PELAKSANAAN KURSUS BIOLA DI YAMAHA MUSIC SCHOOL PADANG

This study aims to determine the implementation of violin courses at Yamaha Music School Padang. The data were obtained during the learning process. Interviews were conducted to violin instructors at Yamaha Music School Padang. In addition, photos during the violin learning process at Yamaha Music School Padang were documented. Based on the research results, the implementation of music courses at Yamaha Music School Padang, especially the violin course, "seems not guided" by the concepts and principles of the Yamaha method. In fact, the materials contained in the Yamaha Music Examination Syllabus as an evaluation of learning outcomes based on YMES clearly describes the achievement of students’ learning outcomes based on YMES. The materials contained in the Yamaha Music Examination Syllabus also evaluate the “readiness” of students towards creative abilities. Likewise, the principle of Emphasis on creativity is increasingly not being noticed in music courses at Yamaha Music School Padang if it is viewed from the 'minimal' 'activity' carried out by Yamaha Music School Padang.Keywords: Implementation, Violin Course, Yamaha Music School Padang

Music for all? Pupils' perceptions of the GCSE Music examination in one South Wales secondary school

This article originated from a research project examining pupils' perceptions of the GCSE Music examination (for pupils aged 15–16) in one large secondary school in the United Kingdom. The research explored the hypothesis that pupils considered it necessary to have additional instrumental or vocal tuition outside class music lessons in order to secure a high grade in the examination. The research also hypothesised that, despite the egalitarian philosophy underpinning the General Certificate of Secondary Education (GCSE) examination system, the music course was still viewed by pupils as being élitist. It was concluded that although there were some very positive comments from pupils, GCSE Music was still not the intended examination for all.

An examination of GCSE music uptake rates

The GCSE music examination is the principal form of accredited study for students aged 15+. (More students take the examination than previously took GCE O-level and CSE examinations combined.) For this reason the examination is generally thought of as a success. An analysis is made of uptake rates during the period 1994-8 and comparisons are made with uptake rates in other optional subjects. Based on this evidence, a suggestion is made that GCSE music is not as successful or attractive to students as is commonly thought. An assumption is made that there are factors that make this situation surprising and worth further research. Some possible reasons for the current situation are explored.

Instrumental learning with exams in mind: a case study investigating teacher, student and parent interactions before, during and after a music examination

Teaching and learning dynamics in musical instrument tuition, especially in one-to-one teacher–student contexts, have not been studied in a truly systematic manner. The research described in this paper attempts to bring some insights to this area, for teachers and students were studied over a period of six months. More specifically, in the fourth month of the study, all the learners took a practical instrumental examination of the Associated Board of the Royal Schools of Music (either violin or piano, ranging from Grades 1 to 8). It thus became possible to explore how the teachers aided, developed and structured the students' preparation up to, during and after the examination, and also how the students worked and responded to the examinations within the context of their families. Furthermore, parents were observed and interviewed about their interactions with their children – the students – and the teachers. Looking at four teachers and eighteen students, the results revealed a number of complex and interconnected themes which both aided and hindered learning. The current paper highlights these.

Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance

Path analysis was used to test a model designed to encapsulate the flow of influences theorized to exist between five types of musical performance and four factors derived from a researcher-administered questionnaire. Results, using a sample of 101 high school wind instrumentalists, reveal major differences in the pattern of influences leading to the re-creative skill of performing a repertoire of rehearsed music for a formal music examination, compared to the creative ability of improvising. Performing a repertoire of rehearsed music was found to be influenced most by an ability to sight-read, together with a factor consisting of variables concerned with the length of time a subject had been studying his or her instrument and taking lessons. In sharp contrast, an ability to improvise was most markedly influenced by an ability to play by ear. Results for this sample of instrumentalists exposed to a “traditional” style of teaching also suggest that instrumentalists' ability to sight-read may be influenced by how well they are able to play by ear.

Of Modell-Typen and Modell-Typen: Berg, Schoenberg, F. H. Klein, and the Concept of Row Derivation

With the assistance of sources from the Berg Nachlaß at the Österreichische Nationalbibliothek, Vienna, this study readdresses a practice cited by those declaring Berg's twelve-tone techniques peripheral to a history of modernism: his use of more than one twelve-tone row in a composition. This technique, vital to Berg's work but proscribed by Schoenberg and the unity so often idealized in Schoenberg's writings, is found to have originated with the composer and theorist Fritz Heinrich Klein (1892-1977). Documentary evidence indicates that Klein's op. 14 Variationen proved especially significant as Berg developed a personal epistemology of twelve-tone music. Examination of Berg's debt to Klein illuminates the large-scale structure of Berg's Lyric Suite, impels exploration of the correlations that allow one to speak of an organic relationship between "row forms," and encourages clarification of Schoenberg's, Berg's, and Hauer's historical relevance to the origins of dodecaphony.

"Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition

The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique.