Title: Arrangement competences of music teachers : readiness to meet unexpected
Source document: Musicologica Brunensia. 2020, vol. 55, iss. 2, pp. 139-147
Extent
139-147
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2020-2-8
Stable URL (handle): https://hdl.handle.net/11222.digilib/143580
Type: Article
Language
License: CC BY-SA 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The article aims to ground the importance of acquiring arrangement skills by music teachers. Arrangement skills are recognized as important however they are often left without proper attention and specification in music teachers training standards and study programmes. Also abilities to arrange music are most often put together with abilities to compose music, yet it can be suggested that the competences of teachers-composers and teachers-arrangers should be distinguished. Arrangement skills appear especially useful when teachers have to collect the repertoire for the performing groups they work with. Important feature of music teachers' practice is that they face a necessity to arrange music for groups of a non-standard instrumentation. It is especially peculiar for countries without a wide network of school wind bands and orchestras. Lack of knowledge about instruments and absence of arrangement skills prevent teachers from exploiting instrumental resources and expanding the repertoire of their instrumental groups. Training music teachers to arrange for non-standard groups determines the necessity to prepare a special arrangement course for students in higher education institutions.
References
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[3] ADLER, Samuel. The Study of Orchestration. Second Edition. New York – London: W/ W. Norton & Company, 1989.
[4] DZIUK, Stacy. Choosing and Altering Repertoire for the Small Band. Music Educators Journal, 2018 vol. 104, no. 4, p. 32–38. | DOI 10.1177/0027432118757020
[5] HARRISON, Scott. Music Teacher Attributes, Identity and Experiences [online]. 2008, Griffith University. [cit. 2019-03-20]. URL: http://hdl.handle.net/10072/23070.
[6] KLADDER, Jonathan Ross. Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the USA [online]. 2017, University of South Florida. [cit. 2019-05-02]. URL: https://scholarcommons.usf.edu/cgi/viewcontent.cgi?article=7916&context=etd.
[7] LASAUSKIENĖ, Jolanta. Muzikos mokytojo veikla ir kompetencijos. Mokslo studija. Vilnius: Vilniaus pedagoginio universiteto leidykla, 2010.
[8] LINDROTH, James Teodor. The Impact of Arranging Music for the Large Ensemble on the Teacher: A Phenomenological Exploration [online]. 2012, University of South Florida. [cit. 2019-05-02]. URL: http//scholarcommons.usf.edu/ cgi/viewcontent.cgi?article=5323&context=etd.
[9] MITCHELL, Annie K. Teaching arranging to classical and contemporary music students in higher education. Problems in Music Pedagogy, 2017, vol. 16 no. 2, p. 57–74.
[10] ROGERS, Bernard. The Art of Orchestration: Principles of Tone Color in Modern Scoring. Westport, Conn.: Greenwood Press, 1970.
[11] ROGERS, George L. Concert Band Instrumentation: Realities and Remedies. Music Educators Journal, 1991, vol. 77, no. 9, p. 34–39. | DOI 10.2307/3398189