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Paul Taffanel (1844-1908): Fantaisies / Olga Leonkiewicz, flute; Kinga Firlej-Kubica, piano

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French Flute Music Volume 3 (Vinyl) | Discogs

Published by Southern Music Company About this Item: Southern Music Company , More information about this seller Contact this seller Not Signed; Southern Music. Adapted and based on themes from the Ambroise Thomas opera Mignon, this Paul Taffanel work is a firmly established part of the modern flute repertoire. This new Southern publication features Sir James Galway's own phrasing and performance markings in a clean, modern engraving. Published by International Music Company. About this Item: International Music Company. Condition: Very Good. Published by Southern Music About this Item: Southern Music , Brand new book, sourced directly from publisher.

Andante Pastoral et Scherzettino by Paul Taffanel

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Fin XIXe? Published by Lauren Keiser Musicpub When operating in a qualitative mode, the involvement needs to be for an extensive period. This allows time to understand what you are looking at and its meaning to the people involved. In fact, as many of you know, normally we check with the people or group we are working with regarding our understanding of what we think we saw. It might be a good thing for a newspaper or a public journal article. We can go from many results to theories or have theories that then can be examined.

Regardless of the direction of the research, we must be open to any response, not just what we want to hear to reinforce our own belief. As I stated previously, in the end, all of us must be willing to admit that our perspectives or anticipated results may have been incorrect. Frankly, I find this approach is a huge challenge, but I continue to work on it. It is very personal, even though it is professional work, because these concepts may be things we have believed for quite a long period. Those of us who have been reviewers may well have seen papers that from beginning to end were headed to a specific result, which of course the authors found. The question would then be, could we have gotten different results from the research done in a different way?

We must examine everything openly, with a willingness to change with new data. That is not always easy! However, we have a diversity of so many different publication sources. This variety is a good thing, although it also can be bad news depending on how we handle it. My concern is that in music education, we seem to be getting isolated. Now, depending on what your work is, there might be a best source or two, but there are so many possibilities in and outside of music that may also be helpful.

Until we look further for information, we may well be missing important findings. In my view, it is unfortunate that sometimes music educators and music psychologists do not know of or cite the research by other scholars. Honestly, I think music educators are a bit more open, but we all still need to expand our perspectives. For instance, there is one conference where music educators and music psychologists attend.

Sadly, these two groups barely interact, except for some of the sessions they all attend. How silly! We need to try to read more broadly, go to a wider array of conferences, and expand the sources where we submit our works for presentation or publication. Breadth, for us, leads to greater knowledge, additional interests, and growth in many directions.

I have no magic formula, but I can hope that, with time, the receptivity of colleagues in psychology, education, and music will increase, as will our knowledge. Why not?

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Even though as undergraduates we were not trained in research or statistical skills, the resultant brief summaries were excellent. With no research background, we were able to give correct and important summative points about the articles. Interestingly, these summaries were similar to those the graduate students produced. However, there was one difference: The graduates were more likely to turn in typewritten summaries versus handwritten reports.

The key is that our undergraduates will start to understand that there is research they can learn from immediately. Those among you who are doing this, please encourage our wonderful colleagues to include findings in their undergraduate teaching. We can do this immediately. When I worked on my theses a long, long time ago, it was hand-typed. However, the analysis could be done either by hand or on a mainframe computer.

You had to put everything on cards that were then read by the machine. Sometime later, you could go and get your analysis or find out that there were errors, fix them and resubmit, fix them and resubmit, fix them and resubmit until finally it was correct. A little while later, the dissertation could be typed into the computer, but you still needed cards to set up formatting, check spelling or whatever you needed done to the text, in addition to submitting- ting the cards for data and their analyses.

The blue text that came out of the machine was even accepted for the final dissertation document. When everything was going on, I was also participating in research efforts with my major professor. In addition to all we learn from each other, having to get far into the data to understand our analyses and how the items function is tremendously instructive.

I wonder if we have lost something by not having to do any qualitative or quantitative analysis by hand anywhere in our careers. There is a depth of understanding initially that, I think, comes from having to do the mathematics or analysis work, even if it is simple statistical analysis or labeling or seeing how data fit and affect the analyses. What happens if the means were different, or the shape of the data changed, or the standard deviation varied, or the probability level changed? Why not. Are we really doing this because we have 5 or 10 fingers?

Katherine Johnson, whose story was featured in the movie Hidden Figures, was recently interviewed. It is unbelievable the things we can do today, or have done for us, compared to 25 or even 5 years ago. But the question is, do we know the meaning of our analysis and why we have specific results or how we get the effect size and what it says? Regardless of how we get there, it is important to understand the basic factors in these analyses, not just definitions we get from textbooks or other situations that resulted in our findings.

Yes, computers can do most of it, but what do these results really mean, and how did we get here? The position of music education research has sometimes been treated well and at other times not, but we need to continue being strong advocates for our field. Things have not changed since before I was involved forever ago. Finally, as researchers, we know the value of our work and its relation to aspects of music education.

We do not know how well this section functioned, but work like that and other methods of making connections seem like an excellent idea. Indeed, the promotion of our discipline has happened in many ways, and we need to continue pursuing this activity.


Interestingly, this is a return to a previous structure, for those among you who are not aware.