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Both chapters of this study aspire to clear up a dual problem that proceeds, on the one hand from the pragmatic aspect of the critic, and on the other hand from the philosophical interest of the aesthete. Consequently, the problem expounds not less a point than the examination of György Kurtág’s oeuvre, treating the theoretical and practical possibility of his ”opus magnum”, within the frame of his work, which – though small in its volume – is extremely concise. One aspect of the problem poses the following question: is it possible to emphasize any piece of a significant oeuvre in a way that it can, in itself, claim to be regarded as encyclopedic? The other aspect, however, raises the question: if there is such, which of Kurtág’s work might be considered to be of encyclopedic character? Following the track of the classical Kurtág-reception, the first half of the essay supposes that the six-volume cycle ”Játékok” (Games) might be the Kurtág-encyclopedia. In the light of Michel Foucault’s exposition concerning encyclopedism, this thesis is ruled out and the heterotopic character of ”Játékok” is justified, the latter placing it, instead of the encyclopedic genre, with that of a diary.The second chapter offers a new possibility of interpretation, not figuring hitherto in the Kurtág-research, of a work composed on a text by Beckett, entitled ”What is the Word”. It is presenting the drama of a lady-singer, who, suffering from aphasia, is fighting for words and sense, (or rather with words and sense). In his interpretation, the author of the essay seems to discover in Kurtág’s composition a specific answer to the problem of classical encyclopedism.
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The author of the article points to the important role the teacher voice plays in a widely-understood education. She calls voice emission an art, the refinement of which comes with time and gains of performing correctness. The human voice also performs a number of functions in social life. For example, it is an important means of interpersonal communication and a tool handy in many professions. The features of human voice express its personality, temper, musicality and others. It plays an extremely important role in the case of musicians, i.e. choir conductors, vocalists, music theatre actors and music teachers. The lack of the mastery of basic vocal skills, as well as knowledge on its structure and functions inevitably leads to many diseases, such as chronic hoarseness or singing nodules, i.e. aphonia. The students’ awareness of voice hygiene and their own vocal predispositions leads to their conscious singing and speaking, as well as protecting their performing apparatus.
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The process of gaining pianist abilities by students depends a great deal on personal and music qualities of their teachers. The author of the article proves that it is the teacher’s attitude that decides on whether music is likely to become the student’s subject of self-realization and his/her further life aims. She outlines and discusses the basic assumptions of didactics and the teaching process, such as teaching principles, forms of work, methods considered to be indispensable in the process of shaping the music sensitivity and their influence on sound quality, playing technique, interpretation of a music work and its general artistic form.
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The author raises the issue of the education of the prospective pre-school education teachers. She emphasizes the fact that the candidates lack a proper music training. Thus, she suggests teaching students music rather than methodology. It is difficult to cover all the necessary music competences within a short period of studies. Also, she highlights the importance of a practical aspect of music education of teachers to be in terms of a demanding work with children.
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The subject-matter of the article is connected with the programme issues of “A regional education a cultural heritage in the region”. The text proposes an active participation of the youth in “Wici”, a Voivodship Overview of Folklore Bands organized by an Upper-Silesian Ethnographic Park in Chorzów. The review itself can be a precious object lesson, during which the old songs, music and dances, family traditions, calendar customs and social behaviours are presented. A living contact the participants of this meeting have with the past, traditional verbal-music works and folklore performance will allow for consolidating the knowledge on one’s own cultural heritage. It will also help to discover one’s own origins and universal values of folklore as well as identify oneself with the region and its culture.
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The main objective of conducting is to transmit a set of basic information and skills in a widely-understood conducting technique, develop special abilities of the conductors to be and their preparation for work in a reliable and professional way. Conducting is not only about working on a manual technique and conducting skills, but also about shaping and developing a whole person. The teacher plays an important role here as he/she can impact on the process of personality shaping.
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The author of the article makes an attempt to define the elements essential in work with the trainees of conduction, as well as the music education and the subject of “conducting”. The essential predispositions can be divided into intellectual and manual ones. The former contains intellectual resources (general intelligence, emotional intelligence, stress resistance, optimism, the sense of one’s self-esteem, self-discipline, but above all, creative passion and a never-ending internal imperative of an artistic activity. On the other hand, these comprise inherent capabilities and learned skills, together with the knowledge of different fields of music, such as, for example score reading, instrumentation, forms, history, theory and aesthetics of music, harmony, counterpoint and voice emission). The latter are based on practice (also score reading, but also piano playing and, at best, a string instrument), but, above all, on manual predispositions, the easiness of expression through hands, mimics and eyes. A special position of a conductor needs to be emphasized. It is so because of the fact that he/she focuses all artistic activities and conducts the course of tensions during the performance, as well as the rehearsal of a given work. The last issue here is conductor’s work with people and dangers as well as... blessings connected with it.
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Music, being a sphere of symbolic culture, undergoes a whole complex system of social and psychosocial conditions, and needs to be placed within its social frame. Music reception, as any other art reception, is thus a multidimensional process covering both the sensual reception, as well as correct “interpretation of the work”, its interpretation, and acquisition. What is more, music, in a sense, constituting, a component of society and social activity, can be conditioned by the latter as well. The complexity of the subject-matter places it within the sphere of music sociologists’, psychologists’ and aesthetics’ interests. All of them, and each from his/her own perspective, distinguish specific determinants of music reception, modifying this process focal to our interest, and differentiating it from an adequate reception (typical of professionals) to the naïve one. The knowledge of such determinants seems to be necessary in the case of students working as music teachers in the future because it is their role to educate a candidate well-prepared to receive the “art of sounds”, face the very social conditions, and take an effort to positively influence what has already been shaped in the young generation.
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The education towards values has become a challenge and task of the contemporary education. A rich overview of the literature connected with values and their role in education proves that values are still the subject of humanistic and social interests. Values do not function individually, yet they form systems. They are not stable; undergo changes in line with cultural and socio-economic, and progressive systemic transformations. The text discusses the notion and origin of values, functions and categories of values, as well as gives a detailed description of cognitive and universal values. In conclusion, the author of the article emphasizes a great role of values in education and humanistic pedagogy.
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In the system of roles: a learner, a candidate, a student, a graduate of music education, the axiological profile shows numerous redefinitions and the lack of cohesion in the process of shaping a final attitude of a music teacher. The subsequent roles bring and reinforce axiological dilemmas. Finally, a graduate of music education does not have a competence and a conviction to realize the goals and refer to the values behind the common music education. In practice, the very situation may lead to two types of actions: a graduate tries to meet the requirements of the educational systems and then his/her actions are either superficial or give the illusion of a high level of education, or starts from the position of an axiological relativism and enters into a pseudo-dialogue with pop-culture. The chapter, let alone the opposition between the values in favour of teacher’s own attitude to music and those required by his/her role in the educational system, is extremely destructive. This is one of the elements influencing considerable inefficiency and low credibility of the system of common music educational in Poland.
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A creative activity of a music teacher constitutes an important part of his/her competences. Creativity is the process of human activity resulting in new original products considered to be of an artistic quality in a given period of time. The students, within the scope of creative pedagogy, gain knowledge on the conditions of creative processes in children, teenagers and adults, and create music on their own, often in connection with other elements of art. In their actions, they express contents integrated and correlated thematically and lexically. The text presents selected examples of student creative actions.
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The article presents a fragment of the research conducted within the area of pre-school education, i.e. the music education of kindergarten children. It presents advantages and values music brings to the development of child personality. Having investigated the level of skills in playing music instruments the kindergarten teachers and students of pedagogical faculties represent, an overview of favourable forms and methods used by teachers when realizing the music education of kindergarten children followed. The attention was paid to the need of change in the system of the education of pre-school teacher education because of the need of employment of teachers playing music instruments in kindergartens.
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The students, during their studies, successively learn about a child and its artistic needs. In order to meet the expectations of the contemporary school as well as child an youth interests, they must know much themselves. The music education within the scope of introduction, claims that each student should, to some extent, be able to play the instrument, know the elements of vocal technique together with a child and youth repertoire, a list of literature to listen to music, as well as rich sets of music-movement exercises. Music as a school subject requires a constant up-to-dateness of the contents of teaching, the use of many methods of educational and didactic influences, objective diagnosis of the development of students’ music abilities and permanent development of teacher competences. The author quotes the results of his own studies.
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The Ukrainian music experts have recently become actively interested in the issues of music interpretation, especially its theory. What is becoming up-to-date is the recognition of achievements in this area in the spheres of education and performance. The text concentrates on one of the transitory stages of the process of shaping a conductor interpretation — a cooperation of a composer and conductor (of course, providing they live these days). The factor of a creative communication between a composer and conductor influences the performers in a very positive way. If a conductor is able to convince the artists about the logic of an interpretative model proposed by both of them, the performers become the “plenipotentiary” of the author’s intention and unanimous coauthors of an interpretative version of a music work.
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The author of the article outlines the condition of music education in Poland, and characterizes the structure of the education of students of pedagogic faculties. She points to the goals and tasks of music education, and the role the teacher plays in these processes. Also, she presents her own models of didactic procedures and their consequences for the quality of student education. To the important elements of work with students belong the choice of music material, the use of innovative teaching methods and the ones stimulating the students to creative actions. The article finishes with a description of the competences of a music teacher working with pre-school and early-school education classes.
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Music analysis is one of the most important theoretical subjects in the process of music education. Its role as a subject, within the scope of which the student gains skills of complex music thinking, is often undermined. Starting with a specificity of the profession of musician, the author of the article describes some of theoretical assumptions of the analysis and its use in practice. He pays attention to a special role the music analysis plays in the process of student artistic education.
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