Facets of interaction between the Ministry of National Education and the Ministry of Culture of France in the musical and educational space

The problem of research. The relevance of the research is due to the urgent need to find new approaches to the musical development of students in general education, which makes it significant to refer to the experience of France in connection with the existence in the country of an original model of musical education with an established system of multifaceted partnerships controlled by the bodies of the Ministry of National Education and the Ministry of Culture of France. The purpose of the article: scientific and practical justification of the need to develop a Russian strategy of musical development based on the interaction of educational and cultural organizations. Materials and methods. As a methodological basis, a system-structural approach was used, which made it possible to conceptualize the data obtained as a result of the analysis of sources, as well as in the process of personal communication with French colleagues. The results of the study. The mechanism of the studied interaction in various forms of educational, extracurricular and out-of-school musical activities is based on a clearly structured scheme of cooperation between schools and partner structures in the field of culture and art at the state (conceptual), academic (coordination) and local (performing) levels. The impetus for the construction of this system of partnerships was the recognition by the pedagogical community and the authorities of France of the priority of musical education as a powerful stimulant for the development of personal, intellectual and creative abilities of students necessary for successful implementation in any field of activity. Discussion and conclusion. The initial impulse to the emergence of the concept of attracting artistic and cultural structures in the musical and educational field was the introduction in the early 80s of the twentieth century of the original system of professional and amateur musical training of students in the framework of general education in college and lyceum. In the future, the experience of partnership interaction in the field under study gradually spread not only to academic, but also to extracurricular and out-of-school activities. As an important "breakthrough" of the French musical and educational project, a significant contribution to the educational activities of musical and cultural centers of global importance should be recognized. The far-sighted policy of the French authorities aimed at substantial support of artistic, especially musical culture as the basis for the development of the whole society can serve as a strategic guideline for the modernization of the music education system in Russia in terms of developing management schemes and educational technologies based on the interaction of educational institutions with cultural and art institutions.

Educação Musical e Autorregulação da Aprendizagem no Ensino Básico e Superior / Music Education and Self-Regulation of Learning in Basic and Higher Education

Resumo: A busca por formas de ensino aprendizagem em música, apontam a cada dia para modelos distantes do modelo conservatorial (PENNA; SOBREIRA,2020). Dentre as novas abordagens propostas, destaca-se o autogerenciamento cognitivo, atitude relacionadas a autorregulação da aprendizagem. Esta revisão de literatura, realizada no período de julho de 2018 a julho de 2019, teve como objetivo buscar na literatura disponível, pesquisas que identificam comportamentos de Autorregulação da Aprendizagem em alunos de música no Ensino Básico e Superior. Foram analisados trabalhos nos últimos 10 anos voltados para o ensino da música e estratégias de autorregulação da aprendizagem. Os resultados encontrados apontam os comportamentos autorregulados dos alunos e demonstram que aprendizes autorregulados tendem a desenvolver melhor suas atividades de aquisição do conhecimento e aqueles que não tem esse perfil, podem desenvolvê-lo a partir da adoção de práticas de ensino propostas pelo professor que estimulem atitudes e estratégias autorregulatórias.Palavras-chave: Autorregulação; ensino; aprendizagem; Educação musical.Abstract: The search for ways of teaching and learning in music point each day to models that are far from the conservative model (PENNA; SOBREIRA, 2020). Among the new approaches proposed, cognitive self-management stands out, an attitude related to self-regulation of learning. This literature review, carried out from July 2018 to July 2019, aimed to search the available literature for research that identify Self-Regulation Learning behaviors in music students in Basic and Higher Education. Works in the last 10 years focused on music teaching and self-regulation learning strategies were analyzed. The results found indicate the self-regulated behaviors of students and demonstrate that self-regulated learners tend to better develop their knowledge acquisition activities and those who do not have this profile can develop it based on the adoption of teaching practices proposed by the teacher that encourage attitudes and self-regulatory strategies.Keywords: Self-regulation; teaching; learning; musical education.

Կոմիտասի գրադարանը

Կոմիտասից պահպանված գրականությունն ընդգրկում է 300-ից ավելի գիրք, որը չի կազմում նրա գրքացանկի ամբողջական թիվը։ Կոմիտասի գրքերն ուղեկցել են նրան իր կյանքի և գործունեության տարբեր ժամանակահատվածներում, ունեցել են տարբեր գործառույթներ և ծառայել են տարբեր նպատակների՝ կրթությունից մինչև մասնագիտական հետազոտություններ։ Հոդվածում դասակարգված է Կոմիտասի գրականությունը՝ ըստ մասնագիտական, գեղարվեստական և այլ ոլորտների, ներկայացված են տեղեկություններ որոշ գրքերի մասին, ինչպես նաև Կոմիտասի կրթության և գործունեության ճանապարհին այդ գրքերի դերն ու նշանակությունը։ Կոմիտասի գրադարանում ծավալուն տեղ են զբաղեցնում երաժշտական գրքերը՝ ներառյալ հոդվածներ, կլավիրներ, պարտիտուրներ, օպերաների լիբրետոներ և այլն։Կոմիտասի հիմնավոր երաժշտական կրթությունը, տարբեր երկրների և ժամանակների երաժշտության պատմության մասին աշխատությունները, հայ եկեղեցական և հոգևոր երաժշտության մասին մեծ թվով գիտական (ներառյալ խազաբանական) հետազոտությունները, կոմպոզիտորական, խմբավարական, կատարողական գործունեությունը առիթ են եղել բազմաբնույթ գրքերի ձեռքբերմանը։ Հարուստ և բազմատեսակ գրականության ձեռքբերմանը նպաստել են նաև Կոմիտասի մի քանի լեզուների իմացությունը, հետաքրքրությունը հայ և արտասահմանյան գեղարվեստական գրականության, արվեստի և գիտության այլ ճյուղերի հանդեպ։ Կոմիտասի երաժշտական գրականությունն ընդգրկում է երաժշտատեսական, պատմական, գեղագիտական, միջնադարագիտական, ֆոլկլորագիտական, կոմպոզիտորական, կատարողական, մանկավարժական-մեթոդաբանական գրքեր։ The preserved literature that we have received from Komitas includes more than 300 books, which is not the complete number of books on his list. Komitas's books accompanied him in different periods of his life and activities. They had different functions and served different purposes, from education to professional research. In this article, Komitas’s literature is classified according to professional, artistic, and other spheres. Their role and significance in Komitas’s education and activities is presented. Information about special books is also presented. Music books occupy a large place in Komitas's library, including articles, pianos, scores, librettos of operas, etc. Komitas's thorough musical education, works on the history of music of different countries, times, numerous scientific (including “Khaz”) studies on Armenian church music, composing, conducting, and performing activities have been the occasion for acquiring various books. The acquisition of rich and diverse literature was also facilitated by Komitas's knowledge of several languages, his interest in Armenian and foreign fiction, art, and other branches of science. Komitas's musical literature includes music theory, historical, aesthetic, medieval, folklore, composition, performance, and pedagogical-methodological books.

Pedagogic model of professional training of future music teachers in higher education

The article represents the study of professional training of future music teachers’ preparation. The article is paid attention on analysis of the concept of “professional training” and using innovative integrical technologies, projective technologies and art management technologies. The multi-aspect nature of this phenomenon is shown. The system of professional training, pedagogic model and characteristics of types of training in musical education and results of scientific research are presented. The article shows a modern view of the problem of training future specialists in the educational field of music preparation, where professional training is described as a process aimed more at the formation of knowledge, skills and abilities and the special course “Basic of art management” is presented. Special emphasis is placed on necessity of deepening into projective art-creative activity, presentation and implementation creative projects. In conclusion, the author emphasises the perspective of the “pedagogic model of professional training of futurе musіс tеасhers” tаkіng іntо ассоunt the specifics of professional activity in this field and using innovative pedagogic technologies.

Una storia della musica e della lirica greca dalle origini al IV secolo a.C. nel De musica attribuito a Plutarco

Ps. Plutarch’s De musica is an important source for reconstructing the history of ancient Greek music and lyric poetry. It is sharply divided in two parts: the first one is the history of music and lyric poetry, from their mythical origins to the IV century BC; the second one is about the ethical and social function of musical education. The discussion of the first part is about the metrical and rhythmical structure of the pre-Homeric citharodic epic compared to verses of Stesichorus and Terpander; kitharōidikoi and aulōidikoi nomoi, Phrygian origin of aulōidia, musical schools in Sparta in relation to the poetic genres definition. Heraclides of Pontus provides the material for Chapters 3-12 (the main exception being Chapter 11, which is explicity credited to Aristoxenus). He indicates the Anagraphe en Sikyoni as his source about Amphion and the origin of kitharōidia. But the history of aulōidia is attributed to a different writer, Glaucus of Rhegium, who lived in the fifth century and is the earliest musical historian.

Poscolonial Peruvian Sheep and Their Digital Dreams: Pure Data as a Tool for Conceptual Reconfiguration in Peruvian Musical Education

In this work, I discuss the use of Pure Data as the main tool for the development of paradigmatic changes in Peruvian musical education, through the implementation of the Laboratorio de Música Electroacústica y Arte Sonoro of the Universidad Nacional de Música in Lima - Perú. This analysis is made taking under consideration the particularities present in the development of the study of technology-based music in the country and the historical shortcoming that have marked that development. This work complements my previous research regarding the relevance of specific social narratives present through the history of the nation in regards to technology and musical innovation. In that sense, it presents a historical that seeks to revert the course of a musical learning history that excludes technology based musical practices associated with Pure Data, from becoming part of the official processes for musical creation in the country.

Pedagogical Potential of Mental Practice in Teaching Brass Instruments at University

At any level of musical education, it is very important to improve one’s musicianship skills, which can only be achieved through consistent training and playing their musical instrument. Physical training is a very important part of the learning process; however, its combination with mental practice has been proved to be much more effective. Although such an approach is important at all levels of musical education, the paper addresses it in the context of higher education. Thus, the aim of this study is to determine the pedagogical potential of mental practice in the process of teaching music in higher education. The research was implemented in two stages. First, a survey was conducted to gather information about the respondents’ habits when learning musical pieces. At this stage, the study involved 68 brass students from different universities around the world between the ages of 19 and 25. The second stage of the research comprised the development of the program of mental practice (PMP) with structured observation as a method and 7 participants from Latvian and Norwegian higher music education institutions. The obtained results allow to conclude that the inclusion of mental practice in the practicing routine significantly improves the overall level of concentration and stability both in the process of training and during performances. Mental practice also provides an opportunity to increase the duration of training as well as enhances the overall effectiveness of practicing and concentration during performances.

Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development

The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded in the 1920s. Their main participants were H. Besseler and T. Adorno. A valuable source of information is the programs of music festivals in Donaueschingen and Baden-Baden, where Gebrauchsmusik was evolving as a multi-genre artistic experiment. Hindemith played the leading role in this process. It is also important to understand the reasons that prompted the composer to use M. Luther’s text in the cantata “Frau Musica”.Today the Gebrauchsmusik’s ideas — revitalization of the audience, expanding access to musical education and practical musical activities that evolve collaborative work — have gained the most relevance. According to the author’s hypothesis, “Frau Musica” can be regarded as an illustrative example of a work that combines different views on the nature of musical participation: a spiritual act, a collective work, the highest level of musical accessibility. In this particular composition, Hindemith intuitively found the most promising ways for the development of creative interaction between the composer and the listener, which subsequently led to the creation of a whole corpus of participatory works, including Tod Makover’s “City Symphonies”, Alexander Radvilovich’s “Baltic Music”, Paul Rissman’s “Supersonic”.