PENGEMBANGAN VIDEO PEMBELAJARAN MATERI TEKNIK VOKAL UNTUK MENSTIMULASI KECERDASAN MUSIKAL SISWA JENJANG SMA

Abstrak: Tujuan penelitian untuk menghasilkan produk video pembelajaran teknik vokal yang layak digunakan sehingga dapat menstimulasi kecerdasan musikal siswa. Jenis penelitian adalah penelitian pengembangan dengan desain ADDIE. Model pengembangan produk disusun secara terprogram dengan urutan yang sistematis. Desain ADDIE memiliki lima tahapan, yakni: analisis, desain, pengembangan, implementasi, dan evaluasi Subjek penelitian siswa kelas XI SMA Maarif Nu Pandaan. Sampel penelitian 30 siswa. Instrument penelitian berupa lembar observasi. Teknik analisis data menggunakan deskriptif kualitatif. Hasil penelitian; (1). Uji Ahli materi teknik vokal berada pada kualifikasi sangat baik, (2). Uji ahli desain grafis berada pada kualifikasi sangat baik, (3) uji ahli media video dan desain grafis berada pada kualifikasi sangat baik, (4). Uji coba penggunaan video teknik vokal pada kelas XI di SMA Maarif Nu Pandaan sangat baik. Disimpulkan bahwa video teknik vokal dapat menstimulasi kecerdasan musikal dengan rata-rata uji oba produk mencapai 90% kriteria sangat baik. Kata Kunci: Kecerdasan Musikal, Media Pembelajaran Teknik Vokal Abstract: The purpose of the research is to produce a learning video product about vocal techniques that are appropriate to use so that they can stimulate student musical intelligence. The type of research is development research with the ADDIE development model. The product development model is programmed in a systematic order. The ADDIE design has five stages, namely; analysis, design, development, implementation, and evaluation. Research subjects are XI students of SMA Maarif Nu Pandaan. The research sample is thirty students, the research instrument was in the form of an observation sheet. The data analysis technique uses mixed methods qualitative and quantitative. Research result: (1) expert tes of vocal technique material is in very good qualification, (2). The graphic design expert test is in very good qualification, (3) the video media and graphic design expert test is in very good qualification, (4) the trial of using vocal technique video in class XI at SMA Maarif Nu Pandaan was very good. It was concluded that vocal technique video can stimulate musical intelligence with by average of the trial product reached 90% very good criteria. Keywords: Musikal Intelligence, Vocal Technique Learning Media

Giving Voice to Children's Artistry

This book addresses the development of children’s artistry in the music classroom and children’s chorus. It unveils children’s artistry, identifying its characteristic behaviors, its progression of development and necessary components for growth, and guides the practical application of principles addressed. The book addresses the development of children’s artistry from the perspective of both the choral art and the process of music learning, with each informing the other, rooting artistry in music learning and developing artistry in an ongoing manner throughout childhood. It presents the musical mind as the gateway to children’s artistry. It discusses the power of movement in the embodiment of children’s artistry. It examines song and its role in the development of children’s artistry, demonstrating how rhythm, melody, and text—independently and together—influence children’s developing artistry musically, expressively, and vocally, at all ages and stages. Musical examples throughout demonstrate principles presented, provide professional development with tonalities, meters, movement, and songs, and offer a multitude of songs of increasing difficulty for the music classroom and children’s chorus that compel the musical mind, prompt artistic expression, and enable vocal technique. Practices and techniques that facilitate the development of children’s artistry are included, and the book can be used with any methodology. This book leads teachers to draw artistry out of every child and draw every child into the choral art. Content is intended for application with children from kindergarten through seventh grade, though it is also appropriate with older singers in the process of developing artistry.

Moving Artistry

Chapter 2 addresses the power of movement in the development of children’s artistry. It presents movement as the embodiment of children’s artistry, propelling the awakened musical mind to full body engagement. It addresses the importance of flowing movement and weighted movement in terms of both music development and choral artistry. It applies movement in the development of vocal technique and energy in singers and addresses movement in rehearsal and performance. It applies movement directly to the teaching of a new song, implementing ideas presented in this book up to this point. This chapter builds on concepts presented in Chapter 1, moving the foundations of artistry into sheer musicality in both the music classroom and children’s chorus. Insights gained from this chapter can be applied to singers of all ages and used with any methodology. Understandings from this chapter can lead to improving choral performance at all levels.

Inspiring Artistry

Chapter 3 examines song and its role in the development of children’s artistry. It addresses the need for songs of increasing musical difficulty throughout childhood, and how rhythm, melody, and text, individually and together, affect the development of children’s artistry musically, expressively, and vocally. This chapter offers musical examples and songs that demonstrate the progression of children’s artistry in song with children as young as five through advanced choristers. Chapter 3 presents the findings of many years of classroom research on song as it relates to both music learning and the choral art in the development of children’s artistry. It brings together research on music learning and the process of choral development to highlight the need for songs for the development of children’s artistry that compel the musical mind, prompt artistic expression, and enable vocal technique throughout childhood. It applies concepts presented in the first chapter and practices presented in the second chapter in the context of song, the vehicle for the expression of children’s artistry in both the music classroom and children’s chorus. Songs and principles presented in this chapter can also be used with older singers.

Master class as a leading pedagogical technology in professional improvement of individual performing qualities of singers

The purpose of this article is to identify and clarify the pedagogical perspectives of a master class as a leading teaching method that actively influences the process of forming and improving the professional level of singers. The practice of individuating of the educational process in music pedagogy is based on the cooperation of all participants and is aimed at developing musical abilities and individual skills of performers. Master classes play an important role in the improvement of vocalists’ professional skills and provide active spreading of performing and pedagogical experience in the world. This article describes the history of master classes as a special teaching technique in music education, examines and analyzes the peculiarities of conducting vocal master classes by prominent singers: Thomas Quasthoff, Тномas Hampson, Jerzy Artysz, Ursula Schongals, Elisabeth Schwarzkopf, Montserrat Caballé, Mirella Freni, Joyce DiDonato at.al. Master classes open new ways to raise the level of performer's skills, and thus are the key to further successful development of singer’s career. Therefore, the master class is an effective pedagogical technology in the professional growth of individual performing qualities of singers of different ages and different levels of vocal-technique and performing skills.

Verismo opera: how bel canto technique protected the voices of its singers

<p>Verismo is a style of opera composition that was influenced by a significant movement in Italian literature from the end of the nineteenth century to the beginning of the twentieth century. It is characterised by the true-to-life portrayal of rural or urban poverty, often showing a robust regional lifestyle as well as serving as the introduction to the region's representative songs and dances. Historically, the singing of verismo opera posed some problems for singers in regards to their stamina and the longevity of their career. As a student, I attempted to sing this type of music, but I felt unable to sing it well; my difficulties and the problems associated with the performance of verismo, therefore, fascinated me. Rationalising that proper vocal technique was the answer to these problems, I then concentrated on long-term systematic bel canto training in China and New Zealand. In most cases, the study of bel canto technique is a fundamental part of the process of learning vocal music for classical singers. In addition to laying out the background of verismo and bel canto, my exegesis demonstrates how singers can learn to sing verismo opera well without damaging their voices, which will help them extend their stamina and the length of their career. I especially investigate the differing use of the body needed for singing each type of music. Researching bel canto, I have listened to different singers' recordings and have written short critiques of their voices, focusing on how they developed bel canto to sing verismo. I have focused on bel canto and verismo works for my repertoire and can apply the techniques safely based on bel canto training. To articulate this knowledge, I take three different arias (one bel canto aria, two verismo arias) as case studies to analyse, to demonstrate the points I want to make. In addition, as a native Mandarin Chinese speaker, I focus on how Mandarin native speakers deal with singing Italian, and I articulate techniques to help other Mandarin speakers learn bel canto. Overall, my research will have practical and artistic value for younger students in helping them to understand the challenges of singing verismo opera.</p>

Verismo opera: how bel canto technique protected the voices of its singers

<p>Verismo is a style of opera composition that was influenced by a significant movement in Italian literature from the end of the nineteenth century to the beginning of the twentieth century. It is characterised by the true-to-life portrayal of rural or urban poverty, often showing a robust regional lifestyle as well as serving as the introduction to the region's representative songs and dances. Historically, the singing of verismo opera posed some problems for singers in regards to their stamina and the longevity of their career. As a student, I attempted to sing this type of music, but I felt unable to sing it well; my difficulties and the problems associated with the performance of verismo, therefore, fascinated me. Rationalising that proper vocal technique was the answer to these problems, I then concentrated on long-term systematic bel canto training in China and New Zealand. In most cases, the study of bel canto technique is a fundamental part of the process of learning vocal music for classical singers. In addition to laying out the background of verismo and bel canto, my exegesis demonstrates how singers can learn to sing verismo opera well without damaging their voices, which will help them extend their stamina and the length of their career. I especially investigate the differing use of the body needed for singing each type of music. Researching bel canto, I have listened to different singers' recordings and have written short critiques of their voices, focusing on how they developed bel canto to sing verismo. I have focused on bel canto and verismo works for my repertoire and can apply the techniques safely based on bel canto training. To articulate this knowledge, I take three different arias (one bel canto aria, two verismo arias) as case studies to analyse, to demonstrate the points I want to make. In addition, as a native Mandarin Chinese speaker, I focus on how Mandarin native speakers deal with singing Italian, and I articulate techniques to help other Mandarin speakers learn bel canto. Overall, my research will have practical and artistic value for younger students in helping them to understand the challenges of singing verismo opera.</p>

Features of Futurism Performance on the Example of the Works ‘Luna, Lussuria e Velocita’ in Ilkham Nazarov’s Interpretation

The purpose of the study is to determine the vocal performance characteristics of the ‘Luna, Lussuria e Velocita’ work, written in the style of futurism in the interpretation of I. Nazarov, taking into account the peculiarities of the timbre of his voice. ‘Luna, Lussuria e Velocita’ is written in the futuristic style and is intended for bass/countertenor and electronic musical instruments. The purpose of the research is to determine the features of the vocal performance of the ‘Luna, Lussuria e Velocita’ work composed in the style of futurism, taking into account the features of I. Nazarov's voice timbre. The research methodology is based on the use of music analytical, historical and theoretical analysis methods. The analysis of vocal performance given in the research was carried out based on the note presented by the composer and the video material performed by I. Nazarov. At the same time, a number of scientific literature on futurism was referred to. The scientific novelty of the research is that the work of Italian composer S. Muscaritolo ‘Luna, Lussuria e Velocita’ was involved in the study for the first time. The work is designed for two registers (bass/countertenor) and is composed in the style of futurism, which characterizes its scientific novelty. The work uses non-traditional playing methods for bass and countertenor. In the research, the research of vocal performance methods used by I.Nazarov during the performance was carried out for the first time. Conclusions. I.Nazarov is the first and only singer in the history of Azerbaijani music culture with a countertenor voice and boundless vocal technique. Not only Azerbaijani but also European composers create works of various genres in accordance with the possibilities of his voice. These works are new due to their features and performance requirements. In ‘Luna, Lussuria e Velocita’ I. Nazarov showed himself as a singer with high technical capabilities, able to perfectly control both the baritone and countertenor sound timbre. The singer expanded the possibilities of performing the countertenor sound timbre, which gave rise to the assessment of the sound timbre from a new position.

Voicing Rupture: Resisting docility through performances of feminine agency in Arnold Schoenberg’s Das Buch der hängenden Gärten

<p>My experience of learning and performing Arnold Schoenberg’s song cycle, Das Buch der hängenden Gärten, can be explored through the lens of Foucault’s ‘docile bodies’ theory – that is, bodies that are ‘subjected, used, transformed, improved’. Participating in the disciplinary practice of self-policing, my obedience to the social, cultural and musical orders shaping western art song performance is enforced through self-imposed internalisation of normative practices and values. The singer’s body – my own body – is regulated in the Foucauldian sense; ‘disciplined’ through training and conditioning to align with normative practices, and, simultaneously, I act as ‘discipliner’ through self-imposed policing and monitoring of my body. The compulsive need to engage in the acts and processes of discipline implies inherent deficiency or deviance; the body must be transformed and ‘corrected’ through the processes of discipline that reflect the internalised value systems a body is measured against. In this exegesis, I explore my processes of self-regulation as disciplined and discipliner, investigating an intersection of ideals and tensions in my pursuit of technical command of vocal technique, obedience to the score, and the expectation of emotional abandon that an expressionist song cycle demands. Framed through narratives of ‘service’ and ‘prohibition’, I position the political anatomy of an eroticised, reproductive female body, exploring resistance and ‘rupture’ through the sexual agency of a disobedient and disruptive female singer.</p>

Voicing Rupture: Resisting docility through performances of feminine agency in Arnold Schoenberg’s Das Buch der hängenden Gärten

<p>My experience of learning and performing Arnold Schoenberg’s song cycle, Das Buch der hängenden Gärten, can be explored through the lens of Foucault’s ‘docile bodies’ theory – that is, bodies that are ‘subjected, used, transformed, improved’. Participating in the disciplinary practice of self-policing, my obedience to the social, cultural and musical orders shaping western art song performance is enforced through self-imposed internalisation of normative practices and values. The singer’s body – my own body – is regulated in the Foucauldian sense; ‘disciplined’ through training and conditioning to align with normative practices, and, simultaneously, I act as ‘discipliner’ through self-imposed policing and monitoring of my body. The compulsive need to engage in the acts and processes of discipline implies inherent deficiency or deviance; the body must be transformed and ‘corrected’ through the processes of discipline that reflect the internalised value systems a body is measured against. In this exegesis, I explore my processes of self-regulation as disciplined and discipliner, investigating an intersection of ideals and tensions in my pursuit of technical command of vocal technique, obedience to the score, and the expectation of emotional abandon that an expressionist song cycle demands. Framed through narratives of ‘service’ and ‘prohibition’, I position the political anatomy of an eroticised, reproductive female body, exploring resistance and ‘rupture’ through the sexual agency of a disobedient and disruptive female singer.</p>