Metode ARTS Sebagai Upaya Meningkatkan Keterampilan Solfegio Mahasiswa Prodi Pendidikan Musik di Jurusan Sendratasik FBS Universitas Negeri Padang

This study aims to describe the ARTS method as an effort to improve the solfegio skills of music study students in the Department of Drama, FBS, Padang State University. This research is a quasi-experimental research using descriptive analytic approach. The results of the study found that applying the four stages in the ARTS method could improve Solfegio skills, namely: (1) the preparation stage, namely designing the subject matter. (2) Presentation stage, namely the explanation of the concept of rhythm, interval, melody, and transfiguration of note units. (3) Practice stages or exercises, namely Audio, Reproduction, Transcription, and Sight-reading/ Sight-singing exercises. (4) Stages of performance, namely assessment. This research is expected to be a guide in learning solfegio, both at the elementary and tertiary levels

THE ROLE OF MUSIC IN PSYCHOLOGICAL AND EMOTIONAL DEVELOPMENT

"It is widely believed that a truly “whole” person is one whose intellectual and emotional responses are normally developed; yet our patterns in education tend to stress the intellectual and ignore the emotional. Te arts, because of their emotional demands, make for. stronger bond between persons who can share in the art experience. This is especially so of music which has a long been termed the universal tongue. It is a form of communication in which every human being can participate. Many studies have shown that it is not by accident that we find minimal behaviour problems among the students who are involved with music study. It is now believed that the child who becomes involved in expressing himself/herself through the media of music takes on new dimensions in his or her psychological, behavioural and sociological relationships. It is this paper, we shall draw upon the experiences of music educationists from various countries, and as a consequence, it is reaffirmed that for a holistic and balanced development of students personalities music study should be mandatory in school curricula."

School Music and the Transition to College

This study explored the transition from secondary to postsecondary education among a national sample of students who had or had not studied music in high school. Using evidence from the High School Longitudinal Study of 2009, a nationally representative longitudinal study of 21,440 American high school students who were ninth graders in the 2009–2010 school year, music and nonmusic students were compared for college admission outcomes. Specifically, music and nonmusic students were compared in terms of participation in the college admission process, the selectivity of colleges applied to and attended, scholarship and grant receipt, and election of either an arts or STEM (science, technology, engineering, mathematics) major. Comparisons controlled for the well-documented preexisting differences among those students who do and do not elect high school music study. Results showed that music and nonmusic students dropped out of high school, applied to college, attended college, received college scholarships and grants, and majored in STEM fields at statistically similar rates. However, music students were considerably more likely to major in a visual or performing arts field than nonmusic students. These results suggest that school music study does not disadvantage students in the transition to college even when compared with peers who elected additional “academic” subjects in lieu of music.

“Deeds of Music” in Bourgeois Opera (What the Listener Sees…)

The internalized visualization of symphonic music was validated by “New German School” programmaticism. Wagner’s mature music-dramas, with their symphonic “underscores,” were even theorized by him as “deeds of music made visible.” By locating dramatic agency in his concealed orchestra, Wagner problematized in advance his later disparagement by critics for whom the cinema downgraded music to the role of redundant accompaniment. Recent work on music in popular melodrama further complicates our understanding of critical battles fought over music and meaning in mass-entertainment theatre, where its melodramatic use seems initially to have served to repress socially disruptive “meaning.” Implications for film music-study of discoveries about melodramatic music are traced here with reference to a 1989 film realization of Delius’s opera A Village Romeo and Juliet (1901), whose last orchestral interlude (“The Walk to the Paradise Garden”) is turned there into a fully realized, “silent” cinematic narrative.

Theoretical and Practical Significance of Depicting Ancestral Heritage through Music

Theoretical, practical, analytical and practical application of ancestral heritage through music. Study and description of national songs by singing ghazals in folk tones.

Ironically enjoyed music: An investigation of the unique self-regulatory value of irony as part of the enjoyment of music

Ironic enjoyment occurs when people enjoy music despite or because of it being evaluated as bad. Although initial qualitative results suggest that this phenomenon fulfills a variety of self-regulatory functions that are also found in enjoyed music, to date no research has experimentally tested how important these functions are in ironically enjoyed music, in comparison to naturally enjoyed music. In two between-subjects experiments, participants ( N = 216 and N = 143) were instructed to think back to a recent occasion in which they listened to a piece of music which they either enjoyed ironically or enjoyed naturally. They then answered questions on the effects this had on them (Studies 1 and 2) and on the subjective qualities of the music (Study 2). The results suggested that ironically enjoyed music had less effect on personal identification and on managing positive or negative moods and was also appreciated less and judged as less novel than naturally enjoyed music. Differences in mood-management functions were associated with lower levels of subjective qualities of ironically enjoyed music, especially appreciation. Novelty was especially related to positive mood enhancement for ironically enjoyed music. Participants mentioned humor as an additional function of ironically enjoyed music listening.

The «Chateau of the Loire Valley» piano fresco as a representation of the artistic thinking of Lesia Dychko

The purpose of this represented scientific article is to reveal the specificity of piano thinking of L. Dychko as exemplified in the «Chateau of the Loire Valley» piano fresco. Methods. The methodological background of the study includes the integration of general scientific (historical, system-related, dialectic, culturological, comparative) and special artistic, in particular, music study methods and approaches of the scientific study. The application of the series of special methods of the music study research, characteristic to the historical, theoretical and performance musicology promoted the solution of the problems brought up in the article. Scintific novelty. The scintific novelty of the undertaken study is the revealing of the conceptual bases and intonational-stylistic specificity of the «Chаteau of the Loire Valley» piano fresco as the representation of the universality of L. Dychko’s creative thinking. Conclusion. The article reveals the form-forming and textural principles of the music mirroring of the masterpieces of French architecture in the text of the «Chаteau of the Loire Valley» piano cycle. The performed analysis enabled the distinguishing of L. Dychko’s piano piece as a model of the interspecific artistic communication and a manifestation of the artistic dialogue within «music - architecture» system, which is revealed on the graphically-associational, intonational and semantic, structural, texture and stylistic levels. The article proves that the «Chаteau of the Loire Valley» fresco of Lesia Dychko is distinguished by the immensity of the artist's intention, concert performance and stylistic direction and the high level of the pianistic technique, which is evidenced by the diversity of the piano texture, wide register coverage of the fingerboard, the predominance of the elements of octaval-chordal technique, the diversity of masterly performed passages and figured approaches, which are indued with formal and meaningful properties and acquire the value of the stylistic and graphically-semantic factors. There has been proved in the work the composer’s appeal to the music thesaurus of contemporary pianism, the established in the piano practice texture and expressive means and general types of movements, as well as the individualized performance approaches, endued in the context of the cycle with different functionally-semantic loads (coloristic background, representation of the sonic flow dynamics, graphical and emotional tension, disconcentrated figurative thematic invention, concert-virtuous style).