References of "Sagrillo, Damien 50002968"
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See detailTesting music reading with eye tracking in three European countries textbooks
Buzás, Zsuzsa; Devosa, Iván; Maródi, Ágnes et al

Scientific Conference (2015, November 25)

In our research we examined 10-14 years old students' music reading skills with eye tracking analysis in different music schools in Luxembourg, Germany and Hungary. Our aims were to explore certain music ... [more ▼]

In our research we examined 10-14 years old students' music reading skills with eye tracking analysis in different music schools in Luxembourg, Germany and Hungary. Our aims were to explore certain music reading strategies, find possibilities of teaching them, reveal the characteristics of expert sight-reading strategy users and also to find gender differences. During the examination students got six different musical examples (3 for rythm reading, 3 for singing from Zoltán Kodály) that appeared on a computer's screen, and after one minute silent reading they performed them.The results suggest that the knowledge of musical patterns strongly influences not only the duration and accuration of a musical performance, but the fixation counts, and also several gender differences were revealed. Our further aim is examining the relationship between the development of reading and music reading skills. [less ▲]

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See detailGlobal oder regional? Blas- und Militärmusik als nationale Spiegel kultureller Vielfalt
Sagrillo, Damien UL

Scientific Conference (2015, September 08)

Die Idee der deutschen Militärmusik als "kulturelle(r) Botschafter der Bundesrepublik Deutschland im internationalen Bereich" lässt sich durchaus auf andere Bereiche von Kultur übertragen: In Deutschland ... [more ▼]

Die Idee der deutschen Militärmusik als "kulturelle(r) Botschafter der Bundesrepublik Deutschland im internationalen Bereich" lässt sich durchaus auf andere Bereiche von Kultur übertragen: In Deutschland und anderen (europäischen) Ländern sind Militärmusiken Spiegel von Traditionen, die es gilt, gegenüber einem globalisierten Mainstream auch in der Blasmusik zu bewahren. Als Beispiel lässt sich dies an einem Konzert des Siegburger Musikkorps der Bundeswehr festmachen. Hier wird dem Zuhörer typisch deutscher Blasorchesterklang geboten. Dies gilt auch in Ländern Südeuropas wie z.B. Frankreich, Spanien oder Italien, wo auf nationale Traditionen bewusst Wert gelegt wird. Je nördlicher man indes nach Europa vordringt, desto globalisierter klingen Militärorchester. Das gleiche gilt oft auch für Amateurblasorchester bis hin zu höchsten Leistungsklassen und zwar europaweit. Der "Musikbegriff" wird im Bereich der Blasorchestertradition mit kultureller Überlieferung in Zusammenhang zu bringen sein. Seit dem Jahre 2003 führt die UNESCO in Erweiterung der Programme „Weltkulturerbe“ und „Dokumentenerbe“ ein Abkommen ein, welches die Bewahrung immateriellen Kulturguts vorantreiben soll. Im Rahmen menschlicher Ausdrucksformen kommt der Musik eine herausgehobene Rolle zu. In meinem Vortrag wird es zunächst darum gehen, im Sinne der UNESCO, neben dem von der kulturellen Überlieferung her geprägten Musikbegriff die Kriterien zur Abgrenzung zwischen lokalen, regionalen, nationalen und europäischen Blasmusiktraditionen gegenüber einer globalisierten (amerikanisierten) Massenkultur zu liefern. Mit Beispielen soll schließlich unterfüttert werden, wie, einerseits, Massenkultur kommerziell propagiert wird und wie, andererseits, immaterielle kulturelle Überlieferung gefährdet ist und nur durch öffentliches bzw. selbstloses privates Engagement bewahrt werden kann. [less ▲]

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See detailMusic learning and Solfège in Germany, Luxembourg and Hungary
Sagrillo, Damien UL

Scientific Conference (2015, June 20)

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See detailEye tracking researches in music literacy in European context
Sagrillo, Damien UL; Buzas, Zsuzsa

Scientific Conference (2015, June 08)

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See detailCultural European Heritage and Music (Education)
Sagrillo, Damien UL

Scientific Conference (2015, May 13)

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See detailFrom Guido of Arezzo to Garage Band. About Offers of Music Digital Learning
Sagrillo, Damien UL

Scientific Conference (2015, January 30)

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See detailMusic Education. Identities. European Context and Diversity
Sagrillo, Damien UL

Scientific Conference (2015, January 29)

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See detailLa distinction entre intentio auditoris et intentio operis et sa mise en oeuvre comme critère d'identité du professeur de musique
Sagrillo, Damien UL

Presentation (2014, December 16)

Dans Les Limites de l'interprétation (Paris, 1992) Umberto Ecco distinguait entre la recherche de l’intentio operis et la subordination du texte à l’intentio lectoris. Dans le premier cas, il s’agit d’ « ... [more ▼]

Dans Les Limites de l'interprétation (Paris, 1992) Umberto Ecco distinguait entre la recherche de l’intentio operis et la subordination du texte à l’intentio lectoris. Dans le premier cas, il s’agit d’ « in-terprétation », et dans le deuxième, Ecco parle d’ « utilisation des textes ». L’importance de cette thèse pour la pédagogie musicale est que l’intentio lectoris est à l’origine de tout apprentissage de la mu-sique. Transféré à la musique on pourrait parler d’intentio auditoris. Si les apprentis doivent être mo-tivés à changer l’intentio auditoris dans le sens de l’intentio operis, ils doivent profiter de la possibilité de réaliser le lien de leur propre intentionnalité avec la musique, c.à.d. qu’ils doivent tenter de changer l’objet. Ceci est une tâche primordiale qui revient aux professeurs de musique. L'importance des médias électroniques et des nouvelles technologies se situera au centre d’un projet de recherche d’envergure européenne de la FEMP (Forum of European Music Pedagogy, Forum Euro-péen de Pédagogie de Musique, Forum Europäische Musikpädagogik). Il revient à l’identité et au pro-fessionnalisme du professeur de musique de reconnaître la distance entre intentio auditoris et intentio operis (la dernière fut apprise lors de sa propre formation) et d’oeuvrer avec conviction en vue de réduire cette distance. En outre, il devra justifier et remettre en question à tout moment les objectifs de son action pédagogique pour soi-même et pour élèves. L’objectif de notre/nos communication(s) est de retracer l’identité des enseignants de musique sous un angle européen, notamment en distinguant entre les pays orientés plutôt vers la tradition alle-mande (le pédagogue-musicien) d’un côté et des pays préconisant le système d’origine francophone, voire anglo-saxonne (le musicien-enseignant), de l’autre. Repérer des pistes en vue d’un enrichisse-ment réciproque entre les différentes traditions sera un des buts du PR de la FEMP. [less ▲]

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See detailMusic (Education) from the Cradle to the Grave
Sagrillo, Damien UL; Ferring, Dieter UL

Book published by Margraf Publishers (2014)

This book deals with music as a life time companion that serves several functions across the life span. The combination of music with age includes music practice, music listening, music therapy and music ... [more ▼]

This book deals with music as a life time companion that serves several functions across the life span. The combination of music with age includes music practice, music listening, music therapy and music education. The contributions clarify the relations between music education, music animation and music therapy. They deal with music in a medical and in a geriatric environment. They give impressing insights about music therapy that helps people to die in dignity. An innovative form of therapy illustrates how music can be benefitial in relation to pain. Two contributions give examples of music education and its challenges for elderly people in proposing didactic models and in highlighting how choir singing becomes a matter of informal learning for seniors. [less ▲]

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See detailChoir singing for Young @ Heart. Between Music Education and Artistry
Sagrillo, Damien UL

in Sagrillo, Damien; Ferring, Dieter (Eds.) Music (Education) from the Cradle to the Grave (2014)

The following article describes the situation of choir singing in Luxembourg at the beginning of the second decade of the 21st century. In comparison with other community music ensembles, it explains the ... [more ▼]

The following article describes the situation of choir singing in Luxembourg at the beginning of the second decade of the 21st century. In comparison with other community music ensembles, it explains the impact or non-impact of music education on the recruitment of new members. It shows, with the help of statistical investigations and in giving some examples, how the phenomenon of singing has become, not only concerning choirs, a matter of older people. [less ▲]

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See detail« Laurent Menager. Edition de ses œuvres »
Sagrillo, Damien UL; Nitschké, Alain UL

in Revue Musicale (2014), 5(11), 14-15

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See detail„La Grande Guerre“. Zur Musikgeschichte des Ersten Weltkrieges in Frankreich
Sagrillo, Damien UL

Scientific Conference (2014, September 10)

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See detailMusic Education and Musical Diversity in the Wind Band
Sagrillo, Damien UL

Scientific Conference (2014, July 21)

In this presentation I focus on the situation in my country, Luxembourg. I nevertheless assume that my findings have a general validity in other countries of the continent. For many professional musicians ... [more ▼]

In this presentation I focus on the situation in my country, Luxembourg. I nevertheless assume that my findings have a general validity in other countries of the continent. For many professional musicians, playing a wind instrument or percussion in a wind band often is the first step towards a professional career in an orchestra or as a music teacher. Informal learning within the social structures of a wind orchestra will complement formal and non-formal music learning in the general school system as well as in the music schools. Yet, for most young musicians, membership in the local band remains the ultimate aim of their musical training. A further musical career is often only planned at a later date and depends on factors like musical interest and talent. With the help of selected interviewees, I will give some answers about how music education and wind band playing interact. What are individual experiences in relation to wind bands and to music education? Can they be generalized, and how can these findings help music education fulfill the needs of today’s reality in relation to public music practice? Furthermore, the question of musical diversity will be raised. What does musical diversity mean, how is it perceived, and how, respectively whether it is practiced at all in a wind band? Examples of musical diversity will then be discussed. Is music education adapted to the challenges of musical practice in a band, for example, in terms of musical diversity, or are there any unnecessary burdens that could be replaced by more useful practical courses? How much informal learning is acquired through musical practice in a band? [less ▲]

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See detailMusic Education in Luxembourg and its Assessment
Sagrillo, Damien UL

in Korom, Erzsébet; Pásztor, Attila (Eds.) 12th Conference on Educational Assessment – CEA 2014 (2014, May 01)

Music Education in Luxembourg and its Assessment. 1. Assessment of Pupils According to Martin Fautley (2012), not everything what is taught, is always learned, and therefore music education also needs ... [more ▼]

Music Education in Luxembourg and its Assessment. 1. Assessment of Pupils According to Martin Fautley (2012), not everything what is taught, is always learned, and therefore music education also needs assessment. In my lecture I will first give a short insight into the formal school system in Luxembourg and its recent change from summative to formative evaluation. In 1998 the parliament of Luxembourg voted a law of music education. The aim was to offer an equal level of music education in every region of the country and to motivate more children to attend music courses. The assessment system in music schools was based on summative evaluation known from general schools. Current tendencies finally try to adopt a more smooth method of evaluation in order to improve the pupil’s learning success and in order to critically scrutinize the teacher’s training activity. After the description of the organization of music schools in Luxembourg, I will consider this change of paradigm. 2. Assessment of the System? Music education in Luxembourg is based on the francophone system of solfège, a method for future singers and professional musicians, including audiation for beginners at the youngest age. It is also partially transferred to some instrumental disciplines. However, during the last two decades, in these countries – France and Belgium – solfège has been replaced by a less rigorous and better-adapted method of musical training. In contrast to these countries, the Luxembourg system of music education never has been assessed. Music-school teachers graduate in the neighboured countries. While degree holders from music universities based on the German system have to study educational sciences (a minority), their colleagues issued from the French tradition (the majority) never did. They specialized in their main discipline, are skilful artists, but have no pedagogical grade and acquire educational skills in learning by doing or not at all. But, decisions concerning further development and pedagogical improvements should be managed in accordance to todays (pedagogical) needs. My paper will focus on this weak point in giving a historical insight into the system of solfège and its didactics over the centuries beginning with Guido of Arezzo up to Rousseau until its current use in Luxembourg and, depending on it, the instrumental disciplines. I will focus on the pedagogical needs, which have led to changes over this long epoch. An independent evaluation of music education in Luxembourg by external is absolutely necessary. I will conclude with some reflections on statements by some alumni of music-schools, which could serve as a model for an external assessment. [less ▲]

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See detailSolfège à la luxembourgeoise. Strength, Weakness and Challenges for Music Education
Sagrillo, Damien UL

Presentation (2014, April 30)

At the beginning of the 20th century, music schools in Luxembourg founded with the focal objective to form young musicians for amateur orchestras and choirs. Given that this was quiet a challenging goal ... [more ▼]

At the beginning of the 20th century, music schools in Luxembourg founded with the focal objective to form young musicians for amateur orchestras and choirs. Given that this was quiet a challenging goal, reality proved that it was difficult to assume. In 1998, after many years of discussion, the parliament of Luxembourg finally voted a law of music education. The aim was to offer an equal level of music education in every region of the country and to motivate more children to attend music courses. Politics facilitated unconsciously, but surely not unwillingly a renaissance of amateur music. But these obvious advantages were lessened by some serious problems. An important part of the students gave up and were disgusted by music practice. In my paper I will describe, how the artistic performance level in amateur ensembles increased, but did not lead to more musicians. But this was not only due to music education, but also to new facilities in practicing music. I will describe, by presenting the statistics of the last few years, that the Luxembourgian system of music education has become elitist in the sense of being well adopted for talented students, but that it does not suit at all for average pupils, who want to make music just for leisure. Only a minor part of young people attend music schools, with an important number beginning musical training at the age of eight years or even earlier, but with a decreasing number completing their musical instruction. Nevertheless, general music education is offered for everybody in primary and secondary schools, i.e. one obligatory hour per week for every pupil from six to fourteen years. However, few students older than fourteen make use of a more specialised offer of music education in secondary schools. Most of the future music students, the elite, opt for this possibility. Music education in Luxembourg is based on the francophone system of solfège, a method for future singers and professional musicians. It is also partially transferred to some instrumental disciplines. However, during the last two decades, in these countries – France and Belgium – solfège is replaced by a less rigorous and better-adapted method of musical training. My paper will also give an historical insight into the system of “solfège” and its didactics over the centuries. [less ▲]

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See detailPourquoi Laurent Menager?
Sagrillo, Damien UL; Nitschké, Alain UL

in Forum für Politik, Gesellschaft und Kultur in Luxemburg (2014)

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See detailHistorique des apprentissages en éducation musicale
Sagrillo, Damien UL

Presentation (2014, January 20)

Detailed reference viewed: 43 (1 UL)