The Carnegie Hall Royal Conservatory Achievement Program
Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
INTRODUCTION AND GREETINGSAS THE NEWLY APPOINTED ASSOCIATE EDITOR for Independent Teacher column in The Journal of Singing, I am delighted to join Editor in Chief Richard Sjoerdsma's staff, and to continue the excellent work of the former Associate Editor Carl Swanson.I have maintained a private studio since beginning my Master of Music degree in 1979. Concurrently, since 1991 I have taught at the university level and in a variety of other teaching environments such as community music schools, accelerated high school programs, a performing arts high school, and during the summer of 2010, as a visiting professor at Mahidol University in Bangkok, Thailand.The variety and longevity of my teaching experiences bring many perspectives to Independent Teacher column, and I look forward to exploring with you important issues relevant to independent teachers. Since independent teachers make up over two-thirds of NATS membership, our input and experiences are invaluable. We have so much to learn from each other and to share with voice teachers in all venues.I am a classically trained soprano and in 2006 completed my Doctor of Education degree and research on music theater voice pedagogy and styles at Teachers College, Columbia University. Consequently, I teach contemporary commercial music (CCM) and classical singing.You have probably received an email asking you to submit articles and your ideas for articles to me for Independent Teacher column. I strongly encourage you to communicate to me what topics you want to read and learn about in the column. Guest authors will be invited to write two of five annual columns. I look forward to hearing from you.For my inaugural column, I chose to showcase a new and exciting national music assessment system launched last year in the United States called the Carnegie Hall Royal Conservatory Achievement Program. I was introduced to The Achievement Program (TAP) at the 2012 NATS Conference in Orlando, Florida, where TAP was a lead sponsor at the convention conference.THE ACHIEVEMENT PROGRAM, AN OVERVIEWAre you a studio voice teacher that would benefit from a systematic, yet flexible and inclusive approach to teaching voice, a program that includes assessments held to a very high national standard for your students, created through a partnership between Carnegie Hall and the Canada's Royal Conservatory, and endorsed by NATS? Perhaps The Achievement Program (TAP), a nationwide music assessment program launched in 2011, could serve your needs. A few months after TAP was announced, NATS entered into a special new partnership to help support the development of the program throughout the United States. TAP was the lead sponsor at the 2012 NATS National Conference in Orlando, Florida, where the program's newly revised voice syllabus and vocal repertoire series were introduced to teachers across the country. exciting partnership represents our shared commitment to music engagement in communities across the United States, said Dr. Jennifer Snow of The Achievement Program. Both of our organizations believe in providing students of all ages with the comprehensive resources that they need to develop their musical skills and establish a lifelong love of music. We look forward to collaborating with NATS members across the United States to support ongoing excellence in music education.With this partnership, TAP becomes an official assessment vehicle of NATS. NATS Executive Director Allen Henderson explains: Just as student auditions and some other events might be considered assessment programs for NATS, we agreed that this could also be considered such. Although not run or owned by NATS, it is a program we take seriously and consider important in creating a variety of methods for assessing the progress of students of NATS members. This enthusiastic partnership is based on the premise that every singer needs appropriate literature to enable his or her voice to reach its full potential. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,001 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle