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Marketplace Services - One of the best experts on this subject based on the ideXlab platform.

Atlantic Region - One of the best experts on this subject based on the ideXlab platform.

Vladimir I Adishchev - One of the best experts on this subject based on the ideXlab platform.

  • the moscow Conservatory from the russian musical society to the people s commissariat of enlightenment
    Music Scholarship Problemy Muzykal'noj Nauki, 2018
    Co-Authors: Vladimir I Adishchev
    Abstract:

    The history of the Moscow Conservatory has been actively researched, however, many themes and subjects from its past have remained insufficiently studied up to the present time. Among them are the activities of the Conservatory during its first post-revolutionary years, in particular, the procedure of its nationalization and transferal from subservience to the Russian Musical Society (RMS) to the jurisdiction of the People’s Commissariat of Enlightenment (Narkompros). It becomes possible to fill in the indicated gap by means of turning to archival sources, which bear witness that in mid-1918 the Narkompros prepared the project of a special decree about the separation of the conservatories of the two capital cities from the RMS and their transferal to the Narkompros. This project was examined and affirmed with a few minor changes at the session of the Council of People’s Commissars of the RSFSR on July 12, 1918. The “Decree Concerning the Moscow and Petrograd Conservatories” proclaimed these educational institutions as belonging to the state, equal in their status to institutions of higher education. After this decree was issued, a specially created commission of representatives of the RMS, the Narkompros, its Music Section and the Moscow Conservatory carried out the acceptance and transferal of the Conservatory from one department to the other. The Narkompros, and from it the Conservatory, received from the RMS financial means, the building with the concert halls, the musical instruments present in it, various other property and the inventory. From the 1918–1919 academic year the Conservatory gradually began to witness transformations taking place in it along the vein of establishment of the cultural and educational polity of the Soviet regime. Keywords: Russian Musical Society (RMS), People’s Commissariat of Enlightenment, the Moscow Conservatory.

  • The Moscow Conservatory: From the Russian Musical Society to the People’s Commissariat of Enlightenment
    Music Scholarship Problemy Muzykal'noj Nauki, 2018
    Co-Authors: Vladimir I Adishchev
    Abstract:

    The history of the Moscow Conservatory has been actively researched, however, many themes and subjects from its past have remained insufficiently studied up to the present time. Among them are the activities of the Conservatory during its first post-revolutionary years, in particular, the procedure of its nationalization and transferal from subservience to the Russian Musical Society (RMS) to the jurisdiction of the People’s Commissariat of Enlightenment (Narkompros). It becomes possible to fill in the indicated gap by means of turning to archival sources, which bear witness that in mid-1918 the Narkompros prepared the project of a special decree about the separation of the conservatories of the two capital cities from the RMS and their transferal to the Narkompros. This project was examined and affirmed with a few minor changes at the session of the Council of People’s Commissars of the RSFSR on July 12, 1918. The “Decree Concerning the Moscow and Petrograd Conservatories” proclaimed these educational institutions as belonging to the state, equal in their status to institutions of higher education. After this decree was issued, a specially created commission of representatives of the RMS, the Narkompros, its Music Section and the Moscow Conservatory carried out the acceptance and transferal of the Conservatory from one department to the other. The Narkompros, and from it the Conservatory, received from the RMS financial means, the building with the concert halls, the musical instruments present in it, various other property and the inventory. From the 1918–1919 academic year the Conservatory gradually began to witness transformations taking place in it along the vein of establishment of the cultural and educational polity of the Soviet regime. Keywords: Russian Musical Society (RMS), People’s Commissariat of Enlightenment, the Moscow Conservatory.

Colon Jimenez, Frances Ileana - One of the best experts on this subject based on the ideXlab platform.

  • The History of the Oboe in Puerto Rico: An Overview of the Development of Oboe Playing in Puerto Rico During the Twentieth Century, Including the Festival Casals Orchestra, the Puerto Rico Symphony Orchestra and the Puerto Rico Conservatory of Music
    1
    Co-Authors: Colon Jimenez, Frances Ileana
    Abstract:

    135 p.Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2000.The main focus of the study is to provide an overview of the development of oboe playing in Puerto Rico during the twentieth century focusing on the oboists that have been members of the Puerto Rico Symphony Orchestra as well as those who have been faculty members at the Puerto Rico Conservatory of Music. This document includes a historical overview of oboists in Puerto Rico prior to the Festival Casals, and a historical overview and the oboists in the Festival Casals Orchestra from its beginning to the present. It also includes details pertaining to the foundation of the Puerto Rico Symphony Orchestra and biographical information as well as interviews of the oboists of this ensemble. In addition, an overview of the Conservatory of Music has been included. For future reference and studies of the orchestra, a program with a list of personnel for each season is part of this document. Completion of the study demonstrated that the oboe was played in Puerto Rico prior to the foundation of the Festival Casals, the Puerto Rico Symphony Orchestra, and the Conservatory of Music. However, research showed that the oboists that were active on the Island prior to the existence of these institutions were self-taught and had no professional training on the instrument. Therefore, the oboists that were brought into Puerto Rico specifically to be a part of the Puerto Rico Symphony Orchestra and the Puerto Rico Conservatory of Music played an important role in developing the future generation of oboists in Puerto Rico.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD

Gary E. Mcpherson - One of the best experts on this subject based on the ideXlab platform.

  • Conservatory Musicians' Temporal Organization and Self-Regulation Processes in Preparing for a Music Exam
    Frontiers in psychology, 2020
    Co-Authors: Roberta Antonini Philippe, Céline Kosirnik, Noémi Vuichoud, Terry Clark, Aaron Williamon, Gary E. Mcpherson
    Abstract:

    Performing at the very highest levels requires rigorous preparation before the important performance. Musicians and especially music students encounter many challenges when preparing themselves for an important musical performance. This study sought to identify and analyze the context-specific temporal organization and self-regulation efforts that music students employ during their preparation period. Conservatory musicians were recruited from an Australian University Conservatorium. Thirteen Conservatory musicians aged between 19 and 21 years old (M = 19,6; SD = 0,76) participated at the study. All musicians, through an elicitation interview, were asked to recall and reconstruct their preparation period, leading up to a performance exam. Elicitation interviews provided access to music students experiences by describing their general preparation. The results showed that Conservatory musicians go through different phases (Phase 1: Choosing a piece; Phase 2: Piece discovery; Phase 3: Piece interpretation; Phase 4: Performance preparation). Self-regulatory efforts to prepare for a music performance exam vary from one musician to another. Organizational and disorganizational competencies, specific self-regulatory skills, seem not to be exploited by Conservatory musicians. Also, during their preparation, most music students prefer technical and musical work than challenges such as playing in front of the public. Emotionally, Conservatory musicians go through pleasant and unpleasant emotions depending on the phase of their preparation. Our results show that music students could benefit from advice on how to organize their preparation period well before an important performance takes place. Implications for Conservatory musicians and teachers are discussed.