scholarly journals Features of teaching piano in pop-jazz style

2020 ◽  
pp. 135-138
Author(s):  
T. V. Sachkova ◽  
Keyword(s):  
Music Education ◽  
Approaches To Teaching ◽  
Traditional Methods ◽  
Music School ◽  
Music Schools ◽  
Russian Music ◽  
The Past ◽  
Piano Repertoire ◽  
Jazz Style ◽  
And Training

Russian music school has undergone major changes over the past 20–30 years. The emergence of mass musical styles and genres and their huge popularity, the opening of pop and jazz faculties and training areas, as well as private music schools and studios – all this aff ects the approaches to teaching piano in modern preprofessional music education. The approaches to the development of performing piano skills described in this article include not only traditional methods of studying the academic piano repertoire, but also methods of development in pop and jazz stylistics, using which one can achieve both improved fluency and the development of new sound skills.

Disabilities within Sweden’s Art and Music Schools: Discourses of inclusion, policy and practice

2019 ◽  
Vol 18 (3) ◽  
pp. 391-409
Author(s):  
Adriana Di Lorenzo Tillborg
Keyword(s):  
Discourse Analysis ◽  
Music Education ◽  
School Leaders ◽  
Research Question ◽  
Social Constructionist ◽  
Discursive Practices ◽  
Policy And Practice ◽  
Music School ◽  
Music Schools ◽  
Starting Point

The aim of this paper is to investigate the discourses that emerge when Sweden’s Art and Music School leaders talk about the inclusion of pupils with disabilities in relation to policy. A starting point is that both earlier studies and policy documents have revealed inclusion problems within Art and Music Schools. The research question is: how are Art and Music School practice, policy and inclusion of pupils with disabilities connected within and through leaders’ discursive practices? The data are based on three focus group conversations with a total of 16 Art and Music School leaders from northern, central and southern Sweden. Discourse analysis as a social constructionist approach is applied since it provides a means to investigate the connection between social change and discourse. Concepts from both discursive psychology and Foucauldian-inspired discourse analysis are applied in order to investigate connections between rhetorical strategies on a micro level and discourses on an institutional level. The concept of multicentric inclusion is introduced and applied in the analysis. In addition, concepts from educational policy theories are applied in order to analyse how policies are conceptualised and enacted in the context of leaders’ discursive practices. Regarding terminology, the results challenge this researcher when the concept of mixed abilities is introduced by the participants. The analysis exposes three discourses: multicentric inclusion discourse, normality discourse and specialisation discourse. There are tensions between the multicentric inclusion discourse and the normality discourse, as well as between the multicentric inclusion discourse and the specialisation discourse. The analysis leads to the following suggestions in order to achieve justice in music education practices and policies: (a) to enforce a specific national inclusion policy, (b) to challenge the normality discourse and (c) to bring together the multicentric inclusion discourse with the specialisation discourse.

scholarly journals Music education in the context of new information and distance technologies

2021 ◽  
pp. 127-132
Author(s):  
Evgeniya R. Toropkova ◽  
Keyword(s):  
Music Education ◽  
Information Technologies ◽  
New Technologies ◽  
Educational Process ◽  
Children's Art ◽  
Music School ◽  
Russian Music ◽  
New Information ◽  
Musical Scores ◽  
Art Schools

The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».

AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS

2021 ◽  
Vol 6 (12) ◽  
pp. 77-86
Author(s):  
Gulnar MIRZEYEVA
Keyword(s):  
Music Education ◽  
Piano Music ◽  
Development Stage ◽  
Main Function ◽  
Music Schools ◽  
Russian Music ◽  
Different Types ◽  
The Aesthetic ◽  
Russian Composers ◽  
Musical Genres

The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus, with the increase in the content features of art-concert studies, new features such as programming and integration with other genres were observed in Russian music. Interest in piano in Azerbaijan in the late 19th and early 20th centuries first appeared in aristocratic strata, but gradually spread to a wider area. The development of the art of performing on the piano also influenced the creativity of the composer an gave impetus to the formation of the national repertoire for this instrument. Although the etude genre in the works of Azerbaijani composers is not common in the works of European and Russian composers, there are important examples only in the early stages of the formation of miniatures. Azerbaijani composers E.Nazirova, F.Guliyeva, A.Azizov, A.Abbasov, Niyazi, J.Hajiyev, R.Shafag, Kh.Mirzezadeh and others managed to create interesting examples of this genre. One of the main features of the analysis of Azerbaijani somposers etudes is that these examples are pioneered for educational purposes. For this reason, some of the studies we analyzed (M.Mirzayev, J.Hajiyev etc.) are aimed at the first stage of music education with its small volume and simple structure. Studies of relatively large artistic and technical complexity (E.Nazirova,Niyazi,F.Guliyeva) are suitable for the upper classes of music schools. Although the evolution of the study genre and the features of its various genres are not embodied in these works with the splendour seen in the works of European and Russian composers, Azerbaijan is an interesting example of piano music in its educational repertoire. As a result, we can say that the etude genre is not a special development stage in the works of Azerbaijani composers, but each of the existing examples is important in the formation of the aesthetic tastes of young pianists, musical performances on a national basis, and it is successfully applied in the educational repertoire.

Janusz Miketta – organizer and reformer of music education in Poland

2020 ◽  
Vol 6 (1 (10)) ◽  
pp. 11-26
Author(s):  
Jarosław Domagała
Keyword(s):  
Music Education ◽  
Layer Structure ◽  
Stage Structure ◽  
Program Committee ◽  
Music Appreciation ◽  
Music School ◽  
Music Schools ◽  
Music Department ◽  
School Year ◽  
The University

Janusz Miketta (1890-1954) – Polish musicologist, pedagogue and music life organizer. He studied philosophy at the University of Warsaw. He completed his music studies at the Music Institute in Warsaw and in Leipzig, as well as at the F. Chopin Higher Music School in Warsaw. Next, he was the principal of the Music School in Warsaw and from 1919 – the director of the Music Society and the S. Moniuszko Music School in Lublin. In 1924, he started his teaching career at the F. Chopin Higher Music School in Warsaw and later at the M. Karłowicz Music School in Warsaw. In the years 1926–1931, he was a desk officer for music affairs in the Ministry of Religious Denominations and Public Enlightenment and from 1931 – the secretary of the Local Sightseeing Society in Warsaw and Stanisławów. From 1945 to 1948, he was the head of the Music Education Section of the Music Department in the Ministry of Culture and Art and the chairman of the Program Committee of Music Education in the above-mentioned Ministry. Based on Janusz Miketta’s own concept of music education, the Ministry of Culture and Art issued a directive of 7 December 1945 on a special system of music education. Music schools in Poland were divided into vocational ones (lower, middle and higher) and those providing music appreciation classes. This three-stage structure made it possible to adjust teaching program to new needs and select a specialization based on the degree of a pupil’s talent. As a result of reforms introduced in the 1949/1950 school year, schools providing music appreciation classes were liquidated, though the three-layer structure of the school system was maintained. This schooling system, with minor changes, is still in operation in Poland. In the years 1948-1954, Miketta was a professor of the State Higher Music School in Cracow.

scholarly journals Contribution of the “Mighty Bunch” Composers to the Development of Russian Music Pedagogy of the XIX Century

2020 ◽  
pp. 201-211
Author(s):  
Lyu Nanqiao
Keyword(s):  
Music Education ◽  
Educational Institutions ◽  
Creative Work ◽  
Music Pedagogy ◽  
Music School ◽  
Russian Music ◽  
Aesthetic Ideas ◽  
Xix Century ◽  
The 19Th Century ◽  
Conceptual Foundations

The article considers the pedagogical component of the activity of the composers of the “Mighty bunch” — M. A. Balakirev and N. A. Rimsky-Korsakov, who had a significant influence on the formation and development of Russian music education. Developing the musical and aesthetic ideas put forward by the creative work of the kuchkists, both representatives of the “New Russian music school” justified progressive pedagogical attitudes and principles that are in great demand in the modern practice of music education. Realizing their pedagogical views in the process of leadership and teaching in such Russian musical and educational institutions of the 19th century as the free music school, the Court singing Capella, the St. Petersburg Conservatory, etc., the above-mentioned representatives of the “Mighty bunch” moved to solve the problem they faced from alternative positions: if Balakirev was characterized by an empirical approach to solving creative, including pedagogical tasks, then Rimsky-Korsakov was able to justify the conceptual foundations and basic provisions of Russian music pedagogy. This article is devoted to the consideration of these provisions.

On disintegration of the Emil Jaques-Dalcroze method in the Polish music education system. Reflections on the role of Dalcroze’s solfeggio in a 1st-level music school

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 85-94
Author(s):  
Anetta Pasternak ◽  
Agata Trzepierczyńska
Keyword(s):  
Music Education ◽  
Primary School ◽  
Education System ◽  
Training Process ◽  
Music Learning ◽  
School Subject ◽  
Music School ◽  
Music Schools ◽  
Polish Music

The method of Emil Jaques-Dalcroze’s eurhythmics combines the three integral, equivalent aspects: eurhythmics, solfeggio and improvisation, which complement each other and thus constitute a coherent, comprehensive and multi-sensory method of music education. The method was successfully transplanted onto the Polish music education system and appeared in curricula for grades 1-3 of the 1st-level music schools in 1976 as an integrated subject named ‘music learning with eurhythmics.’ In 2nd-level music schools, eurhythmics faculties were opened as early as in the 1950s and initiated the training process of future specialists in the Dalcroze method. Finally, as a result of numerous reforms in music education system, the primary school subject was decomposed into ‘eurhythmics’ and ‘aural training.’ The decision on separating the subjects disturbed the concept of an integral training process, included within Dalcroze’s method. This was due to the fact that Dalcroze’s solfeggio took secondary priority to other methods used in aural training, as it is currently possible for music theorists and other specialists to give lessons in this subject. Therefore, two important questions should be asked: 1. Does the reduction of the solfeggio role undermine the entire concept of Dalcroze’s eurhythmics nowadays? 2. Is the use of movement in aural training still necessary?

scholarly journals Activism within music education: working towards inclusion and policy change in the Finnish music school context

2016 ◽  
Vol 33 (1) ◽  
pp. 5-23 ◽  
Author(s):  
Tuulikki Laes ◽  
Patrick Schmidt
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
School Context ◽  
Illustrative Case ◽  
Inclusive Practices ◽  
Special Educational Needs ◽  
Music School ◽  
Music Schools ◽  
Teacher Activism ◽  
Challenges And Opportunities

This study examines how interactions between policy, institutions and individuals that reinforce inclusive music education can be framed from an activist standpoint. Resonaari, one among many music schools in Finland, provides an illustrative case of rather uncommonly inclusive practices among students with special educational needs. By exploring this case, contextualised within the Finnish music school system, we identify the challenges and opportunities for activism on micro, meso and macro levels. On the basis of our analysis, we argue that Resonaari's teachers are proactive because, within an inclusive teaching and learning structure, they act in anticipation of future needs and policy changes, engaging in what we call teacher activism. We claim that this type of activism is key for inclusive practices and policy disposition in music education.

Dialogue or compromise – in search of new pedagogical relations in music education

2020 ◽  
Vol 6 (1 (10)) ◽  
pp. 85-102
Author(s):  
Joanna Jemielnik
Keyword(s):  
Music Education ◽  
Evaluation Research ◽  
Training Methods ◽  
Music School ◽  
Music Schools ◽  
Performance Training ◽  
Instrument Performance ◽  
Violin And Piano ◽  
Teachers And Parents ◽  
Practice Methods

The article was written based on the evaluation research conducted in one of music schools in eastern Poland, examining the quality of education in violin and piano classes. After the introduction presenting problems related to learning in an art school, the author showed the research purpose and description of the researched group, characteristics of the region and research method. The study group was asked questions concerning the quality and manner of students’ practice, methods of a teacher’s work with primary music school pupils, factors that contributed to and hampered effective instrument performance training, school relations and communication. The collected data, free statements and suggestions of students, teachers and parents, were described, categorized and confronted in the main part of the article. The comparison of opinions and voices from the three perspectives enabled to formulate conclusions on the changes undergoing in a contemporary music school, first of all – in relation to the perception of instrument performance training, methods of teachers’ and pupils’ work as well as the pupil – pedagogue – parent relation.

scholarly journals Music School and Innovations: Attitude of Instrument Subject Teachers

2017 ◽  
Vol 1 (7) ◽  
pp. 66
Author(s):  
Giedrė Gabnytė ◽  
Diana Straksiene
Keyword(s):  
Music Education ◽  
Group Learning ◽  
Assessment System ◽  
Paradigm Change ◽  
School Teachers ◽  
Music School ◽  
Professional Attitudes ◽  
Significant Research ◽  
The Impact ◽  
And Training

<p>The article deals with the attitude of music school teachers (N=367) towards music innovations and their dissemination. This analysis grounds on a significant research of attitudes of music pedagogues working in schools in Lithuania; this research aims at diagnosing how current music education changes/remains unchanged in the context of paradigm change, under the impact of manifestation of professional attitudes of pedagogues. Obtained results of the empirical research provided valuable information on delivered music education and possible innovations in its various fields. Therefore, the present article will present a relevant part of the mentioned research – pedagogues’ attitudes towards innovations selected and suggested by researchers, hypothetically postulating that they are the most lacking in current music education. The research found out that pedagogues were quite favourable towards dissemination of innovations. Education of people with disabilities and training of adults were supported the most, whereas the least approval was expressed towards the change of the assessment system and possibilities for organisation of group learning. Pedagogues treat new disciplines, such as improvisation, ensemble, accompaniment, reading notes, performing music aurally, as important.</p>

scholarly journals Beyond “In Spring, the Dawn”: Redeeming The Pillow Book through Manga

2021 ◽  
Vol 55 (1) ◽  
pp. 243-273
Author(s):  
Gergana E. Ivanova
Keyword(s):  
Popular Culture ◽  
Eleventh Century ◽  
School Education ◽  
National Literature ◽  
Classical Literature ◽  
Approaches To Teaching ◽  
Traditional Methods ◽  
New Approach ◽  
Heian Period ◽  
The Past

This paper examines three manga adaptations of The Pillow Book (Makura no sōshi, early 11th c.) published in the past thirty years to show how popular culture challenges Japanese school education and its approaches to teaching classical literature. It argues that manga rewritings of the Heian-period text aim to increase modern interest in this ancient work and help to rectify misconceptions of it generated by national literature (kokubungaku) scholarship and traditional methods of teaching classical literature in Japan. Prioritizing the content instead of its formal features, these rewritings offer a new approach to the eleventh-century work by presenting the material in an engaging and relevant way that resonates with modern readers.

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