Die Lustige Witwe: Vilja-Lied: Mimi Coertse, Karl Terkal, Chor der Wiener Staatsoper, Operettenorchester der Wiener Staatsoper, Hans Hagen Friedl Loor: Amazon.de: MP3-Downloads
Friedl Loor, Mimi Coertse, Karl Terkal, Chor der Wiener Staatsoper, Operettenorchester der Wiener Staatsoper, Hans Hagen
Aus dem Album Die Lustige Witwe
Copyright: 2001 Elite Special
Dauer: 4:56 MinutenGenres: Klassik ASIN: B001S053U8
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Musicus — Recommend this title to your library
Musicus - latest Issue
Authors: Mageshen Naidoo and Sean Adams
Source: Musicus 41 (2013)
The articles in this edition of Musicus present paradigms for enhancing and engaging with teaching and learning processes, focusing on areas of assessment and curriculum development.
Changing perceptions of sight-singing : the experience of first-year BMus students at North-West University of South Africa : accredited article
Author Dirkie C. Nell
Source: Musicus 41, pp 5 –15 (2013)
Resources for the effective implementation of music education in the school curriculum of South Africa have deteriorated since the 1990s, resulting in deficient individual and group music training. This situation has led to negative perceptions about and attitudes towards sight-singing in undergraduate Baccalaureus Musicae students at the School of Music of the North-West University. This article proposes that a movable do solmisation programme can have an impact on the sight-singing abilities of first-year music students. This process is illustrated by means of a model that describes the interaction between the values, attitudes, motivation, performance and experiences of the students in a movable do solmisation programme. The main research approach utilised in the study was action research, within a constructivist paradigm. Active learning was used as a learner-centred teaching strategy. Questionnaires, interviews, observations and assessment data were collected and analysed.
Bladsangvaardighede is een van die onontbeerlike musikale vaardighede waaroor &apos;n musikus moet beskik. Voornemende musiekstudente by die Noord-Wes Universiteit begin hulle tersiêre musiekonderrig met gebrekkige bladsangvaardighede as gevolg van onvoldoende bladsangonderrig op primêre en sekondêre onderwysvlakke. Bladsangvaardighede kan egter effektief ontwikkel word deur die gebruik van die verskuifbare do solmisasiestelsel. In hierdie studie is die impak van &apos;n verskuifbare do solmisasieprogram op die belewing en die verbetering van bladsangvaardighede van eerstejaar-gehooropleidingstudente aan die Noord-Wes Universiteit gedokumenteer. Persepsies asook die belewing van die eerstejaar-BMus-studente is waargeneem. Hierdie proses is geïllustreer deur middel van &apos;n model wat die interaksie tussen die waardes, houdings, motivering, prestasie asook belewing van eerstejaar-BMus-studente tydens die studie beskryf. Die hoof navorsingsbenadering van die studie het berus op aksienavorsing. Vraelyste, onderhoude, waarneming en assesseringsdata is vir hierdie doel gebruik. Die noodsaaklikheid om die gehalte van bladsangonderrig te verbeter word in die studie uitgelig. Die effektiwiteit en die gebruik van die verskuifbare do as hulpmiddel vir bladsang word aangetoon.
The role of systemic and coherent policy in successful creative arts curriculum implementation : accredited article
Author Alethea De Villiers
Source: Musicus 41, pp 16 –21 (2013)
In this article I attempt to highlight the importance of systemic and coherent policy to enable the effective implementation of arts education in schools. I do so by placing curriculum implementation in South Africa within the framework of William Clune&apos;s conceptual framework for systemic educational policy. This framework is used for a descriptive and critical analysis of educational policy practices in South Africa, relating to the creative arts. The research methodology takes the form of a description and analysis of education policy in South Africa as well as a literature study. Where relevant I draw on examples from the United States of America, which has a similar curriculum as ours.
In hierdie artikel probeer ek om die belangrikheid van &apos;n sistemiese en samehangende beleid te beklemtoon. So &apos;n beleid sal bydra tot effektiewe implementering van die kunste in skole. Ek maak die saak vir kurrikulumimplementering binne die raamwerk van William Clune se konseptuele raamwerk vir sistemiese opvoedkundige beleid. Hierdie raamwerk word gebruik vir &apos;n beskrywende en kritiese analise van opvoedkundige beleidspraktyke in Suid-Afrika, met betrekking tot die kreatiewe kunste. Die navorsingsmetodiek is &apos;n beskrywing en analise van opvoedkundige beleid in Suid-Afrika, sowel as &apos;n literatuurstudie. Waar van toepassing gebruik ek voorbeelde van die Verenigde State van Amerika, wat &apos;n soortgelyke kurrikulum as ons het.
The quest for Tirisano : challenges of implementation in the South African School Choral Eisteddfod : accredited article
Authors: Theodore Dzorkpey, Hetta Potgieter and Jaco Kruger
Source: Musicus 41, pp 22 –26 (2013)
This investigation describes the factors that impede the realisation of the objectives of the South African Schools Choral Eisteddfod (SASCE) in the Motheo district of the Free State Province. The challenges of the SASCE are consistent with those facing the national education system with regard to policy implementation, institutional organisation and human resources. In addition, the SASCE is impeded by entrenched counterproductive musical practices.
Hierdie ondersoek beskryf die faktore wat die realisering van die doelwitte van die South African Schools Choral Eisteddfod (SASCE) in die Motheo-distrik van die Vrystaat-Provinsie belemmer. Die uitdagings van die SASCE stem ooreen met dié van die nasionale onderwyssisteem met verwysing na beleidsimplementering, institusionele organisasie en menslike hulpbronne. Die SASCE word verder benadeel deur ingeburgerde kontraproduktiewe musikale praktyke.
"Knowledge in the hands" : toward a phenomenological approach to assessing live ensemble performance : accredited article
Source: Musicus 41, pp 27 –32 (2013)
Assessing musical ensembles in performance is fundamental to the performing arts, and takes place in the context of auditions, music competitions, or the more formal settings of music examinations that require the awarding of marks. My aim in this article is to examine the task of ensemble assessment from a phenomenological perspective, referring to some of the key ideas of this approach. These include "bracketing", allowing for critical evaluation of musical and aesthetic preconceptions, and notions of embodiment and intercorporeality as essential components of Merleau-Ponty&apos;s philosophy. Against the background of my experience as assessor of undergraduate student performances, my primary focus is on the preparation and execution of two postgraduate recitals in which I took part both as accompanist and supervisor, and the opportunities these provided for critically revisiting assessment criteria as well for scaffolding the learning experience for the two participants. I argue for a process- rather than product-oriented approach to such assessments, based on the potentially revealing insights provided by a phenomenological orientation to assessing live ensemble performance.
Music prize and bursary winners during 2011 / Musiekprys- en beurswenners gedurende 2011 : chronicles / kronieke
Source: Musicus 41, pp 33 –39 (2013)
Music prize and bursary winners during 2011 / Musiekprys- en beurswenners gedurende 2011
Musiekprys- en beurswenners gedurende 2012 / Music prize and bursary winners during 2012 : chronicles / kronieke
Source: Musicus 41, pp 40 –47 (2013)
Musiekprys- en beurswenners gedurende 2012 / Music prize and bursary winners during 2012
Die 2012 Unisa Suid-Afrikaanse Musiekstudiebeurskompetisie : music examinations / musiekeksamens
Source: Musicus 41, pp 48 –54 (2013)
In 2010 is 15 kandidate uitgenooi om deel te neem aan die Unisa Suid Afrikaanse Musiekstudiebeurskompetisie wat van 17 tot 19 Oktober 2012 in die ZK Matthews Grootsaal van die Universiteit van Suid-Afrika, plaasgevind het. Hierdie kandidate is op grond van hul prestasie in die Graad 8 praktiese musiekeksamens van die Universiteit van Suid-Afrika deur die onderskeie musiekeksaminatore aanbeveel om aan die Musiekstudiebeurskompetisie deel te neem. Hulle het om beurse en pryse ter waarde van R74 500 meegeding. Die aantal deelnemers per instrument was soos volg: Viool (6), Klavier (5), Tjello (2) en Fluit (2). Die ouderdomme van die kandidate het gewissel vanaf 16 tot 20 jaar.
The 2012 Unisa Overseas Music Scholarship Competition : music examinations
Source: Musicus 41, pp 55 –60 (2013)
In 2012 ten candidates who performed exceptionally well in the Teacher&apos;s and Performer&apos;s Licentiate examinations of Unisa were invited to participate in the Unisa Overseas Music Scholarship Competition which took place from 31 October to 2 November 2012 and concluded with a bursary concert on 2 November 2012 in the Hugo Lambrechts Auditorium in Parow. The competitors competed for a total of R259 500 in prize money.
Hennie Joubert Merietepryse / Merit Prizes 2012 : music examinations / musiekeksamens
Source: Musicus 41, pp 61 –65 (2013)
Die Hennie Joubert Merietepryse word sedert 1987 toegeken aan kandidate wat jaarliks die hoogste punte behaal van al die kandidate in die Direktoraat Musiek se praktiese en skriftelike eksamens. Die pryse word toegeken aan die toppresteerders vir voorgraad 1 tot graad 7 praktiese eksamens en graad 3 tot graad 7 teoretiese eksamens. Die pryse wissel van R600 tot R2 000. Die name van die wenners verskyn ook op die Ererol van Uitblinkers.
Since 1987 the Hennie Joubert Merit Prizes have been awarded to candidates who obtained the highest marks in the annual practical and theory examinations conducted by the Directorate Music. The prizes are awarded to each of the top achievers in the practical (Pregrade 1 to Grade 7) and theory of music (Grades 3 to 7) examinations. The names of the winners also appear on the Roll of Honour for Outstanding Achievers.
Nellie du Toit Merit Prizes 2012 / Merietepryse 2012 : music examinations / musiekeksamens
Die idee vir &apos;n Nellie du Toit beurs vir belowende sangstudente het reeds in 1968 ontstaan toe sy en Hennie Joubert begin het om verskeie konserte vir die doel aan te bied. Vanaf 2005 word kandidate wat die hoogste lofpunt in die Unisa sangeksamen in &apos;n betrokke graad behaal (graad 3 tot 7), met &apos;n Nellie du Toit Merieteprys beloon. Die wenner se foto verskyn hieronder, met die naam van die onderwyser in hakies.
The idea of a Nellie du Toit bursary for promising singing students originated as early as 1968 when she and Hennie Joubert began giving concerts towards this goal. As from 2005 candidates who obtain the highest distinction mark in the Unisa singing examinations in a particular grade (Grade 3 to 7), are awarded the Nellie du Toit Merit Prize.
Roll of Honour of Outstanding Achievers 2012 / Ererol van Uitblinkers 2012 : music examinations / musiekeksamens
Source: Musicus 41, pp 67 –101 (2013)
Up to and including 2004, the Roll of Honour for outstanding achievers included the names of Pregrade 1 to Grade 7 candidates who achieved 90% or higher in the practical music examinations of the Directorate Music of Unisa. From 2005 all Grade 8 candidates who achieved 85% and higher as well as all Licentiate candidates who achieved 80% and higher in their practical examinations, have been included in the Roll of Honour.
Tot en met 2004, het die Ererol van uitblinkers die name van alle Voorgraad 1 tot Graad 7 kandidate wat 90% of meer vir die praktiese musiekeksamen van die Direktoraat Musiek van Unisa behaal het, bevat. Vanaf 2005 af is die Ererol uitgebrei om ook die name van Graad 8 kandidate wat 85% of meer, sowel as Lisensiaatkandidate wat 80% of meer in &apos;n praktiese eksamen behaal, te bevat.
Candidates who have obtained the Unisa Licentiate in Music in 2012 / Kandidate wat die Unisa Lisensiaat in Musiek in 2012 verwerf het : music examinations / musiekeksamens
Candidates who obtained the Unisa Licentiate in Music in 2011 / Kandidate wat die Unisa Lisensiaat in Musiek in 2011 verwerf het
Merietesertifikate aan Musiekonderwysers 2012 / Merit Certificates to Music Teachers 2012 : music examinations / musiekeksamens
Source: Musicus 41, pp 103 –105 (2013)
Die Komitee vir Musiekeksamens het tydens sy vergadering in 1998 besluit om erkenning aan musiekonderwysers te verleen wie se kandidate buitengewoon presteer het in óf die praktiese óf die teoretiese musiekeksamens. Elke onderwyser wat minstens 10 praktiese of 10 teorie kandidate in &apos;n betrokke jaar vir die Unisa musiekeksamens inskryf en waarvan die beste 10 in &apos;n kategorie (prakties of teorie - nie &apos;n kombinasie van die twee nie) &apos;n gemiddelde onderskeidingspunt behaal, ontvang &apos;n merietesertifikaat.
The Committee for Music Examinations decided at its 1998 meeting to give recognition to music teachers whose candidates did exceptionally well in either the practical or theoretical music examinations. Each teacher who enters at least 10 practical or 10 theory of music candidates for Unisa music examinations in a particular year and where at least 10 candidates in each category (practical or theory - not a combination of both) obtain an average distinction mark, receives a certificate of merit.