Music Pedagogy

This article explores the implications of a recently discovered set of letters by an unknown Florentine concerning Heinrich Isaac’s extraordinary tenure in Florence (ca. 1485-95). Isaac is here revealed to be interacting with local Florentine music collectors and composers, and intimately involved with the rehearsals and revisions of the latter’s works. These documents both illuminate and raise questions about how the pedagogical environment worked at a critical time when the influx of northern music and musicians transformed local compositional activity and levels of music literacy in Florence. These changes are considered in relation to both Medici cultural programmes, and the experimental nature of the polyphony being composed, collected and copied into Florentine sources at just this time.

La pregunta por la naturaleza de la música en tanto objeto de conocimiento subyace en la formulación de los constructos que integran los enfoques analíticos e interpretativos de la literatura musical en la academia de occidente. Pero el interés ontológico no acaba allí. Un camino en paralelo recorrido en el campo de la psicología de la música ha indagado la dimensión experiencial de la música en tanto estímulo sonoro, junto a los mecanismos y procesos de percepción y acción que intervienen en la cognición de las obras musicales. Si bien queda fuera
de toda discusión que la materialidad del sonido percibido y producido define la cualidad musical, sin embargo, una ontología del conocimiento musical basada en la construcción de perceptos no alcanza a brindar una explicación acabada del estatus de realidad en la cognición musical. En este trabajo interrogamos el concepto de realidad cognitiva en la intersección entre los campos musicológico y psicológico, y proponemos una dimensión imaginativa, corporeizada y dinámica
de la cognición musical. Explicamos el modo en que los conceptos del análisis musical se vinculan positivamente con el uso de correspondencias entre diferentes dominios de la experiencia.

Presented at the Teaching and Learning Innovation Expo 2017
7 December 2017 (Thursday)
https://www.elite.cuhk.edu.hk/expo2017

In 2012 the Hong Kong Education Bureau launched the New Academic Structure (NAS). Under what was known as 3-3-4, students complete three years of compulsory junior secondary school and three years of senior secondary before entering what is usually a four-year bachelor’s degree programme. Replacing the colonial-era system of O-Levels and A-Levels, the HKDSE aimed to prepare students for a range of possible future directions, including both associate degrees and undergraduate studies. With five years of the NAS behind us, it is time to assess how well the HKDSE is preparing students for university studies.

This poster aims to provide some insights into how well the HKDSE in Music is preparing students for university studies. It is based on a careful comparison of the secondary and university curriculum and a survey of 120 CUHK music students, conducted in May 2017. Preliminary evidence suggests that in a number of ways the secondary curriculum fails to provide students with adequate preparation for university studies. In addition to illustrating the discrepancies between the objectives and outcomes of the HKDSE in Music and university entrance requirements, the poster aims to offer recommendations in how we might bridge the gap between secondary and tertiary education in music.

Kultureller Bildung wird zurzeit eine Aufmerksamkeit geschenkt und eine Wichtigkeit zuerkannt wie wohl nie zuvor. Diese Situation bietet Chancen aber auch Gefahren. Der vorliegende Band nimmt beides in den Blick. Der Weg hinein in die Schulen, die Suche nach Qualitätsstandards, die extensive Ausbreitung, der damit verbundene Ökonomisierungsdruck: das alles sind Entwicklungen, die kritisch hinterfragt bzw. bewusst gestaltet werden müssen. Gleichzeitig gibt es durch die Bereitstellung öffentlicher Mittel, die Öffnung von Schulen und das Ganztagskonzept nie dagewesene Spielräume für kulturelle Bildung und kulturelle Schul- entwicklung. Noch ist es nicht zu spät, die in die kulturelle Bildung gesetzten Erwartungen zu erfüllen, zu übertreffen oder durch adäquatere Zielsetzungen zu überwinden.
Der hier vertretene Ansatz will einen Beitrag zu der Entwicklung einer Musikdidaktik leisten, die sowohl dem Anspruch einer inklusiven Pädagogik als auch dem der kulturellen Bildung genügt. In methodischen Beispielen zu Songwriting, Arrangement und Improvisation mit Kindergruppen und Projektbeispielen aus der kulturellen Bildungsarbeit an Grund- und Förderschule sowie der offenen Jugendarbeit wird vorgeführt, wie das gelingen kann. Populäre Musik kommt dabei nicht nur durch ihren identifikatorischen Lebensweltbezug, sondern vor allem als symbolische Form zur Geltung, die ganz eigene Vermittlungsformen und Haltungen hervorbringt, die einer inklusiven Didaktik intrinsisch nahestehen.

Les messes polyphoniques en livre de chœur étaient omniprésentes dans la vie musicale des maîtrises d’Ancien Régime. Utilisés lors des dimanches et fêtes, ces livres étaient un outil pédagogique incontournable pour instruire les pueri chori et un stimulant non négligeable pour les maîtres de musique devant composer régulièrement sur le texte de l’Ordinarium missæ. Ces messes fournissaient des modèles à suivre et à imiter, à paraphraser voire à piller. Le genre de la messe polyphonique avait comme particularité d’être extrêmement contraignant : les gestes liturgiques du célébrant devaient être accompagnés par des formules incontournables depuis des siècles ; la forme générale de chaque mouvement était imposée par le texte de l’Ordinaire et par la tradition ancestrale ; la durée générale de l’œuvre ne devait pas dépasser trente minutes. En s’attaquant à ce genre polyphonique, l’apprenti-compositeur se trouvait face à une sorte de liberté réduite. La Missa Laudate pueri Dominum, « chef d’œuvre » de Pierre Hugard (18 ans) offre un bel exemple de premier opus officiel dans lequel Hugard employa en plusieurs endroits la « manière de composer en mosaïque » (dixit Grétry). Pour cette étude, seront encore convoqués la Missa Deus ultionum Dominus de Pierre Cheneveuillet (20 ans), la Missa Salva nos, Christe de Claude Mielle et quelques brouillons de Sébastien de Brossard.

Welcome to the anthology Music Technology in Education – Channeling and Challenging Perspectives. This anthology presents research projects that explore intersections between music, technology and education from varying perspectives, and is the result of the efforts organized through the research group Music Technology in Education (MusTed)1 based at the Norwegian University of Science and Technology (NTNU). The researchers in the anthology come from a range of educational programs, including traditional preschool, primary and secondary teacher education programs, as well as music performance and music technology education programs. Data has been collected not only from these respective

O tema "Blinding lights" do músico "The Weeknd" começou a ser ouvido pelos portugueses, em parte, por causa da sua inserção num anúncio da marca de automóveis: Mercedes Benz. Subi o tom para ficar em fá maior e assim ser mais facilmente executado na flauta. Alterei a melodia nas notas inferiores ao dó grave (na flauta) mas deixei o som do original para não ficar muito diferente. O tema tem apenas 4 acordes rotativos, nomeadamente: Solm, Rem, FaM, DóM OU Gm, Dm, F, C.

Der vorliegende Artikel stellt ein methodisches Vorgehen für einen empirischen Theorienvergleich anhand von Kurzfilmen von Unterrichtspraxis vor. Nach einer knappen Darlegung des zugrunde liegenden Forschungsprojekts, wird die Methodik zunächst unter knapper Bezugnahme auf ihren wissenschaftstheoretischen Hintergrund vorgestellt und eine exemplarische Anwendung des Verfahrens anhand einer instrumentalpädagogischen (Ernst 1999 und 2007) und einer schulmusikpädagogischen (Rolle/Wallbaum 2011, Wallbaum 2011) Theorie vorgeführt. Dabei wird die These aufgestellt, dass der von Anselm Ernst vorgeschlagene Ansatz des Wechsels zwischen Aufgebendem Verfahren und der Dialog-Methode in weiten Teilen dem der Methode des ästhetischen Streits bei Christian Rolle und Christopher Wallbaum entspricht.

Náuka o hudobných formách je jedna z oblastí pedagogicky zameranej hudobnej teórie. V závislosti od toho, pre akú cieľovú skupinu je určená, odvíja sa jej obsah, rozsah a metódy výučby. Cieľom tohto predmetu v najširšom zmysle je vzbudenie záujmu o hudbu ako takú, o vzbudenie radosti z jej spoznávania a v konečnom dôsledku aj o jej aktívne vnímanie a pestovanie. V úzkom slova zmysle cieľom predmetu náuka o hudobných formách je spoznať formotvorné faktory, formové typy vo všeobecnom vymedzení a formové typy v konkrétnej aplikácii v skladbách rôzneho druhu. Názov publikácie vychádza z tradičného pomenovania vyučovacieho predmetu zaužívaného u nás na stredných a vysokých školách. Treba ho však chápať v zmysle hudobných foriem a druhov. Predložená publikácia je pokusom o ucelené penzum vedomostí, ktoré by učiteľ hudobnej výchovy v danej oblasti mal poznať.

The study of musical forms is one of the areas of pedagogically oriented music theory. Depending on the target group for which it is intended, its content, scope and teaching methods depend. The aim of this subject in the broadest sense is to arouse interest in music as such, in arousing the joy of getting to know it and, ultimately, its active perception and cultivation. In a narrow sense, the aim of the subject Musical Forms is to get to know the form-forming factors, form types in a general definition and form types in a specific application in compositions of various kinds. The title of the publication is based on the traditional name of the subject used in our country at secondary schools and universities. However, it must be understood in terms of musical forms and types. The presented publication is an attempt at a comprehensive set of knowledge that a music teacher in the given area should know.

This paper aims to identify and analyze the reception and the means of dissemination and multiplication of the music of the northeast Brazilian tradition "Maracatu de Baque Virado" outside Brazil in the period 1988-2010. Special focus is laid on instrucional music literature. A short historical introduction of "Maracatu de Baque Virado" is also presented, in particular trying to depict and understand the process of its rapid and drastic popularization during the aforementioned period.

This article offers a bird's-eye view of the evolution of guitar learning and pedagogy in the XX and XXI centuries, supported, and often propelled by emerging popular musical styles and new technologies. Specifically, the article discusses how learning to play guitar has evolved from formal teacher-student lessons in private and academic settings, to informal and self-guided forms of learning through books, magazines, and DVDs. Starting in the late 1990s, technological advancements and the diffusion of high-speed internet brought about technologies and social spaces that contributed to innovating guitar pedagogies and disrupting traditional approaches to teaching and learning the guitar. These technologies include, but are not limited to online archives and communities, social media, apps and software, subscription-based services, augmented reality, virtual worlds, and digital games. Several of these technologies are still in their infancy and their potential for impacting guita...

Traducción al castellano de este artículo que trata de:
Que el oído absoluto es mucho mejor oído musical que el oído relativo es otra esas afirmaciones que vale la pena desmitificar ¿Medir 2.10m es mejor que medir 1.70m? ¿pesar 100kg es peor que pesar 50kg?

Versão COM FLAUTA aqui: https://youtu.be/8mtFxRKYj5c
Partitura aqui: https://educacaomusicalprofjosegalvao.blogspot.com/2021/08/i-feel-it-coming-weeknd-ft-daft-punk.html
Partitura em formato MIDI aqui: https://musescore.com/educacao_musical_jose_galvao/i-feel-it-coming-the-weeknd-i-feel-it-coming-piano-flauta
I Feel It Coming é um tema que resulta da parceria entre o músico The Weeknd e o músico Daft Punk nesta versão para Flauta Piano Guitarra Karaoke letra, tradução, acordes e partitura fiz alterações ligeiras na melodia alterando a tonalidade e simplificando o ritmo.
Harmonicamente o tema tem apenas 5 acordes e todos eles faceis nesta tonalidade.

L’educazione musicale ha da tempo un ruolo riconosciuto nella scuola ed è al centro di un dibattito che oggi tende a privilegiare la dimensione poietica dell’insegnamento e dell’apprendimento della musica a svantaggio di quella epistemica. Questo volume propone a insegnanti ed esperti di discipline musicali della scuola e dell’università un modello che considera ugualmente rilevanti entrambe le dimensioni e perciò le integra. Sul piano pedagogico musicale tale modello assume la finalità educativa della formazione intellettuale dell’essere umano, intesa come direzione educativa della formazione integrale umana. Sul piano didattico musicale, il modello si articola in tre pratiche di trasposizione del sapere musicale: ascolto, produzione (esecuzione, composizione, improvvisazione), storia della musica. La prima parte del volume, d’impianto teorico, illustra i fondamenti teorici e metodologici di matrice sia pedagogica sia didattica sui quali si radica la ricerca pedagogica e didattica musicale qui presentata e la loro ricaduta sul modello di educazione musicale. La seconda parte, di taglio più pratico, offre alcune proposte operative incentrate sul rapporto tra ascolto ed esecuzione musicale.
Il volume raccoglie i frutti di una ricerca universitaria di poco più di quindici anni in pedagogia e didattica della musica. Tale ricerca, condotta da un gruppo di studiosi del Dipartimento delle Arti dell’Università di Bologna, di cui fa parte l’autrice, in rete con altre università italiane e internazionali, consente di disegnare oggi un modello di educazione musicale finalizzato alla comprensione della musica nella storia e nella cultura e raccordato alle scienze dell’educazione e alla musicologia.
Il volume mira a offrire così agli insegnanti pochi ma essenziali orientamenti di tipo teorico e metodologico per la pedagogia e la didattica della musica.

By the time a student has reached an advanced level on a music instrument, it is typically the case that they will have had a range of experiences of the music lesson over a number of years, be this in the one to one, master class or group lesson formats. Given the lesson plays such a significant role in the shaping of each student’s success or otherwise at performance on an instrument, these experiences are arguably as critical as the student’s own practice and study. Therefore, the music lesson continues to attract attention, be this in terms of systematic research (e.g. Rostvall & West 2003, Daniel 2004, 2008), advice and direction for the teacher (e.g. Colwell & Goolsby 2002, Baker-Jordan 2003) or most recently in terms of the establishment of a code of ethics for what is often referred to as “studio music teaching” (Australian Society for Music Education 2008). At the same time, and despite the various anecdotal claims supporting the superiority of one to one teaching, the educational evidence to support the preference for this format over others is yet to be presented. In order to explore this issue further, this paper investigates the experiences and perceptions of a sample of advanced music students chosen to attend an intensive Winterschool as part of an international music festival in regional Australia. The findings identify a number of issues of relevance to not only the higher education sector, but to all teachers engaged in the provision of music instrument lessons.

Neben der aufführungsbasierten Haltung, bei der das Memorieren während des Übens nicht oder kaum berücksichtigt wird und sich später intuitiv von selbst einstellt, wird bei der analysebasierten Haltung (intentionalem Memorieren, deliberate practice) der Notentext von Beginn an gegliedert, alle Schritte musikalischen Lernens werden bewusst und systematisch vollzogen. Ein mögliches Vorgehen für das intentionale Memorieren in sechs Schritten wird am Beispiel eines der Sechs Kleinen Präludien von Johann Sebastian Bach (E-Dur, BWV 937) geschildert. Diese Strategie ist nicht instrumentenspezifisch und kann eigenständig oder mit Anleitung durchgeführt werden.

Teaching the beginner piano student can be an exciting yet daunting process.  A teacher must decide what skills and techniques the student should develop and how these will be taught.  There are countless method books available for teaching the beginner student, yet despite this abundance, there is little written that encourages or provides for a holistic learning program. Most method books focus on one aspect of the learning (e.g. technique or aural skills) or require the teacher to supplement the learning with additional activities.  In order to investigate the design and implementation of beginner piano student learning programs, a sample of thirteen piano teachers in a regional city was interviewed.  Each teacher was asked to describe a typical lesson for their beginner students, the musical skills they found important, and whether they used a method book to assist the learning.  The results demonstrate that all of the teachers use a method book for their beginner students, and while many attempt to provide a holistic program of learning, it is often tokenistic in nature.  The skills that teachers believe a beginner student should learn and the structure of their lessons predominantly revolves around the development of technique and note reading skills.

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

This paper presents the outcomes of a three-year doctoral investigation, in which the author examines stylistic and aesthetic trends in the performances of Granados, with the aim of producing a detailed and painstaking examination of the pianistic tradition inherited by the Spanish composer. The differing and equally convincing pianistic styles of Granados’ followers call into question the validity of only one possible “authoritative” interpretation when approaching this particular performance tradition. The thorough analysis of Valses poéticos op.43 written by Granados allowed a closer look at performance practices of Granados and the musical tastes of his time. This early work is especially relevant due to the significant number of its original sources.  This investigation has unearthed a treasure trove of new and detailed information about this wonderful pianistic legacy left by Granados, and the Catalan School of Piano Players. Furthermore, it raises questions about current performance practices and the stylistic validity that pianists might be able to give in their performances of Granados’ works through a combined study of his manuscripts, pedagogical methods, recordings and performance tradition.

The primary purpose of this project is to record five pieces from living composers, and discover the
differences and use of Baroque flute through the collaboration with these five composers. This
project also comes with a short thesis introducing contemporary works for Baroque flute and
explores the existing repertoire for its application of contemporary extended techniques.
The following pieces are the recorded works in this project: Ami for solo Baroque flutes by Marc
Vallon (b. 1955); Tombeau(1982) by Robert Strizich(b.1945); Stanza, Book XVIII for Baroque flute
solo by Les Thimmig (b. 1943); Mili for Baroque flute and tape by Filippo Santoro (b.1971) and
Gists and Piths for modern flute and Baroque flute duet by Stephen Dembski (b.1949). All of them
were newly composed in 2014 except for Tombeau, which was composed in 1982. The liner notes
and a short biography of composers of the recording will be provided in Appendix 2.

In the written part, I will focus on several subjects which are important for the playing and writing
of contemporary music for Baroque flute: 1) About the Baroque flute 2) Contemporary music
written for Baroque flute—compositional styles and the application of extended techniques.
Furthermore, I will list the music for Baroque flute having been composed up till 2015. Some of the
repertoire before 2001 was discussed in the previous investigation by Linda Pereksta’s dissertation
written in 2001, at Florida State University. My research will tackle the technical issues one will
encounter when one plays contemporary music on the Baroque flute. The technical issues include
the choices of the pitch, the intonation and tuning, the challenges of uneven response between
different notes, and the balance of volume, etc.; in addition, the contemporary works require
techniques that go far beyond Baroque music performance practice, for example, imitating Japanese
shakuhachi, etc.. Thus, I will describe music the compositional style and the application of extended
techniques from some of the contemporary music written for Baroque flute. This project aims to
give information about how composers apply contemporary concepts in writing pieces for Baroque
flute in the hope that it could encourage more performance as well as composition in this medium.

E l trabajo se propone mostrar el valor pedagógico del método Kodály para la enseñanza de la música, por su contribución en la generación temprana de capacidades y valores con sentido social en niños y niñas, de acuerdo con su desarrollo bio-psico-social y su contexto cultural. El principio que considera la necesidad de recurrir a formas 'naturales' de aprender constituiría una fuente de motivación y para facilitar la asimilación del lenguaje musical ligado a vivencias propias. RESUMEN Uno de los métodos de enseñanza musical es el método Kodály que es un método basa-do en el canto que utiliza la música folklórica y tradicional como punto de partida para que el educando aprenda a leer y escribir en su propio lenguaje musical a través de los componentes y herramientas desarrolladas por Kodály.

Giuseppe Gallignani, direttore del Conservatorio di Milano dal 1897 al 1923, pose volontariamente fine ai suoi giorni il 14 dicembre 1923 in modo assai drammatico. La sua morte, da allora in poi, è stata interpretata come l’estrema ribellione di un uomo coraggioso, vessato dalle prepotenze del regime fascista. Infatti, pochi giorni prima Gallignani era stato forzatamente collocato a riposo da un decreto del ministro della Pubblica istruzione Giovanni Gentile; e il filosofo fu subito additato da autorevoli critici musicali e musicisti (primo fra tutti Arturo Toscanini) come il responsabile della morte del probo e appassionato maestro.
Lo studio di documenti conservati nell’Archivio centrale dello Stato di Roma permette ora, invece, di ribaltare tale ricostruzione.
In questo ʽpoliziescoʼ degli anni Venti sono presenti a vario titolo anche musicisti come Guido Alberto Fano, Ildebrando Pizzetti (successore di Gallignani alla direzione del Conservatorio), Ettore Pozzoli e altri. Ma il ruolo principale è ricoperto da un intelligente e scrupoloso ispettore ministeriale, Enrico Brunelli, che riuscì a scoperchiare un vaso di Pandora pieno di illeciti amministrativi, di oscuri traffici di lezioni a pagamento e perfino di reati di concussione e peculato.
Il finale un po’ a sorpresa ribalterà tutti i ruoli: si scoprirà chi era davvero protetto dal fascismo e chi fu il vero ʽassassinoʼ del direttore Gallignani.

The Pianist Speaks; British Library Sound Archive Holdings; Egon Petri's Alkan Broadcasts; Pierre Kostanoff. Ronald Smith is remembered for his concentrated, toughly symphonic view of the Classics, his big-boned concertos (more than forty of them), and for his poetic way with the reflective side of Romanticism. His enduring memorial, however, was his selfless championship of the French pianist and composer Charles-Valentin Alkan. Smith put Chopin's misanthropic friend and Square d'Orléans neighbour definitively on the map, through pioneering BBC broadcasts and recordings (going back to the late forties, on both modern and period instruments), trail-blazing literary studies, and his presidency, from 1977, of the British Alkan Society, tirelessly supporting new initiatives, including the Society's Piano Scholarship inaugurated in 2001 in collaboration with Fitzwilliam College, Cambridge. Intellectually, he was a man sharing the Albion DNA, post-Tovey, of Arthur Hutchings, Howard Ferguson, Basil Lam, Humphrey Searle, Robert Simpson, Harold Truscott …

Esta investigación llevada a cabo a lo largo de los dos últimos años analiza los quince programas online más utilizados a nivel mundial. Se han realizado todos y cada uno de los ejercicios que se proponen de la forma en la que se proponen y se han comparado con los que se realizan en una clase presencial de entrenamiento auditivo. Los resultados determinan cuál son sus ventajas y desventajas a la hora de formar un buen oído musical. Las conclusiones definen por qué no pueden ser un sustituto de un profesor especialista aunque si pueden ser un complemento muy útil.

Resumo: Pretende-se com este artigo, expor algumas definições sobre pedagogia e termos a ela relacionados, almejando desse modo, contribuir para uma melhor clareza epistemológica nas discussões realizadas por pesquisadores que se utilizam do termo pedagogia na pedagogia do instrumento. Inicialmente, o trabalho explicita a dificuldade conceitual que a pedagogia do instrumento ainda enfrenta enquanto área de estudo. Em um segundo momento, delineia-se as conceituações e definições sobre pedagogia na perspectiva de diversos autores. Logo em seguida, desvela-se, por exemplo, a dicotomia entre pedagogo e docente; sobre as variadas práticas com que a pedagogia lida; a existência de diferentes tipos de pedagogo(s), pedagogia(s) e educações — entre outros aspectos. Defende-se a pedagogia como ciência e área do conhecimento que lida estritamente com a educação, a instrução e o ensino. Por fim, espera-se que as definições de termos e conceitos contemplados neste trabalho possam servir de subsídio para fomentar mais pesquisas e discussões acerca do que seja a pedagogia — do instrumento.

Many universally recognized jazz masters have been drawn toward spirituality and/or religion. Some have fused various sonic elements of religious musics with jazz, while others have been known to musically adapt intellectual or emotional themes found in sacred texts. There are also those who have not only realized an inseparable bond between their music and their faith, but who have found lifelong purpose and fulfillment through spiritual and/or religious discipline. Yusef Lateef, Sonny Rollins and John Coltrane not only devoted themselves to the pursuit of musical mastery but also to the pursuit of self-realization. This paper discusses the unique paths each took to get there as well as their similar desire to connect with a deeper part of themselves.

The present assignment negotiates the way in which the culture of the mandolin is obvious through the four methods which correspond to the four authors. The typical regularization of knowledge, that each on of them suggests is characteristic in terms of the way in which they receive the instrument and its place in greek music.
Our approach focuses on how the instrumental characteristics are being presented as far as the construction and the origin are concerned, as well as on the pole of the mandolin both in Greece and Europe. In addition, we focus on the theory of music, on the ways of learning specific technical characteristics of performance, like the tremolo, on the way in which the fingering is being presented and how it is appeared in music notation. Moreover there is focus the way in which each author encounters the rhythm, the harmony as well as the folk roads combined with the makam system. We pretty focus on this relation because it is an important theme of investigation among the authors. The way in which each on perceives the modality and copes with it from the oral tradition to the imprinted form that a musical method constitutes, is being presented.

Versão SEM FLAUTA aqui: https://youtu.be/6VjNRUkOXig
Partitura em PDF aqui: https://educacaomusicalprofjosegalvao.blogspot.com/2021/08/control-zoe-wees-karaoke-piano-lyrics.html
Partitura em Formato MIDI aqui: https://musescore.com/educacao_musical_jose_galvao/control-zoe-wees-control
“Control” é um tema interpretado pela magnífica cantora alemã: “Zoe Wees”. Esta potente balada fala sobre a ansiedade e a luta da cantora contra a doença Epilepsia.
O tema original está em MI maior mas esta versão está meio tom acima: Fá maior, para facilitar a sua execução / interpretação tanto a nível vocal como instrumental. A harmonia é simples e a linha melódica também mas foi necessário fazer alterações (mudança das oitavas) para que fosse possível tocar na flauta.

La progresiva eliminación de determinados contenidos del lenguaje musical y el entrenamiento auditivo, por un mal planteamiento de los mismos tanto en materiales como en metodologías, está provocando que la importancia de saber leer y escribir música se cuestione constantemente: ¿para qué sirve la lectoescritura musical? ¿de qué forma debe afrontarse para que ni sea una tortura ni un aburrimiento? ¿cómo compaginarlo con el desarrollo del oído musical y de la interpretación de una forma eficiente?

Η παρούσα μελέτη αναφέρεται στη διδασκαλία του μαθήματος του ταμπουρά στα Μουσικά Σχολεία και συντίθεται από δύο μέρη. Το πρώτο μέρος αποτελεί το συμπίλημα σημειώσεων και εκπαιδευτικού υλικού που χρησιμοποιώ τα τελευταία χρόνια στο μάθημα του ταμπουρά στο Μουσικό Σχολείο Ιλίου. Ειδικότερα, αντικατοπτρίζει την προσπάθεια να ενταχθεί το μάθημα του ταμπουρά στο εδώ και τώρα, δηλαδή να συνδεθεί η ύλη του μαθήματος με την καθημερινότητα του σχολείου και κατ’ επέκταση των μαθητών. Η διασύνδεση αυτή, εναρμονίζεται πλήρως με τη λειτουργική χρήση του δημοτικού τραγουδιού κατά την περίοδο δημιουργίας του στο φυσικό του περιβάλλον.
Το δεύτερο μέρος της Μελέτης περιέχει την ποιοτική έρευνα, η οποία διερευνά τις στάσεις και τις αντιλήψεις των μαθητών για τη χρησιμοποίηση του παραπάνω εκπαιδευτικού υλικού στο μάθημα του ταμπουρά στα Μουσικά Σχολεία. Τα αποτελέσματα, τα συμπεράσματα και οι προτάσεις της έρευνας θα ανακοινωθούν αναλυτικά σε προσεχές Επιστημονικό Συνέδριο.
Το δημοτικό τραγούδι ήταν συνδεδεμένο με την καθημερινή ζωή και συνυφασμένο με συγκεκριμένες λειτουργίες, σε ατομικό ή σε συλλογικό επίπεδο. Το τραγούδι πλαισίωνε πράξεις, καταστάσεις και ανάγκες των ανθρώπων, τις οποίες επέτεινε, καλλώπιζε και εξάγνιζε π.χ. τραγούδια της αγάπης, του γάμου, της ξενιτιάς, μοιρολόγια κ.ά. Επίσης, πλαισίωνε θεσμοθετημένες εορτές και πανηγύρια, τα οποία χαρακτηρίζονταν από το δικό τους τοπικό μουσικό ρεπερτόριο και ήχο.
Σε αυτό το πλαίσιο, συγκεντρώθηκαν κάλαντα και δημοτικά τραγούδια, τα οποία αναφέρονται σε συγκεκριμένες εορτές και ανθρώπινες λειτουργίες και στη συνέχεια διασκευάστηκαν ειδικά για ταμπουρά. Στο σύνολό τους, περιγράφουν ένα θεματικό μουσικό κύκλο του σχολικού έτους, ο οποίος αρχίζει με τα κάλαντα του Δωδεκαημέρου και τελειώνει με τα τραγούδια του Θερισμού και του Τρύγου.
Επιπρόσθετα, στο Β΄ Κεφάλαιο του πρώτου μέρους παρατίθενται συνοπτικά οι βασικότεροι κανόνες οργανοχρησίας του ταμπουρά με παραδείγματα στην Ευρωπαϊκή Σημειογραφία, τόσο για το δεξί (πενιές του ταμπουρά), όσο και για το αριστερό χέρι (θέσεις οργανοχρησίας του ταμπουρά). Οι συγκεκριμένοι κανόνες οργανοχρησίας του ταμπουρά διατυπώνονται αναλυτικά με αντίστοιχα μουσικά παραδείγματα στη «Μέθοδο Οργανοχρησίας του Ταμπουρά» (Σιάσος, 2014). Βάσει των κανόνων αυτών, σημειώνονται οι πενιές και οι δαχτυλισμοί οργανοχρησίας σε κάθε τραγούδι της παρούσας Μελέτης. Έρευνες έχουν δείξει ότι, η τυποποίηση του παιξίματος ενός μουσικού οργάνου μέσω συγκεκριμένων κανόνων βοηθάει τον μουσικό εκτελεστή να αναπτύξει την αισθητηριακή μνήμη του (ιδίως την ακουστική, οπτική και κιναισθητική μνήμη), καθώς επίσης και τις μεταγνωστικές δεξιότητές του.

(Full article now available in Theoria, Volume 28)

Around 1763, shortly after he began his decades-long tenure as Kapellmeister to the Esterházy princes, Haydn experimented with learned counterpoint in the finales of four early symphonies: nos. 3, 13, 14, and 40. These movements display the pedagogical legacy of Johann Joseph Fux, which Haydn encountered in his youth as a chorister in Vienna, and, later, through studying Fux’s counterpoint primer, Gradus ad Parnassum. This study will explore how Fuxian principles--particularly combining multiple subjects with distinct rhythmic profiles--plays out differently in each movement. (No. 3 has a two-part invention opening, no. 13 is a fusion of invention and sonata, no. 14 is a double fugue in sonata form, and no. 40 is a triple fugue.)

In addition to providing useful antecedents to the fugal finales of Haydn’s Sun Quartets, these works paved the way for two Sturm und Drang symphonic finales that also feature learned contrapuntal display. The finale of Symphony no. 44 of ca. 1771 (Trauer), a monothematic sonata movement whose opening theme acquires multiple countersubjects as it develops, and Symphony no. 70 of ca. 1779, whose finale features an intricate triple fugue. After a brief summary of Fux’s principles of counterpoint, including imitation and fugue, we will examine each of these five movements in depth, observing how Haydn distilled Fux’s principles and put them into practice in this intriguing and stylistically unusual group of symphonic finales.

Resumo: Pretende-se com este artigo, expor algumas definições sobre pedagogia e termos a ela relacionados, almejando desse modo, contribuir para uma melhor clareza epistemológica nas discussões realizadas por pesquisadores que se utilizam do termo pedagogia na pedagogia do instrumento. Inicialmente, o trabalho explicita a dificuldade conceitual que a pedagogia do instrumento ainda enfrenta enquanto área de estudo. Em um segundo momento, delineia-se as conceituações e definições sobre pedagogia na perspectiva de diversos autores. Logo em seguida, desvela-se, por exemplo, a dicotomia entre pedagogo e docente; sobre as variadas práticas com que a pedagogia lida; a existência de diferentes tipos de pedagogo(s), pedagogia(s) e educações — entre outros aspectos. Defende-se a pedagogia como ciência e área do conhecimento que lida estritamente com a educação, a instrução e o ensino. Por fim, espera-se que as definições de termos e conceitos contemplados neste trabalho possam servir de subsídio para fomentar mais pesquisas e discussões acerca do que seja a pedagogia — do instrumento.

Taking as a point of departure the question of whether Ibero-American music should have a more prominent presence in music history sequences currently taught at U.S. institutions of higher education this essay explores questions about diversity and tokenism in the reproduction of mainstream models of knowledge production. These issues are analyzed vis-à-vis the contemporary attack on the humanities in U.S. academia in order to propose alternative approaches to music education and scholarship that work as critical models to the colonialist perspective that has informed music academia for generations and to the neo-liberal project that has been slowly taking over academia in the last twenty years.

Memorization is an important component in the education of many classical musicians, but it is infrequently addressed in pedagogical literature for trumpet players. Furthermore, the area of memorization has undergone very little systematic investigation in the pedagogy of trumpeters and others for whom notation is almost exclusively relied upon in formal education. This study employed qualitative instrumental case study methods in order to describe the teaching and learning of memorization in the studios at Boston University (BU) and University of California, Los Angeles (UCLA). These studios under the leadership of Terry Everson (BU) and Jens Lindemann (UCLA) were purposefully selected based upon the teachers’ reputations for performing from memory as well as their use of memorization within their teaching.

The scarcity of literature on memorization suggests that it may rarely be an intentional part of trumpet pedagogy, even while performing from memory has been and is currently practiced by some of the most elite trumpet soloists and chamber ensembles. In an effort to broaden the discussion surrounding memorization, the literature review presents a survey of various interrelated topics from the perspective of music educators, cognitive psychologists, and others. Existing literature demonstrates that emphasis is too often given to the retrieval of memory at the expense of the other two parts of the memorization process: encoding and storage. Framing this study, then, is an understanding of memorization as a process rather than simply an end goal of performance without music.

Following a preliminary questionnaire administered to student participants at each site, trumpet lessons were observed and interviews were conducted with the teachers and fifteen student participants. A description of the teaching and learning of memorization within the studios is presented in order to consider what might be gained through the inclusion of memorization and the challenges it presented for both students and teachers. The values, strategies, and practices of teachers passed on in the apprentice-like relationship of the studio and exchanged among students in a community of aspiring musicians are described.

The student participants at both sites exhibited a variety of inclinations and attitudes towards memorization, ranging from full embrace to a near complete aversion to the practice. Students at BU reported personal progress in memorization skills while memorization experiences were uneven for students at UCLA. Both teachers and students considered the relationship between anxiety and memorization as well as the role that the studio community may serve in developing such skills. The benefits, challenges, and methods of memorization are discussed, including Everson’s emphasis on aural and analytical strategies for memorization that evolve from a desire for students to know the entire piece, not just the trumpet part. Lindemann’s belief that performing from memory can be a tool for empowering students and effectively communicating with audiences is also described. Several areas of commonality and contrast between the teachers’ performing and teaching philosophies are discussed. Significantly, both teachers believed that memorization could be an important pedagogical tool for overcoming technical challenges, but only the students at BU were consistently required to memorize repertoire. Implications for teaching, practice, and performance are provided along with suggestions for future research.