Study on the Teaching of Music Performance Course in Musicology Program

At present, there are many problems and contradictions such as unclear teaching objective, backward educational ideas, and obsolete teaching contents in the music performance course of the musicology program in the art departments of many colleges and universities. To solve these problems and contradictions, high importance should be attached to the art departments of many colleges and universities, and also a series of solutions should be actively sought. Meanwhile, the teaching objective should be made more clearly, the evaluation standards should be improved, and educational ideas should be timely updated. In this paper, many problems exposed in the music performance course of the musicology program in the art departments of many colleges and universities are analyzed, and also a series of feasible countermeasures are proposed.

Strategies to Effectively Dock Professional Music Performance Skills Teaching and Stage Practice

Music performance major requires students to have rich experience in professional stage practice.Therefore,in the process of promoting the teaching of music performance,the effective connection between the teaching of professional music performance skills and professional stage experience practice needs to be emphasized.With professional experience in teaching practice,this article analyzes the course teaching and stage practice of music performance,suggesting several problems in the current teaching methods,and from different angles,this article suggests countermeasures to effectively dock professional skills teaching with stage practice in hope to provide practical reference for relevant professionals so as to better cultivate and improve students’comprehensive application ability in music performance.

Influence of Social Determinants in Preference of Public Audience at Music Performances in the Republic of Macedonia

This paper displays the results of a survey of public music performances held during 2010 in Skopje, the capital of the Republic of Macedonia. Study of the audience of public musical events was limited only to the number of visitors. Field research included 653 musical events with a total of 545,340 visitors grouped into eight categories according to the preference by genres of music preference, age, status symbol, origin of the performers, space, and organizers. Our experience in monitoring public musical events through personal presence, the recorded materials, and the continuous monitoring of information from electronic and print media, enabled us to record events and to build some initial comments and assumptions about the structure of the audience and music preference. We have chosen to consider the impact of the sociological determinants on the preference of the audience in the public musical performances through the music genres, the age, the status symbol, the origin of the performers, the area of maintenance, and the organizers of musical events. According to the genre distribution, classical music events prevail, and the greatest numbers of visitors are registered at the pop rock concerts. The structure of the audience according to the age varies depending on the musical genre, so the widest age structure covers the events of pop rock music.

Analysis on the Enlightenment from Comprehensive Musicianship Course on the Teaching of Vocal Music Performance

Excavation to creativity is one of important means in the teaching process. Comprehensive musicianship course is an experimental teaching method, but also a teaching art form in the music education system. Many achievements have been made to comprehensive musicianship course since the experimental teaching was established in China. The influence scope of comprehensive musicianship course is constantly expanded in the field of social music teaching, and simultaneously its influencing power is also rising. However, it should be implemented in the process of teaching according to the actual circumstances of the primary and secondary school students in China. In the teaching of comprehensive musicianship course, vocal music performance is applied as the main carrier in form and proceeds very rhythmically in the process of the whole time, and also thoughts and emotions are fully reflected by body languages. It starts from the comprehensive learning, and then is gradually promoted between non-major courses in institutions of higher learning and the music teaching in primary/secondary schools, so that a good teaching effect has been obtained. In comprehensive musicianship course, high importance is attached to the improvement of students＇ creativity and innovation ability. In this paper, the enlightenment from comprehensive musicianship course on China＇ s vocal music performance teaching is mainly analyzed.

Emotional Expression and Artistic Reconstruction in Musical Performance

The emotional expression brought by music is the self-realization and artistic reconstruction of the art of music in performance.From the perspective of the development of musical performance,artistic reconstruction is an important means of expression which does not only explores the emotional connotation of music but also endows music with stronger vitality through the performers'understanding and imagination,presenting them to the audience in a more three-dimensional way and stirring up deep resonance.Performers can also gradually develop their own style of performance.How to better integrate the interaction between the two is an important proposition in exploring musical performance.This paper focuses on the relationship between emotional expression and artistic reconstruction in addition to elaborating the important role of the two in musical performance to provide a useful reference for music creators and performers.

Gaia Journeys: a museum-based immersive performance exploration of the Earth

Gaia Journeys is a collaborative multimedia musical and virtual reality art performance conceived by author Williams,with the aid of staff at the Denver Museum of Nature&Science.Inspired by astronauts who spoke of seeing a border-less world from orbit,Gaia Journeys’chief goal was to deliver this experience to museum audiences via photo-realistic virtual depictions of the Earth(from orbit as well as via spherical photographic panoramas taken from the ground)choreographed to live musical accompaniment.Gaia Journeys took place in the high resolution digital‘fulldome’Gates Planetarium,withWilliams playing the violin and keyboards,enhancing a previously recorded backing track,while visuals were generated with SCISS AB’s Uniview.The eight tracks of audio were three-dimensionally spatialised to the 16.4 sound system of the Gates Planetarium,providing an immersive sound experience to match the visuals.The audience feedback was generally positive,with great interest in repeat or similar future programming.These visitor evaluations suggest the potent power of the new class of digital planetaria for displaying virtual globe datasets to the public,via both multimedia entertainment like Gaia Journeys as well as traditional lectures.