Poetyka wideoklipu muzycznego

Music video as a specific genre of audiovisual arts, deriving directly from tradition of film, television and music programs, became massive promotion and visual communication tool for artists at the turn of 70’s/80’s. Mentioned many times in articles about music videos, its dependence on other art fields, such as film, musical, theater arts, plastic arts etc., only strengthens us in belief that music video is an enormous hybrid form, being heir to aforementioned forms. At this intertextual base, music video has developed its own language. Cognizance and description of its components, understanding of connection rules and the essence of its individual elements is the main aim of this article. By pointing to coexistence and correlations of components such as rhythm, tempo, tone, editing etc., the text also emphasizes similarity of the music video language to the language of literature and other arts which use the same tools.

Features of positioning of German university libraries on official websites

The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.

Space music in socio-cultural retrospective: information analysis of the phonographic heritage of “Hawkwind”

The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.

Teaching the Core Arts Standards in Modern Band

The National Coalition for Core Arts Standards released standards for music education in 2014. These standards are guided by artistic processes and measured by performance standards specific to content areas and grade levels. As school districts in the United States adopt the Core Arts Standards for their music programs, it is imperative that modern band teachers demonstrate how their curriculum aligns with this new framework. Modern band is one approach to popular music education that is particularly well suited to address this new framework; the emphases of songwriting, improvising, critical listening, and group work in a learner-centered modern band class/ensemble are associated with a wide variety of standards. This article explores connections between popular music pedagogies and each of the processes in the Core Arts Standards and examines which standards may be most appropriate for modern band contexts.

Starting a Conversation about Trans and Gender-Expansive Persons

This chapter explores the need for music teachers to honor trans and gender-expansive (TGE) students participating in school music programs. Diversity enriches arts engagement, in part, by uniting individuality through communal and collaborative music experiences. School music diversity includes the LGBTQA population and, more specifically, TGE young persons. Music educators benefit from knowing and understanding the lived experiences of TGE young persons as a way to honor and celebrate their individuality. Concepts of gender identity, gender expression, sexuality, and attraction are discussed in an effort to frame a glossary of terms used throughout the book. The authors acknowledge historical contexts in which this text was written. A brief primer of intersectionality is provided to contextualize the complex identities of TGE persons.