1857 research outputs found
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Global crises and music museums: representing music after the pandemic: proceedings of the 2021 CIMCIM conference
No full textThis volume of conference proceedings is available open access at the Official URL given below
Playing the pedal clavichord
No full textBased on the practical experience of playing the pedal clavichord, this article considers the relationship between clavichord and organ playing and outlines ways in which pedal clavichord technique can inform organ performance. This invited contribution follows on from the article, Charlston, T. (2022) The Orgelbüchlein as pedal clavichord music. Harpsichord & Fortepiano, 27 (1). pp. 11-15. ISSN 0953-0797. It examines the historical evidence for the construction and widespread use of the pedal clavichord and proposes a cross-over of technique, touch and tone production between clavichord and organ for modern day players
Oda Slobodskaya
No full textThe name Oda Slobodskaya appears in concert programs throughout the 1930s and 1940s with many musical migrants who had left or escaped Germany or Nazi-occupied countries. Slobodskaya (1888-1970) was a Russian opera singer. Her remarkable musical journey took her many thousands of miles over a six-decade-long professional career with two professional personas. **** This article is available as part of the Music, Migration and Mobility online resource at the Official URL given below. ***
Teaching and assessing composing in English secondary schools: an investigation into music teacher confidence
No full textComposing has been an important and statutory part of English classroom music education for over 30 years. The landmark introduction of composing into the National Curriculum ensured all young people experienced composing until the age of 14. Although the advancement was viewed positively, classroom composing was not always met with enthusiasm with many music teachers feeling they lacked necessary skills, confidence, and composing experience to be able to teach it. After the age of 14, students can opt to study music to gain qualifications such as a General Certificate of Secondary Education (GCSE), or A level. Composing is a significant and assessed part of these qualifications alongside listening and performing examinations. Given that composing has become a regular part of classroom music teaching, there is still very little research into composing teaching and learning. This chapter will explore secondary classroom music teachers’ experiences of, and confidence in, teaching and assessing composing, with key debates based upon the findings of an exploratory study involving case study and survey research methods. The chapter proposes that music teachers are less concerned about their own lack of composing experience, ergo their ability to teach composing, but instead have low confidence due to current assessment procedures that they deeming as being unpredictable, unreliable, subjective, and potentially biased toward western classical musical norms
Building musical lives: the impact of supporting musical play in the everyday lives of autistic children and their families
Get PDFMusical spaces have been observed to be highly engaging for autistic children, ameliorating barriers often experienced in communication and interaction. Music interventions with this group are widespread and have frequently noted the importance of integrating caregivers. Yet beyond music therapy, there is limited research on how to support music-making in daily life for autistic children and their families. In particular, there is a lack of long-term ecological evidence with this group for how music can support everyday functioning, care routines, and wellbeing. In this study, 25 families participated in a 12-month program which supported the integration of music into everyday life. Families were interviewed at the end of the project regarding the effectiveness of music as a support for daily routines, play, and wellbeing. Qualitative thematic analysis highlighted how families implemented musical strategies in widespread ways as a medium to support communication, create valued opportunities for shared interaction, and as a way to scaffold everyday caring routines. Families’ uses of musical play strategies, as observed in this study, emphasize the importance of incorporating caregivers and home environments as part of arts programs for autistic children, and the effectiveness of empowering parents to use music as a tool to navigate everyday life
Autism and family-centred approaches in and through music
No full textMusic practitioners with various qualifications, including music therapists and music educators, acknowledge that musical experiences offer a form of expression, interaction, and understanding that do not rely on words. Musical interactions and engagement may therefore offer a valuable context that can support diverse forms of communication and connection in early childhood that are advantageous for child development. The potential benefits of music participation for children on the autism spectrum are illustrated through descriptions of two distinct approaches: the Sounds of Intent framework, which aims to identify and promote music engagement and musical development over time; and family-centered music therapy, which aims to foster the child’s development and strengthen parent-child relationships. The dual perspectives presented in this chapter highlight possible benefits both in music and also through music for other areas of development, such as social communication, language, and cognition
The importance of music tutors helping students form healthy practice habits
No full textOrthopaedic specialist Dr Hara Trouli discusses how music tutors can play an important role in maintaining the health of their students
Cultivating progressive development in the cultural industries: challenges and support needs identified by the creative workforce in the United Kingdom
Get PDFThe impacts of the COVID-19 pandemic in the creative and cultural industries have been closely tracked by researchers, professional bodies, and arts organisations. In the period of recovery that has followed, emphasis has moved towards building a more inclusive and sustainable industry. Yet beyond the headline statistics, accounts of the support needs of creative workers – as identified in their own words – are less forthcoming. This paper reports on open responses collected during April-May 2021 as the United Kingdom began to lift lockdown restrictions. Thematic analysis of responses identified three overarching themes identified by respondents as central to sustainable recovery: (i) Financial Infrastructures; (ii) Artistic communities; and (iii) Future-proofed professional landscapes. The findings support previous research that has emphasised the need for recovery to prioritise supporting individual artists and the importance of freelance voices at all stages of policy and decision making to ensure equitable development for the future
Foregrounding mobility rather than belonging: a conceptual framework for engaging with music shaped by transnational migration
Get PDFDrawing on interdisciplinary research about the legacies of musicians who emigrated to Britain from Germany and Austria in the 1930s, this article considers the engagement in scholarship and musical practice with the work of composers and musicians who do not fit into traditional categories of national belonging because their lives and careers were shaped by migration, displacement and transnational mobility. Based on our study of a well-documented and influential group of migrant musicians through historical musicological research, artistic research (reflective performance), and perspectives from human geography, we propose a conceptual shift from immobility to mobility (sometimes “mobilities” and “(im)mobilities”) in order to unlock and reevaluate the often hidden and marginalized legacies and repertoires of migrant musicians, especially those relating to their post-migratory activities. We reference the work of organizations dedicated to the reclamation of the musical contributions of this group of migrant musicians and consider how they have dealt with questions of mobility and belonging. We also examine a recent shift in musicology which has begun to enact a move towards embracing mobility as normal rather than pathological and discuss the nature, history and implications of the “New Mobilities Paradigm” (Sheller and Urry 2004) in detail, drawing on a wide range of research that has direct bearings on the subject of music and migration, especially given the inherent mobility of music as an art form. We then consider how enacting the proposed conceptual shift can influence musical practice, reflecting on recent performances of English songs by Karl Rankl (1898–1968), written in Oxford in 1942–43, and highlighting the need for connecting artistic with ethical and societal considerations in order to assess value and facilitate successful advocacy
Songs from Home dataset
No full textThis dataset contains the main outcome measures for the Songs from Home study, a two-armed non-blinded randomised controlled trial (RCT, ISRCTN17647261) that examined whether online songwriting intervention could significantly reduce loneliness and symptoms of PND and enhance social connectedness in the perinatal period