Professional Music Education Research Articles

Education of church musicians in Krakow in the period from the end of the Second Vatican Council to the present day

The training of church musicians in Cracow in the period after the Second Vatican Council became one of the important tasks of the institutional Church associated with the post-conciliar renewal of the liturgy. In the 1970s, the training of church organists here took on a systematic and organised character. The activities of the Archdiocesan Organist’s College, as well as the Church Music Section at the Liturgical Institute, were constantly evolving. Over time, their tasks were taken over by the Archdiocesan Organist School (now the Archdiocesan Music School) and the Pontifical Academy of Theology in Krakow (now the Pontifical University of John Paul II in Krakow). Since 1997, the Academy of Music in Cracow has also been educating church musicians. At present, Cracow and the Archdiocese of Cracow offer many opportunities of professional music education, which are eagerly used by organists, choir conductors, as well as people passionate about Gregorian chant, liturgical composition and the broadly understood animation of the musical life of churches. The immediate impulse for writing this article was the 25th anniversary of the Cardinal Franciszek Macharski Archdiocesan School of Music, celebrated in 2023, which is an ­important link in the series of educational institutions thanks to which the level of education of church musicians is constantly rising.

Views on distance education sight-disabled students receiving professional music education

In this research, of sight-disabled professional music education students’ opinions regarding distance education were examined. Answers were sought to questions about to what extent distance education, a widely used education model of our age, is effective and sufficient for students with special needs. The study group of this research consisted of sight-disabled professional music education students studying at the undergraduate and graduate levels. The data were collected using semi-structured interview and the data were analyzed using content analysis. Findings obtained from the data revealed that the distance education model had deficiencies for sight-disabled professional music education students. It was determined that students had problems especially with accessibility. Suggestions have been made to make the model in question more suitable for the sight-disabled.

Reflections at the front entrance: from the history of music in Russia

RELEVANCE. The study is a brief outline of the initial stage of the formation of a regional system of professional music education. Various aspects of this process are considered, facts and examples are given that characterize this system based on the activities of the Tambov branch of the Imperial Russian Musical Society. The goal is to substantiate the thesis that the regional tradition of public education inherits the best features of the domestic system of professional music education.MATERIALS AND METHODS. The material obtained through analysis, generalization and systematization of the results of research at the initial stage of the formation of the regional system of music education in the Tambov region is presented.RESULT AND DISCUSSION. The connection between the regional system of music education and public education and all-Russian and all-European cultural trends and traditions is traced. The main aspects of the work of the Tambov branch of the Imperial Russian Musical Society are highlighted, corresponding to the general liberal direction of social thought of the mid-19th – early 20th centuries. The sociocultural context of the early twentieth century is reconstructed, justifying the installation of busts of M.I. Glinka and A.G. Rubinstein in the niches of the memorial building of the Tambov Music School, now the Tambov State Music-Pedagogical Institute named after S.V. Rachmaninov.CONCLUSION. The presented material is intended for wide use in the practice of promoting regional cultural heritage, primarily excursion and tourist support for cultural and leisure programs.

Особенности культурной интеграции китайских студентов музыкантов-исполнителей в российскую образовательную среду

The article is devoted to the consideration of socio-cultural factors that influence the process of integration and specifics of the formation of the professional identity of Chinese students - performing musicians in the system of Russian music education. The formation of a professional music system in China is marked by the beginning of the 20th century. This time is associated with the formation of musical performance, which becomes possible under the influence of European musical traditions of concert activity. The opening and functioning of higher musical institutions in China – the Shanghai State Conservatory (1927) and the Central Conservatory of Music in Beijing (1949) – contribute to the development of professional music education. The important period in the development of professional music in China is the emigration of Russian musicians, whose work had a significant impact on musical life in China in the first half of the 20th century. At the same time, today there is a growing interest in Russian music education among Chinese students, which is growing in the context of strengthening Russian-Chinese cooperation. The article analyzes the empirical data of the qualitative interview with Chinese students (N = 20) of Saratov State Conservatory named after L. V. Sobinov. On the basis of the analyzed empirical data the demand for Russian music education among Chinese students and their high value of assessment of the musical traditions of the Russian national music and performing school, which is undoubtedly attractive in choosing a country for education were confirmed. At the same time, the factors influencing the successful cultural integration of Chinese students into the educational environment are considered.

University students facilitating hip hop in a community engagement project: experiences and perceptions

ABSTRACT Hip hop is the most popular music in the US and remains on the fringes of the music education profession as both under-integrated, researched, and utilised. The purpose of this project was to investigate the experiences and perceptions of undergraduate music students who facilitated a hip hop project with hip hop experts in a local youth arts organisation located in the southeastern region of the US. As a qualitative investigation, analysis of these data revealed four themes associated with undergraduate music student experiences, which included (1) adaptability, (2) connection, (3) discomfort, and (4) impact. These data suggest direct influences on participant understandings related to hip hop with implications for the field of music education to include hip hop experiences in democratic and learner-led classrooms.

Analysis of Teaching Mode of College Music Composition Theory Course Based on Data Analysis

After learning the Soviet model and developing it today, the rudiment of professional music education established in the 1930s has formed the burden of various historical problems. At the same time, in the ideological collision between China and the West, various concepts and viewpoints around music teaching also appeared, but this is not the main research object because there is no answer at all; therefore, it is necessary to make more rational improvements to the relevant experience, new ideas and new ideas. Based on the theoretical basis of in-depth algorithm and constraint solving, this research starts from the current music teaching in colleges. It explores the curriculum mode that is conducive to the development of music in the author’s country. The experimental results show that in the teaching mode of music composition theory courses in colleges and universities, the music composition optimization algorithm (MMC) has a profound impact on the teaching effect of the course. When solving Madcap’s, the current optimal solution significantly impacts the results. In the curriculum problem, due to the constraints of the curriculum schedule problem, MMC does not show a promising solution effect but has good performance on the curriculum scheduling problem with relatively few constraints, so when solving problems with fewer constraints, the reader can choose MMC.

Anxiety Level of the Music Teacher Candidates Studying Music Teaching in Türkiye

The most important factor negatively affecting individuals’ success in professional music education is anxiety of unemployment. For them, graduation from university means the beginning of a life of either employment or unemployment. Job selection plans about the role in real life, friendships, fear of unemployment, and other responsibilities are some of the factors creating anxiety. The aim of this research is to discover the professional anxieties of the music teacher candidates studying in music education departments. The study sought to investigate whether the professional anxiety of the teacher candidates varies depending on their gender, income level of their families, the way they studied musical teaching, and their grades. This research is a descriptive study conducted for the purpose of determining the “anxiety levels” of music teacher candidates in Turkey. The data was collected using a personal information form and the anxiety scales for teacher candidates. The sample group of the study consisted of 80 students studying in Marmara University. According to the study, meaningful variances exist between the variables such as “gender, grade, and income level of the family” and professional anxiety levels.

Research Of Singing With Note-name Recognition Algorithm Based On End-to-End Model

With the rapid development of artificial intelligence, and people are not only seeking material needs, but also pursuing happiness and spiritual aspirations. Especially some singing talent shows appear, but there are many controversial results. In order to solve the problem of singing with note-name evaluation and evaluate the singer's singing level in the professional music education of solfeggio and ear training, the paper uses artificial intelligence algorithms to recognize the note-name. Firstly, preprocess the singing sound data, including pre emphasis, framing, and windowing to reduce the impact of noise, and extract the acoustic features of the singing sound, the acoustic speech features are organized into a form suitable for DCNN input and a DCNN model is designed to obtain the pinyin form of the singing sound, the softmax layer adopts an end-to-end CTC structure, which classifies the input singing speech, finds corresponding phoneme sequences, and obtains the output results. The end-to-end CTC structure is used to classify and optimize the recognition process, and finally the state of the obtained features is output. And then singing pronunciation dictionary generates candidate word sequences based on the mapping relationship between phonemes and notes. Finally, based on the acoustic model score, the candidate note sequence with the highest score is obtained through decoder processing, and obtained the singing with note-name result of the singing sound. In order to further improve recognition performance, the paper introduces a new CTC-DCNN acoustic model. In this model, residual blocks can transfer input features to the output part through shortcuts, allowing the multi-layer convolutional speech features to be preserved as much as possible. At the same time, the deep structure can also better achieve the extraction and analysis of speech features. A new and improved CTC-DCNN acoustic model is obtained by optimizing the maxout function. The algorithm proposed in this paper is fair and equal in obtaining information, and no one participates in the entire process of obtaining scores. It is believed that the scoring results obtained in this way should be more objective.

ЕЛЕНА ФАБИАНОВНА ГНЕСИНА — ТВОРЧЕСКОЕ НАСЛЕДИЕ

2024 marks the 150th anniversary of the birth of Elena Fabianovna Gnesina, an outstanding teacher, pianist, public figure, founder and head of a complex of musical educational institutions. The article is devoted to the personality and creative heritage of E. F. Gnesina and is based on materials from the funds of the Elena Gnesina’s Memorial Museum-Apartment, where the lifetime environment and a large archive of the Gnesin family are completely preserved: letters, music and book memorial library, concert programmes, posters, photographs and other artefacts, as well as personal belongings of the musician. Publications on the life and work of E. F. Gnesina by the Museum staff were a valuable source of information for the article. The article presents a multifaceted image of E. F. Gnesina, characterising her unique legacy, which was directly related to her performing, teaching, administrative and composing activities. Attention is also paid to the musician’s creative environment. The article concludes with a review of Gnesina’s extensive musical activity, which made an invaluable contribution to the creation of a national pedagogical school and professional musical education, as evidenced by the establishment of a complex of educational institutions. The importance of E. F. Gnesina’s pedagogical methods, to which her numerous textbooks are devoted, and the role of compositional creativity aimed at composing music for children are emphasised.

Загадка Елены Гнесиной

The article is timed to the 150th anniversary of the birth of Elena Gnesina, the founder of several educational institutions (three music schools, three colleges and Gnesin Russian Academy of Music), embodying the system of effective training of musicians. Considering the circumstances of her life and times it’s not easy to imagine how the offspring of a big Jewish family could grow into such an influential personality: her ideas are still alive and lie in the basis of professional music education. The paper is a short summary of Elena Gnesin’s special talent that had been a combination of musical, pedagogical and organizational gift next to none. The author is giving an answer to obvious enigma of Elena Gnesin’s biography: how could she be at the same time an outstanding pianist, an innovative teacher and impressively great top manager who made impossible things possible. Her educational company under her personal guidance lived through almost a century of historical turbulence in Russia from the last tsar to 1970-s and could remain an authoritative institution near the renowned Moscow Conservatory.

The Academic Activities of the Gnesins’ State Musical-Pedagogical Institute During the First Ten Years of its Work.

On the basis of the documents preserved at the Russian State Archive for Literature and Art, the author of the article illuminates the historical context of the inauguration in 1944 of a musical institution of higher education of a scholarly-methodological profle, and also provides her evaluation of the frst decade of its functioning. As a characteristic feature, the absence of a strongly pronounced “formative period” is noted, since the activities of the Gnesins’ State Musical-Pedagogical Institute relied on the half-a-century old experience of the functioning of the other educational institutions founded by the Gnesins’. The article examines questions of the active development of the music theory education of a three-level system (from the school to the college, and then to the higher educational institution), of the formation of the genres of musicological literature, the collaboration of the faculty of the new musical education with the Moscow Conservatory, etc. The author of the article emphasizes that the constructive scholarly-methodological work under the guidance of Elena Fabianovna Gnesina was of an expedient character. During the course of a decade the tutorial-methodological basis of the professional musical education of the whole country was formed. During the course of a short period of time, the activities of the institute acquired a national scale, thereby, the Gnesins’ State Musical-Pedagogical Institutes became an outstanding project of time.

APPLICATION OF RENOVATION MODEL IN TEACHING OF HARMONY

Practical harmonization on an instrument within the Harmony course is continuously an element of professional musical education, from the first grade of the secondary music school to the completion of bachelor studies of music. The manners, means, methods, as well as the degree and approach to this technique (skill) are naturally and inevitably open to new ideas. The paper presents the renovation potential of the specific Medieval Church scales (modes), sequences, transpositions, and modulations, as the terms and techniques familiar to the students within the course of Harmony. The application of the recommended procedures of the renovation model in teaching Harmony is one of the possible ways to accomplish successful and creative classes in this interesting and inspiring area of musical expression for students, allowing for more successful transfer and presentation of the acquired knowledge and opening doors to their potential creativity.

Musical Projects in Guitar Pro 7.5 Sequencer

The purpose of the article is to study the process of creating musical projects in the GUITAR PRO 7.5 sequencer. Research methodology. The article uses a systematic approach, as well as methods of analysis and synthesis, comparison and generalisation. The scientific novelty lies in the identification and development of innovative methods of working in the GUITAR PRO 7.5 sequencer, which allows creating musical compositions from scratch using modern software tools, as well as the possibilities of using music information technologies in the further artistic practice of musicians, sound producers, sound engineers, producers and in professional music education. Conclusions. This software product is a powerful music editor that allows one to create original scores at a professional level for subsequent editing. The programme presents many necessary tools with which the user can work with a variety of musical notation symbols and a wide range of sound dynamics and tempo control, which allows you to create samples of sounding musical pieces and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and other useful tools for musicians. Guitar Pro 7.5 can be run on Windows, Linux, and Mac OS platforms. It is widely used by musicians, composers, arrangers, sound engineers, sound designers, and producers. In addition, Guitar Pro 7.5 methods can be used for studying by students who are mastering the relevant specialties in higher educational institutions. Keywords: music notation editor, score, arrangement, sound, musician, composer, sound producer, sound engineer, producer, professional music education.

Bohdan Antkiv's Contribution to the Development of Musical Art of Galicia in the Second Half of the Twentieth Century

The purpose of the work is to systematise and give a comprehensive assessment of the musicological and compositional heritage of Bohdan Antkiv, his cultural and educational, musical activities in the context of the processes of professionalisation of Ukrainian musical art of Galicia in the second half of the twentieth century. The methodology of the research is to apply the following methodological approaches: analytical, systemic, historical and musical. Scientific novelty of the work. For the first time a thorough analysis of the musical activity of Bohdan Antkiv was carried out, the contribution of the artist to the musical art of Galicia of the second half of the twentieth century was characterised. Conclusions. Bohdan Antkiv is a music artist who crosses the line of amateurism and achieves success and recognition in professional music art Ternopil and Lviv regions. He participated in rural amateur groups and circles in early years, led by his father, Mykhailo Antkiv. The musician obtained a professional music education, studying at conducting courses at the Ternopil branch of Mykola Lysenko Lviv Music Higher Institute, and later at the Conducting Faculty of Mykola Lysenko Lviv State Conservatory. He successful conducted activities in the children’s choir of the society ‘Prosvita’ local unit, in the singing and music society ‘Torban’, in the choir of the T. Shevchenko youth organisation ‘Sokoliata’, in the mixed choir of Ostriv village, which won the Regional Choir Competition in Lviv, in the choir group of the song and dance youth ensemble ‘Cheremosh’, which acted at I. Franko Lviv State University. Bohdan Antkiv also started a brass band in Ostriv village. The article also traces composer and arranging activities. Keywords: Bohdan Antkiv, musician, conductor, choirmaster, composer, musical art, Ternopil, Lviv.

Study of Cognitive Structures of Professional Music Education Students Regarding the Concept of Aesthetics

Study of Cognitive Structures of Professional Music Education Students Regarding the Concept of Aesthetics

Research on Innovation of Music Teaching Management Mode in Chinese Universities under Cultural Hegemony

With the expansion of cultural globalization in modern times, some Western countries, under their strong military and economic strength, have implemented cultural hegemony employing cultural export and cultural penetration. For example, music education in Chinese universities has been influenced by the hegemonic culture; even more, the music education model in China has been totally Westernized which has caused a huge impact on the ideology, music culture view, and music knowledge system of music majors in universities, and directly led to the students’ misjudgment of the value of Chinese traditional music. This paper discusses and analyzes the macro policy, management mode, curriculum, and selection of teaching materials of the existing music education system in Chinese universities to point out the shortcomings of this system and the consequences of allowing the shortcomings to develop; discusses the relationship between professional music education in Chinese universities and social music culture, the role of education in the transmission of traditional music culture, and how to deal with issues such as the relationship between multiculturalism and traditional music culture. This paper will also explore how to integrate traditional music culture into existing music education from the theoretical level, explain the theoretical and practical foundation for constructing a new teaching management model, propose curriculum standards, course nature, ideas, and thoughts for building a traditional music education system in universities, and make practical suggestions for teaching and inheriting traditional music culture based on practice and theory.

Formation of Basson Classes at the Paris Conservatory

The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoonists who were formed in the second half of the 18th and early 19th centuries. The author investigated the essence of the ideological and political factors of the French Revolution in the creation of a new democratic system that began to exist in professional musical education, which guaranteed its accessibility to the general population and free education on a competitive basis. The article provides a chronology of the beginning and development of bassoon classes on the path of professionalization of performance on wind instruments at the National Guard Music School, the National Institute of Music and the Paris Conservatory. The peculiarities of the implementation of the competitive system of professional training of instrumentalists, as well as the formation of didactic materials to ensure the educational process at the Paris Conservatory became the basis for further artistic education. This fact was carefully analyzed and became the basis for the conclusions of the article. The innovative guide of E. Ozi "School of Playing the Bassoon", was regarded as one of the first complete instructional materials for the bassoon. It was officially approved as a study guide for mastering the instrument, became a powerful impetus for the development of the conservatory students’ performance skills. The author emphasized and defined the role of E. Ozi in the creation of bassoon classes at the Paris Conservatory, as well as in the founding of the French performing school. It has been proven that an important factor in the development of French bassoon performance in the second half of the 18th century was the inclusion of the bassoon in the training programs of metris and its use in church ensembles to accompany choral singing during divine services

Ethno-Artistic Competence of a Music Teacher: Essence, Structure, Features of Formation

Abstract. This article examines the main competencies of a modern music teacher. The purpose of the article is to characterize the essence, structure and features of the formation of ethno-artistic competence of a music teacher. The used research methods are: analysis and generalization, modelling, synthesis. Results. It has been established that the actions of the music teacher should be primarily aimed at the formation of key competencies, since the training can be successful in which the following chain is clearly traced: from a competent teacher to a competent student. Therefore, the importance of developing new approaches to the formation of musical art teachers' rich professional, personal and creative potential, which allows realizing the educational possibilities of ethno-artistic imitation, becomes obvious. In this regard, the issues related to the interpretation of the concept of "ethno-artistic culture", the means and methods of its formation in the system of professional musical education are considered. Moreover, the author believes that it is also important that ethno-musical education should provide opportunities for ethnic, ethno-cultural, ethno-musical identification in the course of involvement in ethnic musical values for the formation of ethno-cultural identity. Conclusions. The author of the article concludes that the process of forming the future specialists’ ethno-artistic competence is effective under the following conditions: ethno-musical education should become a means of consolidating peoples, a factor in the activation of intercultural interaction in the conditions of multicultural education; it should be closely related to polymusical education (where integrative processes are strengthened, ensured by the openness of other cultures, a polymusical competence is forming, and the polymusical education role is intensifying). It has been established that the formation of a specialist who has ethno-artistic competence is more effective in the process of his/her purposeful multicultural education, which is carried out with the help of introducing a multicultural component into professional and pedagogical training, which at the same time promotes the development of intercultural dialogue under the conditions of a multi-ethnic world.

Investigation of Professional Music Education Students’ Attitudes and Self-Efficacy Perceptions Towards Modal Hearing in Terms of Various Variables

The aim of this study is to examine the attitudes and self-efficacy perceptions of students who receive professional music education towards modal hearing in terms of various variables (gender, age, class level, faculty of education). In the study, attitude and self-efficacy perception scales were used as data collection tools towards modal hearing developed by researchers. The Cronbach’s alpha internal consistency coefficients of the scales were determined as 0.871 for the attitude scale and 0.901 for the self-efficacy perception scale. The study group of the research consists of 259 undergraduate students in their 3rd and 4th grade who were enrolled in courses related to Modal Hearing and studying in the Music Departments of Faculties of Education, Faculties of Fine Arts, and Conservatories in 12 randomly selected universities in Turkey during the 2021-2022 academic year. As a result of the research, it was determined that the students who received music education had positive attitudes towards modal hearing and considered themselves sufficient in modal hearing. On the basis of faculties, it was determined that the lowest attitude score belonged to the students of the faculty of fine arts, and the highest attitude score belonged to the students studying at the conservatory. There was no significant difference in self-efficacy perception scores between the three faculties. In addition, when the attitudes and self-efficacy perceptions of the participant students towards modal hearing were examined, it was seen that male students exhibited more positive attitudes than female students. It was determined that there was no difference in the attitudes and self-efficacy perceptions of the participating students towards modal hearing based on age and grade level variables.

The Neuhauses and Proletarian Culture. Intersection Points

The article, based on the materials of the local press, analyzes the directions of cooperation of the Yelysavetgrad family of Neuhaus with the Bolshevik regime in 1920–1922. The forms and types of cultural and educational work, typical for the period of the dominance of Proletarian culture as an organization of self-made creativity in the artistic field are depicted in a panoramic view - the activities of workers' groups, studios at clubs, the introduction of lectures-concerts with the practical participation of workers, peasants and soldiers. The introduction of the ideas of proletarian culture in the conditions of the destructive phase of the replacement of professional categories by populist tendencies is considered, which led to the leveling of professional musical art, the loss of positions of importance of consistent professional musical education in contrast to accessible amateurism.
 The main trends of the musical life of the town of Yelisavetgrad at the beginning of the Soviet regime were analyzed: the introduction of total control for professional musicians, registration of instruments, military service. Found documents regarding the confiscation of keyboard instruments (grand pianos, pianos, harmoniums) with further squandering and complete destruction of valuable piano instruments on the territory of the region are published.
 The performing participation of O.M. and G.W. Neuhaus, representatives of their families and former students in the cycles of historical concerts-lectures «Fires» and «Palace of Science and Art» for the proletarian public is described, the programs and the theme of the events are analyzed. The importance of concertsclavierbands, chamber performances-rehearsals of H.G. Neuhaus in Yelisavetgrad is interpreted against a background of the processes of educating a new proletarian audience. The reasons for the voluntary-compulsory return of the Neuhaus family as veterans of the pedagogical field to active concert activity are determined.