Despite being the closest to us temporarily, the academic musical repertoire of the 20th and 21st centuries still finds obstacles to establishing itself both in the programming of concert halls and ...the subjects taught at conservatories. This research aims to explore the presence and use of contemporary music in the syllabuses of Music Performance courses in the Professional and Higher Conservatories of Music in Spain. The methodology employed is mixed, using qualitative and quantitative tools and univariate statistics, of an analytical and comparative type, through a case study approach. For data collection, documentary analysis of study plans and didactic programs was used, as well as interviews with teachers and students. The conclusions determine a scarce presence of Contemporary Music as a didactic resource and within the instrumental repertoire in the classrooms of Spanish conservatories. However, students show motivation, and teachers stress the importance of including this repertoire from the initial stages of learning.
Aunque la investigación sobre praxis docente es amplia, pocos estudios se han interesado por la mala praxis, es decir, por prácticas docentes incongruentes con los principios aceptados en marcos ...curriculares, pedagógicos y/o didácticos. El marco teórico de mala praxis docente propuesto por Herrán y González, centrado en la influencia del egocentrismo, presenta gran potencial para explicar ciertas problemáticas que tradicionalmente se han observado en las enseñanzas instrumentales en conservatorios y escuelas de música, tanto en España como en otros países. El presente estudio, basado en un análisis bibliográfico crítico de corte cualitativo, persigue dos objetivos: (1) introducir el citado marco entre los profesionales de la enseñanza instrumental, ejemplificando sus postulados centrales mediante investigaciones previas del área; y (2) proponer estrategias para prevenir la mala praxis en conservatorios y escuelas de música, fundamentadas en la literatura sobre desarrollo profesional docente. Las estrategias sugeridas implican perfilar la identidad profesional docente mediante una sólida formación pedagógica, mejorar los procedimientos de selección e inducción docente, así como fomentar el desarrollo profesional y el trabajo colaborativo. Se concluye argumentando que prevenir la mala praxis en conservatorios y escuelas de música requiere redefinir cuál es el objetivo último de las enseñanzas instrumentales en nuestra sociedad actual.
Music performance anxiety (MPA) is a phenomenon often encountered among professionals and students who make public appearances. This article presents the results of a study carried out on a sample of ...music students in superior music conservatories in Spain (N = 434). Our goal was to analyze MPA on the basis of Barlow’s (2000) anxiety theory, supplementing it with further personality constructs such as dispositional optimism, general auto-efficacy, and sensitivity to reward and punishment. Our structural equation modeling (SEM) results reveal that several of those constructs exert their effect via the helplessness factor – the central construct in Barlow’s theory – and that they likewise exert a further series of direct effects on MPA. All in all, the variables taken into consideration account for 45.6% of variance in MPA in males and of 52.1% thereof in females. This study thus upholds Barlow’s theory of anxiety, while broadening it with further explanatory mechanisms.
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NUK, OILJ, SAZU, UKNU, UL, UM, UPUK
While the literature in ecology on conservative plant translocations has developed significantlyin recent years, very few studies on the practical conditions for their implementation, includingthe ...economic aspects, have been conducted. However, these non-strictly biological factors areimportant to consider because they can influence the feasibility and efficiency of translocationoperations. Through a series of interviews with national botanical conservatories (CBN), one ofthe major actors in plant translocations, as well as a few complementary actors, we review theregulatory, organizational and economic dimensions of the practice of conservative planttranslocations in France. In particular, we collected the economic costs of the involvement of sixCBN in 34 translocation operations, associated with three stages that we feel it is interesting todifferentiate in a translocation: preparation, the translocation itself, and the post-translocationphase. It is the two phases upstream and downstream of the translocation operation per se thatinvolve the largest share of costs. We also showed that the motivation underlying a translocation operation, that is within or outside the mitigation hierarchy of development projects, did not significantly influence its cost, which suggests an equivalent implication of the actors interviewed (at least economically) in the two cases identified. The analysis of the economic costs of plant translocations, limited to the involvement of the CBN in this article, should now be completed for the other actors involved. The detailed network of the actors involved in translocations as well as the description of the different stages they encounter and that we propose in this article constitute an essential starting point.
The research is based on the study of public relations in the five Andalusian music conservatories currently active, which account for 16% of music education centers in the country: Real ...Conservatorio Superior de Música Victoria Eugenia in Granada; Conservatorio Superior de Música Andrés Vandelvira in Jaén; Conservatorio Superior de Música de Málaga; Conservatorio Superior de Música Rafael Orozco in Córdoba; and Conservatorio Superior de Música Manuel Castillo in Seville. The research approach was developed through the contextualization of the conservatory system in the historical-national panorama and the study of their relationships in the internal and external scope. This whole process was studied from the perspective of educational and institutional communication through semi-structured interviews with the members of the management teams of each of the centers; through bibliographic and documentary examination; the analysis of social networks’ content (Facebook, Twitter, Instagram and YouTube) and the official web pages of each institution. As a result, this study shows that the public relations of the top conservatories of music go beyond the educational sphere and as they are generative paradigms and diffusers of the heritage of their city and their community as a whole.
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IZUM, KILJ, NUK, PILJ, PNG, SAZU, UL, UM, UPUK
Curcumin possesses anti‐inflammatory properties and provides a promising treatment for inflammation. The aim of the study is to establish that buffalo granulosa cells when primed with curcumin (20 ...μM), release improved cellular contents through exosome that can mitigate granulosa cell dysfunction. Recently, we have shown that buffalo granulosa cells exposed to LPS (1 μg/mL) in serum free culture, transiently increased the pro‐inflammatory cytokine genes (IL‐1β, TNF‐α, IL‐6) expression followed by the inhibition of CYP19A1 gene expression and estradiol production. Therefore, LPS‐treated granulosa cells were used as a model of inflammation and curcumin primed exosomes were utilized to check their potential for reducing granulosa cell dysfunction. Expression level of pro‐inflammatory cytokines and CYP19A1 were detected by real time PCR while estradiol levels were measured by ELISA. Exosomes derived from curcumin‐treated cells alleviated LPS mediated inflammation. In conclusion, our study potentiates the use of curcumin primed exosomes in mitigating granulosa cell dysfunction. Results show the therapeutic conservatories of curcumin via primed exosomes.
Schematic representation of the methodology and concept representing the reprogramming of exosomes after curcumin treatment in granulosa cells. Curcumin primed exosomes decreases the inflammation and improves fertility in LPS induced granulosa cells.
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BFBNIB, FZAB, GIS, IJS, KILJ, NLZOH, NUK, OILJ, SBCE, SBMB, UL, UM, UPUK
Research on interactions between teachers and students in music lessons has documented a complex interplay of talk, vocalizations and visual demonstrations. This study employed conversation analysis ...to explore these multimodal features in order to identify some of the pedagogical practices evident within lesson interaction. Specifically, the aim was to examine how conservatoire students and teachers orientate to both learning and performing within the lesson. Video recordings of 18 one-to-one lessons lasting between 50 mins and 2 hours were analysed. Findings suggest that students demonstrate when they are doing learning versus doing performing through the use of restarts, pauses and apologies in their talk and playing, thus indicating to the teacher which version they would like the teacher to hear for assessment and feedback, and which to ignore. The study highlights how conversation analysis, firstly, enables educators to understand how music performance itself is played out like conversation, mapping key speech devices found in talk onto the multimodal features that are evident in playing. Secondly, how talk and embodied actions inform the study of pedagogical music interaction, demonstrating that, in order to understand and interpret the instruction meaningfully, each component must be studied in context with each other, rather than in isolation.
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The concept of entrepreneurship has gradually been permeating all areas of knowledge and social activities as a central value that defines the profile of individuals and leads to the achievement of ...personal goals, labor and economic, allowing the creation of value products, goods and services. Artistic entre preneur ship, however, has not been addressed with academic rigor until less than a decade ago. In the field of music, the first steps are now being taken towards research in entrepreneurship, although the main obstacles to overcome are still at the conceptual level and at a referential level. Likewise, there is a lack of reflection and analysis of the way in which the music instruction received influences on learning entrepreneurship, and the way in which the higher music education institutions can provide their students with the necessary skills to become entrepreneurial professional musicians. For this to take place, a diagnosis of the current educational situation, the challenges and possible resistances for the implementation of changes in it is necessary. These are the aspects that are addressed in this article, as well as an approach to different models o f entrepreneurship implementation in higher music education institutions and the posing of questions for reflection as the first and necessary step for transformation and change.
El concepto de emprendimiento paulatinamente ha ido permeando todas las áreas de conocimiento y actividades sociales como un valor central que define el perfil de los individuos que conduce a la consecución de logros personales, laborales y económicos, permitiendo la creación de productos de valor, bienes y servicios. El emprendimiento artístico, no obstante, no se ha abordado con rigor académico hasta hace menos de una década. En el ámbito de la música se están dando ahora los primeros pasos hacia la investigación en emprendimiento, si bien los principales escollos que se han de salvar están aún a nivel conceptual y a nivel referencial. Asimismo, se echa en falta una reflexión y análisis del modo en que influye la formación musical recibida en el emprendizaje (aprender a emprender) y la manera en que los centros superiores de educación musical pueden proveer a sus estudiantes de las habilidades necesarias para convertirse en músicos profesionales emprendedores. Para que esto tenga lugar es preciso un diagnóstico de la situación educativa actual, los retos y las posibles resistencias para la introducción de cambios en la misma. Estos son los aspectos que se abordan en este artículo, además de una aproximación a distintos modelos de implementación del emprendimiento en los centros superiores de música y el planteamiento de interrogantes para la reflexión como primer y necesario paso hacia la transformación y el cambio.
This article presents an
analysis of the yet limited
bibliography related to violence
in music education. From
ethnography (Kingsbury, 1988;
Nettl, 1995) to case studies
(Musumeci, 2005; 2008),
...biographical analysis (Smilde,
2009a; 2009b) and a more
organizational point of view
underlying workplace bullying in
arts jobs (Quigg, 2011). Perhaps the biggest taboo in formal
music teaching is the intended
use of psychological violence in
classrooms, especially in higher
studies. Unfortunately, researches
highlight that this issue is still
present. These studies gather
testimonies of students who
suffered psychological violence
during their music education.
The findings start to shed light
on a topic that all experienced educational agents at
Conservatories have known;
cases of greater or lesser severity
of psychological and/or sexual
harrasment. In closing, some
measures are proposed to allow
Conservatories to cope with this
issue. The end of violence is an
essential requirement to quality
of life from music education.
Este trabajo presenta un
análisis de la todavía escasa
bibliografía referente a la
violencia en educación musical,
desde la etnografía (Kingsbury,
1988; Nettl, 1995) a los estudios
de caso (Musumeci, 2005; 2008),
análisis biográficos (Smilde,
2009a; 2009b) y un punto de vista
más organizacional centrado en
las condiciones de trabajo en las
que se evidencia el acoso en
empleos que tienen que ver con el arte (Quigg, 2011).
Posiblemente el mayor tabú que
existe alrededor de la enseñanza
musical formal es la utilización
intencional de la violencia
psicológica en las aulas,
especialmente en los niveles de
formación superior. Las
investigaciones evidencian cómo desafortunadamente esta
problemática sigue presente. En
ellas se recogen testimonios de
alumnos que sufrieron violencia
psicológica durante su formación
musical, lo que comienza a poner luz sobre un aspecto que
todos los agentes educativos con
suficiente experiencia en los
conservatorios hemos conocido:
casos más o menos graves
relacionados con la violencia
psicológica y/o sexual. Para
finalizar se sugieren algunas
medidas que permitan a los
conservatorios enfrentarse a esta
cuestión. La ausencia de
violencia es una condición
irrenunciable para la calidad de
vida desde la educación musical.
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