CANTO, ENCANTO E DESENCANTO: um estudo da tensão entre a prática do Canto Coral frente às novas tendências musicais nas Igrejas Batistas na cidade de Campinas.

Nesta pesquisa desenvolvemos um estudo focado na convivência conflituosa entre a música tradicional e a música contemporânea. Foi desenvolvida em um grupo religioso protestante específico, intuindo investigar a hipótese de que há uma tensão entre a prática do Canto Coral e as novas tendências musicais representadas pelas Bandas. Como procedimento metodológico utilizamos uma pesquisa de campo que avaliou a realidade musical em algumas Igrejas Batistas de Campinas. A partir dos resultados obtidos sugerimos ações concretas à práxis pastoral. O primeiro capítulo propõe uma retrospectiva conceitual e histórica do Canto Coral, avaliando sua função antes e depois do processo da reforma e da nova mentalidade musical desenvolvida por Lutero. O segundo capítulo mostra o desenvolvimento da pesquisa realizada junto a seis Igrejas Batistas. Tenta mensurar o gosto musical dos membros dessas comunidades através de um estudo comparativo a partir dos dois pólos: Canto Coral e Banda, ambos, sendo o específico de um campo maior: Tradição e Contemporâneo. O terceiro capítulo, partindo dos impulsos obtidos, desenvolve uma visão crítica sobre os aspectos da tradição, da aceitação à novas tendências, e da tensão propriamente desenvolvida na convivência entre estilos musicais distintos. Mediante tal realidade conflituosa, apresentamos um desafio à práxis pastoral no sentido de se obter possibilidades para uma convivência musical pacífica, considerando a inserção de elementos da contemporaneidade e da tradição na liturgia Batista.

Intercultural transfer and artistic innovation:German musicians in Victorian Britain

Throughout the nineteenth century, German classical music production was an aesthetic point of reference for British concert audiences. As a consequence, a sizeable number of German musicians were to be found in Britain as performers, conductors, teachers, musicologists and managers. They acted as agents of intercultural transfer, disseminating performance and organisational practices which had a transformative effect on British musical life. This article moves away from a focus on high-profile visiting artists such as Mendelssohn Bartholdy or Wagner and argues that the extent to which transfer took place can be better assessed by concentrating on the cohort of those artists who remained permanently. Some of these are all but forgotten today, but were household names in Victorian Britain. The case studies have been selected for the range of genres they represent and include Joseph Mainzer (choral singing), Carl Rosa (opera), August Manns, Carl Hallé and Julius Seligmann (orchestral music), and Friedrich Niecks (musicology). On a theoretical level, the concept of ‘intercultural transfer’ is applied in order to determine aspects such as diffusion, adaptation or sustainability of artistic elements within the new cultural context. The approach confirms that ‘national’ cultures do not develop indigenously but always through cross-national interaction. Während des neunzehnten Jahrhunderts war die klassische Musikszene Deutschlands ästhetischer Bezugpunkt für das britische Konzertpublikum. Dies hatte zur Folge, dass vermehrt Deutsche als Musiker, Dirigenten, Lehrer, Musikwissenschaftler und Manager in Großbritannien tätig wurden. Sie fungierten als Vermittler interkulturellen Transfers, indem sie aufführungs- und organisationstechnische Praktiken verbreiteten und damit zu einer Transformation des britischen Musiklebens beitrugen. Vorliegender Artikel konzentriert sich weniger auf bekannte Künstler mit kurzfristigen Engagements (z. B. Mendelssohn Bartholdy, Wagner), und argumentiert vielmehr, dass sich das Ausmaß des Transfers besser über solche Musiker feststellen lässt, die sich längerfristig ansiedelten. Einige davon waren allgemein bekannte Persönlichkeiten im Königreich, sind heute aber vergessen. Die Auswahl der Fallstudien gibt einen Überblick über verschiedene Gattungen und beinhaltet Joseph Mainzer (Chorgesang), Carl Rosa (Oper), August Manns, Carl Hallé und Julius Seligmann (Orchestermusik), sowie Friedrich Niecks (Musikwissenschaft). Auf der Theorieebene wird das Konzept des ‘interkulturellen Transfers’ herangezogen, um Aspekte wie Diffusion, Anpassung oder Nachhaltigkeit künstlerischer Elemente im neuen kulturellen Kontext zu beleuchten. Der Ansatz bestätigt, dass sich ‘nationale’ Kulturen nicht indigen entwickeln sondern immer im Austausch mit anderen Kulturen

A adaptação curricular do ensino de música em escolas públicas de pelotas a partir da implantação da lei 11.769/2008

Este trabalho teve como foco a presença da área de conhecimento música no curso Normal de duas escolas públicas do município de Pelotas/RS: O Instituto Estadual de Educação Assis Brasil e o Colégio Municipal Pelotense. Considerando que esta modalidade formativa habilita professores para o trabalho na educação infantil e anos iniciais do ensino fundamental, investigamos a educação musical que está sendo desenvolvida no curso Normal e em que concepções se apoia esta prática. Após seis anos de vigência da Lei 11.769/2008, que alterou o artigo 26 da Lei de Diretrizes e Bases de 1996 e incluiu a obrigatoriedade do ensino dos conteúdos de música dentro do componente curricular Arte, esta pesquisa compreendeu o processo de adaptação dos currículos escolares, as discussões em torno da atual legislação e as orientações por parte das mantenedoras, tendo em vista a referida Lei. Outra questão presente nesta pesquisa, refere-se à identificação do profissional responsável por trabalhar os conteúdos de música, já que a Lei 11.769/2008 excluiu, por meio de veto presidencial, o artigo que solicitava formação específica na área. Após o período do canto orfeônico no Brasil, as Leis de Diretrizes e Bases de 1961 e 1971, respectivamente, não ratificaram esta área de forma permanente nos currículos escolares. Em 1996, uma nova LDB, suscitaria novas esperanças aos professores de música e aos pesquisadores da área, no entanto, esta legislação não atendeu as expectativas dos profissionais ligados à música, permanecendo a educação musical ausente em muitos contextos educativos. A partir da Lei 11.769/2008, esta pesquisa objetivou identificar se a efetiva inclusão dos conteúdos de música na disciplina de Arte se concretizou, já que a LDB de 1996 não clarificou quais as áreas deveriam ser contempladas dentro deste componente curricular. Além desses aspectos, esta pesquisa também problematizou a atual situação do ensino de música no contexto geral das escolas estaduais e das instituições municipais de Pelotas/RS.

Taylor's Choral anthems : no. 1 : a new collection of choruses, anthems, quartetts, trios, duets and solos : original and selected, for singing societies, choirs and social musical circles /

Bound in blue, paper covered boards with cloth spine. Advertisements for "Choruses, anthems, quartetts, trios, duets and solos to appear in the following numbers of Taylor's choral anthems" p. p [4] of cover.

The Choral tribute : a collection of new church music, for choirs, singing schools, conventions, &c. /

Includes indexes.

The chorus and choir : a superior collection of standard choruses, part-songs and anthems suitable for colleges, normals, choirs, choral societies, musical conventions, singing schools, etc., etc. /

Includes index.

The David Bispham treasury of song : selected choruses for mixed voices for home, school and community singing and for choral societies /

Mode of access: Internet.

A comparison of the Kodaly method and the traditional method to determine pitch accuracy in grade 6 choral sight-singing

The purpose of this study was to determine which of the two methods is more appropriate to teach pitch discrimination to Grade 6 choral students to improve sight-singing note accuracy. This study consisted of three phases: pre-testing, instruction and post-testing. During the four week study, the experimental group received training using the Kodaly method while the control group received training using the traditional method. The pre and post tests were evaluated by three trained musicians. The analysis of the data utilized an independent t-test and a paired t-test with the methods of teaching (experimental and control) as a factor. Quantitative results suggest that the experimental subjects, those receiving Kodaly instruction at post-treatment showed a significant improvement in the pitch accuracy than the control group. The specific change resulted in the Kodaly method to be more effective in producing accurate pitch in sight-singing.

Les impacts d’un programme de chant choral sur le bien-être et la cognition de personnes âgées en perte d’autonomie

Résumé : Le chant choral serait bénéfique à tout âge : cette étude choisit d’en mesurer les impacts auprès de personnes très âgées. Un devis quantitatif quasi-expérimental à trois groupes fut adopté : la Chorale, l’Hebdo-Bistro (ateliers et conférences, groupe de comparaison), et le groupe Témoin. L’étude longitudinale, intergénérationnelle, comporta trois saisons. La cognition (Mattis, 3MS, Trail Making, empan numérique, fluences formelle, catégorielle), l’humeur (bien-être général, dépression (GDS)), l’autoefficacité (GSES) et l’autonomie (QAF) furent mesurées à trois reprises (pré, post, 2e post). En outre, des mesures hebdomadaires furent administrées concernant la santé physique (consultations médicales, médicaments, chutes) et la participation sociale (activités). L’analyse intergroupe ne rapporta aucune différence significative. Les comparaisons intragroupe montrèrent une amélioration significative pour la Chorale (3MS et activités sociales), et une tendance d’amélioration pour la Chorale et l’Hebdo-Bistro (fluence formelle). Bien que le petit échantillon (n=21) exclue toute généralisation, les résultats demeurent inspirants en contexte de vieillissement populationnel.

Singing the blues : developing a cabaret performance on depression

This paper will discuss the researcher’s practice-led study within the field of contemporary cabaret performance. The project is focussed on transforming personal stories of depression into cabaret with the aims of raising community awareness of the issue. In the process, the research aims to explore innovations within the field of cabaret. Interviews conducted with individuals who have suffered from depression are being used as ‘inspiration points’ for the development of the performance. This paper will provide a short contextual review for the project and introduce the researcher’s creative process. For the purposes of this research, cabaret has been defined as performances of songs and dialogue in direct-address with the audience. Cabaret performances merge ‘high’ and ‘low’ art forms (often including satirical comedy), and are generally performed in small-scale venues. The accessible, intimate and light-hearted nature of cabaret offers unique opportunities for the discussion of social issues.

Assurance of learning – are academics and senior management singing from the same hymn sheet?

Assurance of learning (AoL) is an important process in quality education, designed to measure the accomplishment of educational aims at the core of an institution’s programs, whilst encouraging faculty to continuously develop and improve the programs and courses. This paper reports on a study of Australian business schools to investigate current AoL practices through semi structured interviews with senior faculty leaders followed by focus group interviews with groups of senior program leaders and groups of academic teaching staff. Initial findings indicate there are significant challenges in encouraging academic staff to commit to the process and recognise the benefits of assuring learning. The differences in understanding between the various leaders and the academics were highlighted through the different focus groups. Leaders’ stressed strategic issues such as staff engagement and change, while academics focussed on process issues such as teaching graduate attributes and external accreditation. Understanding the differences in the perspectives of leaders and faculty is important, as without a shared understanding between the two groups, there is likely to be limited engagement, which creates difficulties in developing effective assurance of learning processes. Findings indicate that successful strategies developed to foster shared values on assurance of learning include: strong senior leaders’ commitment; developing champions among program and unit level staff; providing professional development opportunities; promoting and celebrating success and effectiveness; and ensuring an inclusive process with academics of all levels collaborating in the development and implementation of the process.

Koko talo soi : Klemetti-Opisto suomalaisen musiikkikulttuurin kehittäjänä 1953-1968

This study aims to examine the operations and significance of the Klemetti Institute (Klemetti-Opisto) as a developer of Finnish music culture from 1953 to 1968 during the term of office of the Institute s founder and first director, Arvo Vainio. The Klemetti Institute was originally established as a choir institute, but soon expanded to offer a wide range of music courses. In addition to providing courses for choir leaders and singers, the Institute began its orchestral activities as early as the mid-1950s. Other courses included ear training seminars as well as courses for young people s music instructors and in playing the kantele (a Finnish string instrument) and solo singing. More than 20 types of courses were offered over the 16-year period. The Klemetti Institute s courses were incorporated into the folk high school courses offered by the Orivesi Institute (Oriveden Opisto) and were organised during the summer months of June and July. In addition to funding based on the Folk High School Act, financial assistance was obtained from various foundations and funds, such as the Wihuri Foundation. This study is linked to the context of historical research. I examine the Klemetti Institute s operations chronologically, classifying instruction into different course types, and analyse concert activities primarily in the section on the Institute s student union. The source material includes the Klemetti Institute archives, which consist of Arvo Vainio s correspondence, student applications, register books and cards, journals and student lists, course albums and nearly all issues of the Klemettiläinen bulletin. In addition, I have used focused interviews and essays to obtain extensive data from students and teachers. I concentrate on primary school teachers, who accounted for the majority of course participants. A total of more than 2,300 people participated in the courses, nearly half of whom took courses during at least two summers. Primary school teachers accounted for 50% to 70% of the participants in most courses and constituted an even larger share of participants in some courses, such as the music instructor course. The Klemetti Institute contributed to the expansion throughout Finland of a new ideal for choral tone. This involved delicate singing which strives for tonal purity and expressiveness. Chamber choirs had been virtually unheard of in Finland, but the Klemetti Institute Chamber Choir popularised them. Chamber choirs are characterised by an extensive singing repertoire ranging from the Middle Ages to the present. As the name suggests, chamber choirs were originally rather small mixed choirs. Delicate singing meant the avoidance of extensive vibrato techniques and strong, heavy forte sounds, which had previously been typical of Finnish choirs. Those opposing and shunning this new manner of singing called it ghost singing . The Klemetti Institute s teachers included Finland s most prominent pedagogues and artists. As the focused essays, or reminiscences as I call them, show, their significance for the students was central. I examine extensively the Klemetti Institute s enthusiastic atmosphere, which during the early years was characterised by what some writers described as a hunger for music . In addition to distributing a new tonal ideal and choir repertoire, the Klemetti Institute also distributed new methods of music education, thus affecting the music teaching of Finnish primary schools, in particular. The Orff approach, which included various instruments, became well known, although some of Orff s ideas, such as improvisation and physical exercise, were initially unfamiliar. More important than the Orff approach was the in-depth teaching at the Klemetti Institute of the Hungarian ear training method known as the Kodály method. Many course participants were among those launching specialist music classes in schools, and the method became the foundation for music teaching in many such schools. The Klemetti Institute was also a pioneer in organising orchestra camps for young people. The Klemetti Institute promoted Finnish music culture and played an important role in the continuing music education of primary school teachers. Keywords: adult education, Grundtvigian philosophy, popular enlightenment, Klemetti Institute, Kodály method, choir singing, choir conducting, music history, music education, music culture, music camp, Orff approach, Orff-Schulwerk, Orivesi Institute, instrument teaching, free popular education, communality, solo singing, voice production

Singing from the same hymn sheet? A closer look at the framing of human trafficing by counter-trafficing actors in Lao PDR

As disparities in wealth levels between and within countries become greater many poor people migrate in search of better earning opportunities. Some of this migration is legal but, in many cases, the difficulties involved in securing the necessary documentation mean that would-be migrants resort to illegal methods. This, in turn, makes them vulnerable to human trafficking, a phenomenon that has received growing attention from NGOs, governments and the media in recent years. Despite the attention being given to human trafficking, however, there remains a certain amount of confusion over what exactly it entails though it is generally understood to refer to the transportation and subsequent exploitation of vulnerable people through means of force or deception. The increased attention that has been given to the issue of human trafficking over the last decade has resulted in new discourses emerging which attempt to explain what human trafficking entails, what the root causes of the phenomenon are and how best to tackle the problem. While a certain degree of conceptual clarity has been attained since human trafficking rose to prominence in the 1990s, it could be argued that human trafficking remains a poorly defined concept and that there is frequently confusion concerning the difference between it and related concepts such as people smuggling, migration and prostitution. The thesis examines the ways in which human trafficking has been conceptualised or framed in a specific national context- that of Lao PDR. Attention is given to the task of locating the major frames within which the issue has been situated, as well as considering the diagnoses and prognoses that the various approaches to trafficking suggest. The research considers which particular strands of trafficking discourse have become dominant in Lao PDR and the effect this has had on the kinds of trafficking interventions that have been undertaken in the country. The research is mainly qualitative and consists of an analysis of key texts found in the Lao trafficking discourse.

Singing flames - The coupling of acoustics and combustion

An overview of the physics of the interaction between sound and flames is presented. The flame dynamics are investigated through experiment and computer modelling. The complementary rôles of wave analysis, low-order models for unsteady combustion, Computational Fluid Dynamics and experiment are illustrated by examples of oscillations in gas turbine combustors and in generic premixed ducted flames. The potential for 'antisound' and passive acoustic absorbers to eliminate the instability is also discussed.