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This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey's lived experiences as a transfronterizx (transborder) student who crossed the United States–Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student's experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices. [ABSTRACT FROM AUTHOR]

The purpose of this hermeneutic phenomenological study was to understand how Black undergraduate music education students make meaning of their lived experiences in predominantly White schools of music (PWSOM). The study was guided by the overall research questions: (1) What makes the lived experience of Black undergraduate music education students unique? and (2) What meaning(s) and understanding(s) do Black undergraduate music education students ascribe to their experiences in PWSOM? Data were collected primarily through open-ended interviews with nine Black undergraduate music education students in PWSOM in the United States. Data analysis revealed seven emergent themes, including (a) navigating the negative perceptions of White people; (b) making White people comfortable; (c) working harder to prove myself; (d) "Do I belong here?"; (e) a climate of racial and cultural insensitivity; (f) distrust of White faculty; and (g) sacrifice and survival. Findings were interpreted using Du Bois's theory of double consciousness and van Manen's four existentials of lived experience. Interpretation revealed the essence of the phenomenon to be living a dissonant existence. [ABSTRACT FROM AUTHOR]

In OECD country members, education policies tend to cut back funding and instructional time for music education at schools, even when supranational agencies advocate for universal access to music involvement and learning. The current study aims to explore music education inequities from the Chilean school system. The method is centered on multiple-case study design, focusing on three boundaries: the time, space, and place. The sample, which was chosen by criteria linked to maximum variation sampling, included participation from 30 music teachers. Results suggest that discrepancies in equitable opportunities are caused not only by the economic situation of schools, but are also provoked by Chile's centralized educational model. In conclusion, some educators live on a darker side than others, but all music teachers are able to see the sun daily because they overcome inequities. Some implications are proposed. [ABSTRACT FROM AUTHOR]

This paper attempts to delve more into the complex role that music education plays in both traditional and music schools. Beyond teaching skills, music education frames children's personality and helps them fit in future working environments. Nurturing environments, modelled after music schools, emphasize comprehensive development, integrating cognitive, psychomotor, socioemotional, and artistic aspects. Beyond conventional lines, a holistic approach to education fosters creativity, emotional intelligence, and cross-cultural understanding. Music emphasizes the importance of selfexpression and encourages individuals to explore their own unique voice. It also promotes collaboration and teamwork, as musicians often work together to create harmonious melodies. Additionally, music education has been shown to improve cognitive abilities such as problem-solving and critical thinking skills, which can be applied to various areas of life beyond the realm of music. Music schools emphasize immediacy and subjectivity, whereas traditional schools emphasize different feedback mechanisms. Aligning these components have the potential of enhancing learning opportunities and encourage a more comprehensive approach to learning and evaluation in the traditional school setting. [ABSTRACT FROM AUTHOR]

Transmitting traditional music for sustainability has been a common theme in global music education. Recently, the school systems of Hong Kong and Guangdong have been encouraged by governmental authorities to teach Cantonese opera aiming at enhancing the sustainability of the genre and promote a Chinese cultural identity within students. This paper details a survey of school music teachers working in Hong Kong and Guangdong examining the current state of Cantonese opera teaching in the schools of both regions and investigate how it is affected by teacher variables including their interest in Chinese opera, the confidence in teaching the subject, and their perceptions of their Chinese cultural identities. A total of 1,974 valid questionnaires were received and examined. Descriptive and inferential statistics including MANOVA and chi-square tests were used to analyze the data. Findings reveal that Cantonese opera teaching is limited in both regions. While teachers are modestly interested, confident, and knowledgeable about teaching the genre, there is a significant relationship between the music backgrounds of teachers and their interest in Cantonese opera. The article discusses the findings within the context of a historical predominance of Western music within music education curricula and wider societies. Implications for policy makers are proposed. [ABSTRACT FROM AUTHOR]

This study examines the underpinnings of Japan's programming education in elementary school music, officially implemented nationwide in 2020. Through that reform, which has introduced programming thinking (a local version of computational thinking) in all areas of compulsory education, the country follows the international trend of reinforcing IT skills, considered essential for employability. However, Japan's cross-curricular policy raises questions on its implications for the arts, including music. In view of that, this study presents a content analysis of 12 recent Japanese-language sources, selected for reporting about activities that integrate programming education into music in elementary schools in Japan. As part of that analysis, the main objectives of those activities are described and examined together with their approaches to programming and music learning contents. Findings reveal the apparent lack of a specific theoretical framework aimed at music learning goals, and beliefs about a certain affinity between music and programming, only partially defined. They also show tensions between flexible and fixed-goal approaches to compositional activities, as well as several interpretations of IT terms that have permeated music education, namely, algorithm and program. This suggests new roles being attributed to music as a school subject in relation to computer science, a fact that leads to discussion about the need for specific strategies, in view of challenges and goals particular to this country, such as society 5.0. [ABSTRACT FROM AUTHOR]

Researchers have found that many post-secondary music students suffer from physical and mental health issues. However, researchers have mainly studied these problems at the individual level, with little investigation of how music students' work is shaped by the coordinating effects of policies, texts, and discourses at and beyond their local site. This paper describes a protocol for an international project that will explore the health of music students in the context of their daily work. Using an institutional ethnography approach, we will examine the social organization of music students' work at three universities: two in Canada and one in Australia. This will be the first set of studies that use institutional ethnography specifically for the purpose of understanding how the social organization of music students' work shapes their health. Data will be collected using several methods common to institutional ethnography: interviews, focus groups, observations, and collecting texts. Data analysis will begin during the data collection process and proceed in two fluid stages. The first stage will involve a detailed investigation of the pertinent work activities at each music school. The second will involve linking that work to specific social relations within and beyond the institution. After data analysis has been completed at all three sites, findings will be compared to one another to identify commonalities and differences in how students' work is organized. Findings of the entire project may inform policy-making and lead to positive change at the institutions studied, as well as others where similar social organization may occur. The novel approach described here will provide opportunities to expand current knowledge about music students' work and health beyond what has been learned through approaches that focus on students' individual behaviours and attributes. [ABSTRACT FROM AUTHOR]

Objectives: Music educators are subjected to many physical and psychological stresses encountered in the workplace. These stresses could be counteracted by certain work-related behavior and experience patterns as personal resources to reduce the negative consequences of stress. The aim of the study was to determine the existing work-related behavioral and experiential patterns and the characteristics of the Work-Related Behavior and Experience Patterns (Arbeitsbezogenes Verhaltens- und Erlebensmuster - AVEM) questionnaire dimensions in the professional group of music educators according to age group. Material and Methods: A total of 205 music educators (66.3% female) from various music schools in Germany participated in the online survey. The subjects were divided into 3 age groups (AG): AG I: =35 years, AG II: 36-45 years, AG III: =46 years. In addition to sociodemographic and occupational data, the standardized AVEM questionnaire was used according to Schaarschmidt and Fischer. The age and occupation-related data were evaluated in a correlation analysis with the expression of AVEM dimensions. Results: A total of 71.4% of the music educators were =46 years old group. Another 12.8% belonged to AG II, and 15.8% belonged to AG III. The sex distribution in the 3 age groups was comparable (p = 0.261). The expression of all AVEM dimensions was within the reference range. The most pronounced dimension, with a stanine value of M±SD 5.2±2.15, was the willingness to spend. There was also no significant difference in the assignment to the 4 patterns in the 3 age groups (p = 0.669). Age showed a negative correlation with the experience of social support (ρ = -0.354). Conclusions: The age-independent and high intervention-requiring expressions of the AVEM risk patterns A and B led to the recommendation of workplace prevention and health promotion measures. Therefore, it seems reasonable to promote appropriate stress management measures and resilience during studies. Int J Occup Med Environ Health. 2024;37(2):176-93. [ABSTRACT FROM AUTHOR]

The article explores the historical connections between the Czech Republic and Croatia, focusing on their shared Slavic roots and the significant contributions of Czech immigrants to Croatian economic, cultural, and artistic life. It delves into various aspects of this relationship, including the establishment of music schools, the development of tourism, and the formation of cultural associations.

Croatian music education is implemented within the national education system. In this research, we focused on secondary education, or, more precisely, on teachers who work in Specialised music schools – independent institutions that prepare students for higher education in the field of music. The national curriculum for art education in the Republic of Croatia, published in 2017, has still remained at the level of proposal, and the teaching process is conducted according to the syllabuses designed in 2006. Considering these facts, we were interested in how teachers evaluate the syllabuses they follow and what changes they require. We used survey questionnaires and assessment scales, and qualitative and quantitative methods for data analysis. As expected, teachers showed dissatisfaction with the syllabuses they follow. Instrumental and vocal teachers and senior teachers showed somewhat greater satisfaction. The results of the research can help in the creation of new subject curricula and the analysis of the current situation in practice for all those who will be involved in curricular changes. [ABSTRACT FROM AUTHOR]

During the COVID-19 pandemic, the sudden switch from face-to-face learning to distance learning generated many critical issues in music institutes. Specifically, conservatories found themselves using a didactic methodology that had never been considered before to ensure the continuation of students' education. In particular, the adoption of distance learning has had a greater impact on those classes characterized by a significant practical–experiential component. This study aims to investigate the phenomenon of distance learning in Italian conservatories to explore how this experience affects students' performance through their satisfaction with distance learning. A cross-sectional study was conducted on 328 students of 41 Italian conservatories, using an online self-report questionnaire to investigate conservatory students' experience of distance learning and its impact on performance. To test the hypotheses, a mediation model was tested using SPSS version 26. The results show that the positive experience of distance learning has a positive impact on perceived performance and that satisfaction with distance learning, as a mediator role, further reinforces this relationship. This study is the first known one to explore the relationship between the experience of distance learning and student performance in the context of conservatories and music teaching. [ABSTRACT FROM AUTHOR]

This article explores the evolution of the bassoon in the Romanian school of music from the late 20th century to the beginning of the 21st century. It examines the cultural and political context that influenced the development of the Romanian school of composition and the diversification of artistic currents. The article highlights the technical improvements in the bassoon and the contributions of Romanian bassoonists in expanding the repertoire for the instrument. It also discusses the exploration of new effects and sounds in contemporary compositions. The article showcases notable works in the Romanian school of music, including Nicolae Brânduș' "Melopedie & Fugue," Maya Badian's "Capriccio," Ștefan Niculescu's "Monophonie -- Sonata," and Violeta Dinescu's "Satya II." Overall, the article emphasizes the fusion of tradition and avant-garde elements in the Romanian school of music and the continuous push to expand the boundaries of the bassoon. [ABSTRACT FROM AUTHOR]

Interwar Bessarabia was an unknown territory both for the Moldovan Soviet Socialist Republic and Socialist Romania. Nothing was written on either side of the Prut River. If someone dared to recall an intriguing and much-wanted life between the Prut and Dniester rivers during that period, they were likely to be subjected to lessons of true. At least that was the case in the MSSR. The Democratic Republic of Moldova, established on January 24, 1918, followed by the Declaration of the Country Council on March 27, 1918, breathed fresh air into the region between the Prut and Dniester rivers, a breath that had been absent for over a century. In the very first days of the Great Union, thanks to the warm-hearted Onisifor Ghibu from Ardeal, the greatest musician of all Romanians, George Enescu, arrived in Chisinau from Iasi with his orchestra for a few days' tour. The concerts he presented on March 24, 25, and 28 were events difficult to compare with anything that had occurred over the years, unless we recall the nearly forty concerts given by Enescu himself in various towns of Bessarabia, where, alongside great performers like Nicolae Caravia, he delighted audiences with exceptional music. The significance of these tours is further underlined by the fact that, due to the genius musician, an opera theater was established in Chisinau (premiering " Faust" on August 6, 1918) and the creation of a Conservatory of Music and Dramatic Arts (January 1, 1919). [ABSTRACT FROM AUTHOR]

This article explores the evolution of the bassoon in the Romanian school of music from the late 20th century to the beginning of the 21st century. It examines the cultural and political context that influenced the development of the Romanian school of composition and the diversification of artistic currents. The article highlights the technical improvements in the bassoon and the contributions of Romanian bassoonists in expanding the repertoire for the instrument. It also discusses the exploration of new effects and sounds in contemporary compositions. The article showcases notable works in the Romanian school of music, including Nicolae Brându?' "Melopedie & Fugue," Maya Badian's "Capriccio," Ștefan Niculescu's "Monophonie - Sonata," and Violeta Dinescu's "Satya II." Overall, the article emphasizes the fusion of tradition and avant-garde elements in the Romanian school of music and the continuous push to expand the boundaries of the bassoon. [ABSTRACT FROM AUTHOR]

Interwar Bessarabia was an unknown territory both for the Moldovan Soviet Socialist Republic and Socialist Romania. Nothing was written on either side of the Prut River. If someone dared to recall an intriguing and much-wanted life between the Prut and Dniester rivers during that period, they were likely to be subjected to lessons of true. At least that was the case in the MSSR. The Democratic Republic of Moldova, established on January 24, 1918, followed by the Declaration of the Country Council on March 27, 1918, breathed fresh air into the region between the Prut and Dniester rivers, a breath that had been absent for over a century. In the very first days of the Great Union, thanks to the warm-hearted Onisi for Ghibu from Ardeal, the greatest musician of all Romanians, George Enescu, arrived in Chisinau from Iasi with his orchestra for a few days' tour. The concerts he presented on March 24, 25, and 28 were events difficult to compare with anything that had occurred over the years, unless we recall the nearly forty concerts given by Enescu himself in various towns of Bessarabia, where, alongside great performers like Nicolae Caravia, he delighted audiences with exceptional music. The significance of these tours is further underlined by the fact that, due to the genius musician, an opera theater was established in Chisinau (premiering " Faust" on August 6, 1918) and the creation of a Conservatory of Music and Dramatic Arts (January 1, 1919). [ABSTRACT FROM AUTHOR]

To better understand existing ensemble requirements for music education majors at U.S. institutions, we conducted a content analysis of ensemble requirements for 1,021 degree programs at 465 colleges and universities accredited by the National Association of Schools of Music (NASM). The mean number of ensemble credits required for each degree program was 7.25 (SD = 2.89), and the mean number of semester enrollments required was 7.86 (SD = 1.95). There were significant differences between degree types (e.g., instrumental-focused, choral-focused) in terms of total ensemble credits required and number and kind of subrequirements (e.g., chamber or small ensemble). A majority of programs did not contain specific subrequirements beyond traditional large ensembles, suggesting that many students may not undertake the varied complement of ensemble experiences called for in the NASM standards. By continuing to diversify ensemble offerings and encouraging or requiring students in all degree specializations to develop their musicianship through a variety of ensemble experiences, music programs may be able to make valuable ensemble experiences even more beneficial for undergraduate music education students. [ABSTRACT FROM AUTHOR]

The article presents introductory considerations for the project »Institutionalization of Modern Bourgeois Music Culture in 19th-century Civil Croatia and Military Border«, supported by the Croatian Science Foundation, project No. IP-2020-02-4277, as presented at the project Workshop held in Zagreb on 7 October 2022. Firstly, fundamental notions and terms such as »bourgeois society«, »bourgeois musical culture« and the »process of institutionalization« are discussed. Then a review of relevant institutions and areas of research is given with a specific focus on music institutions in civil Croatia. It is stated that the institutions whose aims and activities were exclusively musical in character and scope can be articulated in five larger groups: 1) music societies; 2) music schools; 3) music theatres; 4) singing clubs (societies); 5) instrumental ensembles. It is concluded that the emergence and rise of cultural and musical institutions in 19th-century civil Croatia was closely connected with the process of an overall but still modest social modernization; in the area of art music it was manifested, among other phenomena, in the dissemination and democratization of music education, forming of the new middle class audiences, establishing of bourgeois salons, broader access to public performances, the increase of quality in presenting music, development of corresponding taste, promotion of contemporary art music products, etc. In terms of time it occurred both synchronically and diachronically in historically complex and sometimes intricate and controversial general socio-political circumstances. [ABSTRACT FROM AUTHOR]

Group teaching is rapidly spreading across the world, but little research has been conducted to investigate its impact on students' musical abilities in comparison to inclusion in group tuition contexts. This article investigates how music teachers from the classical orchestra instrumental tradition discuss group tuition. Three focus group interviews were conducted with participants from one Art and Music School in Sweden. The results show a tension field between progression and inclusion as well as different views on the definition of these concepts. These differing views on teaching quality imply a balancing act for the different agents within the profession. [ABSTRACT FROM AUTHOR]

When it comes to music teaching methods in the 20th century, the approaches of Dalcroze, Kodály and Orff come to the fore. In addition to their qualified philosophy, techniques and content, the prevalence and popularity of these approaches can also be mentioned, as well as the influence of European countries playing a dominant role on the prevalence of these approaches. Despite the introverted nature of the "Iron Curtain" countries in this century, it can be said that the music educators in these countries were aware of the developments in Europe and that the Russian music school, which formed the basis of music education in almost all countries of the former Soviet Union, is a synthesis of the current approaches of European countries. In this regard, the music education methods by Davidova – Zaporozhets, P. Veys and D. B. Kabalevsky music education method which are the music education systems of Russia in 20th century were examined in our study and it was aimed to reveal the influence of European education systems on Russian. This study aimed to introduce these approaches to the literature, which are considered to be not known enough in our country, and it was thought that it would shed light on future studies. The study was designed with the survey method, which is one of the descriptive research methods. The data were obtained through document analysis and a self-experimental approach. As a result of the study, a comparative analysis was conducted on western musical approaches that are known in our country and Russian education systems that are not known well. [ABSTRACT FROM AUTHOR]

The research on musical learning has shown that group musical activities can have a positive impact on the learning of an instrument music. In this context, a field still little studied is the instrumental group classes, namely as a methodology to support individual classes. So, this article discusses the relevance of having students engaging in such instrument group classes and seeks to understand whether these can be a way to develop performance skills, and others, such as critical thinking. Sixteen questionnaires were conducted to students who attended this type of classes and four questionnaires to teachers who gave them. Three classes of this kind were observed in a higher music institution. Qualitative data were subject to what is called in the literature as "pattern analysis", that is, analysis based on the categorization of the collected data. The results obtained indicate that instrumental group classes are a relevant methodology to support instrumental learning, namely in helping performance preparation. These classes help students to overcome obstacles - such as learning to deal with nervousness - and help them to develop skills such as concentration, metacognitive skills, and critical thinking. The group classes mentioned in this study allow the simulation of real performance, which creates a moment of testing, correction, and evaluating the state of the individual preparation for performance. The existence of feedback in these classes enriches learning, catalyzes the acquisition of skills, and helps students to grow technically, musically, and humanly. [ABSTRACT FROM AUTHOR]

Since the early 2000s, education policy in France has strongly encouraged publicly funded conservatoires and music schools to forge partnerships with various stakeholders in sectors outside of specialised music education. This change in the objectives traditionally assigned to music schools and conservatoires has given rise to new 'pedagogical projects', among which extracurricular music workshops are quite widespread. This study investigated the views of specialised music teachers in relation to these new pedagogical formats through an analysis of their evaluations of a workshop led in a French school between 2018 and 2019. I interviewed the music teachers who participated in the project (n = 8), those who refused to participate (n = 7) and also the administrative staff (n = 4). The results indicate that far from the ecumenism traditionally associated with policies promoting the democratisation of culture, conservatoire teachers think about and are involved in these projects in different ways, reflecting a wide range of considerations around pedagogy, project quality, purpose or politics. [ABSTRACT FROM AUTHOR]

Between 1967 and 1973 Cornelius Cardew taught at three different London institutions—a traditional music conservatory (the Royal Academy of Music), an adult education college (Morley College), and a politically radical free school (the Antiuniversity of London). These schools introduced Cardew to a wide range of technical musical abilities and profoundly affected the composer's works and pedagogy, culminating in a new musical organization: the Scratch Orchestra. This essay details the political implications of Cardew's teaching philosophy within the Scratch Orchestra and the lessons to be gleaned from the Orchestra's successes and failures, particularly the fundamental necessity of disagreement in egalitarian musical classrooms and improvisatory collaborations. To amplify these lessons, I analyse how the musical structures of 'Paragraph 2' of Cardew's The Great Learning belie the composer's own politics by prescribing distinctly hierarchical performance roles. [ABSTRACT FROM AUTHOR]

The author reflects on their personal and professional reasons for researching the Metropolitan Music School in New York City which was accused of subversion by the House Committee on Un-American Activities in 1957. It mentions the school was unique in its progressive approach to invitational community engagement, curriculum development, and racial representation and administration were devoted to social change through the arts.

This article traces the emergence of a curious musical phenomenon in fin-de-siècle Britain: the ladies' orchestra. As British music conservatories began to open to women in the 1870s and 1880s, and the violin gradually became a more "acceptable" instrument for women to play, ladies' orchestras offered female musicians – still excluded from the country's major symphony orchestras – opportunities to perform in public and sometimes even earn a living. Analyzing responses to ladies' orchestras in the British periodical press, this article shows that ladies' orchestras invited Victorian audiences to think about classical music in new ways. Ladies' orchestras, though niche, fundamentally shifted the sensual experience of the orchestra concert, transforming it from a staid, solemn event centered on "the music itself" to a multisensorial spectacle, complete with colorful costumes, dazzling stage settings, and dynamic displays of musical vigor and passion. Ladies' orchestras embraced what musicologists now call a "performance-based" approach, one that tunes into the spatial, temporal, sensory, kinesthetic, and affective dimensions of classical music. [ABSTRACT FROM AUTHOR]

The Museo Storico Musicale of the San Pietro a Majella Conservatory of Music in Naples owns a collection of over 200 musical instruments of considerable historical importance. Within the collection, 30 bowed and plucked instruments representative of the Neapolitan violin‐making tradition were analysed dendrochronologically to date them, estimate the provenance of the wood and investigate the instruments' construction characteristics. The values of the statistical cross‐dating tests were generally high and allowed 26 instruments to be dated. In all but one case, the dates were consistent with those of the catalogue. From the perspective of wood selection, we noted an unusual use of very old spruce wood, well beyond simple seasoning. The construction technique of the soundboard and other characteristics show good similarities with instruments analysed in other Italian collections. Thus, even in Neapolitan instruments, the growth rings are smaller in small instruments and larger in cellos or double basses. In conclusion, the Neapolitan violin‐making school has shown great care in the choice of wood, most coming from regions as far away as Germany or Switzerland, thus confirming the existence of an active large‐scale trade in wood for the production of musical instruments. [ABSTRACT FROM AUTHOR]

In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils(60% female; Mage = 10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et al., 2008) was translated and adapted to measure music-evoked emotions. Pupils also reported their music liking. In this study, the original three-factor structure of the GEMS-9 was not replicated, and instead a two-factor solution with factors labelled Activation and Calmness emerged. The results showed that in both groups the music evoked moderate to moderately high Activation and low Calmness. Pupils reported high music liking, however, those who participated in the CEA liked the music more than those who participated in the STA. The listening activities that enrich children’s experiences of classical music in the classroom are discussed. [ABSTRACT FROM AUTHOR]

The transition of higher education students in the face of the COVID-19 pandemic is part of the current educational dynamic. This article analyzes the socioeconomic and pedagogical conditions of the students in two stages: at the beginning of the health emergency and after one year. A quantitative approach methodology, descriptive scope, non-experimental-longitudinal trend design is used. The data collection was carried out through the application of a closed questionnaire and the sample was made up of 426 students in the year 2020 and 480 students in the year 2021. The sampling was non-probabilistic, by chain samples in three institutions in Paraguay: American University, National Institute of Higher Education Dr. Raúl Peña and National Conservatory of Music. With the results, it was shown that the students, when moving from one year to another of the pandemic, mostly adapted to the socioeconomic and pedagogical conditions; improvements were seen in access to technological equipment, access to internet service and academic skills, as well as in the management of digital resources and the platform; however, the quality of the connection and the constant power outages became notoriety as difficulties. [ABSTRACT FROM AUTHOR]

A growing body of scholarship on practical music theory traditions, and Italian partimento pedagogy in particular, has begun to shed light on the nature of harmony pedagogy prior to the development of functional tonal theory. The methods of the Italian schools were not adopted wholesale in Paris, but rather interacted with local pedagogies, resulting in an institutionallyspecific approach to teaching harmony. In Paris, the study of written harmony relied on a contrapuntal method for polyphonically realizing and elaborating a series of canonic figures in the form of cadences (progressions); marches (sequences); modulations; broderies (non-harmonic tones), altérations (chromatic alterations); and pédales (pedals). This article reconstructs the basic catalog of the first four of these elements which served as the cornerstone of the harmony course at the Paris Conservatory across the nineteenth century. In addition, it illustrates how the incorporation of these elements within the institutional confines of the Conservatory resulted in both their distinctive pedagogical treatment and the advancement of a specific compositional method. [ABSTRACT FROM AUTHOR]

This article examines how specialist music secondary schools in England present themselves on their websites and social media platforms. We consider visual communication codes and how such patterns reflect cultural distinctions and social boundaries. Multimodal critical discourse analysis is used to demonstrate how the choice of semiotic resources convey the meaning of specialisation in a socially exclusive manner. Although the schools in question use different resources, similarities in function can be noted in their self-promotion. A school's social matrix and use of classical aesthetics are conveyed through non-verbal, visual communication. An elite code associates advanced musical training with certain principles of behaviour and social values. Those, in turn, represent class-based distinctions, cultural boundaries, and characteristics of privileged education. [ABSTRACT FROM AUTHOR]

On the basis of summarizing the relevant theories of performance management at home and abroad, the important role, significance, and development trend of performance management in music tutoring schools are analyzed. Starting from the actual management of music tutoring schools, taking a music tutoring school as an example, this article comprehensively analyzes the current situation of the school's performance assessment. Considering that the constructed index system is a multilevel comprehensive index system, the analytic hierarchy process is used to give weight to the index. The calculation method and calculation steps are described in detail, and the weight of each index is obtained. Through the design and implementation of the school's performance management system, solid theoretical and institutional support will be provided for the school to achieve sound development in the future. It is expected that the design of this performance can provide reference for such private schools in the country and promote the healthy and sustainable development of private training institutions in China. Let more schools and learners share the nectar and dividends brought by the system reform. [ABSTRACT FROM AUTHOR]