alosno

In our days the musical activity of Huelva cannot be understood without attending to its emblematic cante: the fandangos. They constitute a tradition of enormous significance for many citizens, beyond what it may mean for flamenco fans, accompanying relevant spaces of their social, personal and daily life. A wide variety of "styles", stylistic variants of the poetic-musical and choreographic form of the Andalusian fandango have been developed in various towns. They constitute each of the characteristic and recognizable musical designs with which they are sung and or danced in different places. These are practices that combine a multiplicity of forms: socially maintained collective traditions and experienced in local contexts, together with musical recreations by individual performers presented as an artistic product aimed at the audience. In this article we show the rich variety and uniqueness of the fandango in Alosno, analyzing its relationship and interdependence with the territorial, cultural and festive framework of El Andévalo region, the traditional contexts of performance, the generation of a variety of styles and the consolidation of the repertoire. En nuestros días no puede entenderse la actividad musical de la provincia de Huelva sin atender a su cante emblemático: los fandangos. Constituyen una tradición de enorme significación para muchos ciudadanos, más allá de lo que pueda suponer para los aficionados al flamenco, acompañando espacios relevantes de su vida social, personal y cotidiana. En varias localidades de la provincia se han desarrollado un amplio número de estilos o variantes estilísticas de la forma poético-musical y coreográfica genérica del fandango andaluz. Constituyen cada uno de los diseños musicales característicos y reconocibles con el que se cantan o bailan en distintos lugares. Se trata de prácticas que conjugan una multiplicidad de formas: tradiciones colectivas socialmente mantenidas y vivenciadas en contextos locales, junto a recreaciones musicales de intérpretes individuales presentadas como producto artístico dirigido al público. En este artículo mostramos la rica variedad y singularidad del fandango en Alosno, analizando su relación e interdependencia con el marco territorial, cultural y festivo de la comarca del Andévalo, los contextos tradicionales de interpretación, la generación de variedad de estilos y consolidación del repertorio.

Shared musical activity and perceptions of relationship commitment

Sharing music with another person involves the potential for profound emotional connection, rhythmic synchronization and coordination, and the expression of shared social and political values (among other things). We explore whether experiences of shared musical activity are associated with perceptions of communication and positive outcomes in friendships and romantic relationships, using reports from one member of the dyad. Reports of musical activities in the relationship were associated with higher levels of commitment to the relationship, with those effects mediated by perceptions of interpersonal coordination and positive communication. Surprisingly, structured musical activities (e.g., actively playing music together) were associated with lower levels of commitment, both directly and via interpersonal coordination, positive communication, and shared social values. All findings persist when controlling for other forms of shared relationship activities, thus demonstrating effects that are unique to shared musical engagement. The findings are discussed in a framework of music’s potential relational power—the Shared Musical Activities in Relationships (SMAR) model.

Methodological Fundamentals for Forming Art Values of Students-Musicians in Arts and Educational Activities

The article is devoted to the problem of value formation of a future music teacher in the process of professional training. Art education is considered as a component of training that accumulates performing, musical, methodological directions. The artistic education for Music teachers determines the poly-artistic vector of professional training, which includes understanding music and other arts. The success of artistic education is ensured by the subjectivity of a future teacher-musician who accepts such activities as a universal professional value. The hierarchy of pedagogical conditions of effective arts and educational activities is substantiated. The initial positions for substantiation of methodological fundamentals of arts and educational activities of the future Music teacher are specified, namely teacher’s focus on self-development and on values of other people. The groups of methods relate to motivation for the complex of musical activity, poly-artistic development, thesaurus in the field of various arts. The core of the methodological fundamentals is personal artistic communication with art as well as interpersonal artistic communication. The need for the functioning of a specific arts and educational environment is substantiated in order to provide artistic communication, The functional connection of pedagogical conditions and methods of formation of artistic values of students-musicians in arts and educational activities as subjects of environmental art education is explained. The prospects of research of the problem caused by actualization of processes of virtual communication, risks of minimizing of interpersonal art communication are defined. Key words: students-musicians, arts and educational

Canons, Airs Sérieux and Airs à Boire: A Study of the Contribution of the Eighteenth-Century French Composer and Copyist C. de La Serre.

<p>C. de La Serre was a composer, copyist and maître de musique. His known compositions are all airs sérieux and airs à boire, appearing in printed sources and manuscripts between 1716 and 1724. His individual collection, Recueil d’airs nouveaux sérieux et à boire (1724) provides the most complete picture of his achievements as a composer, as it exhibits the largest number of his songs in a single volume. Another side of La Serre’s musical activity is also considered in the present study, as it includes the examination of selections from the manuscript F-CECm/Ms. 282, of which he was the copyist. The distinguishing characteristic of this manuscript is its collection of canons, which may be the largest of its kind. La Serre’s own music is included in F-CECm/Ms. 282, along with airs by composers such as Jean-Baptiste de Bousset, François Couperin and Jean-Philippe Rameau. This thesis places canons, airs sérieux and airs à boire composed by La Serre and other prominent songwriters of the period within the social context of the French Regency, and the context of the genres at the beginning of the eighteenth century. The conventions of verse and music are also considered in relation to specific airs of the printed collection and the manuscript. A catalogue of La Serre’s Recueil d’airs nouveaux sérieux et à boire and the edited selections of F-CECm/Ms. 282 is also included. Volume II comprises a critical edition of La Serre’s 1724 collection and selections from the manuscript.</p>

Canons, Airs Sérieux and Airs à Boire: A Study of the Contribution of the Eighteenth-Century French Composer and Copyist C. de La Serre.

<p>C. de La Serre was a composer, copyist and maître de musique. His known compositions are all airs sérieux and airs à boire, appearing in printed sources and manuscripts between 1716 and 1724. His individual collection, Recueil d’airs nouveaux sérieux et à boire (1724) provides the most complete picture of his achievements as a composer, as it exhibits the largest number of his songs in a single volume. Another side of La Serre’s musical activity is also considered in the present study, as it includes the examination of selections from the manuscript F-CECm/Ms. 282, of which he was the copyist. The distinguishing characteristic of this manuscript is its collection of canons, which may be the largest of its kind. La Serre’s own music is included in F-CECm/Ms. 282, along with airs by composers such as Jean-Baptiste de Bousset, François Couperin and Jean-Philippe Rameau. This thesis places canons, airs sérieux and airs à boire composed by La Serre and other prominent songwriters of the period within the social context of the French Regency, and the context of the genres at the beginning of the eighteenth century. The conventions of verse and music are also considered in relation to specific airs of the printed collection and the manuscript. A catalogue of La Serre’s Recueil d’airs nouveaux sérieux et à boire and the edited selections of F-CECm/Ms. 282 is also included. Volume II comprises a critical edition of La Serre’s 1724 collection and selections from the manuscript.</p>

The Wurttemberg Hofkapelle c.1680-1721

<p>Today the prosperous reign of Duke Eberhard Ludwig IV (r. 1693-1733) at the court of Wurttemberg is principally associated with the construction of the magnificent palace of Ludwigsburg, some fifteen miles north of Stuttgart. His quest for prestige also resulted in a major expansion of the ducal Hofkapelle, and while much is known about music at other German courts at this time (such as Dresden, Berlin, and Vienna) that at Wurttemberg, which was comparable in size and importance, has been largely overlooked. This study aims to redress the situation through close examination of the wealth of archival documents dealing with the everyday life of the court musicians c.1700. The original employment contracts offer insights into the duties of the Kapellmeister, while the registers of musicians record the evolution of a clear division between the ordinary Hofmusici and the more select and specialized Cammermusici. The development of specialization came about as the direct result of foreign influence, and a period of foreign study was a prerequisite for a successful career as Kapellmeister. Although in the final decades of the seventeenth century French style had dominated the music at court, by the turn of the eighteenth century Italian music had begun to rise markedly in popularity. Contemporary documents show that a wider selection of instruments came into regular use following the appointment of Johann Christoph Pez as Rath und Oberkapellmeister in 1706. Between 1684 and 1714 the membership of the Hofkapelle had risen from twenty-three to thirty-five. In addition to the Kapelle there was a quite diverse range of other musical groups present at the court - the trumpeters and kettledrum players, the court and regimental oboe bands, and the Bock-music, an ensemble with origins in Eastern European folk music. Again the archival documents throw considerable light on the daily lives, musical standards, and relative status of these musicians. We are particularly fortunate that a sizeable selection of the music owned by the Wurttemberg court during this period of increased musical activity can now be found in a collection held by the Universitatsbibliothek in Rostock. Included are around 400 instrumental pieces dating from approximately 1680 up until the death of the Prince Regent, Friedrich Ludwig, in 1731. While the majority of composers represented are German, works of French and Italian origin are also included. Perhaps most interesting are the compositions by two contemporary Wurttemberg Kapellmeister, Theodor Schwartzkopff and Johann Christoph Pez, whose obscurity is due largely to the relative inaccessibility of the Rostock collection in recent years. These works were written or at least adapted for the forces of the Wurttemberg Hofkapelle. Together with the archival documents these pieces furnish a fascinating picture of a once-flourishing musical establishment, one which provided entertainment for a Duke who hoped in his own corner of Germany to emulate the court of Versailles.</p>

The Wurttemberg Hofkapelle c.1680-1721

<p>Today the prosperous reign of Duke Eberhard Ludwig IV (r. 1693-1733) at the court of Wurttemberg is principally associated with the construction of the magnificent palace of Ludwigsburg, some fifteen miles north of Stuttgart. His quest for prestige also resulted in a major expansion of the ducal Hofkapelle, and while much is known about music at other German courts at this time (such as Dresden, Berlin, and Vienna) that at Wurttemberg, which was comparable in size and importance, has been largely overlooked. This study aims to redress the situation through close examination of the wealth of archival documents dealing with the everyday life of the court musicians c.1700. The original employment contracts offer insights into the duties of the Kapellmeister, while the registers of musicians record the evolution of a clear division between the ordinary Hofmusici and the more select and specialized Cammermusici. The development of specialization came about as the direct result of foreign influence, and a period of foreign study was a prerequisite for a successful career as Kapellmeister. Although in the final decades of the seventeenth century French style had dominated the music at court, by the turn of the eighteenth century Italian music had begun to rise markedly in popularity. Contemporary documents show that a wider selection of instruments came into regular use following the appointment of Johann Christoph Pez as Rath und Oberkapellmeister in 1706. Between 1684 and 1714 the membership of the Hofkapelle had risen from twenty-three to thirty-five. In addition to the Kapelle there was a quite diverse range of other musical groups present at the court - the trumpeters and kettledrum players, the court and regimental oboe bands, and the Bock-music, an ensemble with origins in Eastern European folk music. Again the archival documents throw considerable light on the daily lives, musical standards, and relative status of these musicians. We are particularly fortunate that a sizeable selection of the music owned by the Wurttemberg court during this period of increased musical activity can now be found in a collection held by the Universitatsbibliothek in Rostock. Included are around 400 instrumental pieces dating from approximately 1680 up until the death of the Prince Regent, Friedrich Ludwig, in 1731. While the majority of composers represented are German, works of French and Italian origin are also included. Perhaps most interesting are the compositions by two contemporary Wurttemberg Kapellmeister, Theodor Schwartzkopff and Johann Christoph Pez, whose obscurity is due largely to the relative inaccessibility of the Rostock collection in recent years. These works were written or at least adapted for the forces of the Wurttemberg Hofkapelle. Together with the archival documents these pieces furnish a fascinating picture of a once-flourishing musical establishment, one which provided entertainment for a Duke who hoped in his own corner of Germany to emulate the court of Versailles.</p>

Creativity in special music education

Today, the development of creative and innovative thinking has become an important task of the modern education system. Stimulating creativity is one of the main goals of music education, which involves important changes affecting both the teachers’ mentality and traditional teaching and training methods. In the process of music education, the primary task is to awaken the creative principle of students, to stimulate their interest not only in the result of the creative act, but also in the process of musical activity that reveals the creative nature of the personality, the ways of creating, interpreting, listening and perceiving musical art.

Nyanyian sebagai media pembelajaran pendidikan agama Kristen di sekolah

The effectiveness of learning of Christian Religious Education at school needs some media. Song, as a part of musical activity, is one of the media that is used by Christian Religious Education teachers to teach the Christian faith effectively. The aim of this article is to affirm the important role of the song as one of the learning media of Christian Religious Education at school. This Article is written in qualitative method with literature study approach and observation as its approach. This article explains the nature and the purpose of Christian Religious Education, music in church life, music in the history of thinking and practicing of Christian Religious Education, and the use of song as media in the learning of Christian Religious Education at school.