G. Blagojević The role of information technology in the practice of polyphonic singing (original) (raw)

Cayari 2020 - Popular practices for online musicking and performance: Developing creative dispositions for music education and the Internet (Cover + pre-formatted text)

Journal of Popular Music Education, 2020

Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.

Music as a Difficult but Necessary Element in the Process of Remote Education in Times of a Pandemic

Prima Educatione

Music affects many areas of human life, but as an "invisible being", it is not conducive to remote education. However, due to the multidimensional perception and understanding of music, it becomes a kind of "safety valve" in the difficult reality of pandemic isolation. The article deals with the subject of multi-context understanding and definition of music, and presents the observations resulting from the above narrative about the child's meetings with music planned by the teacher. The time of the pandemic set a new challenge for music teachers and made them reflect on the purpose of music education in this difficult time. Therefore, an individual approach and understanding of the child's needs becomes important, especially in conditions of global isolation. Hence, the aim of the article is to draw attention to the broadly understood musicalisation of a child, which is of particular importance in the period of educational and social isolation.

Online Group Music-Making in Community Concert Bands: Perspectives From Conductors and Older Amateur Musicians

Frontiers in Psychology

At the beginning of the pandemic, many music ensembles had to stop their activities due to the confinement. While some found creative ways to start making music again with the help of technologies, the transition from “real” rehearsals to “online” rehearsals was challenging, especially among older amateur musicians. The aim of this case study was to examine the effects of this transition on three community band conductors and three older amateur musicians. Specific objectives were to explore (1) intergenerational relationships to support online group music-making; (2) digital literacy and access in later life; and (3) online music-making in a COVID-19 context. Semi-structured interviews were conducted and theoretical thematic analysis was undertaken (Braun and Clarke, 2006). Results were analyzed from the conductors’ and older musicians’ perspectives, and common trends were combined to facilitate interpretation. The first theme showed that being part of an intergenerational ensemble...

Experiencing Online Orchestra: Communities, connections and music-making through telematic performance

Journal of Music, Technology and Education

Telematic performance offers significant potential for musicians in remote communities to perform together, increasing access to the type of ensemble music-making that is commonplace in urban areas. This article presents a range of perspectives taken from interviews with participants in the Online Orchestra pilot performance. Participants highlight the significant potential of telematic performance to overcome the challenge of music-making in geographically remote communities. The feasibility of making music in latency-rich environments is corroborated, as is the importance of the conductor in telematic performance. Suggestions are given for the fine tuning of peripheral equipment, and a preference emerges for the more traditional and simple music commissioned by the project.

Remote Work with Choir Under Pandemic Conditions

Musical art in the educological discourse, 2021

The classes of the Choir module in the Department of Artistic Education in Musical Art belong to the block of subjects which aim at the development and education of vocal abilities of choristers through improvement of voice emission and work on musical interpretation of vocal and vocal-instrumental pieces diversified in terms of texture and style. This class prepares for collaborative presentations of planned artistic endeavors. The article describes a remote work with a choir operating in the Institute of Musical Arts of the Faculty of Arts and Sciences of Education in Cieszyn at the Silesian University in Katowice. The COVID-19 pandemic forced academics to look for new methodological solutions. In spite of many inconveniences and shortcomings, especially the lack of direct contact with the students or an important concert presentation of their achievements, I consider this time with full responsibility as extremely important in the musical development of students. Working on perfo...

BJME 37-1 Editorial: Music-making continues during the pandemic

British Journal of Music Education

Music-making, music(k)ing, and creating, are all words which have something in commonthey are active, they involve activity, they are 'doing' words, and they are what music education involves in many schools and colleges throughout the world. Another thing they all have in common is that as the covid-19 pandemic continues, they are seen as being increasingly fragile in some quarters. We discussed music education in a time of pandemic in the last BJME (Daubney & Fautley, 2020), and here now is another editorial being written whilst the world is in the grip of this awful virus. We seem to have studies and reports on an almost daily basis telling us what we can, what we should, and what we might be doing with regard to music-making; because another feature that the list of words at the start of this piece have in common is that in normal times they often involve corporate and cooperative activity of joint endeavour. As guidance changes so regularly on what can be done, for example, whether singing is harmful, and whether brass and woodwind playing can take place in educational settings safely, it is perhaps pertinent to take a step back from the immediacy of ensemble activity, and think about what else is, and can safely, be taking place musically by children and young people and their teachers. One of the big things we have seen is the rise of the technological solution. For teachers, academics, and researchers, on-line meetings have become the norm, with the webcam and microphone of the laptop computer being not just nice-to-have add-ons, but essential to the conduct of day-today work now. But it is not just the meeting that has changed, for many music educators and their pupils, music teaching and learning is now taking place remotely, with the computer forming the centrepiece of this interaction. One of the legacies of this pandemicand may it soon be overis that these ways of working which have perforce needed to be adopted may become embedded more deeply in the toolkit of the educator. Questions are already being asked in the press about the need for face-to-face meetings in distant cities, when we are able to do this from our own homes, without contributing to global warming, and without the concomitant wear and tear on us as people. But what of music education? Is the remote lesson, the distant engagement with a faraway teacher going to survive? Are there positives in this form of interaction? Certainly where educators have to travel to meet their learners, or the learners have to travel to meet the teacher, there can be time savings on all sides. It may be the case that we look to a more mixed modality when the 'new normal' is realised, in that both forms have their merits and downsides. But it is still far too early to say. But away from the individual or group lesson, corporate music-making, whether with voices or instruments, is not so easily replicated in the virtual sphere. Concerts have been cancelled, or take place behind closed doors with no audiences admitted. This has not been such a positive experience, and we know for our young performers that the thrill of the crowd has been missed. Likewise for our young composers, the excitement of hearing a piece come to life, played by real musicians, and listened to by an audience has been sorely missed. These experiences have not fared so well under the impact of covid-19. We also have the sorry state of affairs the world over where public

Impact of Online Music Competitions on the Young Musicians’ Professional Skills and Their Musical Development During the Covid-19 Pandemic

European Journal of Social Sciences Education and Research, 2020

Classical music competitions present a medium for the development and motivation of young musicians. In this context, they prepare young musicians to professional life and play an important role in their career. Online competitions became more popular due to the Covid-19 pandemic with an increasing number of high professional quality applicants. This research aims to focus on the impact of online music competitions on the young musicians' professional skills and their musical development. The research will set forth the differences between online competitions and real life competitions from various aspects such as application process, video presentations, and efficiency of the young musicians in using available technology, jury formation, evaluation of the applicants' performances by the jury as well as the applicants' evaluation of their own performance among other applicants.

Music Education in the Covid-19 Pandemic: Challenges of Distance Learning and Digital Platforms

Advances in Social Science, Education and Humanities Research, 2021

This article discusses the challenges faced by music education students as prospective teachers who were carrying out teaching practice at schools located in Yogyakarta Special Region, Purworejo, Solo, and Medan during the Covid-19 pandemic. Teaching and learning activities that had to be carried out online were a dilemmatic story because the students were required to be more creative and innovative in preparing and developing teaching materials to run the music learning properly. The use of various digital platforms was a solution for teachers to provide good services to students. This is an innovation in the world of music education that has never been done before the Covid-19 pandemic.

The Impact of the Covid-19 Pandemic on Music Education in Ukraine

Fontes Artis Musicae

English : This article investigates the impact of the COVID-19 pandemic on music education in Ukraine. In March 2020, Ukrainian authorities proclaimed a national lockdown like the ones in most other European countries. Restrictions included prohibition for students to attend lessons at schools or universities that would make any classroom musical activities illegal. Relevant legal acts have been collected in this article. To avoid closure, most of music education institutions provided a distance form of education. However, remote methods did not appear to be a worthy substitute for in-person lessons, especially in such disciplines as ensemble playing or singing. This article reveals the main disadvantages of distance music education, the most important of which is a signal delay during remote communication via the Internet. A survey of teachers in Ukrainian music schools about their experience under lockdown restrictions was conducted. The survey shows that many teachers regard dist...