Oberlin College Conservatory of Music Library Addition, Oberlin, Ohio, 1986-1988

[Conceptual Sketches], untitled. Ink sketches on graph paper, 8 1/2 x 11 inches [from photographic copy by Lance Burgharrdt]

Oberlin College Conservatory of Music Library Addition, Oberlin, Ohio, 1986-1988

[Conceptual Sketches], untitled. Ink sketches on tracing paper with green marker coloring, 8 1/2 x 11 inches [from photographic copy by Lance Burgharrdt]

Oberlin College Conservatory of Music Library Addition, Oberlin, Ohio, 1986-1988

[Conceptual Sketch], untitled. Ink sketch on tracing paper, 12x22 inches [from photographic copy by Lance Burgharrdt]

Relatório de estágio: aulas de grupo de oboé

I (Prática Pedagógica) - Neste relatório de estágio apresenta-se uma caracterização do Conservatório de Música de Santarém (CMS). Dá-se a conhecer um pouco da sua história, o seu funcionamento e os seus objetivos pedagógicos. Caracterizam-se também os alunos que participam no estágio e faz-se uma pequena descrição dos seus percursos académicos; suas influências, motivações e expectativas. Nas práticas desenvolvidas apresentam-se os princípios pedagógicos – A Motivação, como condição fundamental para o sucesso escolar dos alunos; e ainda a importância da aquisição de competências metacognitivas, ao permitirem a reflexão sobre os processos de aprendizagem. É feita uma descrição sobre as estratégias que o professor deve adotar com o objetivo de obter a motivação dos alunos; e apresentam-se os objetivos pedagógicos propostos para este estágio. Por último é feita uma análise do trabalho desenvolvido com os alunos e uma análise crítica da atividade docente, onde a criatividade, a autoavaliação e a reflexão devem estar sempre presentes no íntimo do professor. Ainda no encerramento da secção pedagógica dá-se conta do novo paradigma do ensino vocacional de música, após a Portaria nº 691/2009 de 25 de junho, e a necessidade do professor se adaptar a esta nova realidade.

Music performance anxiety among full-time music students

Introduction Music performance anxiety (MPA, often referred to as "stage fright") is one of the leading severe medical problems among musicians. For about 15-25% of musicians MPA is a serious problem. Particularly high levels of MPA are observed among music students. Musical performance can induce negative emotions, including anxiety, which in some individuals can approach extreme levels of terror and take the form of panic attack, impair the quality of the performance, lead to avoidance of performance situations, and consequently have debilitating effects on the career. Coping efforts used by musicians in their attempts to manage MPA, such as sedatives, alcohol, and β-blockers can have deleterious health side-effects. Music ranks high in the cultural and economic life of Switzerland. In ten university music schools, students from all around the world are educated to become professional musicians. Despite the importance of musical education in Switzerland, data concerning the phenomenon of MPA are largely lacking. Goal and Methods The main goal of this research was to survey the occurrence, experience, and management of MPA among full-time music students in French Swiss conservatories. A questionnaire was developed based on the literature and interviews with music students and teachers and distributed to all the students of the conservatories of Fribourg, Geneva, Lausanne, and Neuchâtel in the spring 2007. 194 students (61% women) returned the questionnaire. Results The size of the problem: MPA is a major problem for 1/3 of the students (ranks 3 and 4). The consequences of MPA: 22% and 35% of the students think that they have failed exams and auditions, respectively, because of MPA. Further, 25% of the students have already avoided performing and 11% have interrupted public performances because of MPA. Coping with MPA: 90% of the students have never used alcohol prior to performing, whereas 97% and 81%, respectively, have never used recreation drugs and medication. The majority of students use relaxation exercises, respiratory exercises, and meditation techniques to prepare themselves. About ¾ of the students think that the use of alcohol and recreational drugs to manage MPA is never justified. 53% of the students think that the use of medication is justified on some occasions. Need for information and support: 66% of the students would like to receive more support and help to cope with music performance situations. This support should mainly come from their teachers and specialists. 53% of the students know nothing or little about possible means for the management of MPA. About 50% consider themselves not at all or little informed about the possible risks associated with the consumption of alcohol, recreational drugs, and medication for the management of performance situations. 89% would like to know more about MPA and 94% think that this topic should be discussed much more in their musical education at the conservatory. Conclusions The results of this survey indicate that MPA is a major problem for 1/3 of the students with serious consequences on their career. There is a huge need for more information and support on how to manage the stress due to performance situations. The use of alcohol, recreational drugs, and medication is modest but the students are poorly informed about possible side-effects of these coping strategies. It seems clear that more should be done in the French Swiss conservatories about music performance anxiety to inform, educate, and prepare the students for their future professional career.

The Björling 'Opera' : A children's Nursery Academy and an Italian Conservatory in Miniature

The aim in this chapter is to develop a deeper understanding about the informal Björling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle.   The Björling family model of opera schooling belongs to the classical canon of domestic home education which was common during the epoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education.   The uniqueness concerning the Björling School seems to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It's clear from his results that he was familiar with the neo-humanistic ideal on which reformed music education was based. Of a specific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities.   Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition.   David Björling's vocal ideal was a part of the contemporary debate about “The decadence of the singing art”, and seems to have its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model.

Carimbó do Santo Preto: a presença negra na performance musical da festividade do Glorioso São Benedito em Santarém Novo (PA)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Carimbó do Santo Preto: a presença negra na performance musical da festividade do Glorioso São Benedito em Santarém Novo (PA)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Klosé's conservatory method for the clarinet.

Mode of access: Internet.

The realm of music. A series of musical essays, chiefly historical and educational.

"These essays have been compiled from different periodicals."--Pref.

The theory of music. As applied to the teaching and practice of voice and instruments.

Mode of access: Internet.

TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.

Associação entre excesso de peso e hábito de fumar, Santarém, PA, 2007

OBJETIVO: Estudar associação entre excesso de peso e hábito de fumar. METODOLOGIA: Estudo transversal desenvolvido por telefone numa amostra probabilística de adultos (Santarém /PA), em 2007. Variável desfecho foi excesso de peso, explanatória hábito de fumar e de confusão idade, escolaridade, união conjugal, estado nutricional prévio, abuso de bebidas alcoólicas, atividade física no lazer e padrão alimentar. Associação entre excesso de peso e demais variáveis foi investigada pelo teste do qui-quadrado e regressão de Poisson para o cálculo das razões de prevalência de excesso de peso conforme hábito de fumar, considerando-se três níveis de hierarquia: características sociodemográficas, estado nutricional prévio e padrão comportamental. RESULTADOS: Verificou-se 40,6% de excesso de peso e 16,4% de fumantes. As variáveis associadas ao excesso de peso foram: maior idade, menor escolaridade, união conjugal estável, excesso de peso aos 20 anos e hábito de não consumo de refrigerante para ambos os sexos; não ativo no lazer para homens e hábito de fumar (atual e passado) para mulheres. As razões de prevalência de excesso de peso não apresentaram associação com hábito de fumar para homens, porém para mulheres houve tendência de maior prevalência de excesso de peso para fumantes atuais, chegando a 2,56 vezes mais do que para nunca fumantes e ex-fumantes. CONCLUSÃO: Este estudo constatou que a prevalência de excesso de peso foi maior para mulheres fumantes, comparativamente às ex-fumantes e nunca fumantes. Para os homens não se observou nenhuma associação entre excesso de peso e tabagismo.

Características do sistema produtivo da pecuária no município de Santarém, Pará

Com o objetivo de identificar as principais falhas no sistema de produção que limitam a pecuária em Santarém, Pará, foram entrevistados, ao acaso, 21 pecuaristas (90,5% de corte - cria, recria e engorda; 9,5% de leite), proprietários de 10% da população de bovinos do município. 71,4% das propriedades tinham currais para manejo do gado, entretanto apenas 38,1% possuíam balança e 23,8% tronco de contenção. A Brachiaria brizantha estava presente em todas as fazendas, sendo usada exclusivamente em 42,9% das propriedades. A disseminação de plantas invasoras (61,9%) foi considerada a principal dificuldade no manejo das pastagens. Constatou-se que 76,2% dos pecuaristas utilizam misturas minerais com macro e micro-elementos, geralmente de formulações comerciais, enquanto que 19% utilizam apenas sal comum, enriquecido com micro-elementos. A concentração de fósforo (P) na mistura mineral estava abaixo do recomendado para bovinos de corte em 76,9% das propriedades e apenas 19% das propriedades possuía cochos para suplementação mineral adequada.

Characterizing chaotic melodies in automatic music composition

In this paper, we initially present an algorithm for automatic composition of melodies using chaotic dynamical systems. Afterward, we characterize chaotic music in a comprehensive way as comprising three perspectives: musical discrimination, dynamical influence on musical features, and musical perception. With respect to the first perspective, the coherence between generated chaotic melodies (continuous as well as discrete chaotic melodies) and a set of classical reference melodies is characterized by statistical descriptors and melodic measures. The significant differences among the three types of melodies are determined by discriminant analysis. Regarding the second perspective, the influence of dynamical features of chaotic attractors, e.g., Lyapunov exponent, Hurst coefficient, and correlation dimension, on melodic features is determined by canonical correlation analysis. The last perspective is related to perception of originality, complexity, and degree of melodiousness (Euler's gradus suavitatis) of chaotic and classical melodies by nonparametric statistical tests. (c) 2010 American Institute of Physics. [doi: 10.1063/1.3487516]