Pijanistica i glazbena pedagoginja Danica Pollak-Ogrizović jedna je od mnogih žena koje nisu našle svoje mjesto u hrvatskoj leksikografiji, za razliku od muških članova obitelji – oca Milana i ...supruga Milana. O njoj nema natuknice u Muzičkoj enciklopediji niti Hrvatskoj enciklopediji, a u Židovskom biografskom leksikonu spomenuta je samo kao supruga Milana Pollaka. Međutim, ovaj rad pokazuje da svakako zaslužuje biti spomenuta. Istraživanje njezina života i rada, podrijetla i obitelji bilo je dugotrajno, ali plodonosno. Na temelju brojnih arhivskih izvora, kao i sjećanja Ljubice Wagner, Daničine nećakinje, ovaj rad donosi podatke o njezinoj obitelji – majci Ljubici, sestrama Ljerki i Smiljki, te bratu Bogdanu, njihovu glazbenom obrazovanju u školi Hrvatskoga glazbenoga zavoda (1912-1931), Daničinu djelovanju u Bjelovaru (1928-1941), životu i radu Danice i njezina supruga za vrijeme NDH-a (1941-1945) i poslije rata, sve do njihove smrti u svibnju 1976.
Latar belakang penelitian ini adalah pembelajaran di Yamaha Music School (YMS) memiliki Kualitas yang baik dan berstandar internasional, tidak terkecuali biola.
Hal ini kemudian berpengaruh pada ...kualitas para siswa, dimana kulitas dari siswa YMS memiliki keterampilan yang baik. Berkaitan dengan hal tersebut, maka peneliti tertarik untuk meneliti terkait pembelajaran Biola di YMS Pontianak. Bentuk penelitian ini, yaitu kualitatif deskriptif. Data diperoleh dari teknik observasi, wawancara dan dokumentasi, dengan sumber data adalah informan berupa guru, siswa dan pengelola YMS. Pengujian keabsahan menggunakan triangulasi teknik, sumber dan perpanjangan pengamatan, yang kemudian dianalisis menggunakan analisis Miles dan Huberman. Hasil penelitian ini adalah pembelajaran biola dilaksanakan oleh YMS dengan waktu 30 menit, dan fasilitas yang sangat menunjang untuk pelaksanaan pembelajaran. Materi pembelajaran mengacu pada kurikulum internasional dari Yamaha Music Foundation Jepang, yang diajarkan dengan menggunakan metode demontrasi, instruksi, dan Latihan bersama di mana guru dan siswa berlatih bersama. Kemudian evaluasi pembelajaranya terdapat 2 jenis evaluasi yaitu evaluasi mikro dan makro. Evluasi mikro adalah dalam proses pembelajaran dikelas, dilakukan pada akhir pertemuan sedangkan evaluasi makro yaitu ujian kenaikan tingkat yang diadakan 6 bulan sekali, untuk menguji siswa yang mampu memainkan materi ujian yang telah dipelajari selama 6 bulan.
The existence of this Chinese Tradisonal music instrument is know by people and seldom used at the become not sacral because the arrival of modern music that can be sepatrated from daily life that ...can’t depend on any else. Method used to learn this Guzheng instrument isn’t so easy, because that instrument is very hard to teach, if it learned rarely. Guzheng is Traditional music instrument from China. It is the oldest music intrument in China and it has 21 gstring. Guzheng gives a separate color for itself. All this time Guzheng is never known by people or Indonesia people specially Chinese people in Medan. Jade Music School is one of a music course that teach how to play traditional music instrument specially for Guzheng. Jade Music School tries to introduce Guzheng in Medan specially for Chinese people in Medan and international. Guzheng is starting known through a Jade Music School show. Jade Music School tries to introduce, to show, and to perpetuate Guzheng as a Chinese traditional music instrument to progress Chinese people in Medan. Guzheng music instrument in Jade Music School can be accompanied by another music instrument. Guzheng has a role to bring the melody in every show.
Accessibility to art and cultural activities is a topic with increasing attention. Most municipalities in the Scandinavian countries have kulturskoler (extra curricular schools of music and ...performing arts) that offer training and experiences in – and through – art and culture subjects for children and young people. But the users of these institutions are not representative for the society around them. The majority of the children and young people who actually use the kulturskole come from middle-class homes and have well-educated parents. There is therefore an increasing and absolutely necessary attention in the municipalities on how kulturskoler can reach new target groups, ensure more fair representation and develop as institutions being inclusive forces in the local community. The development project ""Kulturskolen as an inclusive force in the local community (KIL)"" had this focus. In this anthology, there are nine independent peer-reviewed research articles with topics that are relevant for those municipalities wanting to develop their potential as inclusive forces further. The book is suitable for both researchers, students or teachers associated with the didactic field of art, but also kulturskole leaders, elementary school teachers and others who are interested in how the kulturskole can function as an inclusive force in the local community
Tilgjengelighet til kunst og kulturaktivitet er et tema med økende oppmerksomhet. De fleste kommuner i de skandinaviske landene har musikk- og kulturskoler som tilbyr opplæring og opplevelser i og gjennom kunst- og kulturfag for barn og unge. Men kulturskoleelevene avspeiler ikke samfunnet rundt, for størstedelen av de barn og unge som faktisk bruker kulturskolene kommer fra middelklassehjem og har godt utdannede foreldre. Det er derfor et økende og helt nødvendig søkelys på hvordan kulturskolene kan nå nye målgrupper og sikre en bedre representasjon. Utviklingsprosjektet Kulturskolen som inkluderende kraft i lokalsamfunnet (KIL) hadde dette søkelyset. I denne antologien finnes ni selvstendige fagfellevurderte forskningsartikler med tematikk som er relevant for å kunne utvikle dette potensialet videre. Boken passer for både forskere, studenter eller lærere tilknyttet det kunstfagdidaktiske utdanningsfeltet, men også kulturskoleledere, lærere og andre som interesserer seg for hvordan kulturskolen kan bli en inkluderende kraft.
In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = ...10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et al., 2008) was translated and adapted to measure music-evoked emotions. Pupils also reported their music liking. In this study, the original three-factor structure of the GEMS-9 was not replicated, and instead a two-factor solution with factors labelled Activation and Calmness emerged. The results showed that in both groups the music evoked moderate to moderately high Activation and low Calmness. Pupils reported high music liking, however, those who participated in the CEA liked the music more than those who participated in the STA. The listening activities that enrich children’s experiences of classical music in the classroom are discussed.
When it comes to the exploration of history of theoretical classes in Hungarian secondary education, it's indispensable to learn about the structure, operation and formation process of conservatoire, ...the type of institution, which was formed in the 19th century. This study is intended to briefly present the Hungarian institutionalized music education and, after that, to describe the first hundred years of the two significant school of the conservatory institution-system in detail: the National Music School and the Debrecen Music School. In the study we demonstrate the background of formation, the operation, the structure and the eminent leaders of the institutions mentioned above and highlight their transformation in the different education policy systems.
Music school students spend much more time rehearsing than performing in concert halls. Individual and small ensemble exercises are a major part of daily practice. The aim of the article is to verify ...whether the areas of rehearsal rooms given in functional programs attached to architectural contests for music schools, are sufficient to provide required acoustic conditions inside the chamber such as sound power level (SPL) and reverberation time (RT) which is preferred by musicians. The Norwegian Standard NS 8178:2014 was used to calculate the sound level generated by instruments. In this paper, the author will focus on small rehearsal rooms dedicated to individual practice and small practice groups of two or three members.
Diversität prägt den gegenwärtigen Musikunterricht - was unterrichtet werden kann, darf oder soll, entzieht sich jedoch der didaktischen Legitimierung. Die Koexistenz vielfältiger Begründungsmuster ...provoziert eine problematische Unentscheidbarkeit und damit die Gefahr inhaltlicher Beliebigkeit oder Leere. Susanne Naumann eröffnet poststrukturalistische Perspektiven für die Musikdidaktik. Poststrukturalistisches Denken ermöglicht einerseits, die didaktische Unbestimmbarkeit zu erklären - es erzeugt und betont andererseits Mehrdeutigkeit und Vielfalt. Im Fokus steht das Spiel als Form und Funktion dekonstruktiver - bildender - Diskursivität. Das Spiel löst die inhaltliche Normativität musikdidaktischer Entscheidungen nicht auf, sondern stellt diese zur Disposition: produktiv und subversiv.
Interior design of music schools in Jakarta Firanty, F; Latif, F; Indahyani, T
IOP conference series. Earth and environmental science,
04/2021, Letnik:
729, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Abstract
Music School is pretty much in demand because of their interest in the ability to play musical instruments. Nevertheless, people still see music school with one eye only. It may be due to ...economic factors or low facilities and the interior of a music school; therefore, this music school was created to create an interior space that attracts the public interest. So, this research aimed to design the music school’s interior with psychological support elements to support the atmosphere of learning and playing music to be more motivating and good for students. This design was designed to follow the trend of urban society. The method of this research was the literature study, interview, and observation. Based on the analysis of the survey results, it can be concluded that many music schools in Jakarta still have some shortcomings, such as the acoustic system and or aesthetic aspects. This can reduce students’ interest in music. Teachers, staff, and most importantly, students need adequate facilities in carrying out activities in the music school. The design concept used for the design of this music school is “Earth Melody” which is inspired by the melody of music and nature.
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