Digital educational space in the professional training of music teachers

Professional training of music teacher is a versatile and creative process. It includes numerous areas, such as instrumental and vocal training, studying pedagogical technologies for working with children, studying masterpieces of world music art, and, certainly, studying digital resources and technologies. Digital education space is a digital environment integrating opportunities of digital education resources, computer-aided music technologies and tools, which is the basis in training music teacher. The importance of skills of setting as interactive accompaniment and basic user accompaniment in the form of phonogram is also stipulated by the specificity of accompaniment activity of music teacher as one of the major constituents of professional readiness. Imagination of music teacher as a concertmaster (accompanist of children singing) exerts the influence on whether he would be able by means of expressive playing and keyboard technique to underline and to support the temper of children singing, to present clearly and to reproduce instrument features by piano. That is, a music teacher should be aware of organology, know features of instrument sounding and peculiarities of various instruments. This is sufficiently aided by sequencer software with embedded banks of virtual tunes on synthesizer. In digital education space, video is presented as teaching aid for transfer of learning information, that is, it is considered as video aid, video device used for organization of education. Under existing conditions of distance learning, the interaction between teacher–choirmaster, teacher–vocalist, concertmaster, and students is supported by information and communication technologies. Therefore, mastering means and resources of digital education space is aimed at improved of professional training of future music teacher being the basis of formation of personal capabilities and skills of student.

Intavolature and the Techniques of Instruments

The notion of multiple voices coming together in harmony was deeply engrained in European ideas of fine music. For little hands playing a harpsichord, to capture the effect of multiple voices required some practice and special techniques. Intavolature were teaching pieces for beginning keyboard players. These pieces both introduced the basics of keyboard technique and demonstrated how to perform the most common schemas. Intavolature also provide us today with models for what the texture and level of difficulty might have been for realizations of partimenti.

Besprechungen

Besprochen: Albrecht, Christoph: Interpretationsfragen [...] Berlin 1981 Dreyfus, Laurence: Bach's Continuo Group [...] Cambridge/MA 1987 Faulkner, Quentin: J. S. Bach's Keyboard Technique [...] St. Luis/MO 1984 Fuchs, Josef Rainerius: Studien zu Artikulationsangaben in Orgel- und Clavierwerken Joh. Seb. Bachs. Kassel 1983 Hochreither, Karl: Zur Aufführungspraxis der Vokal-Instrumentalwerke Johann Sebastian Bachs. Kassel 1983 Klotz, Hans: Die Ornamentik der Klavier und Orgelwerke von Johann Sebastian Bach [...] Kassel 1984 Rilling, Helmuth: Johann Sebastian Bachs h-Moll-Messe. 2., verä. u. erw. Aufl. Neuhausen-Stuttgart 1986