Meteorological phenomena in Western classical orchestral music

Depictions of the weather are common throughout the arts. Unlike in the visual arts, however, there has been little study of meteorological inspiration in music. This article catalogues and analyzes the frequencies with which weather is depicted in a sample of classical orchestral music. The depictions vary from explicit mimicry using traditional and specialized orchestral instruments, through to subtle suggestions. It is found that composers are generally influenced by their own environment in the type of weather they choose to represent. As befits the national stereotype, British composers seem disproportionately keen to depict the UK's variable weather patterns and stormy coastline

Enterprise pedagogy in music: an exploration of multiple pedagogies

This article investigates the nature of enterprise pedagogy in music. It presents the results of a research project that applied the practices of enterprise learning developed in the post-compulsory music curriculum in England to the teaching of the National Curriculum for music for 11-to-14-year-olds. In doing so, the article explores the nature of enterprise learning and the nature of pedagogy, in order to consider whether enterprise pedagogy offers an effective way to teach the National Curriculum. Enterprise pedagogy was found to have a positive effect on the motivation of students and on the potential to match learning to the needs of students of different abilities. Crucially, it was found that, to be effective, not only did the teacher’s practice need to be congruent with the beliefs and theories on which it rests, but that the students also needed to share in these underlying assumptions through their learning. The study has implications for the way in which teachers work multiple pedagogies in the process of developing their pedagogical identity.

Beyond a constructivist curriculum : a critique of competing paradigms in music education

The distinction between learning to perform on an instrument or voice and learning music in a wider sense is one that is made in many countries, and is especially pertinent in England in the context of recent policy developments. This article argues that, whilst this distinction has come to represent curricula based on the opposing paradigms of behaviourist and constructivist approaches to learning, this opposition does not necessarily extend to the pedagogy through which the curricula are taught. A case study of the National Curriculum in England highlights the characteristics of a curriculum based on constructivist principles, along with the impact this has when taught in a behaviourist way. It is argued that conceiving the curriculum in terms of musical competencies and pedagogy in terms of musical understanding would provide a basis for greater continuity and higher quality in the music education experienced by young people.

The perspective of the teaching of arts projected by H. Gardner and the National Syllabus Parameters - (arts) of elementary school

In a concise way, the article reports part of the Master of Arts dissertation in Music entitled The meaning of the teaching of Arts in H. Gardner's perspective, presented in the IAUNESP [Arts Institute-State of Sao Paulo University] in 2008. Some considerations on the Statutory Law n. 11.769/08 were added to the original text. The produced research had an exploratory nature and a theoretical mark. Some texts by Howard Gardner, by the psychologist Eliane Leao, as well as the text of the National Syllabus Parameters-Art, from the Department of Elementary Education, served as a foundation for this article. The intended aim was to demonstrate to what extent the pedagogical proposition of the Arts Education projected by H. Gardner is similar to the one proposed by the National Syllabus Parameters, and which would the benefits be in this age group of an artistic sensitizing work for the development of the individual's personality.

Music at the Fair! The Trans- Mississippi and International Exposition. An Interactive Website

“Music at the Fair!” gives the daily musical programs for The Trans-Mississippi and International Exposition, held in Omaha, Nebraska, June 1 through October 31, 1898. The Trans-Mississippi and International Exposition brought an unprecedented array of local, national, and international musical acts to Omaha, NE in 1898. This served to designate Omaha, "the gateway to the west" as a musical hub, as well as to incite musical excitement in the region. Some of the more popular acts featured were the Theodore Thomas Orchestra, the U.S. Marine Band, and the Apollo Club of Chicago. Many more groups and their musical programs can be found within the pages of this site. The “Music at the Fair!” website was created by Grace Carey, and last revised on May 19, 2006.It is the result of a two- year research grant funded by an Undergraduate Creative Activities and Research Experiences (UCARE) grant through the University of Nebraska at Lincoln. It is an extension of an ongoing project on music at the TME by Music Professor Peter Lefferts. The primary sources of information for the site are the following newspapers from June – November 1898: The Omaha Daily Bee, the Omaha Evening Bee, and the Omaha World Herald, and the the official programs of the fair located in the archives at the Omaha Public Library. I would like to thank the helpful staff at the Nebraska State Historical Society and the downtown branch of the Omaha Public Library. Site Creator: Grace Carey Project Advisor: Peter Lefferts, Professor of Music History at the University of Nebraska, Lincoln The linked “Document” is a flat PDF version of the interactive website. To download the fully interactive html version, click on the “Related file” to download the zipped folder. When unzipped, click on the file named “index” to enter the website.

Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?

Na 1 Nachlass Max Horkheimer, 698 - Cultural Aspects of National Socialism. A Research Project (p. IX 170.11 - 170. 14)

"Literature, Art and Music" verschiedene Typoskripte, zum Teil mit handschriftlichen Korrekturen, zwei davon auf deutsch; ein Teilstück, gesamt circa 100 Blatt; "Scope and Method" a) Typoskript mit handschriftlichen Korrekturen, 7 Blatt; b) Typoskript, deutsch, mit handschriftlichen Korrekturen von Max Horkheimer, 8 Blatt; c) Typoskript, deutsch, mit handschriftlichen Korrekturen von Max Horkheimer, 3 Blatt; d) Manuskript, Entwurf von Theodor W. Adorno, 1 Blatt; "Labor Movement" verschiedene Typoskripte, zum Teil mit handschriftlichen Korrekturen, circa 49 Blatt; zwei Teilstückem davon eins mit handschriftlichen Korrekturen, 4 Blatt; Typoskript und Manuskript, 7 Blatt; "Biographical Notes" a) Typoskript mit handschriftlichen Korrekturen, 15 Blatt; b) Typoskript mit handschrifltichen Korrekturen, 19 Blatt; c) Typoskript mit handschriftlichen Korrekturen, 19 Blatt; d)-p) Fassungen der einzelnen Abschnitte aus 14; d) Vorspann, Typoskript und Manuskript, 2 Blatt; e) "Max Horkheimer" Typuskript mit handschriftlichen Korrekturen, 5 Blatt; f) "Frederick Pollock" Typoskript mit handschriftlichen Korrekturen, 2 Blatt; g) "Leo Löwenthal" Typoskript mit handschriftlichen Korrekturen und Manuskript, 4 Blatt; h) "Herbert Marcuse" Typoskript mit handschriftlichen Korrekturen, 1 Blatt; i) "Franz L. Neumann" Manuskript, 2 Blatt k) "Theodor W. Adorno" Typoskript mit handschriftlichen Korrekturen, 4 Blatt; l) "Henryk Grossman" Typoskript und Manuskript, 8 Blatt; m) "A.R.L. Gurland" Typoskript und Manuskriot, 4 Blatt; n) "Otto Kirchheimer", Typoskript und Manuskript, 4 Blatt; o) "Kurt Pinthus" Typoskript und Manuskrit, 5 Blatt; p) "Joseph Soudek" Typoskript mit handschriftlichen Korrekturen, 2 Blatt;

Pearls of paradise : part one : a collection of the song-gems of the ages, containing hymns and music suited for every service of the Christian Church /

Mode of access: Internet.

Substance use in popular music videos /

"June 2002"

Substance use in popular music videos /

"Contract no. 289-99-0004"--P. [2] of cover.

Blue Ridge Music Center, Blue Ridge Parkway, North Carolina, Virginia : interpretive plan.

"NPS D-415"-- P. [3] of cover.

Scottish national melodies /

Mode of access: Internet.

The national democratic campaign songster : 1880 Hancock & English ...

Without music.