Principles of choreographic education in primary art institutions

The purpose of the article is to determine the basic principles of choreographic education in primary art institutions. Methodology. The methods of analysis and synthesis are used in the work. Based on the analysis of classes with different age groups of children on the basis of the choreographic department of Kaluga Children's Music School of Ivano-Frankivsk region identified the basic principles of choreographic education, which contribute to the improvement and development of children's performance, creative thinking, discipline and aesthetic taste to dance. The method of synthesis allowed us to determine the main criteria for teaching choreography for preschoolers. The scientific novelty of the work is that for the first time the basic principles of education and choreography lessons were comprehensively studied. The paper analyzes the trends in the development of choreographic education in primary art institutions; the concept of "children's choreography" is defined as one of the bases of formation of dancing abilities and "foundation" for further development of children in the direction of choreographic art;. It is investigated that the newest information technologies in the field of choreographic art allow: to strengthen the efficiency of knowledge of children; create a positive impression in choreography lessons; provide high educational diversity; increase success; to improve performing skills; rationally organize educational indicators; increase academic achievement. Conclusions. The author concludes that the use of the latest methods and techniques of teaching choreography will lead to high success, increase performance, which will determine in the future the path of children to further professional choreographic education. Keywords: children's creativity, dance, performing skills, didactic requirements, teaching methods.

Living Traditions

Children’s music traditions have been maintained, shaped, and transmitted orally for generations in families and communities in Nicaragua and Guatemala. An integral part of daily life, singing practices serve many purposes. In families, caregivers sing traditional music, religious songs, ballads, and lullabies as parenting tools to form bonds and affect mood. They also carry out finger plays, bouncing games, hand-clapping rhymes, and made-up songs to engage in musical play with their children. This musical environment fosters the continuity of cultural heritage, beliefs, and history....

Suggestions for Teachers

Part 1 includes the following: Suggestions for Teachers provides strategies for how to responsibly teach and include the music into curriculums. Themes discussed include cultural contexts, authentic transmission practices, honoring song histories, Indigenous Music, and culturally responsive and sustaining pedagogies. Living Traditions: Children’s Music in Guatemala and Nicaragua reviews children’s music traditions and singing cultures in these two countries. Overview: Central America, Guatemala, and Nicaragua includes brief summaries of the region’s geography, climate, languages, national instrument, demographics, and economies. Fieldwork Locations describes the sites where songs were learned to set the scenes for repertoire. Biographies, which are written by the informants and presented in English, Spanish, and Kaqchikel, are included to learn about the lives of the musicians who shared music for this book.

Guiding Hand

The emergence of imaginative children’s music in the second half of the nineteenth century reframed the relationship between children and music in revolutionary ways. The dominant paradigm had been for children to repetitiously practice mechanistic exercises, a time-consuming occupation that the German composer Robert Schumann considered particularly wasteful and tasteless. In response he composed Album für die Jugend in 1848, a collection of children’s pieces that utilised a combination of text, picture and music to appeal to the interests of children, and to inspire their enthusiasm for musical play. Schumann envisioned his music as an extension of familial nurturance, which played a powerful role in directing children towards a musically and spiritually rich adulthood. As the tradition of imaginative children’s music developed during the nineteenth century, the dual themes of entertainment and education remained central to its generic identity, and continued to speak to the significance of piano music as a tool for the socialisation of children. The work of Jacqueline Rose offers a lens through which to explore this music’s manipulative influence upon children. The multimodal and performative characteristics of these musical pieces demonstrate the hidden influence of the adult’s guiding hand and the dire consequences that come to those who transgress musical and social boundaries.

A Knowledge-Based System for Children’s Music Teaching Strategies Based on the Inheritance of Local Music Culture in Southern Jiangsu

In order to analyze the feasibility of integrating Sunan music into children’s music teaching through research, a knowledge-based system for children’s music teaching strategies based on case-based reasoning is proposed. The system can collect sufficient data and information, the exact orientation of piano learning, and the exact choice of teaching modes by questionnaires. Research data show that the vast majority of children like music teaching, and they like 76% more than they do not like, and more parents who express an indifferent attitude to music are 84% more than those who feel important. This experimental study shows that most teachers hold a positive attitude toward the development and use of folk music education resources in kindergartens, and parents do not have enough knowledge about folk music. The infiltration of excellent local culture in children’s music activities can improve students’ cultural literacy, let the new generation understand the tradition and the classics, and let children understand the local culture of southern Jiangsu and inherit the excellent culture of the Chinese nation through the understanding, feeling, and understanding of the local culture of southern Jiangsu. This is the new idea of local cultural heritage in southern Jiangsu and also the responsibility of kindergarten education.

A LOOK AT AZER DADASHOV’S PIANO WORK

The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.

Monitoring and evaluating body knowledge: metaphors and metonymies of body position in children’s music instrument instruction

This paper examines music instrument teachers’ instructive use of noun metaphors and metonymies of behaviors related to the playing and handling of a musical instrument. Drawing on 10 video-recorded 30–40 min-long instrument lessons as data, and conversation analysis as a method, the paper examines the temporal location of these figurative turns (i.e., instruction turns including a noun metaphor or metonymy) within the instructional activities and in relation to the student’s behaviors. At the beginning of a new instructional sequence, a figurative turn allows the teacher to test and monitor the level of student’s knowledge, while the student orients to a need to demonstrate that knowledge. Figurative turns also enable the teacher to initiate correction in complex movement sequences, its organization as a series of metaphors or metonymies enabling an easy return to an earlier point in a sequence. Furthermore, the flexibility of metaphors and metonymies as interactional resources is evidenced by the ease by which a figurative instruction turn may be transformed into an affirmative evaluation of student conduct. The paper thus suggests that instructing body knowledge through metaphors and metonymies has significant pedagogical advantages, also providing a detailed account for why and how this is the case.

Relationship Of Parenting Patterns And Interest Towards Music Learning Outcomes Of Class VIII Students SMP Negeri 2 Brebes

The results of study are influenced by some factors. Parenting patterns and learning interests are factors that influence Music learning outcome. The formulation of the problem in this study is (1) whether there is a relationship between parenting patterns on the learning outcomes of Music Arts; (2) whether there is a relationship between interest in the learning outcomes of Music; (3) whether there is a relationship between parenting patterns and interest in the learning outcomes of Music. The purposes of the study were (1)to find out whether there is a relationship between parenting styles and learning outcomes in music; (2) to know whether there is a relationship of interest to the learning outcomes of music; (3) to find out whether there is a relationship between parenting patterns and mutual interest in the results of learning music. The results showed that: (1) there was a positive relationship between parenting style and learning outcomes in Music, with the interpretation of the closeness of the correlation showing a small category, which was 9.48%; (2) there was a positive relationship between interest in the learning outcomes of Music, with the interpretation of the closeness of the correlation indicating the sufficient category, which was 11.42%; (3) there was a positive relationship between parenting and interest in the learning outcomes of Music, with the interpretation of the closeness of the correlation indicating the sufficient category, which was 37.82%. The conclusion of this study was that there was a positive and significant relationship between parenting and interest together on the learning outcomes of Music. The application of parenting with a democratic attitude by paying attention, caring, and respecting children's freedom, as well as guiding with understanding can create conditions for children to study music diligently, both in theory and practice. Thus, children's music learning outcomes can certainly increase.