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Dissertations / Theses on the topic 'Accordion music'
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Peiseniece, Mara. "Accordion in Action : How to develop my artistic skills applying theatrical choreography with accordion to a performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2515.
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Řehák, Milan. "Recording and amplifying of the accordion : What is the best way to capture the sound of the acoustic accordion?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2965.
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In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. My aim is that this thesis will contribute to create a comprehensive insight into the specifics of capturing the accordion sound, contribute to better understanding of the acoustic properties of the instrument and bring practical answers to questions that many accordionists have. I have chosen to mention very basic technical aspects related to how to capture the sound of the acoustic accordion with respect to potential elementary knowledge of some people in this area. But, I also discuss very specific and professional details and focus on how different kinds of microphones can be used to capture the sound of the acoustic accordion. This is a subject that clearly is understudied and probably not has been a matter for proper research before. Most of my comments and analysis come from my personal experience and different experiments but there is also an interview included in the thesis with one very experienced accordionist who also is a professional music producer. I hope that my thesis will help other accordionists, sound engineers, and anyone else to understand the accordion and its specifics regarding both studio recording and live amplifying.
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Řehák, Milan. "Jindřich Feld : Analysis of Concert Piece For Accordion." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2352.
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This thesis intends to illustrate the music language presented in Jindřich Feld’s compositions for accordion. Jindřich Feld (1925-2007) was a very important Czech composer of the second half of the 20th century. As the best example of this music language, I have chosen his “Concert Piece For Accordion” which is certainly one of the most respected accordion compositions ever written. I have always appreciated the music of Jindřich Feld, which is the reason why I decided to write about him and his composition. In this thesis, I focused mainly on an insight into the form and style of “Concert Piece”. Most of my comments and analyses come from my personal experience and from my perspective as an interpreter. This composition, most likely, has not been performed in Sweden before, or it is not well-know at least. I hope that my thesis will help other accordionists and musicians to understand Feld’s music, and contribute to better and more frequent performances of his accordion music.
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Christian, Bryan W. Christian Bryan W. Christian Bryan W. Christian Bryan W. "Wanderings." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p1477876.
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Thesis (M. A.)--University of California, San Diego, 2010.Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.
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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.
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Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.
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Sotty, Jean-Étienne. "Ressemblance, imitation, hybridation : vers une symbiose entre accordéon et électronique." Electronic Thesis or Diss., Sorbonne université, 2022. http://www.theses.fr/2022SORUL152.
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Cette recherche se situe dans le champ disciplinaire de l’interprétation instrumentale : elle concerne très précisément le jeu de l’accordéon. De nombreux compositeurs•trices jouent actuellement sur une forme de ressemblance entre le son de l’accordéon et les sons électroniques. En effet, l’accordéon est un instrument qui peut moduler des sons complexes, à l’instar d’un synthétiseur. Cette ressemblance est encore plus prégnante avec l’accordéon microtonal XAMP. À partir de ce constat, il est possible de prendre modèle sur le son électronique afin de formaliser un style de jeu instrumental imitant l’électronique. Ce modèle est construit sur une étude du principe d’imitation, et sur des analyses d’œuvres pour accordéon référant ou employant l’électronique. L’application de ce style électronique permet de mélanger davantage les sons instrumentaux avec les sons électroniques dans le cas de la musique mixte, voire de donner l’illusion de sons électroniques avec l’instrument. L’instrumentiste acquiert des techniques et un nouveau type de virtuosité qui lui permettent de réaliser une fusion complète entre son instrumental et son électronique. Ce projet de fusion est aussi réalisé par la création d’un nouvel instrument : l’accordéon hybride. Un accordéon microtonal XAMP est équipé d’un système de quatre haut-parleurs : accordéon acoustique et système électronique deviennent alors les matériaux d’un même instrument, ouvert à de futures créations musicalesThis research is situated in the disciplinary field of instrumental interpretation: it concerns very precisely the playing of the accordion. Many composers are currently playing on a form of resemblance between the sound of the accordion and electronic sounds. Indeed, the accordion is an instrument that can modulate complex sounds, almost like a synthesizer. This resemblance is even more significant with the XAMP microtonal accordion. From this observation, it is possible to take a model from electronic sound in order to formalize a style of instrumental playing that imitates electronics. This model is founded on a study of the principle of imitation, and on analyzes of works for accordion referring or employing electronics. Applying this electronic style makes it possible to combine the instrumental sounds even more with the electronic sounds in the case of mixed music, even to give the illusion of electronic sounds with the instrument. The instrumentalist acquires techniques and a new type of virtuosity which allows him to achieve a com-plete fusion between instrumental and electronic sounds. This fusion project is also realized by the creation of a new instrument: the hybrid accordion. A XAMP microtonal accordi-on is equipped with a system of four loudspeakers: acoustic accordion and electronic system then become the materials of a single instrument, open to future musical creations
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Reis, Jonas Tarcísio. "A aprendizagem do acompanhamento harmônico no acordeom : o percurso de três crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49355.
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A presente pesquisa teve como objetivo geral analisar e compreender como as crianças aprendem a executar no acordeom o acompanhamento harmônico das músicas estudadas. O desenho metodológico adotado apoiou-se em princípios do Método Clínico piagetiano. A coleta de dados foi realizada com três crianças com idade entre 7,5 e 8,5 anos, no contexto de aulas individuais de acordeom realizadas em um espaço formal de educação musical, de abril a outubro de 2011, na cidade de Porto Alegre – RS. O registro dos dados foi feito em diários de campo e filmagens integrais das aulas de acordeom, nas quais ocorreram entrevistas e observações clínicas decorrentes da adaptação do método, a fim de considerar as singularidades do contexto e dinâmica das aulas. A partir dos dados coletados, fez-se a composição de protocolos para cada sujeito pesquisado, descrevendo os momentos onde a problemática de pesquisa se explicitava. A base teórica da investigação advém da Epistemologia Genética de Jean Piaget. Ela possibilitou a compreensão do percurso da aprendizagem dos sujeitos durante as aulas. Os resultados evidenciaram que, ao longo das aulas de acordeom, foi acontecendo a tomada de consciência das ações, principalmente sobre como os sujeitos faziam para executar as mudanças na execução do acompanhamento. A tomada de consciência do porquê da necessidade dessas mudanças não se deu com base em explicações que considerassem coerentemente todos os elementos harmônicos envolvidos nas músicas estudadas. Constataram-se, também, níveis de tomada de consciência quanto à distinção entre consonâncias e dissonâncias e, nessa conquista, o papel da aprendizagem foi expressivo. A principal contribuição desta pesquisa está em explicitar a trajetória dos sujeitos, mostrando de que modo eles percebem, compreendem e explicam a dimensão harmônica implicada na aprendizagem do acordeom. A pesquisa poderá contribuir para a área da Música e Educação articulando aportes da Epistemologia Genética e da Educação Musical na compreensão do desenvolvimento musical da criança.This research aimed to understand and analyze general as children learn to perform the rhythmic-harmonic accompaniment on the accordion of the music studied. The design methodology adopted was based on principles of Piaget's Clinical Method. Data collection was performed with three children aged between 7.5 and 8.5 years old in the context of individual classes of an accordion held in a formal space of music education, from April to October 2011, in Porto Alegre - RS. The data recording was done in the field diaries and filming the whole accordion lessons, which occurred in the interviews and clinical observations arising from adaptation of the method in order to consider the singularities of the context and dynamics of classes. From the data collected the composition of protocol was done for each subject researched describing the moment where the problematic of research is made explicit. The theoretical base of research comes from Jean Piajet’s genetic epistemology, and enabled the understanding the journey of learning of the subjects during the lessons. The results showed that over the lessons of accordion awareness of actions were happening, especially as the subjects did to perform changes in the implementation of followup. The awareness about why the need for such changes was not given on the basis of explanations that consistently consider all harmonic date elements involved in music examined. It was found, too, levels of awareness about the distinction between consonance and dissonance in this achievement and the role of learning was significant. The main contribution of this research is to explain the trajectory of the subjects, showing how they perceive, understand and explain the harmonic scale involved in learning the accordion. The research contributes to the area of Music Education and articulating contributions of Genetic Epistemology and Music Education in understanding the child's musical development.
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Lhermet, Vincent. "Le répertoire contemporain de l’accordéon en Europe depuis 1990 : l’affirmation d’une nouvelle identité sonore." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040025.
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Instrument privilégié des compositeurs d’aujourd’hui, l’accordéon est désormais doté d’un vaste répertoire de musique savante : que ce soit en solo, en musique de chambre, dans l’ensemble ou l’orchestre, la profusion des œuvres est le témoignage d’une intégration de plus en plus grande de cet instrument à la création musicale et l’orchestration contemporaine. Cette recherche explore le développement de la création musicale contemporaine pour l’accordéon en Europe depuis 1990 : la constitution d’un corpus de plus de 9100 œuvres – Ricordo al futuro – est le point de départ d’une étude sociologique sur les raisons qui ont motivé ce développement, un regard sur la définition d’une nouvelle identité sonore de l’instrument et une analyse des différentes conceptions esthétiques du répertoire des accordéonistes en Europe. Par la création d’outils à destination des interprètes et des compositeurs, cette recherche se donne pour objectif d’encourager la diffusion d’œuvres récentes auprès de tous les publicsCherished by many composers today, the contemporary accordion posseses a vast body of art music. Whether it be solo, chamber, ensemble or orchestral repertoire, the sheer abundance of works with accordion rightfully reflects a growing integration of the instrument within musical creation and contemporary orchestration. This project explores the development of European contemporary music composed for the accordion since 1990, seen through the making of Ricordo al futuro, a vast corpus consisting of more than 9100 works. This database has been used as a starting point for an investigation into the coining of a new sonic identity, a sociological study on the reasons which have triggered this development and a meticulous analysis of the diverging aesthetic conceptions of accordion repertoire in Europe. By creating tools destined for both performers and composers, this research project aims to help circulate this new and extremely rich repertoire to as many audiences as possible
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Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
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Pereira, Julio Cesar Pires. "TRAJETÓRIAS MUSICAIS DE ACORDEONISTAS: UM ESTUDO NA LICENCIATURA EM MÚSICA (UERGS)." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/7277.
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This master thesis was developed within the Education and Arts Research Line (LR4) from the Postgraduate Program on Education at Federal University of Santa Maria (UFSM) and is part of the research group FAPEM Formation, Action and Research in Musical Education of UFSM. The research proposes as its main theme the study of musical trajectories of accordionists of the degree in Music (UERGS). The general objective is to investigate the musical formation trajectories from these accordionists. The specific objectives are organized around to know their musical experiences and understand how they impacted their choices for training in the course of degree in music and understand possible relationships between being accordionist and the choice of honors degree. The literature reviews that guided the research studies the teacher training and academic-professional training (GARCIA, 1999; FERRY, 1991, 2001; NÓVOA, 1992, 1995; MIZUKAMY, 2002; DINIZ PEREIRA, 2008; VAILLANT; MARCELO, 2012). In order to refer to the training of music teachers, the research was based on studies of Del Ben (2000), Bellochio and Garbosa (2010), Louro (2004), Mateiro and Souza (2009) and in Machado (2009), Puglia (2010), Weiss and Louro (2010) to discuss the accordion education. Methodologically, the research was developed from a study of narratives grounded in oral history (MEIHY, 2005; FREITAS, 2006; ALBERTI, 2003), having as a production procedure the narrative interview (JOVCHELOVITCH and BAUER, 2008; MARCONI and LAKATOS, 2013), and respectively, as an analytical tool the Discursive Textual Analysis (MORAES e GALIAZZI, 2006). Considering that the formative paths of research subjects are under construction, the understanding of the presented narratives and the produced knowledge expanded methods and ways of understanding the potential of the accordion in the training of music teachers process, highlighting in this context the Music Degree course of UERGS.A dissertação foi desenvolvida no Programa de Pós-Graduação em Educação (UFSM), Linha de Pesquisa Educação e Artes LP4 e vincula-se ao grupo de estudo e pesquisa FAPEM - Formação, Ação e Pesquisa em Educação Musical. A pesquisa propõe como tema principal o estudo de trajetórias musicais de acordeonistas da licenciatura em Música (UERGS). O objetivo geral constitui-se em investigar as trajetórias de formação musical destes acordeonistas. Os objetivos específicos estão organizados em torno de conhecer suas vivências musicais e compreender como elas impactaram suas escolhas pela formação no curso de licenciatura em Música e entender possíveis relações entre ser acordeonista e a escolha pela licenciatura. As revisões de literatura que orientaram a pesquisa tematizam a formação de professores e a formação acadêmico-profissional (GARCIA, 1999; FERRY, 1991, 2001; NÓVOA, 1992, 1995; MIZUKAMY, 2002, DINIZ PEREIRA, 2008; VAILLANT; MARCELO, 2012). Para referir à formação de professores de música, a pesquisa apoiou-se nos estudos de Del Ben (2000), Bellochio e Garbosa (2010), Louro (2004), Mateiro e Souza (2009) e em Machado (2009), Puglia (2010), Weiss e Louro (2010) para discutir sobre o ensino de acordeom. Metodologicamente, a pesquisa foi desenvolvida a partir de um estudo com narrativas embasado na história oral (MEIHY, 2005; FREITAS, 2006; ALBERTI, 2003), tendo como procedimento de produção de dados a entrevista narrativa (JOVCHELOVITCH; BAUER, 2008; MARCONI; LAKATOS, 2013), e como instrumento de análise a Análise Textual Discursiva (MORAES; GALIAZZI, 2006). Considerando que as trajetórias formativas dos sujeitos da pesquisa encontram-se em construção, a compreensão das narrativas trazidas e dos conhecimentos produzidos ampliaram os modos e formas de entender o potencial do acordeom no processo formativo de professores de música destacando-se, neste contexto, o Curso de Música - Licenciatura da UERGS.
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Arbey, Dominique. "Francis Poulenc et la musique populaire." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040066.
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Francis POULENC (1899-1963) a été particulièrement influencé par la musique populaire de son époque. Pour étudier cet aspect de son œuvre, notre recherche s’appuiera sur la production musicale du compositeur, sur ses nombreux témoignages (correspondances, émissions radiophoniques et divers écrits) et sur tous les documents liés à la création et à la réception de ses œuvres. Le compositeur du Bal masqué n’imitait pas la musique populaire mais en empruntait quelques éléments : tel un peintre, il réalisait des « portraits de music-hall ». Afin d’apprécier cette imprégnation, nos analyses portent sur différents paramètres musicaux : la mélodie, le rythme, l’harmonie, les structures, l’orchestration et la vocalité. La finalité de notre travail s’inscrivant dans des perspectives socioculturelles, l’analyse de ces aspects techniques ne se dissocie pas du contexte historique lié au compositeur et plus largement au Groupe des SixThe composer Francis Poulenc (1899-1963) was particularly influenced by the popular music of his time. In order to study this very specific aspect of his works, our research will take into account the musical production of the composer, his personal testimonies (such as correspondence, radio programs and various pieces of writing) and all documents related to the creation and reception of his works.When composing Bal Masqué (The Masked Ball) the composer’s aim was not to copy popular music but just to make use of some of its characteristics. Just like a painter he created what he would call ‘portraits de music-hall’ (‘Music-hall portraits’). For this impregnation to be fully appreciated, our analyses will tackle different musical parameters such as melody, rhythm, harmony, structures, orchestration and vocal effects. The purpose of our research involving socio-cultural perspectives, the analysis of those technical aspects cannot be dissociated from the historical context relative to the composer and, to a wider extent, to the ‘Groupe des Six’
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Caplat, Jacques. "Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.
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Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation des attentes sociales à travers les générations successives, sont quelques-uns des aspects qui se dévoilent au fil de l'étude et qui se relient.À partir du constat d'une mutation organologique progressive, nous chercherons à comprendre les modifications profondes des fonctions sociales jouées par l'instrument. Un retour historique permettra de définir les intentions et le statut des « pionniers » du renouveau de l'accordéon diatonique breton dans les années 1970. En nous appuyant sur ce socle, nous montrerons comment l'accordéon en tant qu'outil est en interaction étroite et permanente avec le geste du musicien et avec son intention (produire des notes – et dans quelle fonction sociale), et combien le passage des générations a renouvelé le contexte d'exposition de l'accordéon et le statut des musiques bretonnes dites « à danser ». Ainsi, nous verrons que la modification progressive de l'intention a conduit à une modification de l'instrument, mais que celle-ci, en retour, fragilise l'efficacité des intentions antérieuresThis work aims to understand why and how the Breton diatonic accordion has undergone a profound organological and stylistic transformation during the last decades. The evolution of the instrument here reflects the historical and social dynamics, that the accordion has integrated into its very form because of its rare plasticity, bringing them into light. The status of professional musicians in a largely amateur context, the roles and mechanisms of learning traditional knowledge initially based on orality, the fluctuation of social expectations through successive generations, are some of the aspects that unfold over the course of the study and connect with one-another.Starting from the observation of a progressive organologic change, we will seek to understand the profound changes of the social functions played by the instrument. A historical overview will allow to define the intentions and the status of the "pioneers" of the revival of the Breton diatonic accordion in the 1970s. Based on this foundation, we will show how the accordion as a tool is in close and permanent interaction with the musician's gesture and with his intention (producing notes – and in what social function), and how much the passage of generations has renewed the context of use of the accordion and the status of Breton music said "to be danced". Thus, we will see that the progressive modification of the intention led to a modification of the instrument, but that this, in turn, weakens the effectiveness of the previous intentions
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Fryklund, Aaron. "Perspectives on The passion according to the gospels of Matthew and John." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9780.
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Oratorio, for baritone (Jesus), male or female narrator (Evangelist), tenor (Pilate), 2 basses (Peter, Caiaphas), soprano woman accusing Peter), chorus (SATB), organ, string orchestra, and tape. Texts from Matthew, John, and Psalms. Duration: 33:00. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47).
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Detwiler, David Franklin. "The role of music in worship according to Paul an exegetical inquiry /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Story, Brandon H. "Gospel According to Bristol: The Life, Music, and Ministry of Ernest Phipps." [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/766.
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Thesis (M.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-0331103-141813. Includes bibliographical references. Also available via Internet at the UMI web site.
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Kelly, Michael. "An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296593846.
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Yang, Eun Ho. "The study of seating arrangement effect on choral blend : positioning singers in three seating arrangements according to individual volume /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11276.
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Owens, John Thomas. "POWER CHORDS, BLAST BEATS, AND ACCORDIONS: UNDERSTANDING INFORMAL MUSIC LEARNING IN THE LIVES OF COMMUNITY COLLEGE MUSICIANS." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1490284957758873.
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Alexander, Dina. "An investigation of the relationship between the music aptitude and the music achievement of beginning instrumental students who are taught according to the principles of Gordon's music learning theory /." Digitized version, 1989. http://hdl.handle.net/1802/7560.
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Thesis (M.A.)--University of Rochester, 1989.Includes bibliographical references (leaves 33-35). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7560
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Epstein, Heidi. "The nature of the relationship between music and theology according to Oskar Söhngen and Oliver Messiaen /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59296.
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This dissertation investigates a "universal" question--what the exact nature of the relationship between music and theology is--by examining two particulars: (1) the music and thought of the French Roman Catholic composer Olivier Messiaen, and (2) the theology of music of Protestant theologian/musicologist Oskar Sohngen.It should be emphasized, however, that the main focus of the paper is upon the "particulars," since the primary objective of this study is to demonstrate the remarkable similarity of thought which exists between the theory of Sohngen and the musical practice of Messiaen. After an exposition of Sohngen's three categories of relationship between music and theology (music as science, as worship, and as creatura) there is an extensive examination of Messiaen's compositional techniques which reveals the latter's implicit use of these same three categories.
In the final chapter of this work, after a discussion of several problems which are inherent in each of the particular approaches to music and theology, there is a return to the universal question, in response to which a precise, working definition is finally established.
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Lerumo, Kagiso Solomon. "Implementing Music according to the Curriculum and Assessment Policy Statement (CAPS) : experiences of Foundation Phase educators." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/67763.
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The implementation of Music according to the Curriculum and Assessment Policy Statement (CAPS) in the Foundation Phase is not adequate. Reasons for this incorporate inter alia lack of knowledge of Music pedagogy by Foundation Phase educators, lack of resources and poor assistance and monitoring from the Department of Education.
The study was based on qualitative case study method, exploring the experiences of Foundation Phase educators in implementing Music according to CAPS. Interviews were held with three Foundation Phase educators. Data was also collected by means of observations and analysing personal documents such as learners‟ class work books and educators‟ Music files.
Analyses of the data obtained showed that Foundation Phase educators who participated in the research did not have Music teaching experience before the introduction of CAPS in 2012. A key concern is that these participants did not plan for Music and the time allocated for it was used to teach the so-called core subjects such as Mathematics and Languages. Moreover, educators who participated in this study would only make learners to sing at the beginning of lessons of study areas such as beginning knowledge and Mathematics as an effort to integrate Music with other subjects.
Recommendations included development of a partnership between any University that offers Music and the North West Department of Education which may assist with Music pedagogy and to augment resources such as relevant books and Musical instruments.Mini Dissertation (MMus)--University of Pretoria, 2018.
Music
MMus
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Vassillière, Christa Theresa. "The Spatial Properties of Music Perception: Differences in Visuo-spatial Performance According to Musicianship and Interference of Musical Structure." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1340331749.
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Yoo, Jin Ah. "J.S. Bach's great eighteen chorale preludes arranged according to difficulty." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1813.
Full textAbstract:
Johann Sebastian Bach used his own organ compositions when teaching his students. Seeking to understand and learn from Bach's organ pedagogy, many scholars have sought to establish a list of Bach's organ works according to difficulty. These arranged lists are briefly summarized in chapter two of the present thesis, and it is shown that none of them have sufficiently explained the rationale for deciding difficulty. Chapter three establishes and describes criteria according to which Bach's organ works can be analyzed. Chapter four demonstrates how these criteria are to be applied within a selected corpus of J.S. Bach's organ works, the Leipzig versions of the Great Eighteen Chorale Preludes.
The criteria and resulting arrangement according to difficulty answer a problem within Bach scholarship by providing an objective standard by which teachers and students can select level-appropriate works for purposes of learning and performance.
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Green, Sarah. "An exploration of how Foundation Phase Mathematics and English can enhance teaching and learning through Music integration, according to the South African Curriculum." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78275.
Full textAbstract:
Schools have to adjust to accommodate subjects that are 21st century appropriate in an
already full curriculum. Educators feel overwhelmed and unequipped to handle all the
expectations of the curriculum. Many are led to believe that Mathematics, Language and
Music go hand in hand. There must be a more effective way to teach these three subjects,
especially considering the biggest concern in education is always insufficient time. This
study investigated the natural relationships between English, Mathematics and Life Skills in
the Foundation Phase, to determine if true integration is viable. A document analysis was
conducted to examine various curriculum documents including the National Curriculum, the
National Protocol for Assessment Grade R – 3, and the CAPS document with the focus on
Mathematics, English and Life Skills in the Foundation Phase. The findings include the
potential for introducing integration of musical activities through similar topics as well as
using various teaching and learning strategies that are able to construct deeper
understanding. Considering the natural connections between subjects and themes, music
activities can offer validity in the curriculum.Dissertation (MMus (Music Education))-- University of Pretoria, 2020.
Music
MMus (Music Education)
Unrestricted
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Koh, Gi Yeon Koh. "A Performance Guide to Max Bruch’s Double Concerto, Opus 88,According to the German Style." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525169332151546.
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Cormier, Joel. "Acadian Accordion Music in South Eastern New Brunswick." Thesis, 2011. http://hdl.handle.net/1807/31722.
Full textAbstract:
Instrumental folk music has flourished in south eastern New Brunswick and the accordion, while a relative newcomer to the region, enjoys great popularity. Over the years, accordion players have filled many roles, from providing wedding music, to entertainment for house parties. However, there has been a lack of scholarly work done on the subject, especially when compared with folksongs, which have been the object of many studies. To date, little has been written on Acadian instrumental music in New Brunswick and there has been nothing written specifically on the accordion.
The main focus of this work is a study, transcription, and analysis of accordion pieces collected from players in south eastern New Brunswick between 2007 and 2011. Some time is also spent on detailing the history of the accordion in the region, talking about the players themselves, as well as looking at the role of the instrument and its repertoire in a constantly changing world.
The pieces in question were collected over a four year period in various venues, including accordion festivals and players’ places of residence; archival recordings were also consulted. The pieces were transcribed and afterwards analyzed and categorized. Multiple recordings of the same piece were checked for variations, which were found to be an important part of the style of the region. Historical data is often based on personal accounts, which were taken during interviews with players from the region.
The accordion remains popular in the region and is adapting to changing circumstances. The annual accordion festivals occurring in Moncton every summer are providing new venues to keep the instrument relevant. This study will help to bring further attention to the instrument, stimulate new research, and perhaps even attract new younger players.
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Jones, Elizabeth A. "Accordion exposition : investigating the playing and learning of advanced level concert accordion repertoire." Thesis, 2008. http://handle.uws.edu.au:8081/1959.7/496317.
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Khotso, P. "Masculinity as a popular theme in the development of Basotho accordion music." Thesis, 2017. http://hdl.handle.net/10500/24534.
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Text in English and some in SesothoThis thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large.
Linguistics and Modern Languages
D. Phil. (Language, Linguistics and Literature)
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Hayman, Jeffrey P. "Comrades." Thesis, 2013. http://hdl.handle.net/2152/23918.
Full textAbstract:
Comrades was inspired by Milan Kundera’s first novel, The Joke. The music initially set out to depict four characters from The Joke and their distinct personalities, with each movement individually depicting a specific character. As the piece was being composed, it gradually began to distance itself form the novel, and in its final state, exists independently of any association with the novel, instead depicting four unspecified characters from an unwritten story who relate in non-programmatic ways.
Regardless of its removed association with Milan Kundera’s novel, the orchestration of Comrades was chosen based on a Moravian folk music ensemble in which the characters within the novel performed. In an effort to remain loyal to its conception, the piece attempts to use European folk influence to generate much of its musical material.text
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Балюра, Наталія Віталіївна, and Nataliia Vitaliivna Baliura. "Баян у камерно-ансамблевій музиці України: історичний аспект." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9755.
Full textAbstract:
Ансамблеве мистецтво в різних його формах та проявах завжди користувалось великою популярністю серед композиторів, виконавців та слухачів у різні історичні періоди, так і сьогодні. Баян в камерно-ансамблевому виконавстві посідає вагоме місце та користується неабиякою популярністю серед вітчизняних та зарубіжних музикантів. Тема баянно-ансамблевого виконавства є популярною серед наукових розвідок дослідників різних регіонів України. Але залишається малодослідженою тема історії та розвитку камерного баянно-ансамблевого виконавства, що зумовлює актуальність нашого дослідження.
Мета – визначити особливості баянного виконавства у камерно-ансамблевій музиці України.Ensemble art in its various forms and manifestations has always been very popular among composers, performers and listeners in different historical periods, and today. The accordion occupies an important place in chamber ensemble performance and is very popular among domestic and foreign musicians. The theme of accordion performance is popular among scientific researchers of different regions of Ukraine. But the topic of the history and development of chamber accordion performance remains understudied, which determines the relevance of our study. The purpose: to determine the features of accordion performance in chamber and ensemble music of Ukraine.
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Dlouhý, Radek. "Sólová akordeonová literatura českých autorů vzniklá po roce 1960 a její pedagogické vyústění." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-370456.
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This dissertation work is concerned with Czech composers who composed for the solo accordion. These composers cover a range of individual generations of composition from the earliest born through to the youngest. There is a brief introduction to each composer along with their compositions for solo accordion including the characteristics of each individual composition and the circumstances of their creation. The dissertation work then presents the chronological development of Czech compositions for the solo accordion from the very beginning up to the present. It is also focuses on the teaching of the accordion within the context of the Czech education system. A very important part of this work is the evaluation of a survey conducted in the form of a questionnaire addressing teachers of the accordion at Czech conservatoires which was a probe into the current situation regarding the teaching of this instrument and the utilization of compositions for the accordion for teaching. This work should profit pedagogy of the accordion in the Czech Republic and should assist in its orientation with regards to the original literature for the accordion.
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"Gospel According to Bristol: The Life, Music, and Ministry of Ernest Phipps." East Tennessee State University, 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0331103-141813/.
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HSU, HUEI JU, and 徐卉洳. "Researching Socail Change According to Music Textbooks- from 1949 to the Present." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/854fp8.
Full textAbstract:
碩士國立臺中教育大學
音樂學系碩士班
105
This article searches and discusses the music textbooks of elementary school, which have been published since 1956 in Taiwan. The aim of this research is to scrutize the interreltionship between the music textbook and the change of social condition in Taiwan. This research is composed of five chapters. The first chapter is an introduction which describes the study’s motivation, objective, method, scope and structure. The second chapter discusses the development of music textbooks from 1956 to 1987. The third chapter discusses the unofficial music textbooks. The fourth chapter discusses the music textbooks which are edited according the Arts and Humanities curriculum guidelines. The fifth chapter is a conclusion which summarizes the content of the stated above chapters, and finds out the suggestions which enable to provide further developing directions for Taiwan music textbooks in the future.
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Lai, Jeng-You, and 賴政佑. "Music recommendation based on matrix factorization according to users’ contexts and interests." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/53125049243639678247.
Full textAbstract:
碩士元智大學
資訊工程學系
99
There are various music player platforms enabling people to listen to music anywhere and anytime. However, common player software (e.g., Microsoft Media Player and Winamp Media Player) still need user to organize songs and playlist. As the amount of music increases, people will need music recommendation systems (MRS) that retrieve music intelligently and efficiently to help them find songs they like to listen. In addition, users usually alter their preferences of music under different contexts/activities. We propose a music recommendation approach that exploits “context-based splitting of item ratings in collaborative filtering” and “probabilistic matrix factorization (PMF)”. To collect the music listening record with real contextual information, we implement an online music player platform. The platform could detect and record real contextual information of users. The experimental results show that our approach outperforms PMF-based system, which is one of the state-of-the-art methods, with a statistically significant difference. The results demonstrate that context computing should be employed in music recommendation systems. We also analyze which types of contexts are the key factors of system performance.
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Guthrie, Kris Leanne. "The ornamentation of the four flute concerti of Carl Philipp Emanuel Bach: An examination of their notations according to the original manuscripts, and a discussion of their executions according to eighteenth-century treatises." Thesis, 1998. http://hdl.handle.net/1911/19265.
Full textAbstract:
This document explores the ornamentations found in the four flute concerti of Carl Philipp Emanuel Bach. It considers C. P. E. Bach's and J. J. Quantz's suggestions for the execution of trills and appoggiaturas according to the directives found in each of their treatises, and it proposes a style of execution for the various types of trills and appoggiaturas written into the original manuscripts of Bach's flute concerti. Often the execution that works best goes against the conventional rule of on-beat performance of all embellishments. The document also examines any differences in notation of these ornaments between the versions for the flute versus their original versions for the keyboard. Many of the elaborate symbols used to notate ornaments in keyboard music are simplified in music for non-keyboard instruments, but the executions are still intended to be just as varied.
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Liu, Chieh Yun, and 劉玠筠. "Design a digital musical activities system according to music therapy process for dementia and their caregivers." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/62532415235919377028.
Full textAbstract:
碩士長庚大學
工業設計學系
102
With an aging society, an increasing number of individuals suffer from dementia has become a significant concern for families and society. Clinical experience has shown that music can alleviate the symptoms of dementia. Via joining musical activities together, it could increase the interaction between patients, caregivers, and family members. However, musical activities require a music therapist to assist in planning. A variety of equipment must be prepared for each case to meet different preferences and needs as well. Moreover, due to patients, caregivers, and family members’ lack of musical background, it is often difficult to carry out these activities. With the reasons mentioned above, it is merely impossible to extend music therapy from fixed treatment courses to patients’ daily lives. Therefore, based on how caregivers lead dementia patients to carry on musical activities planned by music therapists, this study aims to integrate technical equipment commonly used for music activities; via high technology, capability of large information processing and simple instrument operation interface, users are able to execute a large variety of musical activities simply by following the operation process of this system. The design of this process uses an improved waterfall development model as its framework. To confirm the purpose of such design, document references are reviewed to understand the current issues faced by dementia patient and relevant approaches to music therapy. Subsequently, musical activities system is designed and developed based on the research and analysis of the content of music therapy for dementia patient as well as the results of analyzing users’ demands. After the system is completed, a technology acceptance model would be used to examine whether the operating procedures of the musical activities system are understood and accepted by the users. In addition, the interview records from the experts are analyzed to verify if the system is acceptable to experts. Accordingly, the results are discussed in six sections: (1) Target and occasion of using the system, (2) system multimodality, (3) sensory stimulation, (4) suggestion for the system games, (5) system evaluation recommendations, and (6) system feedback. The results show that the music therapists accept the targets and goals which are set for the musical activities system devised in this study. The music therapists also agree that the system meet the requirements of diversification and personalization emphasized in current music therapy and give the system positive evaluations. More importantly, the music therapists are willing to recommend the system to dementia patients and their caregivers.
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Tang, Xin-Ning, and 唐心甯. "The Study of the Impact of the Add-holes Dizi on Dizi Music Development: A Case Study according to “Butterfly Dreams I.III” and “Ah-Shi-Ma Ballade”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/wb4eae.
Full textAbstract:
碩士中國文化大學
音樂學系中國音樂組
103
The traditional 6-hole bamboo dizi has always experienced some problems that cannot be thoroughly solved in solo as well as instrumental ensemble playing, including those in intonation, range, and modulation. To adapt to the rich and variable composing styles and ever-changing methods, instrument players have attempted many methods to interpret musical composition, hoping to break those playing obstacles and expecting to approach requirements of composers. In this way, recent decades have witnessed many ways of improving dizi. This paper, reviewing the status quo of dizi improvement, focuses on the development and impact of halftone dizi on dizi music, and explores the induced pros and cons as well as more possibilities. It, in addition to collecting the improvement history of the traditional 6-hole dizi in recent 70 years, and emphasizes the solo playing of musical instruments, and then with two solos as an example, discusses the actual playing of the improved halftone dizi. To be different from the playing of modern style music with the traditional 6-hole dizi, or improved dizi such as hole-added dizi or multi-hole dizi, the “Butterfly Dreams” and “Ah-Shi-Ma Ballad” referred to in this paper are played with halftone Dizi of Chen in D to interpret the abundant tone changes and special grace playing skills. In trying to retain the unique features of the traditional dizi such as tone, playing skills and grace tones, it has found the breakthroughs in the playing interpretation of improved musical instruments and playing of modern music. It does not only include the basic analysis of musical composition structures but also offer some playing methods and interpretation viewpoints on halftone Dizi of Chen.