Music Education Institutions Research Articles

National musical instrument; Timbre; Charm; Piano music

At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.

Instructor Opinions on the Use of Turkish Folk Music of Syncopated Style in Cello Training

The ability of the music teacher to provide a more qualified education in the professional life and to express himself musically is directly proportional to the quality of the previous instrument training. Studies revealed that the Turkish music products are not used sufficiently in the instrument training given by the institutions of music education and the inadequacy of the customized Turkish music products for use in education.
 
 From this point of view, the aim of this study is to determine the usage status of works and studies of Turkish folk music of syncopated style arranged for cello training and the effects of theoretical knowledge, technical and musical readiness on performing works with syncopated method and to determine the effects of their level and to reveal the problems experienced by the students and to offer solutions for these problems in the direction of the opinions of the instructors who give cello training to music teacher education undergraduates. 
 
 The data were collected through a semi-structured interview form developed by the researcher. In the analysis of the collected data, descriptive analysis method was used from qualitative research methods.
 
 When the data were analyzed, it can be concluded that Turkish folk music works and studies of syncopated style used in cello education are numerically inadequate, that the limited available resources are higher than the levels of the students, and that the students have a good theoretical knowledge level about the subject but the levels of readiness in terms of cello techniques in practice are insufficient to perform these tunes. The most important problems experienced by students in performing these melodies are level difficulty, sight-reading, left hand position shifts and use of bows.

An Examination of Music Student Teaching Practices Across Institutions Accredited by the National Association of Schools of Music

Abstract The purpose of the present study was to examine music student teaching practices from music education institutions accredited by the National Association of Schools of Music across the United States. One-hundred sixty (N = 160) respondents completed an online questionnaire that addressed: (a) What prerequisites do institutions require prior to beginning student teaching? (b) What similarities or differences exist regarding student teacher placements? (c) Who do institutions use as university supervisors? (d) To what extent are orientation meetings and seminars utilized during the internship? (e) What are the requirements for the successful completion of the student teaching experience? and (f) Upon successful completion of student teaching, program completion, and license requirements, what initial teaching licensure will students receive? Findings indicate more similarities than differences across institutions with respect to student teaching policies and procedures. Additionally, results appear to be consistent with nearly 5 decades of previous research examination on music student teaching practices.

Изучение и практика применения серийной техники в Китае

At the turn of the 1970s and the 1980s, after the cessation of the Cultural Revolution Chinese composers began intensive study of the 20th century European musical classics, including the compositions of the Second Viennese School, as well as the European and American postwar avant-garde, including serialism. The result of this was an adaptation of serial technique on the Chinese cultural soil, a synthesis of the method with national traditions – modal, timbral, metro-rhythmic, philosophical and aesthetical. Mastery of the technique took place in two mutually conditioned directions – the theoretical-methodological, connected with expounding the chief principles of Schoenberg’s compositional method, and the practical, which led to the creation of dodecaphonic works by Chinese composers. The first to demonstrate interest in the 20th century Western classics was Luo Zhongrong. As the result of his translations of musical texts, the theoretical works of Arnold Schoenberg and Paul Hindemith became well-known, the ideas of the American apologists of serialism, George Perle and Allen Forte, began to be disseminated. A major researcher of serial technique in China is musicologist Zheng Yinglie. From the late 1970s he developed original courses devoted to twelve-tone music for students and aspirants, and in 1989 he published his own tutorial materials as a monograph “Courses of Composition of Serial Music.” Special interest for Chinese musicians was aroused by the figure of Arnold Schoenberg. At the present time analysis of chosen works carried out by Chinese music scholars has firmly entered into tutorial material for students of higher musical educational institutions in the People’s Republic of China. The greater part of articles about Schoenberg written in China is devoted to his pedagogical, theoretical and conducting activities. In the domain of Chinese scholarship all of the crucial works by Schoenberg pertaining to different periods of his work have been examined. In recent years there have appeared articles elucidating the history of study of the legacy of Schoenberg in China. Keywords: Chinese serial technique, Arnold Schoenberg, Zheng Yinglie, Luo Zhongrong, Chinese musicology.

Initiating mobilizing networks: Mapping intercultural competences in two music teacher programmes in Israel and Finland

Societies worldwide are becoming more aware of the educational challenges that come with increased cultural diversity derived from ethnic, linguistic, religious, socioeconomic and educational differences and their intersections. In many countries, teacher education programmes are expected to prepare teachers for this reality and develop their intercultural competences. This instrumental case study is based on a project that aims to initiate mobilizing networks between two music teacher programmes to explore intercultural music teacher education. In this study, we map the intercultural competences that are required of music teacher educators and that are provided in the music education programmes at two higher music education institutions in Israel and Finland. The data consists of 11 focus group interviews with music teacher educators at the Levinsky College of Education in Tel Aviv and the Sibelius Academy of the University of the Arts Helsinki, conducted by a multinational research team. The data was analysed abductively, using content analysis as a method. While the interviewed teacher educators could articulate many aspects of their own intercultural competences or the lack of them, the findings indicate that in musical diversity and teaching students from different musical backgrounds the teacher educators found it difficult to explain what kinds of intercultural competences their respective programmes provided for the students. Based on the findings, there is a need for a more holistic understanding of intercultural competences in music teacher education as well as how our institutions produce power. There is also a need for the teacher educators in the programmes to collaborate and discuss among each other in order to create “knowledge communities” and to move towards addressing intercultural issues.

Особистісно-орієнтовані технології навчання та специфіка їх реалізації в музичних вищих освітніх закладах

Особистісно-орієнтовані технології навчання та специфіка їх реалізації в музичних вищих освітніх закладах

Sejarah Lembaga Pendidikan Musik Klasik Non Formal di Kota Medan

Tjong Sce Yin (founder of the first music school in Medan) and Tjong A Fie Mansion (the first school house in Medan) with the name of Medan Music School renamed the Pure Music Institute (LMM) and now renamed the Conservatory Music Medan. In addition to the above three things, also can not be separated from some non-formal music education institutions that organize classical music education in Medan that is Melody Music Studio (Musical Field), Musika Era, Music Rhythm and Institute of Music Education (LPM) Farabi Medan .

Науково-педагогічне визначення етапів підготовки майбутніх учителів початкової школи до музично-естетичного виховання учнів

Stages of future preschool teachers’ training for pupils’ musical and aesthetic education are defined and partially revealed in the article. It is devoted to the history of cultural development since Kievan Rus and up to the end of the 20th century. It is claimed that a song is one of the musical and aesthetic education sources of the nation, a song accompanies all human life, their work, public and private life, reflects their outlook. It is said about ceremonial, daily life and calendar songs. Monuments of literature, painting, music and other art forms testify about exclusive originality of the culture of Kievan Rus. Four periods were destinguished, that became historical premise for development of musical and aesthetic education of children and youth in Ukraine – historical and syncretic that lasted from the period of ancient times to the 11th century when influence of the musical phenomena on people was characterized by syncretism – inherence from the daily life based on rituals and traditions of religious and national and traditional character. Orthodox and secularized stage which lasted from the 11th century to the 19th century; it is characterized by activity of cult chain of music centres that gradually combined religious orientation of musical settings of cult ceremonies with professional musical education. Meaningful and determinant stage covers the period of the 60–90s of the 19th century and is characterized by consciousness of the advanced Ukrainian intellectuals formation, appearing of the first forms of the musical education organization. The fourth stage – is pedagogically directed which began at the end of the 19th century and is defined, first of all, by purposeful pedagogical activity of the outstanding Ukrainian composers and musicians, by creation of the musical and educational organizations,musical educational institutions and distribution of daily life music that led to the system formation of musical and esthetic education of children and youth in Ukraine.

Diffondere la curiosità per l’arte

The paper, which was the opening speech to the conference Musicians and Musicologists as Teachers: How to Construct Musical Comprehension for Students , raises questions of central importance about the purpose of music teaching and the more general issues of cultural education: what is most important today for teaching? What do we mean by ‘transmission of knowledge’? Are we referring to the experience of music making? A specific position in relation to the values of culture, science and moral? Or a rational system of scientific knowledge based on past experience? In an age in which all sorts of information and materials can be easily retrieved online, the main goal of educational action becomes the teaching of appropriate methods for working on data, and the awakening of a sense of curiosity about art. The paper provides an updated map of music education institutions in Russia, dwelling on the specific features of the current education system in that country.

Instrumental Teacher Education in Kosovo: Competences, Roles and Contemporary Standardized Curricula

This research paper is focused on the instrumental teacher education and training in higher education in Kosovo. It investigates the competences, roles and contemporary standardized curricula that should be adopted and applied in the instrumental teaching program in Kosovo higher music institutions. The many various pedagogical and teaching programs that are offered in the two departments of Music of the public universities in Kosovo are based on a curriculum framework that has been used for many years undergoing minor changes. Therefore, instrumental teachers should firstly consider on their roles and competences that are a core issue towards building bridges for successfully accomplished programs. Except the lack of national collaboration, instrumental teachers have not been integrated in training programs that urge international cooperation as well. The key to curriculum development and its standardization towards European Curriculum Frameworks are projects and organizations that forge possibilities to be part of European education areas. This research explores widely the instrumental teaching process and praxis in the two higher music education institutions in Kosovo, respectively, the Faculties of Arts. And, by bringing an instrumental teaching framework, it calls for increased dialogues, interaction and collaboration at local and national levels. The paper also looks on different curriculum frameworks and training programs as well, by providing a comparison analysis, particularly, differences and similarities to Kosovo curricula for instrumental teacher education. Finally, the research shows that instrumental teacher education in Kosovo needs to be developed and embrace European standardized programs and praxis, since, Kosovo teaching system is in an ongoing process and is reconnected to the most recent developments in education, science and culture. DOI: 10.5901/ajis.2015.v4n2s1p80

Deterritorialized, multilocated and distributed: Musical space, poietic domains and cognition in distance collaboration

Abstract This article presents detailed descriptions of a series of distance collaborations between two institutions of music education; the State University of New York, Oneonta, in the United States, and the Musrara Naggar School of Art in Jerusalem, Israel. The collaborations between Oneonta and Musrara encompass multiple modes of collaborative interaction, including asynchronous, interstitial and synchronized collaboration. As such the collaborations between the two institutions provide a rich case for understanding practical considerations for and implications of technologically mediated and distributed distance collaborations in music. The authors analyse the collaborations between the two institutions to demonstrate how the increasingly deterritorialized, multilocated nature of technologically mediated distance collaborations generates and encompasses multiple levels of poietic space. Those poietic spaces include micro poietic spaces representative of the individual participants, larger poetic spaces representative of co-located collaborators and contributors, and still larger macro poietic spaces that do not exist in anyone single locale but, instead, encompass the entire poietic sphere of such collaborations. To further understand the dynamics of technologically mediated distance collaboration, the authors introduce an emerging model for understanding such collaborations. That model draws on the philosophical concept of poiesis and on distributed cognition theory, framework drawn from the field of human–computer interaction (HCI).

Exploring of new models of research pedagogy: time to let go of master-apprentice style supervision?

While the time-honoured one-to-one supervisory model of higher research degree training has its advantages, recent research suggests that the model also has significant drawbacks, including its hierarchical nature. Nevertheless, this pedagogical model remains the default for higher research pedagogy. Using the discipline of music as a case study, where growing interest in practice-based research has lately demanded considerable fluidity in supervisory practices, this research explores the benefits and challenges of one-to-one models of supervision. Drawing on semi-structured interviews, dialogue forums, survey data, the extant literature and observations of practices at selected higher music education institutions in Australia, the UK, Belgium and the Netherlands, it recommends and suggests ways to implement more ‘horizontal’ approaches to research pedagogy. The findings of this research may improve teaching and learning experiences and outcomes in higher research degrees in music and the creative arts, and stimulate a reflection of supervisory approaches more generally across the sector.

ЛІТЕРАТУРНО-ЕСТЕТИЧНІ АСПЕКТИ ПІСЕННОЇ ЛІРИКИ ЛІЛІЇ ЗОЛОТОНОШІ

The analysis of the song lyrics of Ukrainian lyricist Lilija Zolotonosha has been given. Despite of wide spectrum of interdisciplinary use of the term “aesthetic code”, we should note, that aesthetic code of lyrics remains unexplored fact in literary theory. The purpose of this article is to determine the markers of investigated phenomenon, to characterize its general motives, genres and images. Main literary and aesthetic aspects of her song lyrics have been done. Author's definite means of the lyrics expressions and aesthetic code, based on the material of the song lyrics of modern lyricist have been studied. A song is a self-expression of a poet and composer (its authors). Only those people can became real artists who can include, understand and pass ahead of their time and who stand out in memory of the contemporaries and direct their creative search to the future. It should be noted that perception, listening and reproduction of lyrics as well as creation requires that recipient has not only aesthetic feeling but also all-round erudition. It is necessary to have a certain set of aesthetic codes to understand any song; which is necessary to apply to many factors in order to understand a deep essence of its mortgaged information. Taking into consideration that the essence and structure of phenomenon “aesthetic code” has been determined first, practical importance of given results consist in the fact that theoretical statements has been proposed. Their practical illustration can be used when students of philological and musical educational institutions study the professional subjects.

Inundating the Country with Music: Jorge Peña, Democracy, and Music Education in Chile

On October 16, 1973, at four o'clock in the afternoon, musician and educator Jorge Pena was executed in the penitentiary of La Serena, Chile, on the command of General Sergio Arellano Stark, the leader of the Caravan of Death and delegate of the army commander-in-chief Augusto Pinochet. (1) A military court had convicted Pena on trumped-up charges of having participated in the acquisition and distribution of firearms and of instructional and organizational paramilitary activity against the armed forces, policemen, and people of (2) As the dictatorship's violent killing brought a halt to Pena's musical reforms, the exile of many of his colleagues by the Pinochet regime scattered Pena's followers. The military's suppression of his ideas removed them from public discourse until after the return to democracy in the 1990s. All that stood as testimony to his life were remnants of musical compositions written during his final days of imprisonment with the ends of burnt matchsticks on the inside of old cigarette boxes. Why was Pena so brutally silenced? In 1950s and 1960s Chile, Jorge Pena proposed and successfully instituted reforms that fundamentally changed the access Chileans had to music education and performance. He openly critiqued the music education institutions of previous decades as elitist and aristocratic, since they provided music education for a select few and restricted Western art music performance to a small circle. In contrast, Pena sought to bring Western art music beyond Santiago and make it available to all across social and geographic divisions. In overturning traditionally restricted access to Western art music his musical work became controversial and ultimately politically powerful, resulting in his execution during the early days of Pinochet's regime. In this essay, I show that Jorge Pena reformed Chilean music performance and education in three steps: founding the Sociedad Bach de La Serena in 1950 and the Conservatorio Regional in 1956, focusing on children in the proposal of the Plan de Extension Docente and the Orquesta de Ninos in 1964, and institutionalizing these changes in the form of the Escuela Experimental in 1965. These reforms had the immediate effect of transforming Chilean music education and performance in the 1960s and a long-lasting resonance in the development of Western art music in Chile as the philosophical foundation for the youth symphony movement of the 1990s. Methodology In this article, I analyze Pena's work in its historical and political contexts and locate Pena as a protagonist in the process of democratizing Western art music in Chile. Restoring this context requires innovative research, since much documentation has been lost through both deliberate erasure and neglectful storage. This historical analysis is pieced together using a variety of primary sources, including personal interviews with colleagues and students of Pena. These are supported by reviews and articles in music publications such as the Revista Musical Chilena and local periodicals such as El Mercurio (Santiago) and El Dia (La Serena) published during the time Pena was working, in order to provide perspective into both public and institutional reactions to Pena's reforms. Key secondary sources include a biography about Pena's life and works and two unpublished dissertations. (3) Pena's Early Work: The Sociedad Bach and the Conservatorio Regional Jorge Pena had the intuition that it was possible to redefine boundaries, to tear down the barriers that had determined Western art music should be reserved for the cultured elite of our country. --Jose Weinstein, former Chilean minister of culture, 2003 The importance of Pena's work can be highlighted in contrast to the state of Chilean Western art music prior to the 1950s, which was restricted to the upper class and confined to the capital city of Santiago. Music professor Marfa Luisa Munoz summed up the midcentury situation: Only in small and select groups that keep themselves isolated, is art music cultivated and its aesthetic benefits valued. …

Особенности организации физкультурно-оздоровительной работы в средних специальных музыкальных образовательных учреждениях

Особенности организации физкультурно-оздоровительной работы в средних специальных музыкальных образовательных учреждениях

CUMHURİYET DÖNEMİ MÜZİK ALANINDA YABANCI UZMAN RAPORLARI

Reforms, initiatives started during the Ottoman period proceeded in the Republican era and caused the political improvements beside the cultural. In this era, one of the most important improvements in social and cultural arena has seemed related to the topic of music. In this study, the reports on music prepared by the foreign experts in the earliest years of the Republican period have been analysed. These experts have assumed the important responsibilities to shape and to direct the musical life and education in the Republican era. These foreign experts indicated a definite path by emphasizing what is to be considered while establishing the contemporary music education institutions, how is to be educated the music educators and musical artists, how is to be improved the contemporary musical life and they have drawn attention to do needs to reach the universal values while feeding those processes with the national values.

Live Electronics in Practice: Approaches to training professional performers

Teaching live electronic music techniques to instrumental performers presents some interesting challenges. Whilst most higher music education institutions provide opportunities for composers to explore computer-based techniques for live audio processing, it is rare for performers to receive any formal training in live electronic music as part of their study. The first experience of live electronics for many performers is during final preparation for a concert. If a performer is to give a convincing musical interpretation ‘with’ and not simply ‘into’ the electronics, significant insight and preparation are required. At Birmingham Conservatoire we explored two distinct methods for teaching live electronics to performers between 2010 and 2012: training workshops aimed at groups of professional performers, and a curriculum pilot project aimed at augmenting undergraduate instrumental lessons. In this paper we present the details of these training methods followed by the qualitative results of specific case studies and a post-training survey. We discuss the survey results in the context of tacit knowledge gained through delivery of these programmes, and finally suggest recommendations and possibilities for future research.

Synthetic Evaluation of Dance Teaching Effect in Colleges and Universities Based on the ��Enhancing Art�� Curriculum

Dance is the earliest human the art that is produced. In ancient human language has not been produced before, people use body movement, posture, facial expression to transfer information, thoughts and feelings in communication. Dance is a national and an important part of national culture. China since ancient times has put great emphasis on dance education., Chinese dynasties have court music education institutions. But due to the dance practice, visual characteristics and the history of the written records can provide people with infinite daydream space, but can't restore once brilliant real style. The establishment of the new China, especially since the reform and opening up, China's dance art in a new platform has started a new round of revolution. In this paper, we investigate the problems for evaluating the dance teaching effect in colleges and universities based on the “Enhancing Art” curriculum. Then, we extended the TOPSIS method to evaluate the cultural industry competitive capability. According to the traditional ideas of TOPSIS, the optimal alternative(s) is determined by calculating the distances of every alternative and positive ideal solution (PIS) and negative ideal solution (NIS). It is based on the concept that the optimal alternative should have the shortest distance from the positive ideal solution and on the other side the farthest distance of the negative ideal solution. Finally, an illustrative example demonstrates the practicality and effectiveness of the proposed method.

Instrumental and vocal teacher education: competences, roles and curricula

This article focuses on selected outcomes of the European Association of Conservatoires (AEC) ‘Polifonia’ Working Group for Instrumental and Vocal Teacher Training in Europe (2007–2010). The introduction provides the background to the project, explains the rationale and objectives, describes the research process and gives an overview of the research outcomes. The main part of the article focuses on the resulting set of competences proposed for instrumental/vocal teaching, organised around the concept of teacher roles and explores implications for curriculum development. The many different pedagogical traditions, music education systems and musical cultures in Europe suggest a multitude of possible approaches to address common goals. The article calls for increased dialogue and collaboration between higher music education and the instrumental/vocal teaching profession at local and national levels and, in keeping with the implications of the Bologna Process, points to the need for ongoing international collaboration between higher music education institutions.

Music, Moving Image, and the "Missing Majority": How Vernacular Media Competence Can Help Music Studies Move into the Digital Era

Abstract Given that over half the music heard in the urban West accompanies the moving image, it’s strange that most institutions of music education and research still treat it as an extra. Part of the problem is that knowledge relevant to music’s production and structural denotation is separated from that relating to its perception, uses and meanings. Despite the obvious skill with which the population at large can musically distinguish in a split second between, say, detective chords, horse-riding rhythms, and Japanese or Parisian instrumentation, such musical competence is often trivialized or ignored in conventional music teaching and research. Drawing on experience from running Music and the Moving Image courses since 1993, this article suggests ways in which the vernacular competence of the "nonmuso majority" can not only help improve communication between musicians/composers and other professionals involved in audiovisual production but also contribute to a reform of musicology by introducing a perception-based vocabulary for aspects of musical expression (timbre, meter, acoustic staging, vocal persona etc.) that are often marginalized in conventional music theory.