Hasil untuk "Musical instruction and study"

Una MacGlone

Inclusion is often stated as a key dimension of community music (CM). This is of interest in CM research and practice as well as in broader contexts of music education; finding ways of increasing access through and in music participation are imperative. Inclusion, however, is understood in contrasting ways and is often constructed from an adult’s perspective. While practitioner values and actions for achieving and maintaining inclusive spaces have been investigated, less is known about (a) approaches of CM teams with practitioners who have additional support needs (ASN) and (b) how participation may be constructed by children with and without ASN. To investigate this, an exploratory qualitative study investigated a six-week CM programme. Workshops were delivered for seven children aged 10-12, (three with ASN) by two CM practitioners (one of whom wears hearing aids). Interviews were undertaken with practitioners and a child-led focus group was held after the programme. Data were analysed with thematic analysis, resulting in identification of three practitioner themes: multiple ways in which outlines the potential for children to contribute through different artistic disciplines; special communication, which describes the crucial aspect of maintaining a close working relationship in the delivery team and the importance they placed on recognising and building on golden nuggets which were moments of creative flow in the group. Themes from the children: expressing yourself and building a band explored emotional release that group music making provided and social gains and strong group identification the children perceived in creating a “band” together. Capturing these influential views offers insight into (a) how practitioners’ multimodal communications provided distinct options for participation and (b) the potential of investigating children’s musical identities as providing an effective lens for understanding inclusion.

Jiarui Pu, Abdul Rahman Bin Safian, Mohd Nizam Bin Nasrifan et al.

One-to-one teaching remains significant in music teaching, however, this approach to Western Classical Instrumental Music (WCIM) teaching in higher education institutes prioritizes the technical aspect of music and tends to ignore its interpretive aspects and music institutions are often called to justify the need for such an expensive and resource-intensive approach to music education. The mastery of musical instruments requires a sensibility towards the music as well as a competency to interpret music, and manipulate the instruments. Therefore, there is a significant need to investigate the need for developing students' higher order thinking skills (HOTS) within this context. The present study adopts an exploratory sequential mixed approach to collect data by interviewing 15 teachers and surveying 538 students for Need Analysis in higher education. The findings revealed that teachers and students in one-to-one WCIM instruction have a strong Target Need for developing HOTS in Higher Education. Meanwhile, more practice on HOTS for students within the classroom is vital Route for Learning Needs, however, there is a challenge in stimulating different levels of students' motivation to explore independently. Furthermore, given the current obstacles faced by teachers, the present study implies the need for broader HOTS studies on WCIM teaching and learning, which will bring benefit to both students' lifelong learning and healthy development of WCIM education discipline. In addition, the study recommends the designing and developing of a more feasible framework for teachers as an urgent further study to improve the HOTS implementation.

Yemit Ledesma

Durante su estancia como compositor visitante en el Columbia – Princeton Electronic Music Center (Nueva York, 1967), un joven Edgar Valcárcel de alrededor de 34 años creaba su primera obra para sonidos electrónicos llamada Invención. La obra nos sumerge en una variedad de ondas sonoras electrónicas, combinadas con ruido filtrado que haciendo uso de las técnicas tradicionales de la electroacústica (corte, empalme de cinta magnética y creación de loops) dan como resultado una atmósfera sonora introspectiva e inquietante.

Rafael Felipe dos Santos, Sonia Regina Albano de Lima

O presente artigo descreve os princípios pedagógicos da abordagem Orff-Schulwerk, idealizada pelo compositor Carl Orff, bem como sua adequação às competências pedagógicas veiculadas na Base Nacional Comum Curricular (BNCC, 2017), principalmente aquelas direcionadas para as aulas de música realizadas na educação básica brasileira ‘anos iniciais’. Este documento normativo projeta e define o conjunto orgânico e progressivo de aprendizagens essenciais nas áreas de conhecimento que integram o currículo escolar da educação básica e tem a música como uma dessas áreas. A fundamentação teórica do artigo está embasada nos textos de João Cunha, Sara Carvalho e Verena (2015), Wolfgang Hartmann (2021), Cintia Lopes (1991), Carl Orff (1964) e Melita Bona (2012), que descrevem parte da história dessa abordagem, sua função e intenção pedagógica e sua aplicabilidade no ensino musical em geral. O relato possibilitará aos educadores musicais e professores de música, obterem maior conscientização da utilização dessa pedagogia nas aulas de música realizadas na educação básica ou em qualquer outro organismo destinado ao ensino e aprendizagem musical.

Aurelio Tello Malpartida

Las efemérides son siempre un pretexto para organizar actividades en torno a ellas. Este 2024 el Perú conmemora el bicentenario de las dos batallas que definieron el rumbo que tomaron nuestros pueblos al liberarse del dominio español y declararse territorios independientes. Por esa razón, el Instituto de Investigación de la Universidad Nacional de Música organizó el Encuentro Científico Simposio Internacional de Musicología “En torno al bicentenario de las batallas de Junín y Ayacucho: Creación musical, investigación y difusión”, que se efectuó, de manera virtual, el 21 de agosto del año en curso. Las ponencias presentadas tenían como destino ser publicadas en el Dossier de ANTEC, revista peruana de investigación musical, que se diseñó para tan importante conmemoración.

Vivi Ervina Dewi

This research aimed to determine whether there is a significant correlation between mastery of music theory, solfeggio, and skills in playing primary music instruments at the intermediate level in the Music Arts Study Program at the State University of Surabaya. The research employed quantitative method with correlational research design. Pearson product-moment correlation analysis was used as the correlational research technique. The prerequisite test indicated that the data followed a normal distribution and that the independent variable and the dependent variable exhibited a linear or symmetrical relationship. The research results revealed a very strong relationship, as evidenced by a Pearson correlation coefficient of 0.893** and 0.891**. The two-star sign (**) in the results indicates a significant correlation with a significance value of 0.000 and a two-tailed possibility. The positive correlation coefficient indicates a unidirectional relationship between the variables. Thus, the research results show a significant relationship between mastery of music theory, solfeggio, and intermediate level playing skills on primary music instruments in the Music Arts Study Program at State University of Surabaya. This conclusion is supported by the significance value of 0.000 for both the mastery of music theory variable and the knowledge of solfeggio variable in relation to the intermediate level playing skills on primary music instruments. The calculated significance value (sig o) was found to be less than 0.05 (0.01), confirming the statistical significance of the results.

Tomás Godoy Marqués

Gelažiūtė-Pranevičienė Eglė

The article reviews the tendencies of contemporary musical folklore releases in Lithuania, focusing on the last five years. Based on scientific and journalistic literature, music, and conversations with authors and label owners, the experiential aspect is explored through different ways of creating and releasing music. The period overlaps with the extreme experience of the COVID-19 pandemic, which had impact on some of the tendencies. The article discusses the musical works that best reveal the mentioned aspects and their scope, while using phenomenological-anthropological and musicological approaches.

Tuula Jääskeläinen

The increasing participation rate in higher education has raised its own issues, such as how to fund the growth while retaining the quality of education. In Finland, it has been argued that the tuition-free higher education policy increases equality. On the other hand, in the United Kingdom, establishing a system of tuition fees supported by an income-contingent loan system for students has also been argued to increase equality. In Australia, students also face high tuition fees for higher education, as well as a support system focused on domestic students. In addition to tuition fees, entrance examinations also play a crucial part in higher education systems. In order to examine inequalities in higher education from the students’ point of view, tuition fees are scrutinised in connection with equality, and entrance examinations in relation to cultural reproduction. Comparing examples of higher music education institutions in Finland, the United Kingdom, and Australia shows that there are large differences between the tuition fees charged for domestic and international students, as well as between countries. Entrance examinations in higher music education are similar in these countries, but may include inequalities based on long traditions in the field of music, especially in classical music. By revealing misconceptions about equity in higher education, it is possible to have a critical debate about the role of tuition fee systems as they are connected with the economics of higher education, and about entrance examinations as reproducing social class inequalities. This discussion may contribute to the redefinition and reformation of more equitable and just education systems, and promote equality in general in society.

Jose Antonio López-González, Juan Rafael Muñoz-Muñoz, Javier González Martín

La práctica instrumental conlleva una compleja actividad motora y cognitiva que ha sido objeto de múltiples estudios, sin embargo, son escasas las investigaciones que indagan los efectos de programas de intervención diseñados para optimizar el aprendizaje en músicos. En este artículo se ha realizado una revisión de estudios que incluyen como procedimiento metodológico una intervención dirigida a la mejora de la práctica instrumental y que utilicen técnicas de autorregulación del aprendizaje, entrenamiento en habilidades psicológicas o mindfulness. Estos tres tipos de intervenciones, habituales en el ámbito deportivo, son de reciente incorporación en el contexto musical. La principal conclusión que presentamos es que estas intervenciones pueden resultar positivas para las diversas facetas cognitivas y motivacionales del músico, ayudando a lograr una práctica de estudio autónoma y eficiente.

Yensharti Yensharti, Delvia Mona

Penelitian ini bertujuan untuk mendeskripsikan pembelajaran awal praktek instrumen biola pada mata kuliah Praktek Instrumen Mayor I di Prodi Pendidikan Musik Jurusan Sendratasik Fakultas Bahasa dan Seni Universitas Negeri Padang. Jenis penelitian adalah deskriptif kualitatif pendekatan studi pustaka, dan dokumentasi. Penelitian ini menggambarkan kegiatan pembelajaran biola meliputi pengenalan instrumen, pengenalan penggesek, pengenalan senar biola persiapan peserta didik dalam mempelajari biola terkait sikap atau posisi tubuh dalam memainkan instrumen biola, penggunaan penggesek memainkan nada dalam posisi open string, penggunaan penjarian dengan teknik gesekan Whole bow, Legato dan Staccato. Hasil penelitian menjelaskan posisi tubuh dan penggunaan bowing Whole Bow (W.B) dengan penjarian dan posisi yang tepat berguna untuk menguatkan teknik dasar dalam bermain biola yang bertujuan memantapkan bunyi nada yang berkualitas sesuai dengan teknik yang tepat untuk mendapatkan hasil belajar yang maksimal.

Patricio Josué Velarde Dediós

Este artículo aborda el reguetón desde una perspectiva de género y enfoca el aporte de las mujeres en dicha práctica musical. Ante la invisibilización y encasillamiento que sufren las artistas en el reguetón, se explora los factores que facilitan a las reguetoneras conseguir reconocimiento por sus aportes y las estrategias que les permiten superar la condición de ser consideradas solo acompañantes líricas de los artistas masculinos. A partir del análisis de canciones con presencia vocal femenina acreditada, se propone que contar con relaciones de parentesco o una trayectoria internacional previa a la incursión en el reguetón permite a las mujeres superar la invisibilización y recibir crédito por sus aportes a la producción del género musical. Asimismo, a partir del análisis de canciones y álbumes de autoría femenina, se concluye que la apropiación de la masculinidad y la creación de espacios femeninos son estrategias de empoderamiento que las reguetoneras usan para superar el encasillamiento.

Jones Daniel A.

A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's title. Existing analyses either only focus on a singular movement, or are limited; presumably, due to a prevailing notion that Hindemith simply orchestrated the piano pieces. Potentially exacerbating the issue may be the fact that it was not known for nearly twenty years after Symphonic Metamorphosis was premiered which Weber duets Hindemith reworked. This analysis, coupled with the background information provided, shows that Hindemith's settings transcend mere orchestrations and, in some cases, exhibit qualities of original composition. The analysis thoroughly delineates Weber's Turandot overture and three piano duets, part by part and hand by hand, to show exactly where and how Hindemith altered the original writings. The differences in overall form, measure numbers, tempi, meter, and harmony are listed. In addition, it is revealed which thematic additions, alterations, and omissions Hindemith includes.

Natália Brunelli da Silveira, Marcos Câmara de Castro

Este artigo é uma pesquisa bibliográfica teórica sobre rítmica e seus métodos de ensino, realizada por meio de levantamento de definições e conceitos relacionados a ritmo e ao recorte rítmico escolhido; e análise de métodos utilizados por universidades estaduais paulistas, nas disciplinas de percepção musical e rítmica, quando esta existe na grade, sendo eles: Guia Teórico-Prático para o Ensino do Ditado Musical partes I e II de Pozzoli; Rítmica de José Eduardo Gramani; Manual de Rítmica de Abelardo Mato Alonso; Ritmo de Bohumil Med; e Treinamento Elementar para Músicos de Paul Hindemith; quanto aos seus respectivos princípios norteadores para elaboração dos exercícios propostos como também, quanto às suas abordagens com relação à subdivisão e ao manuseio do tempo musical. Desta forma, busca-se entender como tais métodos e, por consequência, o ensino superior de música no estado de São Paulo, trabalham questões referentes a assimetrias possíveis de ocorrerem tanto na macroestrutura do compasso, expressa por meio da fórmula de compasso, quanto em sua microestrutura, compreendida pela acentuação e subdivisão do tempo. Observa-se com relativa frequência nos estudantes de música dificuldades para execução de tais assimetrias e, sendo assim, é importante compreender primeiro a forma que são pensados os exercícios de rítmica para futuramente apontar alternativas para sanar essas dificuldades.

Afdhal Zikri

Teknik permainan oboe yang terkandung dalam Konserto C Major Oboe karya Mozart memiliki tingkat kesulitan yang tinggi. Teknik-tekniknya, khususnya fingering dan pernapasan tidaklah mudah untuk dicapai kecuali melalui latihan-latihan yang penuh disiplin dalam waktu yang tidak sebentar. Dengan tingkat kesulitan yang tinggi karya ini sering dipakai untuk audisi untuk orkestra yang berkelas internasional. Karya ini dimainkan oleh penulis saat menyelesaikan studi Sarjana di Jurusan Musik ISI Yogyakarta. Melalui penelitian ini penulis mencari pendekatan tekknik permainan dengan mencoba berbagai berbagai kemungkinan musikologis maupun teknis dalam menginterpretasikan karya ini.

Jussânia Borges Corrêa

Este artigo investiga o Projeto Dandô - Circuito de Música Dércio Marques, buscando compreender seus significados, bem como o papel da Viola Caipira nesse contexto. O texto discute autores como Geertz (2012), Merriam (1964), Seeger (2008), Blacking (1974), Cambria (2015), Vilela (2013), Brandão (2008, 2009), dentre outros. Foi realizada uma etnografia de dois espetáculos do projeto Dandô em Brasília, com os violeiros João Arruda e Victor Batista, e verificou-se que as músicas apresentadas transmitem um discurso de defesa da cultura popular e do meio ambiente. Este entrelaçamento entre música e natureza nos reporta à Ecomusicologia, que pode oferecer novas abordagens de antigos problemas de música e cultura por meio de estudos conectados a questões ambientais.

Piotrowska Anna G.

Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country’s musical culture on the multicultural map of Europe.

Marc Desmet

Upon the death of Zabrdovice Abbot Caspar Schönauer, Jakob Handl published his Epicedion Harmonicum in 1589. This work, which has heretofore been viewed as a single three-part composition, consists actually of three independent compositions published in one volume. Their independence is indicated by their texts, musical characteristics, and the historical circumstances surrounding their creation.

Stephen R. Lee, Stephen R. Lee

Ferit Bulut