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See detailLaurent Menager (1835-1902), der musikalische Botschafter Luxemburgs im 19. Jahrhundert
Sagrillo, Damien UL

Conference given outside the academic context (2019)

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See detail„Verachtet mir die Meister nicht!“ Kulturelle Botschafter in Luxemburg. Laurent Menager und Asca Rampini
Sagrillo, Damien UL

Scientific Conference (2019, September 03)

Der kubanische Anthropologe Ferdinand Ortiz prägte im Jahr 1940 den Begriff der „transculturación“, welcher – grob zusammengefasst – den Übergangsprozess von einer Kultur zur anderen beschreibt. In den ... [more ▼]

Der kubanische Anthropologe Ferdinand Ortiz prägte im Jahr 1940 den Begriff der „transculturación“, welcher – grob zusammengefasst – den Übergangsprozess von einer Kultur zur anderen beschreibt. In den Neunzigerjahren hat der deutsche Philosoph Wolfgang Welsch die Idee wieder aufgenommen, den Begriff jedoch in Transkulturalität umbenannt. Was sich bei Welsch als eine Bereicherung anhört – die (unter dem luxemburgischen Begriff so genannte) Mixität verschiedener Kulturen –, liest sich bei Ortiz teilweise als Aufgabe bzw. Verlust. In meinem Vortrag geht es um die zwei luxemburgische Komponisten Laurent Menager (1835-1902) und Asca Rampini (1931-1999). Auf den ersten Blick haben beide nicht viel gemeinsam, doch hinsichtlich des oben angesprochenen Diskurses zwischen Transkulturalität und Verlust wird ein Ineinandergreifen erkennbar, das beispielhaft für andere (Blasmusik-)Komponisten regionaler Reputation sein könnte: das In-die-Vergessenheit-fallen ihrer jeweiligen Lebensleistungen, die viel mit Integration und gegenseitigen kulturellen Beeinflussungen zu tun haben. Der Fingerzeig Wagners, die Meister nicht zu vergessen, mag teilweise Abhilfe schaffen. [less ▲]

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See detailLaurent Menager – ein musikalischer Kulturbotschafter Luxemburgs
Sagrillo, Damien UL

in CD Laurent Menager (2019)

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See detailThe Long 19th Century of Music in Luxembourg. Music History, Sociology and Ethnology
Sagrillo, Damien UL

Scientific Conference (2019, August 09)

Music historiography is multifaceted. The historiography of music in Luxembourg is divided into various aspects. Firstly, it is part of regional music research in Europe and, as far as Luxembourg is ... [more ▼]

Music historiography is multifaceted. The historiography of music in Luxembourg is divided into various aspects. Firstly, it is part of regional music research in Europe and, as far as Luxembourg is concerned, national music research. A first point of view is music ethnology: citizens, nations have their songs and pass them on orally across national and linguistic borders and over generations. Folksongs originate from the music of the people, and patriotic music in Luxembourg is often music based on folksong styles. A further aspect of music in Luxembourg is that art music originated since the independence of the Grand Duchy in the 19th century. Sociological considerations deal with community music in Luxembourg. The starting point is a more liberal constitution, which for the first time offered citizens the right of assembly. Finally, my lecture will offer some insights of musical activities of people who left their homeland. [less ▲]

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See detailWind music and scholarship. IGEB and WASBE
Sagrillo, Damien UL

Scientific Conference (2019, July 13)

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See detailBlasmusikausbildung. Über Bildungskategorien in der “community music”
Sagrillo, Damien UL

in Weber-Lucks, Theda; Brusniak, Friedhelm; Rhode-Jüchtern, Anna-Christine (Eds.) Würzburger Beiträge zur Kestenberg-Forschung. Festgabe für Andreas Eschen zum 65. Geburtstag (2019)

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See detailApprentissage formel, non-formel et informel de musique dans la communauté
Sagrillo, Damien UL

in Créer pour éduquer. La place de la transdisciplinarité (2019)

The practice of music lovers is based on leisure activities. But many other components could be grouped from a perspective of community music. First, it seems that it is totally dissociated from ... [more ▼]

The practice of music lovers is based on leisure activities. But many other components could be grouped from a perspective of community music. First, it seems that it is totally dissociated from traditional methods of musical learning of a formal or non-formal nature. However, it would preferably be linked to informal education. Music in the community is presented as a counter-phenomenon to the highly professionalised musical culture (Lichtinger, 2013). The term ‘community music’ is perfectly appropriate to trace the process of a musical education of young people that often begins with an amateur phase to lead later to the professional life for the most skilled, either to describe the musical training and life of young amateurs, or to trace the life of amateur musicians throughout the life of these musicians. I will present definitions for each of the three training aspects. Next, I will relate the two concepts – that of the three aspects of musical formation and that of music in the community – by giving examples of widespread musical practice, namely wind music (and / or choral) to finally compare models of musical learning. [less ▲]

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See detailKarlheinz Weber, Ihre Majestät, die Posaune. Eine Entdeckungsreise, crescendo-brass, Würzburg 52017 (12009), illustrations, index, bibliography.
Sagrillo, Damien UL

in IGEB Mitteilungsblatt (2019), 2019(2 / Spring), 4

The author, Karlheinz Weber is one of only a few orchestral musicians and teachers who also approaches his instrument scientifically. The book, a reference work, has now been published in its fifth ... [more ▼]

The author, Karlheinz Weber is one of only a few orchestral musicians and teachers who also approaches his instrument scientifically. The book, a reference work, has now been published in its fifth edition. The subdivision into three main chapters is logically coherent. With 148 pages, the most comprehensive first chapter deals with the trombone’s development in a broad historical context, beginning with Ancient Egypt. [less ▲]

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See detailStillhalten und Musizieren. Blas- und Laienmusik in Luxemburg während des Zweiten Weltkrieges. Das Beispiel Diekirch
Sagrillo, Damien UL

in Bohnert, Robert (Ed.) 150 Joer Philharmonie Diekirch (2019)

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See detailÜber Bildungskategorien in der „Community Music“. Überlegungen zur Ausbildung in der Blasmusik
Sagrillo, Damien UL

Presentation (2019, April 28)

Während das Konzept des formalen, nicht-formalen und informellen Lernens in seinen allgemeinen Orientierungen als bekannt vorausgesetzt werden kann, gilt dies weniger für die Musikpädagogik. Die ... [more ▼]

Während das Konzept des formalen, nicht-formalen und informellen Lernens in seinen allgemeinen Orientierungen als bekannt vorausgesetzt werden kann, gilt dies weniger für die Musikpädagogik. Die Sichtweise auf die Kategorien des Lernens im Allgemeinen, auf die Musikpädagogik und auf die Musikausübung von Amateuren im Besonderen wird Gegenstand der folgenden Zeilen sein. Darüber hinaus wird das Konzept der „community music“ (CM), für das sich in der deutschen Sprache keine geeignete Übersetzung findet, vorgestellt werden. Der Begriff „community music“ ist nicht an einer einzigen Definition festzumachen. Zunächst scheint es, als wäre er komplett losgelöst von traditionellen Methoden des Lernens formaler und nicht-formaler Art aufzufassen und eher der Kategorie informellen Lernens zuzuordnen. In neueren Ansätzen wird CM als Teil der Inklusion und Partizipation in einem assoziativen Umfeld gesehen und als Mittel, die Barriere zwischen traditioneller Musikpädagogik und den Anforderungen der musizierenden Menschen zu überwinden. Auf der anderen Seite versteht sich CM als Gegenentwurf zur musikalischen Hochkultur Das Konzept von CM eignet sich in besonderem Maße, um den Prozess der musikalischen Ausbildung junger Menschen darzustellen. Einerseits beginnt dieser oft mit einer Amateurphase, um später, für die talentiertesten, zum Berufsleben zu führen. Andererseits beschreibt CM die Ausbildung und den Weg junger Musiker hin zu Laienmusikorganisationen. Schließlich zeichnet CM das lebenslange Wirken von Amateurmusikern nach. In meinem Beitrag werde ich Definitionen für die drei Kategorien von Bildung in Bezug auf die Musikpädagogik anbieten. (Dabei kann nicht ignoriert werden, dass es im wissenschaftlichen Diskurs für den Aspekt der non-formalen Bildung im Zusammenhang mit Musik keinen Konsens gibt.) Schließlich wird, mithilfe der in Europa gängigen künstlerischen Praxis des Blasmusikwesens, die Verbindung der beiden Konzepte – Bildungskategorien und CM – exemplifiziert. [less ▲]

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See detailEnseignants non spécialisés et (trans)disciplinarité. L’exemple de l’enseignement musical
Sagrillo, Damien UL

in Karsenti, T.; Goyer, S. (Eds.) Programme du colloque international en éducation et du Somme du numérique en éducation, 25 et 26 avril 2019. Montréal, QC: Centre de recherche interuniversitaire sur la formation et la profession enseignante, Chaire de recherche du Canada sur les technologies de l’information et de la communication (TIC) en éducation. (2019, April 25)

L’effet bénéfique qu’apportent la musique et l’enseignement musical à l’enseignement général, mais aussi à l’individu a été le sujet d’un certain nombre d’études (d’ailleurs controversées), comme ... [more ▼]

L’effet bénéfique qu’apportent la musique et l’enseignement musical à l’enseignement général, mais aussi à l’individu a été le sujet d’un certain nombre d’études (d’ailleurs controversées), comme l’observation à long terme dans des écoles fondamentales à Berlin. H. G. Bastian et son équipe (2002) ont démontré l’effet social bénéfique d’un enseignement musical approfondi. D’autres recherches ont dévoilé un manque de confiance tenace à l’égard de l’enseignement musical chez les étudiants et les enseignants (Holden et Button, 2006). D’autres encore ont analysé les potentialités d’un enseignement musical extrascolaire (Kivi, 2018). L’angoisse des formateurs non spécialisés devant l’éducation musicale se reflète souvent dans les arguments clichés comme : « Je n’ai pas fait du solfège; je ne suis pas musical; je ne peux pas chanter ». Le manque de connaissances déclaratives empêche donc le développement des savoir-faire. Nous présenterons des concepts développés relativement à deux traditions musicales (allemande et française) au Grand-Duché de Luxembourg. Notre objectif est de mettre à la disposition des futurs enseignants un éventail didactique. [less ▲]

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See detailWhy do String Players Perform Easier per Memory than Wind Music Players? – Testing Instrumentalist Students’ Attention Levels During Music Reading
Buzás, Zsuzsanna; Sagrillo, Damien UL

in Molnár, Edit Katalin; Dancs, Katinka (Eds.) 17thConference on Educational Assessment (2019, April 13)

Developing music reading skills is considered a central part of music education. The knowledge of musical notation is essential to participate in orchestras or in choral ensembles. In musical practice ... [more ▼]

Developing music reading skills is considered a central part of music education. The knowledge of musical notation is essential to participate in orchestras or in choral ensembles. In musical practice, pianists who play as soloists with an orchestra do notneed written support as opposed to brass instrument soloists. Until now, no research has been conducted to discoverthe reasons why pianists and string players play easier by heart than brass instrument players.Music related activities involve numerous psychological processes, including perception and rapid processing of audio stimuli, attention and auditory, sensory and visual memory activation. Students with working memory impairments have difficulties with concentration as well as with organizing and monitoring the quality of their own work (Alloway et al., 2009).If the attention level is normal or high, the student is in an appropriate state for learning. It has been shown that participants with high working memory capacity perform significantly better on a variety of attention tasks (Fougnie, 2008).Attention supports the development of emerging reading skills by helping students regulate the cognitive demands inherently part of learning (Sáez et al., 2011).Thisstudy aims to test instrumentalist students’ attention and mediation levels during music reading by means of NeuroSky’s MindWave EEG device that translates brainwaves into digital information and beams it wirelessly to acomputer. We investigated 22right-handed wind instrumentalists, 12-14 years of age, and compared them with 21 violin players,matched for age and grade level. Students were asked to play an eight-bar composition bySzilvay. We analyzed attention and mediation levels, as well as alpha, beta and gamma band oscillatory responses to the musical piece during reading. The results of the data analysis were evaluated using e-Sense Metric. According to this metric, attention and meditation data arescaled between 1 and 100. The findings ofthe study revealed that the average attention level of the violin players was slightly highat61.53;while that of the wind players was 39.98, that is,slightly low. A significant difference was found between the averages of attention levelsbetween the string and the wind players (t=2.656, p=.026).With the use of EEG, the appearance of fatiguecan be detectedand the concentration levelscan be differentiatedfor the same exercise for different pupils. The results help us to improve instructionalmethods, and can also help us to reveal the processesof attention and mediation duringthe students’ music reading. Further research can involve the replication of the studywith pianists,comparing them with string players and wind music players. In an even more refined desing, a replication study could be carried out to compare pianists and brass instrument players. These further studies can serve as a basis for developing training programs of music reading comprehension for different instrumentalists. [less ▲]

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See detailDigitisation of musicology at the University of Luxembourg
Sagrillo, Damien UL

Scientific Conference (2019, April 13)

One of the aims of the new government of Luxembourg is to enhance digitisation in all dimensions of daily life. Since years already the literature archive runs a dictionary of Luxembourgish authors. I ... [more ▼]

One of the aims of the new government of Luxembourg is to enhance digitisation in all dimensions of daily life. Since years already the literature archive runs a dictionary of Luxembourgish authors. I will present two projects funded by the Ministry of Culture aiming also to promote and to valorise the musical heritage of Luxembourg by compiling an Encyclopedia of Luxembourg Musicians and by editing the music of Luxembourgish composer Laurent Menager. [less ▲]

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See detailMusic education in general schools. Teachers and their Anxiety Facing the Task
Sagrillo, Damien UL

Presentation (2019, April 10)

The beneficial effect of music and music education on general education, but also on the individual, has been the subject of a number of (controversial) studies, such as long-term observation in basic ... [more ▼]

The beneficial effect of music and music education on general education, but also on the individual, has been the subject of a number of (controversial) studies, such as long-term observation in basic schools in Berlin. H.G. Bastian and his team (2002) have demonstrated the beneficial social effect of in-depth musical education. Other research has revealed a persistent lack of confidence in music education for students and teachers (Holden / Button 2006) . Still others have analysed the potential of extracurricular music education (Kivi 2018) . The anguish of non-specialized trainers in music education is often reflected in clichéd arguments such as: "I haven't done solfege; I'm not musical; I can't sing" So the lack of declarative knowledge prevents skills. The aim is to highlight concepts developed with the focus on two musical traditions (German and French), e.g. the G.D. of Luxembourg, with the aim to provide future teachers with didactic skills. [less ▲]

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See detailLËTZEBUERGER MUSEK AM 19. JOERHONNERT
Sagrillo, Damien UL

Conference given outside the academic context (2019)

Musikhistoriographie ist vielschichtig. Die Geschichtsschreibung über Musik in Luxemburg gliedert sich in verschiedene Teilaspekte. Zunächst ist sie Teil regionaler Musikforschung in Europa und zudem, was ... [more ▼]

Musikhistoriographie ist vielschichtig. Die Geschichtsschreibung über Musik in Luxemburg gliedert sich in verschiedene Teilaspekte. Zunächst ist sie Teil regionaler Musikforschung in Europa und zudem, was Luxemburg betrifft, nationale Musikforschung. Ein erster Blickwinkel ist der musikethnologische: Ein Volk, eine Nation hat seine/ihre Lieder, die in ihm/ihr entstehen, aufgenommen, mündlich über Landes- sowie Sprachgrenzen und über Generationen überliefert werden. Volkstümliche Lieder schauen dem Volk „auf’s Maul“, sind Volksliedern nachempfunden, stammen aus der Feder von Komponisten und sind – zumindest auf Luxemburg bezogen – patriotisch gefärbt. Ein weiterer Blickwinkel luxemburgischer Musik befasst sich mit der Kunstmusik, und hier ist die staatliche Unabhängigkeit des Großherzogtums ein historischer Ausgangspunkt. Musiksoziologische Überlegungen leiten den Blick auf das Wesen und Werden von Musikgesellschaften („community music“). Ausgangspunkt ist eine liberalere Verfassung, durch welche den Bürgern zum ersten Mal das Versammlungsrecht angeboten wurde. Die Professionalisierung der Musik in Luxemburg nimmt ihren Ausgangspunkt mit der Entwicklung der musikalischen Bildung, welche in den Händen der ersten Komponistengeneration lag und auf die später aufgebaut werden konnte. [less ▲]

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See detailVonatokról és vasutakról. A zene feladata a tőrténelem közvet
Sagrillo, Damien UL

in Smuta, Attila (Ed.) Kodály Szimpozium (2019)

Article on request by the editor: partial translation of "Von Feuerwagen und Straßen aus Eisen. Musik als Bildungsauftrag in Sachen Geschichte", cf. http://orbilu.uni.lu/handle/10993/18778, translated by ... [more ▼]

Article on request by the editor: partial translation of "Von Feuerwagen und Straßen aus Eisen. Musik als Bildungsauftrag in Sachen Geschichte", cf. http://orbilu.uni.lu/handle/10993/18778, translated by Lipócziné Dr. Csabai Sarolta & Dominekné Nagyhegyesi Mónika [less ▲]

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See detailMusic Education in the Focus of Historical Concepts and New Horizons
Sagrillo, Damien UL; Brusniak, Friedhelm; Buzás, Zsuzsanna et al

Book published by John Von Neumann University (2019)

The 50th anniversary of the death in 1967 of the famous music teacher, ethnomusicologist and composer Zoltán Kodály reminded us that another renowned music pedagogue, Leo Kestenberg (1882-1962), was born ... [more ▼]

The 50th anniversary of the death in 1967 of the famous music teacher, ethnomusicologist and composer Zoltán Kodály reminded us that another renowned music pedagogue, Leo Kestenberg (1882-1962), was born in the same year as Kodály. As such, the joint Kodály Kestenberg Conference provided a welcome opportunity not only to address aspects of music pedagogical and biographical research which had hitherto received a limited amount of attention, but also to highlight a number of key moments in history, and the resulting impact these had had on music pedagogy. The significant level of international interest which music educators showed in the Kodály Kestenberg Conference fulfilled the organisers' desire to create a forum for the free exchange ideas. It also enabled participants to review our commonalities and differences and to look beyond our individual national developments and evaluate the methods and concepts of two significant personalities in the history of musical education in the first half of the 20th century. The sheer diversity of historical and current topics in music education research both inside and outside of Europe, not only reflects the fact that in the 21st century, music education research has established and profiled itself in a wide range of sub-disciplines in addition to revealing new fields of inter-disciplinary research. The effectiveness of reforms initiated and implemented by Kodály and Kestenberg extend to the present day and continue to influence discussions around the future perspectives of music education. This is illustrated by the example of formal and informal learning in the field of elementary music pedagogy. The "Century of the Child" proclaimed in 1900 by the Swedish reform pedagogue Ellen Key (1849–1926) has left its mark on music education through reformers such as Kodály and Kestenberg into the 21st century. This conference book contains articles which are subdivided in five sub-categories: (1) The function of Music Education, (2) The Historical Era of Kodály and Kestenberg, (3) Learning and Instruction, (4) Assessment Technologies in Music Education and (5) Effects of Music Training. The contributors come from six different countries namely, Austria, England, Germany, Hungary, Israel and Luxembourg. The editors would like to record their thanks to both: (1) the Pedagogical Faculty of the John von Neumann University, Kecskemét and the dean Dr. Fülöp Tamás and the vice-dean Dr. Sági Norberta for hosting the conference, (2) the International Leo Kestenberg Society. The editors also acknowledge that this research is supported by EFOP-3.6.1- 16-2016-00006 “The development and enhancement of the research potential at John von Neumann University” project. The Project is supported by the Hungarian Government and co-financed by the European Social Fund. The editors finally thank Ms. Caroline Reuter from the University of Luxembourg for the review of the layout. [less ▲]

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See detailCultural Heritage, Diversity, Functionality, Education of Music in a European Context
Sagrillo, Damien UL

in Buzás, Zsuzsanne; Brusniak, Friedhelm; Marshall, Nigel (Eds.) et al Music Education in the Focus of Historical Concepts and New Horizons (2019)

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See detailGeistliche Macht der Musik oder weltliche Macht der geistlichen Musiker Cäcilianismus in Luxemburg
Sagrillo, Damien UL

Presentation (2019, February 08)

The spiritual power of music or secular power of spiritual musicians. Ceacilianism and Papism in Luxembourg In my contribution, I will describe the ceacilianism in Luxembourg as a movement which, for the ... [more ▼]

The spiritual power of music or secular power of spiritual musicians. Ceacilianism and Papism in Luxembourg In my contribution, I will describe the ceacilianism in Luxembourg as a movement which, for the liturgy, not only wanted to restore what already had been considered survived for centuries in the history of music, but which was undoubtedly able to exercise power not only on composers of liturgical music, but also on spiritual dignitaries. My paper is based on my recent publication in two volumes on the correspondence of Luxembourg religious dignitaries and musicians with Franz Xaver Witt, one of the main protagonists of the movement. [less ▲]

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