Suchergebnisse

Music Education in Luxembourg and its Assessment. 1. Assessment of Pupils According to Martin Fautley (2012), not everything what is taught, is always learned, and therefore music education also needs assessment. In my lecture I will first give a short insight into the formal school system in Luxembourg and its recent change from summative to formative evaluation. In 1998 the parliament of Luxembourg voted a law of music education. The aim was to offer an equal level of music education in every region of the country and to motivate more children to attend music courses. The assessment system in music schools was based on summative evaluation known from general schools. Current tendencies finally try to adopt a more smooth method of evaluation in order to improve the pupil's learning success and in order to critically scrutinize the teacher's training activity. After the description of the organization of music schools in Luxembourg, I will consider this change of paradigm. 2. Assessment of the System? Music education in Luxembourg is based on the francophone system of solfège, a method for future singers and professional musicians, including audiation for beginners at the youngest age. It is also partially transferred to some instrumental disciplines. However, during the last two decades, in these countries – France and Belgium – solfège has been replaced by a less rigorous and better-adapted method of musical training. In contrast to these countries, the Luxembourg system of music education never has been assessed. Music-school teachers graduate in the neighboured countries. While degree holders from music universities based on the German system have to study educational sciences (a minority), their colleagues issued from the French tradition (the majority) never did. They specialized in their main discipline, are skilful artists, but have no pedagogical grade and acquire educational skills in learning by doing or not at all. But, decisions concerning further development and pedagogical improvements should be managed in accordance to todays (pedagogical) needs. My paper will focus on this weak point in giving a historical insight into the system of solfège and its didactics over the centuries beginning with Guido of Arezzo up to Rousseau until its current use in Luxembourg and, depending on it, the instrumental disciplines. I will focus on the pedagogical needs, which have led to changes over this long epoch. An independent evaluation of music education in Luxembourg by external is absolutely necessary. I will conclude with some reflections on statements by some alumni of music-schools, which could serve as a model for an external assessment.

This Pecha Kucha is about the development of Cantonese opera in Hong Kong in the historical and cultural contexts. It describes the historical context of Hong Kong, and how Cantonese opera was popular, declined, and be revitalized with the political impact. Education in schools, community and professional training has taken up specific roles.

Since the implementation and enforcement of the European Union Physical Agents Directive (Noise) the Acoustics Group has collaborated with the Royal Academy of Music creating the noise team formed from administrators, scientists, and senior management. Our challenge was to allow these highly talented artists to practice, rehearse, and perform safely during their time at the Royal Academy of Music. This ten year project involved more than 3000 musicians measuring sound exposure of each instrument group and the hearing acuity of every student, as well as hearing surveillance of a sample of graduates. At each occurrence the students were questioned as to their aural environment. The paper will focus upon the hearing acuity of graduates after studying music for a period of four years

In this article, I analyse the life narratives of three Estonian women who identify as either lesbian or bisexual. Based on three semi-structured in-depth interviews, I focus on the period when the local LGBTQ+ movement became active, during the 1980s and 1990s, after half a century of Soviet dominance that had crumbled and Estonia regained independence. The process of growing older, combined with the individual's biography, along with added depths of memory and critical reflection, are key elements in interpreting the social significance of their personal experiences. By using thematic analysis, I reveal how these personal experiences can become a shared narrative while letting us focus on the uniqueness of each life history.

"From Cliff Richard to The Rolling Stones, and from The Beatles to Plan B, pop music has been inseparable from its cinematic exploitation. This book constitutes the first delivered examination of the place of the pop music film in British cinematic and musical history. It explores the way music and film have exerted a mutual influence at an economic, social and artistic level. From The Tommy Steel Story, a cheap and cheerful 'cash in' on what was considered a passing fad, through Richard Lester's innovative and globally successful Beatles vehicles and on to the Jungian artistic maze of Mick Jagger's Performance, the 1950s and 1960s saw pop acts and directors create an entire life-cycle for a new film genre. Thereafter, its intermittent revivals, be it Slade in Flame or the Spice Girls in Spice World, have kept sound and vision inseparable in the public consciousness, revisiting and reshaping our pop and film heritage

Vidding is a well-established remix practice where fans edit an existing film, music video, TV show, or other performance and set it to music of their choosing. Vids emerged forty years ago as a complicated technological feat involving capturing footage from TV with a VCR and syncing with music—and their makers and consumers were almost exclusively women, many of them queer women. The technological challenges of doing this kind of work in the 1970s and 1980s when vidding began gave rise to a rich culture of collective work, as well as conventions of creators who gathered to share new work and new techniques. While the rise of personal digital technology eventually democratized the tools vidders use, the collective aspect of the culture grew even stronger with the advent of YouTube, Vimeo, and other channels for sharing work. Vidding: A History emphasizes vidding as a critical, feminist form of fan practice. Working outward from interviews, VHS liner notes, convention programs, and mailing list archives, Coppa offers a rich history of vidding communities as they evolved from the 1970s through to the present. Built with the classroom in mind, the open-access electronic version of this book includes over one-hundred vids and an appendix that includes additional close readings of vids.

Vidding is a well-established remix practice where fans edit an existing film, music video, TV show, or other performance and set it to music of their choosing. Vids emerged forty years ago as a complicated technological feat involving capturing footage from TV with a VCR and syncing with music—and their makers and consumers were almost exclusively women, many of them queer women. The technological challenges of doing this kind of work in the 1970s and 1980s when vidding began gave rise to a rich culture of collective work, as well as conventions of creators who gathered to share new work and new techniques. While the rise of personal digital technology eventually democratized the tools vidders use, the collective aspect of the culture grew even stronger with the advent of YouTube, Vimeo, and other channels for sharing work. Vidding: A History emphasizes vidding as a critical, feminist form of fan practice. Working outward from interviews, VHS liner notes, convention programs, and mailing list archives, Coppa offers a rich history of vidding communities as they evolved from the 1970s through to the present. Built with the classroom in mind, the open-access electronic version of this book includes over one-hundred vids and an appendix that includes additional close readings of vids.