Search

Much like an effective speaker, a flexible musician is competent across multiple settings. The sociolinguistic theory of code-switching can be a useful tool to better understand how musicians acquire a set of skills and knowledge to support music-making in a range of activities in and outside of school and throughout society. In this article, readers learn about the specific skills and knowledge musical code-switchers rely on the most when moving among a diverse range of musical events. This article includes examples of how code-switching experiences can improve music classes, lessons, and rehearsals and support meaningful independent music-making. [ABSTRACT FROM AUTHOR]

This short essay tells the story of how much my thinking about literature, and the kind of questions I ask students, have changed since I first attended to the features of the physical voice – tone and timbre – and their role in reading. [ABSTRACT FROM AUTHOR]

Copyright of Materiały Budowlane is the property of Wydawnictwo SIGMA-NOT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this qualitative study was to explore collegiate musicians' lived experiences with democratic rehearsal procedures in a concert band setting. A constructivist worldview and phenomenological framework were used to examine participants' experiences using their own words through weekly written reflections, pre- and post- questionnaires, rehearsal interactions, and semi-structured interviews. Participants (N = 42) were members of a co-directed, non-auditioned university concert band at a large midwestern university. Data collection took place during an eight-week concert cycle which included scaffolded democratic experiences such as (a) selecting music for performance, (b) participating in collaborative score study/preparation during rehearsal, (c) identifying and selecting music segments for rehearsal, (d) identifying and describing opportunities for individual and ensemble performance improvement, (e) analyzing, discussing, and making decisions regarding how the music should be performed, (f) participating in student-led sectionals, and (g) participating in student-led full ensemble rehearsal. Themes associated with participants' experiences included (a) the value of multiple perspectives, (b) ownership and musical agency, (c) engagement, and (d) providing feedback. Participants indicated that the democratic rehearsal cycle was generally a positive experience. Application of democratic rehearsal procedures may aid students in developing their agency, musicianship, and musical independence. [ABSTRACT FROM AUTHOR]

The transfer and survival of the cultural accumulation of Turkish art music is very important for the Turkish society in terms of the sociological phenomenon that Bourdieu put forward with the conceptualization of cultural capital. Cultural capital is functional in many areas of life. Music choir conducting is one of these fields. It tries to understand the repertoire preferences of amateur traditional Turkish classical music choir conductors in Izmir by making use of Bourdieu's concepts of social route, doxa, cultural capital, habitus. Within the scope of the study, interviews were made with amateur traditional Turkish art music choir conductors, choir members and instrumentalists working in these choirs, and observations were made in rehearsals for concerts and concerts. In addition, concert program booklets of about 30 choirs and repertoire booklets used in the studies were examined. In addition to the field study, a wide literature review was made, and the results obtained in the light of the data obtained from these two channels were evaluated from the perspective of Bourdieu's concepts of cultural capital and habitus. Strategies followed by choir conductors in the field were examined in the axis of Bourdieu's concepts (containment, surveillance and subversion). In addition, in our study, it was determined that while choir conductors were forming their repertoires, economic capital and social capital were also affected as well as cultural capital. Choir conductors' preferences to create their repertoire; their social routes, their habitus, their cultural capital, the habitus of the works and the musical elements that make up the works (the habitus of the tunes and the styles), the habitus and cultural capital of the choir members, the audience, the instrumentalists and, if any, the institutions they are affiliated with, affect the rules established in a field. [ABSTRACT FROM AUTHOR]

Theatre music has been a key driver of theatrical invention, innovation, and style since 2010 in German theatre and arguably for some years before that. This is evidenced in creative partnerships between individual directors and composers (and sometimes bands), in a strong presence of music in the rehearsal rooms, in musical forms of postdramatic writing, and in forms of acting styles and performance aesthetics where music plays a formative role. [ABSTRACT FROM AUTHOR]

This article introduces the concept of 'wearing-in-performance', the phenomenon of using digital, wearable technologies in musical performance. The research uses ethnographic methods, analysing interviews and statements made by musicians in the rehearsal and performance of Mensura (2022), a work of experimental concert music composed by the author, in order to scrutinise the phenomenological role of such technologies. The paper identifies three phenomena experienced by these musicians, namely connectedness; the meditative reconfiguring of space; and an augmenting of the body. It goes on to conclude that the experience of performing with wearable, haptic technologies is a dynamic gathering of entangled and networked phenomena. [ABSTRACT FROM AUTHOR]

This article introduces the concept of 'wearing-in-performance', the phenomenon of using digital, wearable technologies in musical performance. The research uses ethnographic methods, analysing interviews and statements made by musicians in the rehearsal and performance of Mensura (2022), a work of experimental concert music composed by the author, in order to scrutinise the phenomenological role of such technologies. The paper identifies three phenomena experienced by these musicians, namely connectedness; the meditative reconfiguring of space; and an augmenting of the body. It goes on to conclude that the experience of performing with wearable, haptic technologies is a dynamic gathering of entangled and networked phenomena. [ABSTRACT FROM AUTHOR]

Musicians and sound designers appear with increasing frequency on the cast lists of contemporary theatre productions. They develop music during the rehearsal process, making it an almost indispensable part of theatrical productions—in the form of songs or instrumental music, produced live on stage in the performative process as a theatrical action, or digitally pre-produced. As part of the staging concept, these musical outputs have a direct impact on the scenic realisation of a play. Contrasting the abundance and relevance of contemporary theatre music (especially in the German-speaking world), is its paucity in academic discourse. This paucity begets a lack of analytical tools to sensitively engage with this creative artistic practice. This article summarises the appeal of, and the challenges inherent in, the analysis and interpretation of current theatre music and proposes a rethinking of theatre music from its status as incidental music to a specific quality as relational music (Roesner [2019]. Theatermusik. Analysen und Gespräche. Berlin: Theater der Zeit), since theatre music as a contemporary artistic practice demands to be analysed in terms of its theatrical and performative impact on a theatre production. As a result of this characteristic scenic component of current theatre music I present a triangulated system of analysis, comprising performance analysis, ethnographic rehearsal analysis and practice as research against the backdrop of scholarly discourse on 'music as performance' (Cook [2014]. Beyond the Score: Music as Performance. Oxford / New York: Oxford University Press; Auslander [2004]. "Performance Analysis and Popular Music: A Manifesto." Contemporary Theatre Review 14: 1–13; Small [1998]. Musicking: The Meanings of Performing and Listening. Music, Culture. Hanover: Wesleyan University Press / University Press of New England). [ABSTRACT FROM AUTHOR]

The objectives of this research were 1) to study internal factors affecting the classical choral rehearsal of Western music students at the College of Music, Mahasarakham University; and 2) to study external factors affecting the classical choral rehearsal of Western music students at the College of Music, Mahasarakham University. It is mixed method research between quantitative research and qualitative research. Quantitative data collection was done using a questionnaire for 26 students at the College of Music, Mahasarakham University divided into groups of students with good grades and students in the normal group. The qualitative data collection was done by using an interview form for a group of students with good grades. The data was analyzed using statistics of frequency and percentage. In the qualitative data analysis section, content analysis was used. The results showed that internal factors affecting the classical choral rehearsal of students with good grades were study habits in rehearsal, regularity of rehearsal, review of basic techniques, being punctual in attending class, and enthusiasm to practice songs that are more difficult to improve themselves. Furthermore, academic outcome goals are set, and taking part in singing performances or singing competitions whenever possible. As for the external factors, the students have a good relationship with the instructor and classmates. Moreover, they have a good relationship with their parents, so their parents always encourage them about studying and support them with their school fees. [ABSTRACT FROM AUTHOR]

Diasporas can create, transform, and exploit transnational networks to engage in political movements in their homeland and in their hostland, engaging in both electoral and non-electoral politics through political parties, political campaigns, and hometown organisations. However, the individual processes of subjectivation and its relationship with arts as a form of political engagement have been under-explored especially in contexts of violence and insecurity. This ethnographic paper sheds light on the micro-level of diaspora mobilisation by introducing the concept of "subjectivity" as a key term to analyse the transnational and unconventional political practices organised by migrants. As a result, this research aims to answer the following questions: (1) How are Mexican migrants becoming diasporic political subjects and creating spaces of transnational political activism in reaction to the context of violence in their homeland? (2) What makes them resort to art as a repertoire of contention against violence in their home towns? The paper introduces empirical examples collected in Brussels during 19 months of fieldwork with members of the Mexican diaspora, including semi-structured interviews with key informants and participant observation at political demonstrations, music rehearsals, charity concerts, gastronomic and artistic festivals, and political debates. [ABSTRACT FROM AUTHOR]

This study investigated expert vocalists' approaches to practice in terms of planning, time, and strategy usage. Participants were 79 university voice professors and members of professional choirs. The researchers sent each participant the Vocal Practice Survey (VPS)which collected data on the participants' professional backgrounds, attitudes toward specific practice strategies, and personal practice habits. Results indicated variety in expert vocalists' approaches to practice, including number of practice sessions per week, length of practice sessions, and structure of practice sessions. Most participants reported using practice resources, especially a piano and a mirror. Participants reported a broad range of frequency in strategy use, with holistic practice strategies dominating. Comments from participants indicated that group rehearsals also served as individual practice opportunities, that there were differences between students' and experts' practice, and that an important role of practice was facilitating vocal health. The findings of this study provide a point of reference for comparing vocal practice to instrumental practice and for further development of research of vocal musicians at varying levels of expertise. The researchers also provide recommendations for music educators regarding the instruction and promotion of effective individual vocal practice. [ABSTRACT FROM AUTHOR]

Parents serve in many roles, one of which is a mentor. At an early age, I accompanied my father to school and helped sort paperwork, observed choir rehearsals, attended concerts, and watched him mentor undergraduate and graduate students. Unbeknownst to me, I entered into an apprenticeship in the music education community. The present text reflects on how Frank Abrahams transformed my identity as a music educator through mentorship and our collaborative nature outside our father-son relationship. His actions personify not only those of a dad but those of a critical pedagogue. Furthermore, his actions created transformative spaces for me to grow as a person, musician, educator, and scholar. [ABSTRACT FROM AUTHOR]

A single session of vocalizing through a straw (straw phonation) has been associated with consistent or increased acoustic output and chorister-reported improved choral sound and vocal efficiency. Some choristers, however, report discomfort from the intense pressure of vocalizing through a stirring straw (2.5-3.0 mm opening). It is unclear whether participants acclimate to this pressure over time. Two mixed and two treble choirs sang a unison melody, participated in a straw protocol, and sang the melody again. Choristers used the protocol during warmups in four subsequent rehearsals and repeated the same pretest-posttest protocols on the final day. Survey results indicated (a) at least 89.7% of participants self-reported improved choral sound and more efficient/comfortable individual voicing after the protocols on both data collection days, and (b) participants reported greater impact on their warmup on the final day. Analyses revealed (a) choirs sang with 1.35 to 3.37 dB SPL greater mean spectral energy after the protocols on the first day and 1.63 to 2.65 dB SPL on the final day, and (b) one choir evidenced less change on the final day, one evidenced more change, and two evidenced no statistical difference. These results may represent a modest acclimation effect for choristers using straw phonation. [ABSTRACT FROM AUTHOR]

The purpose of this descriptive, exploratory research study was to investigate to what extent middle school band directors incorporate popular music in their programs and how they perceive the utility of popular music in their music curriculum. Middle-school band directors in Florida (n = 52) completed a researcher-designed survey containing Likert-type and open response items related to their use of popular music. Survey items were focused on participants' incorporation of popular music into concert programming and perceived utility of popular music to achieve a variety of musical goals. Results revealed that popular music made up less than half of most directors' concert programs, and responses regarding the frequency of popular music rehearsal varied widely. Results also suggested that participants generally found popular music to be useful for motivating students and teaching musical concepts, although there were some differences in popular music usage in the classroom. [ABSTRACT FROM AUTHOR]

The purpose of this exploratory study was to investigate the effects of score study on undergraduate musicians' performance ratings and rehearsal attitudes in chamber music ensembles. Undergraduate trumpeters (N = 8) were assigned to one of two matched quartets. In the control condition, quartet members rehearsed without any restrictions, whereas in the experimental condition, a portion of rehearsal was spent completing score study tasks. All rehearsals were 10 min long. No significant difference in performance ratings or performers' rehearsal attitudes based on rehearsal condition were found. In addition to our primary research questions, we also compared performance ratings between sight-reading and post-rehearsal recordings. Our analysis indicated that post-rehearsal recordings were rated significantly higher than sight-reading recordings (p < .001). Because the time spent engaged in score study activities did not detract from performance or attitude ratings, further investigation into incorporating score study within the rehearsal process seems warranted. [ABSTRACT FROM AUTHOR]

In observing Tadashi Suzuki's company in training, rehearsals and performances, I was struck by the actors' capacity for vocal transformation. Inspired by these experiences, I have been collaboratively investigating ways to facilitate vocal transformation within heightened forms in an Australian context. Utilising a phenomenological framework, this article reflects on three breath and imagery techniques created for application within the Suzuki Method's 'Standing Statues' exercise. The first two techniques were developed within a workshop series exploring the integration of the Suzuki method with Linklater voice (co-facilitated with Rob Pensalfini). The third technique, an experiment with Eastern approaches to the breath, was developed during a workshop series co-facilitated with Jeremy Neideck and Ros Williams. This article will describe the techniques as situated within an intercultural framework in relation to other psychophysical approaches to voice and movement training. These experiments signify the value of imaginative visualisaions of the breath to facilitate vocal transformation within heightened forms. The hypothesis presented is that this transformation is supported by a two part process: firstly attuning to one's own breath and inner images and secondly, connecting to the group and world. [ABSTRACT FROM AUTHOR]

This paper moves beyond a therapeutic perspective in the study of musical performance anxiety (MPA) coping and adopts a social support analytical approach. It explores the collaborative nature of university music students' MPA coping throughout instrumental/vocal learning and performance preparation. Semi-structured interviews and thematic analysis were carried out with 53 undergraduates from a university's music department in the local context of Taiwan. The findings identify that one-to-one tuition teachers provide multifunctional strategies embedded in pedagogical practices, while peers provide emotional support and peer learning, and accompanists act as critical friends. Among the eight MPA coping strategies, contrived performance situation is commonly used while the rests are relevant to certain facilitators: mental and visual rehearsal, accepting mistakes, relaxation skills, and dietary (teacher); absorbing activities and physical activities (peers); and virtual tools (accompanists). With social support, most participants have reported an improvement in their overall performance ability, including both performance skills and MPA coping skills. [ABSTRACT FROM AUTHOR]

This paper investigates the impact of Dalcroze Eurhythmics on fostering creativity and autonomy in classical instrumental pedagogy. The research took the form of an arts practice investigation which included devising, rehearsing, performing and documenting two performance events, drawing on Dalcroze Eurhythmics techniques rather than conventional classical music approaches. Autoethnography and other arts-based methods were utilised to develop and gather data. The paper presents an overview of Dalcroze Eurhythmics from the perspective of a performer, namely this researcher, and discusses how the method informed my arts practice investigation. It concludes with a discussion on key findings around creativity and autonomy, and the proposal that this approach has the potential to greatly enhance students experience of performance music education, as well as improve performance quality and satisfaction in their ensuing professional careers. [ABSTRACT FROM AUTHOR]

Copyright of Theo-Web is the property of Universitat Wien, Evengelisch-Theologische Fakultat, Institut fur Religionspadagogik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ghanaian scholarship in the field of instrumental music pedagogy is minimal. This article aims to examine the teaching and learning strategies demonstrated by basic school band instructors in the Accra metropolis of Ghana. Ten basic school bands and five school band instructors were purposively selected and studied in 2015 and 2016. Analyses of video recordings from rehearsals, fieldnotes and interviews revealed that teacher-directed instruction was the most used approach. To meet their teaching goals and objectives, most school band instructors used the rote teaching system with only a few utilising staff notation. Because of the many challenges of playing in a band, as well as the potential limitations of certain teaching approaches, instructors may need to consider other strategies such as teaching beyond the full-band class, implementing materials specifically intended for school bands, and utilising aural and visual models. [ABSTRACT FROM AUTHOR]

This article details online education design at an Australian university undergraduate music program. The author reviews the rapid development of online learning activities relating to music performance in response to the COVID-19 pandemic enforced lockdown. The lockdown imposed serious challenges for music educators, the overarching one being how to engage students via a screen rather than in a rehearsal room. As the unit designer/assessor, the author utilized specific cloud-based audio software networking tools that are accessible to students (Audiomovers, Splice Studio) to devise learning activities that encouraged creative interactive learning. The author details the advantages and disadvantages of each learning activity. As a substitute for face-to-face interaction, online learning has substantial limitations in relation to music education. Student engagement with accessible online audio tools can enhance skills and knowledge development and interactive learning, thus maximizing student satisfaction and collaborative learning outcomes. [ABSTRACT FROM AUTHOR]

The article presents the discussion on creation of new editions of old music which being an important area of musicology.