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See detailSolfège as a Reason for the Drop Out of Music School Pupils
Sagrillo, Damien UL

in Sagrillo, Damien; Nitschké, Alain; Brusniak, Friedhelm (Eds.) Leo Kestenberg und musikalische Bildung in Europa (2016)

This article describes the situation of music learning in Germany, Hungary and Luxembourg with a focus on problems and strengths in each system. This will be underpinned by both, quantitative and ... [more ▼]

This article describes the situation of music learning in Germany, Hungary and Luxembourg with a focus on problems and strengths in each system. This will be underpinned by both, quantitative and qualitative arguments. [less ▲]

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See detailSolfège and Musical Sight Reading Skills in a European Context
Sagrillo, Damien UL

in Sagrillo, Damien; Nitschké, Alain; Brusniak, Friedhelm (Eds.) Leo Kestenberg und musikalische Bildung in Europa (2016)

Abstracts Buzas, Sagrillo, Steklacs 1. Solfège and Musical Sight Reading Skills in a European Context 2. Eye tracking technology, as a new research field of education and methodology 3. How does the eye ... [more ▼]

Abstracts Buzas, Sagrillo, Steklacs 1. Solfège and Musical Sight Reading Skills in a European Context 2. Eye tracking technology, as a new research field of education and methodology 3. How does the eye read music? – Eye movement and information processes during music reading in age 10-14. Results of an Eye Tracking Test in Germany, Hungary and Luxembourg 4. Solfège as a Reason for the Drop Out of Music School Pupils Deutsch Die vorliegende Zusammenfassung resümiert die vier obengenannten Artikel. Sie liegen einem Forschungsprojekt zugrunde, welches die musikalische Lesefähigkeit bei Schülern zwischen 10 und 14 Jahren zum Gegenstand hat und welches in Luxemburg, Deutschland und Ungarn durchgeführt wurde. Die Ursprünge der musikalischen Bildung liegen in China, Ägypten und Griechenland. Ein wichtiger Meilenstein ist jedoch Guido von Arezzo, der Erfinder der Solmisation zur besseren Lesbarkeit von musikalischen Texten. Der erste Artikel wird sich mit der weiteren Entwicklung von Guidos Konzept auseinandersetzen und aufzeigen, wie es sich über weite Teile Europas verbreitete und so zu einem Beispiel europäischen kulturellen Erbes wurde. Die Eye-Tracking-Technologie entwickelt sich immer mehr zu einem modernen methodologischen Instrument, welches in den verschiedensten Bereichen einsetzbar ist, i.e. Wirtschaft, Psychologie, Pädagogik, Erforschung des Sehsinns. Eye-Tracking ermöglicht es dem Forscher, mehr über die kognitive Entwicklung von schulischem Lernen, von Lesen, von Informationsverarbeitung und von Problemlösestrategien zu erfahren. Während des Tests wurden den Schülern je drei Beispiele von Rhythmusübungen und von Melodieübungen (von Zoltán Kodály) am Computerbildschirm gezeigt. Nach einer Minute stillen Lesens mussten die Aufgaben aufgesagt/geklatscht bzw. gesungen werden. Die Resultate legen den Schluss nahe, dass das Wissen um/von musikalische(n) Muster(n) die Dauer und Genauigkeit des Musiklesens nachhaltig beeinflusst. Zudem konnten Unterschiede zwischen Jungen und Mädchen festgestellt werden. Die Forscher konnten jedoch keine signifikanten Unterschiede zwischen Schülern aus den drei verschiedenen Ländern ausmachen, obwohl die Unterrichtsmethoden und -traditionen (Kodály-Methode, französische Solfège-Methode bzw. weitere, weniger auf Singen ausgelegte Traditionen) in den drei Ländern erheblich voneinander abweichen. Diese Tatsache würde die Annahme zulassen, dass „universellere Indikatoren“ musikalischen Lesens existieren. Mithilfe von sog. „Wärmekarten“ (heat maps) ist es den Forschern sodann möglich, die Lesefähigkeit von Schülern zu untersuchen und bestimmte Elemente musikalischer Syntax, die ihnen Schwierigkeiten bereiten, zu erkennen. Des weiteren können mögliche Zusammenhänge zwischen Sprachen- und Musiklesen analysiert werden. Im vierten Artikel beschreibt Damien Sagrillo die Situation der Musikschulausbildung in Luxemburg, Deutschland und Ungarn unter dem Blickwinkel von Vor- und Nachteilen eines jeden Systems und unter Zuhilfenahme von quantitativen und qualitativen Begebenheiten. Français Ce texte résume les quatre articles mentionnés ci-dessus. Ils sont le résultat d’une recherche entreprise avec des étudiants d’écoles de musique entre 10 et 14 ans au Luxembourg, en Allemagne et en Hongrie. Ils ont participé à un test de suivi du regard. L’objet était d’explorer les caractéristiques de lecture à vue musicale. Les racines de l’histoire de l’éducation musicale se situent en Chine, en Egypte et en Grèce. L’étape la plus importante, cependant, remonte à Guido d’Arezzo qui a inventé la solmisation, une méthode facilitant la lecture de la musique. Le premier article présentera son développement en analysant comment le concept de Guido s’étendit à l’Europe et est devenu exemplaire pour un patrimoine culturel européen. La technologie du suivi du regard est en train de devenir un outil méthodologique moderne qui est utilisé dans des domaines de recherche multiples, tels que commerce, psychologie, éducation et recherche de la vision. Cette technologie permet au chercheur de mieux comprendre le développement de l'apprentissage cognitif de l’élève, la lecture, le traitement de l'information ou les stratégies de résolution de problèmes. Pour le test, les élèves ont dû résoudre six exercices musicaux (trois lectures rythmiques et trois exercices de chant de Zoltán Kodály) qui ont été affiché sur un écran d'ordinateur. Après une minute de lecture silencieuse, ils ont été demandés de chanter les extraits. Les résultats laissent penser que la connaissance de motifs musicaux exerce une influence non négligeable sur la durée et sur l’exactitude de la performance musicale. Des différences entre garçons et filles peuvent aussi être décelées. Toutefois, les chercheurs n’étaient pas en mesure de détecter des différences significatives entre les élèves qui étudient la musique dans différentes traditions et avec des méthodes différentes (Kodály, système de solfège français ou éducation musicale invoquant moins l’aspect vocal). Ce constat donnerait lieu à la conclusion qu’il existerait des indicateurs plus « universels » en relation avec le développement de la lecture musicale. Avec l'aide de cartes de chaleur, les chercheurs sont capables de distinguer comment certains éléments de syntaxe musicale sont difficiles à résoudre par les élèves et comment ces derniers assimilent des stratégies de lecture. Un autre objectif est d'examiner des relations possibles entre le développement de la lecture de langues et de musique. En s’appuyant sur des données quantitatives et qualitatives, Damien Sagrillo décrit dans le quatrième article la situation de l'apprentissage musical en Allemagne, en Hongrie et au Luxembourg, en mettant l’accent sur les points forts et les problèmes éventuels de chaque système. English This abstract resumes the four articles mentioned above. They result in a research conducted with 10 to 14 years old student’s music reading skills with eye tracking in music schools in Luxembourg, Germany and Hungary. The aim was to explore the characteristics of music-readers. The history of music education can be traced back to ancient China, Egypt and Greece. The most significant milestone, however, goes back to Guido of Arezzo, who invented a new method for reading music, the solmisation. The first article will present this development in tracking back how Guido’s concept spread over Europe and became an example of European cultural heritage. Eye-tracking is becoming a modern methodological tool that is used in multiple research areas, from commercial usability to psychology, education or vision research. This technology enables the scholar to learn more about the development of the student‘s' cognitive learning, reading, information processing or problem-solving strategies. During the test, the students were given six musical examples (three for rhythm reading and three for singing from Zoltán Kodály). They were displayed on a computer monitor. After a one-minute silent reading, the children were asked to perform the excerpts. The results suggest that the knowledge of musical patterns strongly influences the duration and accuracy of a musical performance. Differences between boys and girls can also be revealed. However, the researchers could not detect significant differences between students studying music in different traditions and with different methods (Kodály, French solfège system or no singing at all). This would lead to the conclusion that there occur more 'universal' indicators about music reading development. With the help of heat maps, the researchers discriminate certain elements of musical syntax that are difficult for students, and they also find examples of reading strategies. A further aim is to examine possible relationships between the development of language reading and music reading skills. In the fourth article, Damien Sagrillo describes the situation of music school learning in Luxembourg, Germany and Hungary with a focus on problems and strengths in each system which will be underpinned by both, quantitative and qualitative facts. [less ▲]

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See detailD’Chorale Municipale vu Schëffleng. E ganz besonnesche Chouer
Sagrillo, Damien UL

in Sagrillo, Damien; Gliedner, Gilbert (Eds.) Joer Chorale Municipale. 50 Joer Chorale “Minettsro’sen Schëffleng 2014 (2016)

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See detailDie Sänger der Chorale Municipale (CMS) im Gespräch
Sagrillo, Damien UL; Gliedner, Gilbert

in Sagrillo, Damien; Gliedner, Gilbert (Eds.) Festschrift 100 Joer Chorale Municipale. 50 Joer Chorale “Minettsro’sen Schëffleng 2014 (2016)

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See detailChorgesang der reiferen Jugend. Zwischen musikalischer Bildung und Kunst
Sagrillo, Damien UL

in Sagrillo, Damien (Ed.) Festschrift 100 Joer Chorale Municipale. 50 Joer Chorale “Minettsro’sen Schëffleng 2014 (2016)

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See detailJoer Chorale Municipale. 50 Joer Chorale “Minettsro’sen Schëffleng 2014
Sagrillo, Damien UL; Gliedner, Gilbert

Book published by Moulin (2016)

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See detailAus dem Blickwinkel der Sänger: Die CMS, ‘wie sie leibt und lebt’. Ein Luxemburger Männerchor im Jahr 2016
Sagrillo, Damien UL

in Sagrillo, Damien; Gliedner, Gilbert (Eds.) Festschrift 100 Joer Chorale Municipale. 50 Joer Chorale “Minettsro’sen Schëffleng 2014 (2016)

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See detail« Pedagogical and Philosophical Views in Relation to Community Music » (Keynote)
Sagrillo, Damien UL

Presentation (2016, April 14)

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See detailKleiner Mann, große Frau. Zum Genderaspekt im Volkslied
Sagrillo, Damien UL

in Gradus (2016), 3(1), 109-126

This paper investigates the relationship between men and women in folksong texts. But it does neither deal with a repertoire that reflects the views of men over women, nor with a depiction of women in ... [more ▼]

This paper investigates the relationship between men and women in folksong texts. But it does neither deal with a repertoire that reflects the views of men over women, nor with a depiction of women in folk songs. Nevertheless, it begins with the latter aspect in mentioning from a folkloric viewpoint a relationship in using embellished and trivialized metaphors. These types of folksongs are by no means characteristic for a repertoire, similar over language barriers. Most folk songs address in a more or less neutral way the cohabitation between man and women. The inversion of gender roles is broadly represented. The description of folk songs about gender concepts concludes the article. [less ▲]

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See detailYoung @ Heart. Choir Singing, Health and Age
Sagrillo, Damien UL

in Steklacs, Janos (Ed.) International HEART 2016 Conference Health – Economy – Art (2016, March 11)

Young @ Heart. Choir Singing and Health The culture of amateur choral music has a long tradition in most countries of Europe. Choral societies grew up in the middle of the 19th century, and members were ... [more ▼]

Young @ Heart. Choir Singing and Health The culture of amateur choral music has a long tradition in most countries of Europe. Choral societies grew up in the middle of the 19th century, and members were young enthusiasts. Following the end of WW II glee clubs seemed to experience its renaissance that lasted until the seventieth. The decline of choir singing began, at least in my country – Luxembourg, about two decades ago, and today choir singing has become a pastime for elder people. In the past, the social aspect of corporate music-making in the area of amateur activities was an important argument of people coming together. Today, the claim for shared cultural activities is replaced by social media and networks, which gain in acceptance already among the older generation. Singing has become a matter of elderly persons. Health issues become more important: Common singing furthers concentration, overcomes isolation, is a continuous support for manifold forms of therapies. My lecture will give an insight into a leisure activity that combines hard work and musical performance based on decades of experience and will also present a famous example: the “Young@Heart-Chorus”. [less ▲]

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See detailTESTING MUSIC READING WITH EYE TRACKING IN THREE EUROPEAN COUNTRIES
Buzas, Zsuzsa; Steklács, János; Sagrillo, Damien UL et al

in Max, Charles (Ed.) EAPRIL 2015 Proceedings (2016)

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, reveal the characteristics of expert sight-readers and also to find text characteristics. During the examination students got six different musical examples (three for rythm reading, three 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 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 detailDie Harmonielehre von Edmond de la Fontaine
Sagrillo, Damien UL

Book published by Margraf (2016)

Die meisten Musikschöpfungen von Dicks sind bei großen Teilen der Bevölkerung noch immer bis heute präsent. Bei Experten ist seit langem bekannt, dass Dicks der Verfasser einer Harmonielehre ist. Die ... [more ▼]

Die meisten Musikschöpfungen von Dicks sind bei großen Teilen der Bevölkerung noch immer bis heute präsent. Bei Experten ist seit langem bekannt, dass Dicks der Verfasser einer Harmonielehre ist. Die breite Masse nahm bis jetzt aber keine Notiz davon. "Die Harmonielehre von Edmond de la Fontaine" versteht sich generell als ein Beitrag zur Musikgeschichte Luxemburgs und im besonderen als ein Beitrag zu den Anfängen der musikalischen Bildung in Luxemburg. Weitere Forschungsarbeiten könnten / werden sich der Einordnung der Harmonielehre von Dicks annehmen und die Anlehnung an diese oder an jene (deutsche) Tradition bestätigen bzw. wiederlegen. Des weiteren wird sich das musikpädagogische Wirken von Laurent Menager (1835-1902) und von Heinrich Oberhoffer (1824-1885) u.a. in die Aufarbeitung musikwissenschaftlicher Fragestellungen aus den Anfangsjahren Luxemburgs als souveräner Staat im 19. Jahrhundert anzuschließen haben. [less ▲]

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See detailAdolphe Sax in Pedagogical Terms. Problems of Nomenclature. Aspects on (Larger) Saxhorn Learning
Sagrillo, Damien UL

in Habla, Bernhard (Ed.) Alta Musica Band 33 (2016)

Adolphe Sax was elven years older than Jean-Baptiste Arban. At the time when Jean-Baptiste Arban edited his famous method Grande méthode complète de cornet à piston et de saxhorn for valved brass ... [more ▼]

Adolphe Sax was elven years older than Jean-Baptiste Arban. At the time when Jean-Baptiste Arban edited his famous method Grande méthode complète de cornet à piston et de saxhorn for valved brass instruments in 1864, Adolphe Sax had invented his saxhorns already about twenty years ago. Arban's major work served as a model for subsequent brass instrument studies with valves. These studies came (and come) mostly from the francophone world and still are in use in conservatoires and music schools in France, Wallonie, Romandie and Luxembourg and also elsewhere, since they are not reserved only for these instruments, but can apply for any other brass instrument with valves. In this article is presented a historic and critical overview of the literature for saxhorns, propose a categorization according largely to the structuration of Arban's method and adapted to the technique of playing a saxhorn. Due to the further development of saxhorns, the training requirements had to be adapted. An example is the enhancement of the bass saxhorn to the tuba français in C with six valves. Another aspect I will deal with is the pedagogically graded concert repertoire that was developed for saxhorn instruments. Then the problem of designation of several instrument categories in relation to the saxhorn family and this in different languages is discussed, as for instance: French, Italian, German, English and others, if needed. I will enumerate examples with the help of treatises of instrumentation and of pedagogical literature in considering the problems caused by this babel, amongst others, a correct assignment. I would just like to give an example at this place. The saxhorn basse in B-flat (was) is called tuba in Dutch or in my country (Luxembourg). (Today, the euphonium, which has a slightly different form, has replaced the saxhorn basse in most wind bands. But the literature of the latter is still played on the former.) In German this instrument is called Bariton (with an "i", an instrument with rotary valves and a curved corpus). In contrast, the saxhorn baryton in B-flat (with a "y"), which has the same length than a saxhorn basse with a narrower bore, is called Tenorhorn in German, while a tenorhorn in a brass band is nothing else than a saxhorn alto in E-flat. Supplementary confusion is caused by the baryton saxophone in E-flat; this bass instrument of the saxophone family is equivalent to a saxhorn contrebasse in E-flat. [less ▲]

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See detailMusic Education and Musical Diversity Presented by the Example of Wind Bands in Luxembourg
Sagrillo, Damien UL

in Habla, Bernhard (Ed.) Alta Musica Band 33 (2016)

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See detailAssessment of eye movement tracking on selected exercises
Maródi, Ágnes; Devosa, Iván; Buzás, Zsuzsa et al

in Max, Charles (Ed.) EAPRIL 2015 Proceedings (2016)

In our studies the eye movements of 10-11-years-old students were analyzed, while they were solving tasks related to the planar orientation in front of the Tobii T120. The students had to follow the ... [more ▼]

In our studies the eye movements of 10-11-years-old students were analyzed, while they were solving tasks related to the planar orientation in front of the Tobii T120. The students had to follow the instructions on the image according to the text of task guidelines. We found on the basis of various statistical and thermographic studies, that many of the tested students are not fully aware of the basic directions and more of them blended eastern and western directions. The tasks performed with instructions were more accurately solvable for students. Based on the studies exercises should be developed for students that are interesting, understandable and ameliorate the two-dimensional and three-dimensional orientations. [less ▲]

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See detail‘La Grande Guerre et ses chansons.’ „La chanson de Craonne“ und „Quand Madelon“ als Spiegelbilder einer Nation im Krieg
Sagrillo, Damien UL

in Militärmusik im Diskurs. Schriftenreihe des Miltärmusikdienstes der Bundeswehr. Militärmusik und Erster Weltkrieg (2015), 9

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See detailFolk music: Luxembourg
Sagrillo, Damien UL

in Leerssen, Joep (Ed.) Encyclopedia of Romantic Nationalism in Europe (2015)

FULL TEXT The first folksong collection in Luxembourg, Die luxemburger Volkslieder älterer Zeit, compiled by the folklorist and ethnologist Edmond de la Fontaine (alias Dicks, 1823-1891), was published ... [more ▼]

FULL TEXT The first folksong collection in Luxembourg, Die luxemburger Volkslieder älterer Zeit, compiled by the folklorist and ethnologist Edmond de la Fontaine (alias Dicks, 1823-1891), was published posthumously in 1904. It contains only forty songs, and due to the unscientific way they had been collected, some important information is missing; nonetheless it offers a first glipse into folksongs in 19th-century Luxembourg. Their lyrics were adapted to the Luxembourg context, although only a few songs originate from the country. A scholarly, methodical folksong collection following the model of Erk and Böhme’s Deutscher Liederhort (1893-94) was published in 1937, entitled Singendes Volk. Its author, Mattias Thill, a primary school teacher, spent about four decades collecting songs throughout the Grand Duchy; again, most songs are variants of existing songs of non-Luxembourgish origin, 65% from Germany and a mere 3% from France. The remaining 32% have Luxembourgish texts (which, again, speaks for their more complete integration into Luxembourg life, not necessarily for a Luxembourg origin). Indigenous songs are often related to the military history and to the fortress of Luxembourg. Folk music in Luxembourg is predominantly vocal, with the one curious exception of a mystical blind violin-playing minstrel, Matthias Schou (alias Blannen Theis, 1747-1824) who was led from parish fair to parish fair by his wife and entertained the peasant population with his songs. Until today no sources have been discovered, but it is assumed that this troubadour is at the origin of melodies gathered a century later. In three cases, songs were subsequently arranged to instrumental music at a later date and gained a persistent performative presence to the point of becoming markers of Luxembourgish musical identity: the Wilhelmus, the Song of the dancing Procession, and the Hämmelsmarsch The Wilhelmus is the anthem of the Grand-Ducal court (not of the country), and is performed at the occasion of an official appearance of the Grand-Duke or of a member of his family. The melody is a variant of the Dutch national anthem Wilhelmus van Nassouwe, evidently based on Mozart’s Seven variations on Wilem Van Nassau (1766, KV 25) The “Song of the Dancing Procession” originates from the famous Procession of Echternach, and is based on the German folksong Adam hatte sieben Söhn’, arranged to a Rheinländerpolka for wind band in a medium tempo suitable for pilgrims taking three steps forward and two steps backwards. The Hämmelsmarsch, a beggar song derived from a 14th-century shepherd’s fair song, was played by pipers and drummers while visitors had to pay a fee. Modern-day local wind bands maintain this tradition, strolling the streets during parish fairs and requesting financial donations while playing this song. [less ▲]

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See detailNational-classical music: Luxembourg
Sagrillo, Damien UL

in Leerssen, Joep (Ed.) Encyclopedia of Romantic Nationalism in Europe (2015)

FULL TEXT Musical nationalism in Luxembourg does not follow the standard European pattern of a folk-inflected exceptionalism vis-à-vis the French/Italian/German mainstream, arising around the mid-19th ... [more ▼]

FULL TEXT Musical nationalism in Luxembourg does not follow the standard European pattern of a folk-inflected exceptionalism vis-à-vis the French/Italian/German mainstream, arising around the mid-19th century. Luxembourg was too small to initiate an own musical nationalism, and had been under foreign control for several centuries before developing into the direction of sovereignty between 1815 and 1890. At this time Luxembourg had only one music school, and no professional orchestra; but amateur ensembles began to emerge all over the country following the liberal constitution of 1848 which granted the right of association. Luxembourg composers born in the mid-century (e.g. Jean-Antoine Zinnen, 1827-1898, the composer of the national anthem) established themselves in the city of Luxembourg and composed for choir and for wind band; there is little overtly national bias in their work. In 1870 the diocese of Luxembourg was founded; this also had an influence on musical life. Henri Oberhoffer (1824-1885), organist at the cathedral of Luxembourg, and Laurent Menager (1835-1902) wrote sacred music; Oberhoffer was a champion of the Cecilian movement in Luxembourg with Franz Xaver Witt ran the periodical Cäcilia from 1862 to 1871. The outstanding composer of this first generation was Laurent Menager, the first to have studied music abroad – in Cologne, where he came in contact with several Romantic composers, among others his composition teacher Ferdinand Hiller. His 63 secular and sacred songs for four-part male choir and his 23 songs for voice and piano are a fine representation of the taste of the period, reminiscent of Schubert. [less ▲]

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See detailChoral societies: Luxembourg
Sagrillo, Damien UL

in Leerssen, Joep (Ed.) Encyclopedia of Romantic Nationalism in Europe (2015)

FULL TEXT Before 1848 only few choirs existed in Luxembourg: “Les Villageois” in Contern (1825), the parish choir of Echternach (1834) and the Société d’amateurs de chant (also known under the German name ... [more ▼]

FULL TEXT Before 1848 only few choirs existed in Luxembourg: “Les Villageois” in Contern (1825), the parish choir of Echternach (1834) and the Société d’amateurs de chant (also known under the German name of Liedertafel in Luxembourg City (1843). In 1848, the Dutch King William II (who was also Grand-Duke of Luxembourg) proclaimed, under the pressure of the European wave of democratic revolts, a more liberal constitution, which conferred the right of association. As a result, amateur ensembles began to emerge all over the Grand-Duchy. During the following five years about ten choral societies were founded – a large number for a small country. Wind bands and gymnastic clubs also proliferated. The main objective of these societies was to engage in cultural-collective leisure pursuits; no professionalization was involved (to this day, Luxembourg still lacks a professional choir.) At this early stage, choirs were men-ony. They followed the German model of Zelter’s (Berlin) and Silcher’s singing societies (“Liedertafel”). The repertoire consisted at this initial phase of four-part songs of German Romanticism. Later on, Luxembourg composers like Jean-Antoine Zinnen (1827-1898), Laurent Menager (1835-1902) and their successors Gustave Kahnt (1848-1923) and Alfred Kowalsky (1879-1943) furnished local compositions. Analogous to these secular societies were the church choirs, one of the first being in 1844 the Caecilian association (Cäcilienverein) of St. Peter, today Notre-Dame cathedral in Luxembourg City. (Luxembourg became an independent diocese in 1870.) It introduced the tradition of the German Cecilian movement to the Grand-Duchy. A first wind band and choir competition was organized in 1852; eight choral societies participated. In the following years, the demand for competitions and song festivals increased, and they were organized in many localities by a semi-official federation. In 1864, 26 wind bands and choral societies founded an official federation (Allgemeiner Luxemburger Musikverein). The concert celebrating its official foundation was the occasion of the first performance, by 500 singers and musicians, of Zinnen’s anthem Ons Hémecht (“our homeland”), later to become the Grand Duchy’s national anthem. By 1914 the number of choral societies had grown to ca. 40. Many of these were based in the indistrial south with its developing steel industry. Here, choral societies and wind bands became meeting grounds for the sociable integration of Italian immigrants. [less ▲]

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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 ▲]

Detailed reference viewed: 134 (5 UL)