The article reveals the essence and features related to the development of the future choirmasters’ emotional competence in the process of profession-oriented training. The purpose of the article is ...to determine the methodological approaches and pedagogical principles of forming the emotional competence of future choirmasters in the process of profession-oriented training. The competence-based paradigm of art-centred education is defined as the one that is aimed at gaining the experience necessary for making constructive decisions in a nonlinear, variable and unpredictable process of performing and art-pedagogical practice. Emotional competence is interpreted as an integral quality, a set of knowledge, skills, abilities and practical experience of the conscious handling of emotional information and volitional regulation of emotional behaviour in the process of working with the choir aimed at optimizing the emotional aspect of artistic communication through reflexivity, empathy and appropriate conducting expression. The component structure of the future choirmasters’ emotional competence has been determined; it includes person-oriented cognitive, analytical-interpretive, sensory-expressive and reflexive-regulatory components. The theoretical and methodological basis for the development of the future choirmasters’ emotional competence is considered. The acmeological approach is aimed at the maximum disclosure of the student’s internal potentials, which is possible through designing individual performing and pedagogical trajectory. The hermeneutic approach helps to master new knowledge related to one's own inner world, emotional manifestations of other knowledge and artistic emotions that are transmitted in the musical text. The reflexive approach enables a substantive vision of the emotional component of profession-related activities as a result of productive introspection. The pedagogical principles facilitating the development of the future choirmasters’ emotional competence have been distinguished: the principle of subjective activity, the principle of emotional dominance and the principle of systematization of emotional experience.
After earning his theology degree from Union Seminary in New York, Lloyd Pfautsch (1921–2003) found his true calling in church music. He was invited to Southern Methodist University in 1958 to start ...their graduate program in sacred music and remained there for 34 years. Outside the university, he formed the Dallas Civic Chorus and led it for 25 years. He was nationally known for his conducting and the quality of the musicians he produced as well as for his compositions, many of which are illustrated here with his handwritten notations. This is the first biography of this important figure, and it is told from the viewpoint of a longtime colleague and friend. Aligned with the biography, Hart analyzes some of Pfautsch's hundreds of compositions. This is the definitive work on one of the most influential American choral musicians of the twentieth century. The combination of biographical facts, history, and anecdotal accounts makes this work unique. Pfautsch was a powerful choral figure, and many conductors mentored under his guidance.--Tim Sharp, Executive Director, American Choral Directors Association
The Gustavus Choir has long stood as the premiere choral ensemble on the campus of Gustavus Adolphus College in St. Peter, Minnesota. It is a tradition-rich group that binds its members across ...generations. Whether it be singing "Praise to the Lord," or.
A partir del último cuarto del siglo XVIII, la música puramente instrumental irrumpe en las capillas de música de las catedrales españolas, afectando a los usos musicales y repertorios de maestros de ...capilla e instrumentistas locales. Por lo que respecta a la Catedral de Canarias, esta influencia se hace notar con fuerza hacia esta época, influyendo en la aparición de un repertorio propio del que se conservan algunas muestras en su archivo musical. Es especialmente singular el caso de doce tocatas anónimas conservadas en el legajo I/IX-1 de este fondo documental ya que, según se demuestra en la presente comunicación, no sólo participó en su escritura el entonces maestro de capilla Benito Lentini (Palermo, 1793 -Las Palmas de Gran Canaria, 1846), sino además uno de los músicos de la institución, el violinista Pedro Palomino (Madrid, 1765 -Las Palmas de Gran Canaria, 1824), quien regaló seis obras de este tipo al Cabildo con la intención de que fueran tocadas en las solemnidades de primera clase. El presente texto tiene como fin contextualizar la aparición de las aludidas tocatas así como explicar su autoría a partir de datos extraídos de las actas capitulares y del propio contenido musical. During the last quarter of the eighteenth century, instrumental music burst into the music chapels of Spanish cathedrals, affecting the use of music and the repertoires of chapel masters and local instrumentalists. In the Cathedral of the Canary Islands, this influence was strongly felt around this time, which led to the creation of its own repertoire, part of which can still be found in its music archive today. The case of twelve anonymous toccatas kept in file I/IX-1 of this archive is particularly significant because, as demonstrated in this paper, not only was the chapel master Benito Lentini (Palermo, 1793 -Las Palmas de Gran Canaria, 1846) involved in their composition, but one of the Cathedral's musicians, the violinist Pedro Palomino (Madrid, 1765 -Las Palmas de Gran Canaria, 1824), who gave the Chapter six works of this kind to be played during the most important feasts. This article aims to contextualize the emergence of these toccatas and explain their authorship based on information from the chapter minutes and the musical content itself.
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