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The aim of this study was to investigate the relationship between recognition of emotion in music and emotional competence. The study included 329 students who first filled out the Emotional Competence Questionnaire (Takšić, 2002), and then the Assessment of Musical Excerpts Questionnaire (six instrumental musical excerpts of classical music of different emotional context). The participant’s task was to quote a dominant emotion which was recognized in the musical excerpt and mark whether they know that excerpt from earlier. The results showed that the familiarity of musical excerpts did not affect recognition of emotion in music, and the participants identified most accurately the emotions of happiness and sadness, while with the lowest accuracy the emotion of fear. The main hypothesis about the relationship between the recognition of emotions in music and the results on the Emotional Competence Questionnaire was confirmed. It was also established that the participants who demonstrated greater accuracy in recognizing emotions in music achieved higher scores on the Emotional Competence Questionnaire, particularly on the subscale of understanding and perception of emotion, where a significant difference for the recognition of three basic emotions was observed. Significant correlations were obtained between the results in all subscales of the Emotional Competence Questionnaire and ability of recognition of emotions in music except for the correlation between the ability of management and regulation of emotions and the ability to recognize sadness in music.
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Liszt Ferenc, ha szabad bevallanom, legfinomabb emlékeim közül való – titán zongorász, aki benne van az életemben, mint egy fénylô torony a tengeri éjszakában. Benne van az életemben, ennek nincs nagyobbszerû jelentôsége, sôt legjobb volna lemondani a hideg ítélkezés javára s nem az egyéni érzés kis szögletébôl látni és figyelni az embereket és a dolgokat.
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A successful singing lesson requires coordinated efforts from the three parties involved: student, teacher, and accompanist. Results are reported of a survey in which 32 statements were rated on a 5-point Likert scale by high-school students, university students, and professional singers from an opera chorus. The statements were related to students’ expectations of their teacher and accompanist during individual singing lessons. Participants were also able to add their own comments to the questionnaire. Results demonstrate that students expect a partnership to develop between the three parties in a singing lesson. The teacher is expected to have a positive attitude, professional and up-to-date skills, and the ability to motivate students to work more efficiently. Alongside progress in musical terms, students expect to receive assistance from their teacher in how better to cope with increasingly stressful situations during a public performance.
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The essay provides a short overview of the major steps in the democratization of music in Lithuania Minor and the circumstances that conditioned them. Much attention is devoted to the pre-history of the 19th-century Lithuanian national musical rebirth and the general cultural context of secular music. Special attention is given to the Experts and Amateurs movement of the turn of the 18th and 19th centuries, as it is viewed as the central impulse for the democratization of musical life in Lithuania Minor. The activities of music lovers representing various social groups in Karaliauèius, Tilþë, Klaipëda and elsewhere served as the basis for public concerts and for the establishment of permanent theatres. Such an environment gave way to the predominance of Neoclassicism, popularization of the scientific study of music, emergence of music criticism, emancipation of the musician’s profession, secularization of religious music, popularity of instrumental music, and interest in the national music. Supported by additional factors (such as a long-lived concentration of culture in urban areas, notably rich traditions of religious and secular occasional music, and the influence of world-famous musical stars), the Experts and Amateurs movement brought the musical culture of Lithuania Minor to an early democratization and facilitated the successful spread of Lithuanian national musical movement.
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The article deals with the features of the classical paradigm of education and reveals the significance of the paradigm of free education to the changes in assessment of pupils’ progress and achievements. Contemporary pedagogical trends critically evaluate the classical educational conception and reject an an authoritarian teacher, textbook-based teaching, the content losing contact with life, suppression of pupil’s personality freedom etc. Analysis of literature shows that assessment of pupils’ progress and achievements in contemporary pedagogy is used not only as a didactic instrument (to accumulate, interpret and generalize data on pupils’ progress and achievements), but also as a social instrument helping motivate pupils, solve behavioural problems, reflect on the level of success in the educational process.
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The article deals with music learning years of famous Lithuanian conductor Saulius Sondeckis.
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In this paper, the potential of vocal educational health promotion (VEHP) to normalise the respiratory rate and the respiratory minute volume of pregnant women is discussed; additionally, new forms and ways of vocal music making that contribute to the regulation of mentioned parameters are presented.
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Interview: Olivier Samouillan, Musician and Globetrotter
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Georgi Šarevski Sextet on The Small Stage at Macedonian Opera & Ballet
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