scholarly journals Dr. Ron Shroyer : an historical study of his career and contributions to Central Methodist University

2017 ◽  
Author(s):  
◽  
Ryan McLouth
Keyword(s):  
Teaching Style ◽  
Music Performance ◽  
Detailed Examination ◽  
Compositional Style ◽  
Historical Study ◽  
University President ◽  
Professional Musicians ◽  
Teaching Career ◽  
Performance Skills ◽  
Concert Programs

Purpose: The purpose of this historical study was to document the teaching career and achievements of Dr. Ronald Shroyer at Central Methodist University in order to examine the contributions made by Dr. Shroyer to his students, the institution, and the music profession. Method: The following data was collected during this study: (a) interviews with Dr. Shroyer, (b) written surveys from his former students and colleagues, (c) interviews with former Central Methodist University President Marianne Inman, (d) observations of Dr. Shroyer's informal interactions with others, (e) scores from compositions that he wrote, (f) professional and informal writings that he composed, (g) letters collected from correspondences with others, and (h) concert programs in which he appeared as a performer or those that included his music. Organization Chapter 2 of this study begins the chronological examination of Dr. Shroyer's life from birth to the beginning of his career. Chapter 3 serves as a chronology of Dr. Shroyer's career while at Central Methodist University. Chapter 4 is a detailed examination of his musical compositional style, his work as an arranger, and his music performance skills. Chapter 5 documents Dr. Shroyer as a pedagogue, and his teaching style. His influence on the Central Methodist University community from 1976 to today is described in Chapter 6. Chapter 7 is a summation of the findings from the study as a whole. Conclusion: Dr. Shroyer was effective in many ways during his career. As a teacher, performer, composer, colleague, and administrator, he contributed to Central Methodist University and continues to positively influence teachers, students, and his community. He made a lasting impact on the institution through his role as an administrator and faculty member, and affected the lives of students who studied with him privately, in the classroom, and in ensembles. Dr. Shroyer also left his mark on the music profession as a composer. His music has been featured by many institutions, at conferences, and has been performed by professional musicians. He is highly regarded as a performer, one who possesses great versatility, and has impressed fellow players and audience members.

FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)

2021 ◽  
pp. 179-184
Author(s):  
Nina V. Pomorceva ◽  
◽  
Tatyana I. Moroz ◽  
Keyword(s):  
Industrial Structure ◽  
Educational Institution ◽  
Music Performance ◽  
Culture Industry ◽  
Professional Musicians ◽  
Musical Life ◽  
Music Schools ◽  
Industrial Region ◽  
Cultural Traditions ◽  
Kemerovo Oblast

Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.

Increment of Fatigue, Depression, and Stage Fright During the First Year of High-Level Education in Music Students

2012 ◽  
Vol 27 (1) ◽  
pp. 43-48 ◽  
Author(s):  
Horst Hildebrandt ◽  
Matthias Nübling ◽  
Victor Candia
Keyword(s):  
Music Performance ◽  
Music Students ◽  
Stage Fright ◽  
Negative Effects ◽  
Professional Musicians ◽  
Freshman Year ◽  
Work Related ◽  
Custom Made ◽  
Before And After ◽  
High Level

BACKGROUND: Public opinion associates music performance with pleasure, relaxation, and entertainment. Nevertheless, several studies have shown that professional musicians and music students are often affected by work-related burdens. These are closely related to stress and anxiety. OBJECTIVE: Scrutinizing specific health strains and work attitudes of music students during their freshman year of high-level education. METHODS: One hundred five students in three Swiss music universities were part of a longitudinal study using standardized assessment questionnaires. Before and after their first study year, some custom-made questionnaires designed to fit the particular work environment of musicians were used together with the already validated inquiry instruments. RESULTS: Fatigue, depression, and stage fright increased significantly. CONCLUSIONS: Our results indicate more study is needed and attempts should be made to minimize the stress level, improve the students’ ability to cope with stress, and otherwise reduce their risk for injury. This appears particularly important considering the long-term negative effects of stressors on individuals’ health as revealed by modern research.

Music Performance

2021 ◽  
Author(s):  
Peter Pfordresher
Keyword(s):  
Motor Control ◽  
Structural Information ◽  
Music Performance ◽  
Interpersonal Coordination ◽  
Motor Tasks ◽  
Performance Skills ◽  
Vocal Apparatus ◽  
Musical Knowledge ◽  
Complex Structural ◽  
Communication And Coordination

Music performance involves precise motor control that is coordinated with higher order planning to convey complex structural information. In addition, music performance usually involves motor tasks that are not learned spontaneously (as in the use of the vocal apparatus), the reproduction of preestablished sequences (notated or from memory), and synchronized joint performance with one or more other musicians. Music performance also relies on a rich repertoire of musical knowledge that can be used for purposes of expressive variation and improvisation. As such, the study of music performance provides a way to explore learning, motor control, memory, and interpersonal coordination in the context of a real-world behavior. Music performance skills vary considerably in the population and reflect interactions between genetic predispositions and the effect of intensive practice. At the same time, research suggests that most individuals have the capacity to perform music through singing or learning an instrument, and in this sense music performance taps into a universal human propensity for communication and coordination with conspecifics.

Reflection and the classical musician

2017 ◽  
Author(s):  
Mary Hunter ◽  
Stephen Broad
Keyword(s):  
Reflective Practice ◽  
Classical Music ◽  
Music Performance ◽  
Professional Musicians ◽  
Student Practice ◽  
Classical Musicians

Reflective practice takes on a particular shape in classical music. The aim of this chapter is to identify some elements of classical music that distinguish it from other genres of music, and to consider how these elements may affect the kind of reflection in which classical musicians—and classical musicians-in-the-making—engage. The chapter, which is partly based on student practice diaries and interviews with professional musicians, argues that the distinguishing elements of classical music performance are a focus on interpretation, interest in following the composer’s intentions, concern about excessive demonstration of the performer’s ego, and a respect for the printed score as the ultimate repository of truth about the work. These elements seem to encourage musicians to frame their choices either with little acknowledgement of their own agency or in terms that reflect some tension between what they feel and what they perceive as the composer’s intentions. Much work remains to be done on the ways in which these self-abnegations or uncertainties play out, but by bringing their underlying ideologies to the surface young performers in particular could fruitfully harness as well as challenge them.

Losing the local: Sydney and the Oz Rock tradition

Popular Music ◽  
2000 ◽  
Vol 19 (1) ◽  
pp. 31-49 ◽  
Author(s):  
Shane Homan
Keyword(s):  
New York ◽  
Popular Music ◽  
Music Performance ◽  
Detailed Examination ◽  
Rock And Roll ◽  
Urban Landscapes ◽  
Live Music ◽  
History Of ◽  
Insight Into

In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.

scholarly journals LEARNING MUSIC THROUGH RHYTHMIC MOVEMENTS IN MALAYSIA

2021 ◽  
Vol 18 (Number 1) ◽  
pp. 241-263
Author(s):  
Md Jais Ismail ◽  
Loo Fung Chiat ◽  
Azu Farhana Anuar
Keyword(s):  
Music Education ◽  
Music Performance ◽  
Rhythmic Movement ◽  
Primary Students ◽  
Rhythmic Movements ◽  
School Students ◽  
Performance Skills ◽  
Instructional Process ◽  
Music Class ◽  
Almost All

Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music classes, hence to improve students’ music performance skills. Methodology – The study was carried out within the framework of a ten-week action-research design involving 35 primary school students at Putrajaya, Malaysia. Data collection was through group observation on students’ musical behaviours. Researchers also conducted an in-depth interview with rhythmic movement experts. Findings – Result shows that there is a significant changing of musical behaviours among primary students from week 8 to week 10. Experts agreed that rhythmic movement can create a meaningful music class with an active participation by students. There are three rhythmic procedures recommended by the experts to strengthen a music class pedagogy. Significance – Learning music through movements has turned music class into active and fun. Rhythmic movement activity makes this intention to become more meaningful. The study helps students to explore music through movements while they have the chance to play, communicate to each other, learn through observation and express their creativity in their own way. This intervention helps students to grasp almost all the music concepts while doing activities. This study also provides ideas for teachers to integrate rhythmic movements in music instructional process. Keywords: Dalcroze Eurhythmics, rhythmic movement, music education, qualitative, primary students, singing, playing percussion.

scholarly journals A retrospective of the research on musical expression conducted at CEGeME

2019 ◽  
Author(s):  
Maurício Loureiro ◽  
Tairone Magalhaes ◽  
Davi Mota ◽  
Thiago Campolina ◽  
Aluizio Oliveira
Keyword(s):  
Graduate Program ◽  
Music Performance ◽  
Three Dimensional ◽  
Digital Signal ◽  
Audio Signals ◽  
Professional Musicians ◽  
School Of Music ◽  
Musical Gesture ◽  
Belo Horizonte ◽  
Music Performance Research

CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.

Figures and Forms of Analysis Practice

2020 ◽  
pp. 52-76
Author(s):  
Rémy Campos
Keyword(s):  
Cultural History ◽  
Art Criticism ◽  
Music Performance ◽  
Musical Analysis ◽  
Listening Skills ◽  
Genetic Criticism ◽  
Professional Musicians ◽  
Musical Works ◽  
Long Time ◽  
History Of

For the last twenty years, studies of the history of musical analysis have undergone considerable revision. For a long time, analytical theories had monopolized the attention of historians (Ian Bent, for example). Then, the terms of analytic practice have become a new field of research (cf. Nicholas Cook’s contributions). By shifting interest to the conception and use of analytical discourse, musicologists have pursued an interest in intellectual tools and their dissemination. New players appeared: analysts themselves (and not only their ideas), and amateur and professional musicians made use of the increasing emphasis on analysis in the last two centuries. Finally, related research topics emerged: listening skills, genetic criticism, analysis of music performance—ideas all of are presented in this chapter and which are supported by an extensive bibliography. This chapter will present an overview of these recent changes: the development of musical analysis linked to several major changes in the cultural history (the literacy of musicians, the success of hermeneutics, art criticism or philology, the growing autonomy of art); how the analysis changed the way of composing musical works but also the profession of composer; the globalization of analysis beyond national traditions.

scholarly journals Performance anxiety in professional musicians: a systematic review on prevalence, risk factors and clinical treatment effects

2019 ◽  
Vol 49 (14) ◽  
pp. 2287-2306 ◽  
Author(s):  
I. Fernholz ◽  
J. L. M. Mumm ◽  
J. Plag ◽  
K. Noeres ◽  
G. Rotter ◽  
...  
Keyword(s):  
Risk Factors ◽  
Systematic Review ◽  
Intervention Studies ◽  
Case Reports ◽  
Music Performance ◽  
Performance Anxiety ◽  
Behavioural Therapy ◽  
Assessment Tools ◽  
Professional Musicians ◽  
Cross Sectional

AbstractMusic performance anxiety (MPA) is one of the most common disorders among professional musicians, nevertheless, little is known about the disease. With this systematic review, prevalence, risk factors and treatment procedures for MPA were assessed, and for the first time, quality assessments were carried out for all studies using standardized assessment tools. A systematic literature search was conducted via search algorithms in the databases MEDLINE, EMBASE, CINAHL, PsycArticles, PsycInfo and ERIC. Included were case reports, case–control, cohort, cross-sectional and intervention studies examining professional musicians with MPA. For quality assessment, adapted tools of the National Heart, Lung, and Blood Institute were used. A total of 43 studies were included (10 case reports, 21 intervention, 11 cross-sectional, one cohort study). Quality ratings ranged from −11 to 6 out of a maximum of 15/16 points for cross-sectional/cohort studies and −4 to 11 out of 18 points for intervention studies. The prevalence of MPA was between 16.5% and 60%. More women than men were affected and musicians older than 45–50 years reported less MPA than younger musicians. Regarding treatment cognitive behavioural therapy (CBT) and β-blockers were most often researched with beneficial results for CBT. However, studies with adequate control groups for CBT interventions are needed to clarify its efficacy. Studies showed methodological weaknesses, especially in the selection of participants, recording of influencing factors, blinding of interventions, randomization of participants and analysis of comorbidity. Recommendations for further research are made.

Performance Anxiety Among Musicians

2020 ◽  
Vol 31 (2) ◽  
pp. 76-80
Author(s):  
Jennifer Mumm ◽  
Isabel Fernholz ◽  
Andreas Ströhle ◽  
Jens Plag ◽  
Alexander Schmidt
Keyword(s):  
Behavioral Therapy ◽  
Beta Blockers ◽  
Music Performance ◽  
Performance Anxiety ◽  
Emotional Symptoms ◽  
Professional Musicians ◽  
Music Performance Anxiety ◽  
High Distress ◽  
Control Loss ◽  
Preventive Methods

Abstract. Musicians suffering from music performance anxiety (MPA) fear and/or avoid performing situations. While performing, they often experience physiological (like increased heart rate or sweating), cognitive (for example fear of control loss), behavioral (like making mistakes or avoiding performances) and emotional symptoms (mostly fear) leading to high distress. About a quarter of all professional musicians suffer from MPA. In studies, cognitive behavioral therapy and beta blockers were effective options for treating MPA. Other treatments and preventive methods are presented.

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