The Influence of Brand Specific Stimuli on the Perception of Music. An Experimental Approach

In an increased competitive market, the way music performers build their brand identity becomes of great importance. Starting from a gap in the literature, the present study aims to investigate the correlations between the existence of a visual identity of a singer and the perception of the singer’s song. Thus, the research inquires if the presence of visual brand elements can generate a better attitude on the song, stronger emotional reactions and attachment, and a deeper intentional behavior in terms of listening to the song again and recommending it to others. A 1x2 online survey-based experimental design has been developed. Contrary to expectations, the data reveal neither strong, nor significant relationships between most of the above-mentioned variables. However, being an impactful topic for the music specialists, research directions that can be further investigated have been emphasized.

Creating Big-Screen Audiences Through Small-Screen Appeals

Film trailers have begun to garner scholarly interest among film and music specialists, whereas spots or trailers produced for cinematic campaigns on television remain unexamined. This chapter attempts to redress the gap by studying the history, functions, and aesthetics of film advertising on television, primarily from the perspective of their soundtracks. The study documents how film studios only gradually accepted the medium of television for promoting their products, initially experimenting with a variety of formats and distribution models into the 1960s. Analysis of recent television trailer texts and practices reveals their reliance upon music as a narrative and gestural force, which increases as the release day draws closer and the short forms become shorter: music’s concision dictates its leading role in creating the urgency of last-minute appeals. Closer examination of one television marketing campaign in particular, for The Dark Knight Rises (2012), illustrates how music functions within typical small-screen advertising promotion.

PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE

The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.

ДО ПИТАННЯ ЕМОЦІЙНОЇ ВИКОНАВСЬКОЇ СТАБІЛЬНОСТІ ФАХІВЦІВ МУЗИЧНОГО МИСТЕЦТВА

The article highlights the issues of emotional stability. The approaches of psychologists to the definition of this definition are revealed, internal (personal) and external (interpersonal, social support) resources that support it are shown. The emotional performance stability of music specialists for their successful performance is characterized.

Integrating Music Across the Elementary Curriculum

This book is designed to support K–5 classroom teachers as they integrate music throughout the elementary curriculum. It contains detailed, practical ideas and examples, including full lesson plans and over a hundred teaching ideas and strategies for integrating music with visual art, language arts, social studies, science, and mathematics. Following an overview of the interdisciplinary approach, the remaining chapters explore connections between music and other areas of the elementary curriculum. Each chapter also includes a section addressing national standards with tables showing the specific standards that are included in each lesson and activity. This text utilizes the most recent National Core Arts Standards (2015) as well as the most recent standards in language arts, social studies, science, and mathematics. All the lessons in this book are designed to be fully taught by classroom teachers; the content is accessible to those who lack formal music training, yet is solidly rooted in research and best practices. While classroom teachers can teach these lessons on their own, this book may facilitate partnerships and collaboration between classroom teachers and music specialists. All the lessons and activities included in this text have been reviewed by practicing teachers, and most have been field-tested in elementary classrooms. Throughout the book, there is an emphasis on interdisciplinary lessons that demonstrate valid connections between disciplines while maintaining the integrity of each discipline involved. The text also includes a model that allows teachers to successfully create their own interdisciplinary lessons.

The Conception of the Contemporary Chinese Opera Music Score Database

Music score are the carrier of musical works, and Chinese Opera is an important part of traditional Chinese folk music. The enduring transmission method of music is an oral tradition, and only a few operatic scores (such as Kunqu Opera, Peking Opera, etc.) have been published before 1949. It was only in the 1950s where the surge of music specialists in the workforce has initiated an effort to record operatic works, resulting in the publication of Chinese Opera and vocal music. After the 1980s, various operatic texts were found stacked on top of each other. In particular, during the Seventh Five-Year Plan key scientific research project of the National Philosophy and Social Sciences, the “Chinese Opera Music Integration” series was founded to compile a comprehensive collection of vocal scores from various operas. By creating a database, a large number of rich resources on opera music can be accessed when all of its information and classification are compiled into the database. By providing the function of searching and browsing some of the vocal scores and images online, its significance is not only limited to providing complete access to operatic works but also promotes the development of academic research in opera music.

THE COMPOSITIONAL AND MUSICAL COMPONENTS OF SPECIAL ARTISTRY IN RHYTHMIC GYMNASTICS

Rhythmic gymnastics is an Olympic sport. Competitive composition in rhythmic gymnastics should not only meeting the requirements of the physical abilities, but being technically perfect and expressively performed by a gymnast as well. Describing the expressiveness of rhythmic gymnast’s performance, the term “special artistry” is used. Special artistry in rhythmic gymnastics means artistry of compositional content, artistry of rhythmic gymnast, shown by athlete during performance of competitional composition and gymnast’s artistic abilities, influencing aesthetical effect of composition performance. The evaluation of judges at competitions often has a subjective character that is why the actual task of research is to make the expert assessment more objective. Particular investigation in general focuses on possible solutions to make alternative judging. Thus special artistry generally is viewed in 4 components – technical, aesthetical, compositional and musical. This paper is focused only on compositional and musical components of special artistry, headlining creation, build and content of composition, its execution and compositional and musical skills of the gymnast. The aim of the research is to define and to classify competitional composition determining components criteria and exponents of special artistry in rhythmic gymnastics. To develop this research there was used the meta-analysis of scientific literature, using researches of the top rhythmic gymnastics, art and music specialists from one data base, with further creation of thematic typology of elements. In total there were screened 961 sources of which 107 qualified and 25 were chosen for further research. Investigating chosen data sources by the appropriated search terms, as a result 15 criteria and 104 exponents in compositional component, and 5 criteria and 4 exponents in musical component of special artistry in rhythmic gymnastics were determined and classified according to the selected structure of special artistry components in rhythmic gymnastics.

Teaching–learning resources and supports in the music classroom: Key aspects for the inclusion of visually impaired students

Currently, there still exist barriers that prevent a satisfactory connection between music education and the visually impaired population. This is due to the teachers’ lack of preparation and their general ignorance of the functioning of the Braille music system, the materials, specialist support, and other tools needed for the inclusion of this type of students in the classroom. In order to familiarize the educational community with the resources and specialist support involved in inclusive music teaching, we conducted and analysed semi-structured interviews with the following persons: (1) the music specialists at the Organización Nacional de Ciegos Españoles Resource Centre (Spanish National Organization of the Blind); (2) a music teacher who had two visually impaired students in her classes; and (3) a blind student who studied music and had specialized in piano performance. The contributions made by this article consist of the categorization of the different teaching–learning resources involved in inclusion, information on how specialist support can be provided to facilitate these resources, and the relationships between resources and specialist support taking into account the point of view of teacher as the main figure responsible for inclusion in the music classroom.

Evaluating the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music

This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.

3. Practice Through Movement and Practice Through Motionlessness

Through this paper we address the students from theatre and music specialists, but also all people interested in elements belonging to Tai Chi practice, considering that these, once introduced into a specific physical exercise program, are beneficial for the development of the respiratory capacity and also for a good physical and mental balance that support the professional skills. These two expressions used in the majority of martial arts, dung-gong movement practice and jing-gong motionless practice are yin and yang aspects and are based on the balance between motion and stillness of the body and the mind.