Music Institute Research Articles

音楽祭が創る祝祭のリアリティー : 二十世紀音楽研究所主催「現代音楽祭」(一九五七-一九六五年)をめぐって(第 51 回美学会全国大会発表要旨)

音楽祭が創る祝祭のリアリティー : 二十世紀音楽研究所主催「現代音楽祭」(一九五七-一九六五年)をめぐって(第 51 回美学会全国大会発表要旨)

Функціональний аналіз фахової підготовки майбутніх учителів музики

У статті досліджуються педагогічні функції як основний компонент фахової підготовки майбутніх учителів музики в інститутах мистецтв і музично-педагогічних факультетах педагогічних університетів у ході диригентсько-хорового навчання. Обґрунтовано необхідність формування адаптивної готовності майбутніх учителів музики під час фаховогонавчання у вищому навчальному педагогічному закладі. Проаналізовано особливості диригентсько-хорової підготовки майбутніх учителів музики в процесі фахового навчання.

The Ideal Characteristics of Higher Education Music Institutes in 21st century Thailand

In the 21st century, there are many factors affecting the survival of music institutes. In Thailand, music in higher education has been a part of the Thai educational system for more than 80 years. Sixty-eight higher education institutes are reported to provide music degree programmes. The objective of this study was to investigate the ideal characteristics of higher education music institutes in Thailand in the 21st century. Participants selected through purposive sampling included eleven administrators from higher education music institutes in Thailand. This is a design study that used a qualitative approach by collecting data through the in-depth interview method. The results showed that the characteristics of the ideal music institute in Thailand in the 21st century could be explained as having three main parts: 1) administration and management— this deals with four major issues including the philosophy of the institute, styles of the institute, administration strategies and finances; 2) curriculum and instruction—this is concerned with levels of the study, purpose of the programme, content, teaching styles, evaluation and assessment, music activities and services; and 3) resources that include buildings and environment, library and databases, and human resources.

Chór Kameralny Towarzystwa Muzycznego im. Henryka Wieniawskiego w Lublinie. Beaty Dąbrowskiej dzieło życia

<p>The Chamber Choir of the Henryk Wieniawski Music Society of Lublin was founded in 1987. Beata Dąbrowska (1960-2016) was its founder and conductor. The article consecutively describes special concerts of the Choir (inter alia on the occasion of national, religious holidays, various anniversaries and jubilees), its participation in cyclic concerts organized in Lublin, its journeys abroad (festivals and competitions, inter alia, in Belgium, Austria, France, Germany, Switzerland, Sweden), participation in diploma concerts of students of the Maria Curie-Skłodowska University’s Institute of Music, as well as its album and TV records. The appendix contains: the register of members of the Chamber Choir (1987-2015), its repertoire, and illustrations documenting the Choir’s activity.</p><p> The accomplishments of the Chamber Choir of the Henryk Wieniawski Music Society have significantly enriched Lublin’s music culture of the last thirty years and become the pride of our town. These achievements must be attributed to Professor Beata Dąbrowska, who worked on the Choir’s artistic development with utter dedication and exceptional consistency. This was Her <em>opus vitae.</em></p>

Dydaktyka uniwersytecka Beaty Dąbrowskiej. Przywołania chwil minionych

<p>The article presents the teaching work of Beata Dąbrowska (1960-2016) at Maria Curie-Skłodowska University, Institute of Music. During over 30 years of her work at the University, Beata Dąbrowska – a conductor and teacher – educated several dozen graduates. As part of her teaching duties, she taught courses in choral conducting, reading the scores, vocal band, methodology of conducting vocal band, and in choir and choral literature. The classes in these subjects focused on choral music, which she liked the most. This text presents the methods and the style of her work during classes in choral conducting, reading the scores and choral literature. The description of her teaching, including, inter alia, manual and technical aspects of conducting, repertoire and interpretative issues, has been complemented with the remembrances by her students: graduates of the Institute of Music: Milena Lis and Izabela Urban and students – Kinga Rdzak and Jagoda Pondel. These memories confirm that Professor Dąbrowska – a person of great personal culture – conducted her classes with extreme calm and self-control. She was a demanding teacher but at the same time she created a warm and cordial atmosphere.</p>

Nasza „Dyrekcja”. Profesor Beata Dąbrowska w mojej pamięci

<p>Professor Beata Dąbrowska (1960-2016) became Director of the Institute of Music, Maria Curie-Skłodowska University in 2005 as a person with extraordinary assets necessary to hold such a post: she was extremely dedicated to her work, full of enthusiasm, sympathetic towards her colleagues and students, understanding, endearingly modest, and straightforward. She was engaged in the Institute’s matters and had a very good grasp of them. She held the position of Director of the Institute of Music until her death, being highly competent and devoted to her work, considering that she had to head the Institute in perhaps organizationally the most difficult times of structural and curriculum changes, new technological innovations etc. All her efforts for the University’s Institute of Music, and the Faculty of Arts cannot be overestimated.</p>

Niedokończony koncert dla Lublina. Wspomnienie o Beacie Dąbrowskiej (1960-2016)

<p>Professor Beata Dąbrowska – a conductor, teacher, and organizer of musical life, highly merited for Lublin’s musical culture and Maria Curie-Skłodowska University (UMCS) – died on 14<sup>th</sup> March 2016. She was born on 5<sup>th</sup> January 1960 in Lublin, She attended the Karol Lipiński Music School in Lublin, and then studied at the Frederic Chopin Music Academy in Warsaw, from which she graduated in 1982 and received a Master of Music Degree in Choral Conducting. From 1982 until the end of her life she worked at the Institute of Music, Maria Curie-Skłodowska University (until 2000 it was the Institute of Arts Education). In 1992 she received the first-grade qualification (today – a PhD equivalent) in the artistic discipline of <em>conducting vocal and vocal-instrumental groups</em>; in 1999 she received her second-grade qualification (now – a postdoctoral degree: Habilitated Doctor). In 2003 she was appointed Associate Professor of UMCS. In 2005 she became Head of the Institute of Music. She held this function till her death, combining it with multiple academic activities. At the same time she pursued her artistic activity. In 1987, together with her husband Dariusz Dąbrowski, she founded the Chamber Choir of the Henryk Wieniawski Music Society of Lublin, whose conductor she was for almost 30 years. She and the Choir gave several dozen vocal-instrumental concerts and over 300 concerts a cappella; they took part in many festivals and competitions in other countries and won awards and honors. Most often she performed in Lublin at religious and official state ceremonies, various jubilees, or anniversaries; many times she took part in Lublin concert series (inter alia Ars Chori, Spotkania Chórów Akademickich [Meetings of Academic Choirs]), she also gave concerts in other towns ( e.g. in Gdańsk, Grudziądz, Olsztyn, Toruń, Wrocław). She was engaged in many initiatives of Lublin’s music culture and, at the same time, she improved her skills (in 1990 she completed Podyplomowe Studium Chórmistrzowskie [Postgraduate Choirmaster Training Program at the Feliks Nowowiejski Academy of Music in Bydgoszcz]). In 1995 she initiated in Lublin Międzynarodowe Dni Muzyki Chóralnej (International Days of Choir Music). She organized concerts in Lublin for many years. She was awarded many times for her dedicated and invaluable work, the formation of Lublin’s cultural image, and for the promotion of Polish culture in Poland and abroad.</p>

Pomiędzy projektem a strategią – zarządzanie wydarzeniami muzycznymi w instytucji artystycznej

The Polish Sinfonia Iuventus Orchestra (POSI) is a unique artistic music institution with an educational profile. Its main goal is to prepare young musicians – graduates of master studies – to enter the labour market well-geared both artistically and organizationally. This paper describes the specific nature of working at POSI, highlights its main objectives and tasks, illustrates difficulties that arise in fulfilling the facility’s mission with the project-based work style (prevailing in such institutions), and portrays a profile of an artist/musician educated at POSI, based on the conducted quantitative and qualitative research. The purpose of this paper is to present a musical institution in which the organization of artistic work should be carried out at the highest possible level, being a source of great satisfaction to all external and internal stakeholders. Unfortunately, as it turns out, concentrating solely on projects and forgetting about the reasons why the institution was established in the first place can be a major threat. Constant care for the implementation of the adopted strategies with the focus only on individual projects and their goals is the challenge the musical institutions of culture are facing now. As indicated by Heraclitus of Ephesus, the only constant thing in life is change.

W stronę etnomuzykologii stosowanej - Pracownia Muzyki Tradycyjnej IMiT

The text describes the activities of Traditional Music Laboratory of the Institute of Music and Dance, which was established on 17 June 2015 in Warsaw. The main objective of the Laboratory’s programs is to support traditional music transmission in a direct „master-apprentice” relationship and to facilitate an interdisciplinary, long-term collaboration between animators, researchers, scholars, artists, pedagogues and civil servants under subsidy of Polish Ministry of Culture and National Heritage. Ideas discussed in this paper arise from the content of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) as well as the assumptions of applied ethnomusicology (the International Council for Traditional Music, Study Group on Applied Ethnomusicology). The question that needs to be asked in the context of the above-mentioned perspectives is how to describe the problem of the continuity of the traditional forms of musical practices in the context of new phenomena, such as the “revival”, “return”, “revitalization” or “reconstruction”, in Poland. The paper focuses on a brief overview of educational and cultural actions taken by chosen NGOs, foundations and associations organized in an informal initiative known as the Forum of Traditional Music.

The Inevitable Bandstand: The State Band of Oaxaca and the Politics of Sound

The “inevitable bandstand” refers to the music building placed in the central plaza of main towns in Mexico between the late nineteenth and the first half of the twentieth century. Along with statues of national heroes, it is an emblem of order, civic life, and modernity. Charles Heath revives the concept of civil religion as interpreted by Robert Bellah to argue that the Oaxaca state band played a central ideological role in the political and social plans and programs of the state.Bellah's discussion of a civil religion in the United States called attention to the presence of a religious discourse in the political speeches of the country's founding fathers and more recent politicians. This discourse involved the power of God as the guiding force to rule and govern the country. Is it viable to interpret nineteenth-century Mexican liberal patriotic sentiments as the expression of a civil religion? Mexico is well known for being a Catholic country; however, the construction of the nation and the power of the state were only consolidated with the Reform Laws (1867–1869) and the state's secularization. The suppression of the Te Deum in government enthronement ceremonies during the Benito Juárez government illustrates not only the separation of the state from the church but also the separation of government politics from religious ritual. The wording and appearance of fervent nineteenth-century statements about the nation chosen by Heath may sound religious—and indeed religious expressions still are part of our language—but their moral ideology was not to link state policies and programs with a supernatural authority but instead to generate an awareness of the country's struggles to create a sovereign nation and to instill nationalism, forging an identity based upon the diversity of regional cultures. What the author calls the “eclectic repertoires” of the Banda de Música del Estado de Oaxaca's (BME) musical renditions throughout one and a half centuries exemplify this combination of European romantic militarism, heroic values, and Oaxacan or regional Mexican musical compositions (p. 42).The strength and contribution of this book is the author's detailed historiographical work. Heath uses primary sources, periodicals, annual government reports, and texts from politicians and intellectuals of the time (often musicians themselves) such as Justo Sierra, Ignacio Manuel Altamirano, José Vasconcelos, Genaro Vázquez, and Guillermo Rosas Solaegui to account for the state's struggle to modernize government and society and the introduction of social and economic policies and programs, particularly in education and tourism. The BME is made the avatar of that history. Introducing music festivals and popular and regional music as part of a socialist education curriculum was central to the civic calendar of the BME. Under the ideology of mestizaje, Mexican intellectuals imagined social and cultural integration for Latin American societies. Rural education became a priority, and cultural missions trained teachers to encourage regional music and dance in education. The author also discusses the importance of regional music and dances for promoting tourism and economic development. Descriptions of the BME's participation in the Guelaguetza festival are testimonies to the important role that this musical institution plays in the main economic industry of Oaxaca today.The book gives minute detail of government dispositions toward and investments in the growth and improvement of the BME, the band members' labor contracts, and the obligatory and key role that they have played in political and social celebrations, commemorations, and other symbolic events of the official civic calendar. The strong influence of musical directors such as Germán Canseco, Diego Innes, and Amador Pérez Torres is narrated with ethnographic detail. Several descriptions of the music programs are offered, but the reader misses an inventory of the music archive of the BME, which the author had the opportunity to study.The writing is slightly dry but full of information, and it is thus interesting and useful from that point of view. The Inevitable Bandstand is an important book, as it contributes to filling a gap in the modern history of music in Oaxaca City.

Music therapy with patients affected by dementia or Parkinson’s disease: study on sound/music stimulation

Background: In 2014, the Helvetic Music Institute started an introductory music therapy project in the nursing home “La Quercia” (Acquarossa, CH). The positive results obtained brought into being a new project meant to study and assess the effects of music therapy on motor, emotional, memory and cognitive skills.Methods: Weekly music therapy settings (3 hours × 40 weeks, Phenomenological-relational Methodology) were held with two groups of people affected by dementia or Parkinson’s disease. The assessment includes the Music Therapy Assessment Form developed by the Helvetic Music Institute, the Mini-Mental State Examination together with a new music perception/production assessment form, conceived by Paolo Cattaneo. This instrument contains rhythmic, melodic, harmolodic and prosodic stimulation tests meant to assess more accurately the fine and gross motor activity, as well as the emotional and the cognitive responses to music therapy.Discussion: The expected results are improvements in the participant’s q...

Review: Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World, by Geoffrey Burgess

Book Review| April 01 2016 Review: Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World, by Geoffrey Burgess Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World, by Geoffrey Burgess. Publications of the Early Music Institute. Bloomington and Indianapolis: Indiana University Press, 2015. xxviii, 290 pp. Kailan R. Rubinoff Kailan R. Rubinoff KAILAN R. RUBINOFF is Associate Professor of Musicology at the University of North Carolina at Greensboro. Recent writings have appeared in Twentieth-Century Music, Music and Politics, Early Music, and the edited volume Music and Protest in 1968 (Cambridge University Press, 2013). She is currently writing a book on the early music movement in the Netherlands. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2016) 69 (1): 247–253. https://doi.org/10.1525/jams.2016.69.1.247 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kailan R. Rubinoff; Review: Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World, by Geoffrey Burgess. Journal of the American Musicological Society 1 April 2016; 69 (1): 247–253. doi: https://doi.org/10.1525/jams.2016.69.1.247 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search Geoffrey Burgess's biography of the German-American recorder builder, performer, and early music patron Friedrich von Huene is a niche book: it is not intended for musicologists in general but rather for recorder players and other early music practitioners in particular (as its inclusion in Indiana's Publications of the Early Music Institute series and book jacket endorsements make clear). Von Huene (b. 1928) is well known to early music aficionados, having played a central role in fostering “historically informed performance” (aka HIP)1 in the Boston area as a maker and restorer of historical woodwinds and as a founder of the Boston Early Music Festival. Since the 1960s historical performers (myself included) have flocked to von Huene's Early Music Shop of New England, the primary North American source for the purchase of instruments, facsimile editions, treatises, and other HIP “tools of the trade.” Though mainly focused on von Huene and the... You do not currently have access to this content.

Ansiedad ante el desempeño musical en estudiantes de música peruanos: diferencias de acuerdo con el género, la institución educativa y el género musical

Levels of music performance anxiety (MPA) were compared in a sample of 455 Peruvian music students according to gender (males=337; females=113; missing=5), musical institution (two private and one state) and musical genre. Only gender showed an effect on MPA scores, picturing higher scores for the female group, although cultural variables could account for this difference. There were no effects of educational institution or musical genre as determined on MPA scores.

The Italian Cantata in Vienna: Entertainment in the Age of Absolutism by Lawrence Bennett (review)

MUSIC AND PLACE The Italian Cantata in Vienna: Entertainment in the Age of Absolutism. By Lawrence Bennett. (Publicatio of the Early Music Institute.) Bloomington: Indiana University Press, 2013. [xvi, 368 p. ISBN 9780253010186 (hardcover), $60; ISBN 9780253010346 (e-book), $54.99.] Music examples, appendices bibliography, index.The Italian Cantata in Vienna: Entertainment in the Age of Absolutism is the culmination of many years of research by Lawrence Bennett, already partially known thanks to his Ph.D. dissertation (The Italian Cantata in Vienna, c.1700-c.1711 [New York University, 1980]). The book examines the production of cantatas by composers in the service of the Hapsburg emperors Leopold I (1658-1705) and his son Joseph I (1705-1711). It starts with an introduction in which the author explains the importance of music at the Hapsburg court and sets out his intention to study the evolution of the Italian cantata in Vienna. In the first part of the book, devoted to Leopold I's reign, Bennett dedicates a chapter to the political and cultural milieu of Vienna, to the importance that Leopold I gave to music, to the maestri di cappella active between 1658 and 1700 (with a list of composers), to the circumstances and places of performance (in particular with regard to the occasional cantatas), and to possible performers and poets. The chapter dedicated to composers begins by considering the migration of Italians to Vienna, starting with Giuseppe Tricarico and continuing with Antonio Cesti and Pietro Andrea Ziani. A section is devoted to a description of some of the cantata sources preserved in Vienna, while more space is given to an analysis of the text and music of selected cantatas by Antonio Bertali, Johann Caspar Kerll, Antonio Maria Viviani, Filippo Vismarri, Carlo Cappellini, Giovanni Battista Pederzuoli, and Antonio and Carlo Draghi.The second part of the book is devoted to the final years of Leopold I and the reign of Joseph I, characterized by the War of the Spanish Succession, which dominated political affairs at the time, as is made clear in the chapter dedicated to the political and cultural milieu. While Charles I was less active as a musician than his father, his brief reign was distinguished by cantatas produced by Carlo Agostino Badia, Giovanni and Antonio Maria Bononcini, Attilio Ariosti, and other composers active in Vienna. The description of the sources includes a printed volume and several manuscripts preserved in Vienna, Dresden, and Berlin (cataloged in appendix B, while a list of cantata incipits is in appendix A). A considerable amount of space is devoted to the structure of the cantatas, instrumentation (the majority were written for continuo only), dynamics, arias, recitatives, and the use of arioso. An entire chapter is devoted to aria forms, in particular that of the da capo aria, with discussion of examples from cantatas by Ariosti, Badia, and the Bononcini brothers; the texts of those arias are transcribed in appendix C. An approach to the repertoire as a whole is provided through a chapter dedicated to melody, harmony, and rhythm, where Bennett examines the vocal range required to perform this music, identifies recurring melodic features, considers the relationship between the continuo and the voice, and explores other compositional aspects such as modulations, keys, chord rhythms, etc. There is also a further section on the relationship between text and music in selected arias. This second part ends with a discussion of composers active between Joseph I's death (April 1711) and the coronation of his brother as Charles VI (October 1711).The book ends with three appendices: an index of cantata incipits with sources of provenance, organized alphabetically; a catalog of thirty-three printed and manuscript sources for cantatas composed in Vienna (held at Wien, Osterreichische Nationalbibliothek, Musiksammlung; Sachsische Landesbibliothek-Staats- und Universitatsbibliothek Dresden, Musikabteilung; Staatsbibliothek zu Berlin-Preusischer Kulturbesitz, Musikabteilung); and a transcription of the texts of the arias analyzed in the second part of the book. …

МУЗИЧНО-ВИКОНАВСЬКЕ МИСТЕЦТВО В КУЛЬТУРНОМУ СЬОГОДЕННІ КИЄВА

DOI:  https://doi.org/10.28925/2518-766X20161670 The article presents the condition and creative achievements of Ukrainian music and performing arts of recent years. It analyzes the most important phenomena of music-performing art of Kyiv. It providesa scientific assessment of artistic events on the stage of the National Philharmonic and National Opera of Ukraine, at Borys Grinchenko Kyiv University and R. Glier Kyiv Institute of Music. Special attention is devoted to the Competition for Young Pianists in Kyiv. For young pianists such creative competitions become a springboard for further live performances. Several problematic issues of musical performance are considered, for example, musical interpretation. The article also emphasizes the importance of the concert and performance practice as a form of professional training for the future music teacher. One way or another, composers, musicologists, theorists, methodologists, teachers are both, to some extent, performers.In fact, any specialty of music is an integral part of the performing arts. In the course of performing practices the students gain the most important quality of musical performer — artistry, creative approach to performing activities, theatrical sangfroid, interpretative skills. Contemporary music and performing arts of Kyiv in recent years rise intensively thanks to the emergence of the talented musicians (pianists, vocalists, etc.), using new forms in the fields of opera, concert performance and effective international cooperation. It is therefore particularly important musical performing practice of students during their training, the quality of which significantly affects concerts and artistic life of the capital.

SESC Partituras (review)

SESC Partituras. [Rio de Janeiro, Brazil]: Servico Social do Comercio, 2007-. http://www.sesc.com.br/sescpartituras (Accessed 27 March 2015). [Requires a Web browser, Adobe Acrobat Reader, and an Internet connection. Pricing: free]Sesc (pronounced Seskey) is the Servico Social do Comercio [Social Service of Commerce], an organization providing programs and programming in the areas of culture, education, health, leisure, and assistance to those working in commerce in Brazil. The organization has no similar peers in the United States. Among its activities are cultural programs presenting films, live performances of classical music, and more.Sesc has supported a website offering Brazilian scores since 2007, when it provided technical support at 17 Sesc locations around Brazil, providing computers with score software (e.g., Sibelius or Finale), becoming an important resource for research and score editing for students and local musicians.1 The project was restructured in 2010, and the contents are constantly being updated. Any Brazilian composer (including foreign nationals who have been resident in Brazil for at least two years) can submit scores for inclusion on the site. The scores must either be public domain, or permission must be granted by the owner of the intellectual property (the composer or legal representative) to include the score on the site. Such permission includes authorization for the end user to print the material from the site.The site (as of now, only available in Portuguese) includes tabs for The Project, Composers, The Score, Music at Sesc, Concerts, News, and Talk with us. Navigation of the site is by composer name (a list for All is sorted, in the usual Brazilian way, by first name), with separate pages for each alphabet letter (indexing surname). At this level there is no classification of composers by period, genre, or other such parameters, nor are dates provided with the names. Once you arrive at the individual composer page, there are brief biographies, with dates of birth and death. Along with the scores (provided as PDFs), there are some works which have sound files provided, either MP3 or MIDI, or both. The other mode of access is through a search box which allows one to search by title of work or name of composer, with checkboxes for ensemble (solo, duo, trio, quartet, string orchestra, chamber orchestra, etc.) and instrument names (37, only in Portuguese). Around 1300 scores by more than 150 individual composers are available for free download.Since in Brazil the boundaries between classical and popular composition are less strictly drawn than in the United States, the user will find music in a wide variety of genres. Below is a sampling of composers that I believe will be of most interest to readers of Notes.Alberto Nepomuceno (1864-1920)15 mostly small works, but including String Quartets 1-3 (with scores and parts).Alexandre Schubert (contemporary, b. 1970)21 works, all chamber music. Notable works include Sonata for Trombone and Piano (with MP3), Sonatina for Bassoon (written for Elione Medeiros, with MP3), Micropecas [Micropieces] for Harpsichord or PianoAnacleto de Medeiros (1866-1907)One work, the waltz Terna saudade [Tender nostalgia] for piano (original) and arranged for brass quintet.Alexandre Levy (1864-1892)Levy died tragically young after having studied in Paris at the Conservatory, and his individual voice combining modern Parisian trends with Brazilian genres gained him an entry in The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980). Four works: Andante for string quintet, op. 22; String Quartet (1885); Reverie (string quartet); Recuerdos (piano).Joaquim Antonio Barrozo Netto (1881-1941)Five piano works, three songs, two for voice and piano, one for voice and guitar. Barrozo Netto was professor of piano at the National Music Institute (now the School of Music of the Federal University of Rio de Janeiro), and his piano works are worth getting to know. …

A philosophical and practical approach to an inclusive community chorus

Abstract This holistic study explores the inclusive community chorus ‘Singing Songbirds’ in Millbrook, Dutchess County, New York. The chorus is part of the Institute for Music and Health’s (IMH) programming. This article investigates the important philosophical approach and its practical application. Underpinning all the work of the IMH is the Diamond Method. This method is based on the work of John Diamond, MD, which includes the Outreach Principle. The choir’s weekly rehearsals, the repertoire and a performance are discussed. The specific accommodations and support for each member, non-disabled and those with disabilities, are also described. Questions posed include the following: in what way is this choir different from other community choruses? Are the various accommodations for members successful? What are the attitudes of the non-disabled choir members to the members with disabilities? The author was a participant/observer during the development of the chorus over four seasons of the choir’s history.

음악학원의 성과를 위한 벤처경영 접근방식에 관한 연구

최근 시장환경의 변화와 음악을 전공하는 음악학도가 감소하면서 음악학원이 위기를 맞고 있다. 무엇보다도 결정적인 이유는 음악을 전공하는 학생의 졸업 후 진로로 이어지는 음악학원의 경쟁강도가 거세지고 있는 반면, 출산율 감소로 음악전공지원 학생이 감소하여 학원 시장의 규모가 잠재적으로 축소되고 있다는 것이다. 이에 따라 본 연구는 음악학원의 운영의 성과인 경영성과에 영향을 미치는 요인을 규명하고, 이를 통하여 음악 학원 경영에서의 벤처경영 방식 도입에 대한 제안을 하고자 한다. 본 연구를 위해 조사는 크게 3가지 영역으로 하여, 창업의 성공요인, 창업동기, 경영성과와 관련된 내용을 살펴보았으며, 이를 위해 음악학원을 창업한 원장들을 대상으로 설문지를 통해서 경영성과에 영향을 미치는 요인을 분석하였다. 이러한 분석 결과를 바탕으로 경영성과에 영향을 줄 수 있는 다양한 변수를 고려하여 원장 개인의 사업 수준에서 운영되고 있는 음악학원경영자들에게 벤처의 경영방식, 즉 마케팅 지식의 도입, 회사체제의 도입, 스마트테크놀로지의 적용 등 벤처 경영방식의 접근법을 제시하였다. Recently, there are so many music school graduates. In addition, there are many private music institutes. For this reason, there is a fierce competition in music education market. In the past, those who worked in music education market earned big money and so many parents wanted their girls and boys to learn playing a piano and other musical instruments. In the recent times, however, birth ratio was reduced dramatically in Korea and parents do not want their children to learn musical instruments due to economic depression and deteriorated music market. Eventually, the size of music education market was diminished dramatically and the competition in music education market is getting fiercer. Therefore, it is difficult to expect good performance in music education market without having an improved management system. In this respect, this study aims to understand what main factors have an impact on business performance in music institutes. The main areas studied in this paper include successful factors, reason why they start up a business, and successful management factors. The survey of this study targeted music institute owners. Based on the surveyed results, for the owners of the music institute, the method of the venture management approach, in other words, the application of the marketing knowledge, the consideration of the company system, the application of the smart technologies, etc., has been presented.

Intergenerational Music Outreach: Institute for Music and Health, Verbank, New York

The music outreach model is an innovative approach to intergenerational music programming. At an organized event, older persons, children and/or young adults, a facilitator and staff of the organiz...

Action, Enaction, Inter(en)action

Leman and Maes offer a comprehensive review of the main theoretical and empirical themes covered by the research on music and embodied cognition. Their article provides an insight into the work being carried at the Institute for Psychoacoustic and Electronic Music (IPEM) of Ghent University, Belgium - in which they work - and presents a theory of the main implications of embodiment for music perception. The present paper is divided into three parts. In the first one, I will explore the conceptual topography of embodied music cognition as maintained by the authors, to see whether the empirical research proposed fits the aims of this standpoint. In the second I will argue that while Leman and Maes are right to move towards a more dynamically implemented stance, the arguments used to justify this shift seem to be inconsistent with the framework they account for. In the third and final part of this commentary I will claim that if the authors wish to dedicate their work to develop a truly embodied, sensorimotor, and dynamic account to music cognition, they would need to abandon some of the assumptions defended in their work, searching for further empirical corroboration in the concrete dynamics of interactive, or participatory, musical sense-making.