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Romagnan, Jean-Marie. "Géographie, activités musicales et développement local : l'exemple des Alpes-de-Haute-Provence." Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10080.
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La musique, avec sa fête annuelle, ses festivals, avec le développement de l'écoute individuelle et de l'industrie du disque, des sorties concert comme de la pratique amateur, avec son poids dans l'imaginaire et dans le jeu des identités individuelles et collectives, est devenu (comme le sport notamment) un phénomène de société. Elle inscrit sa trace sur le territoire national depuis plus de trente ans. Les géographes ont intérêt à prendre les activités musicales, dans leurs diverses manifestations publiques sur le territoire, comme fil conducteur et géoindicateur des dynamiques territoriales. La prise en compte du rapport entre Musique et Lieu, Musique et Territoire, doit enrichir la réflexion géographique, en particulier dans l'étude des processus de métropolisation et de développement local. Dans son analyse des territoires en musique, à la croisée sensible de l'œil et de l'oreille, la géographie, outre les concepts et les outils spécifiques qu'elle possède, peut aussi bénéficier des apports de la sociologie de la musique ou de l'anthropologie du sonore. L'exemple des Alpes-de-Haute-Provence illustre comment l'analyse des territoires en musique permet de déchiffrer les dynamiques territoriales de ce département. Dans cette dynamique, deux types de force sont en présence. Les villes principales qui ont privilégié (jusqu'à présent) la compétition dans le développement culturel et musical. Au contraire, les structures éducatives et militantes ont valorisé le travail en réseau et en coopération. Une prise de conscience de l'importance du travail en réseau est en train de s'opérer entre les principales villes du département. L'activité musicale et culturelle peut devenir ainsi un outil fédérateur de liant social et de valorisation identitaire, en particulier pour compenser les disparités de ce département contrasté et écartelé par ses conditions territoriales "naturelles" et par les usages territoriaux qui en résultent.
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Fromager, Guy. "Musiques et nuisances sonores en Guadeloupe : le cas des activités d'écoute et pratiques musicales des "faiseurs de bruit"." Antilles-Guyane, 2009. http://www.theses.fr/2009AGUY0258.
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EN GUADELOUPE, LES PHÈNOMÈNES SONORES NOUS FONT ENTENDRE UNE MUSIQUE PRODUITE OU DIFFUSÉE A UN NIVEAU ÉLEVÉ SUR TOUS LES LIEUX DE VIE AVEC LES NOMBREUX AMATEURS DES SONS AMPLIFIÉS. AINSI, EN DÉPASSANT LE NIVEAU ADMIS PAR LA RÉGLEMENTATION EN VIGUEUR, LA MUSIQUE DEVIENT SOURCE DE NUiSANCES. POURQUOI UN NIVEAU SONORE AUSSI ÉLEVÉ DANS CERTAINES PRATIQUES MUSICALES EN GUADELOUPE? CELA EST-IL DÛ AUNE CULTURE DU BRUIT? LA MANIFESTATION DE CES COMPORTEMENTS BRUYANTS PAR L'ECOUTE OU LA PRATIQUE DE LA MUSIQUE EN GUADELOUPE SEMBLE S'INSCRIRE DANS LES COMPORTEMENTS INDIVIDUALISTES DES GUADELOUPEENS QUI TROUVENT LEUR JUSTIFICATION DANS LA FAIBLESSE ORIGINELLE DE LA COHÉSION SOCIALE QUI S'ACCENTUE. L' ENVIRONNEMENT SONORE DE LA GUADELOUPE EST EN REALlTÉ UN ESPACE CRÉÉ PAR LA JUXTAPOSITION DE COMPORTEMENTS BRUYANTS SE MANIFESTANT INDIVIDUELLEMENT CHEZ LES ADEPTES DE "LA CULTURE DE LA MUSIQUE AMPLIFIEE" ET "DES NOUVEAUX COURANTS MUSICAUX" QUI ÉMERGENT EN GUADELOUPE. CEPENDANT LA PRATIQUE DE LA MUSIQUE EN TANT QUE "MARQUEUR DE L'IDENTITE COLLECTIVE" QUI S'INSCRIT DANS UNE AUTRE DIMENSION QUE "LA PASSION MUSICALE" EST AUSSI PRODUCTRICE D'AMBIANCE SONORE A NIVEAU ÉLEVÉ. TOUTES CES DIFFÉRENTES PRATIQUES AUX SONORITÉS DIVERSES QUI SONT AUSSI DES EXPRESSIONS SOCIALES, SE COMBINENT EN TANT QUE PHÉNOMÈNES SONORES POUR DONNER UNE IMPRESSION DE CHAOS SONORE EN GUADELOUPE. EN FAIT IL N'Y A PAS UNE CULTURE DU BRUIT EN GUADELOUPE, CEPENDANT ELLE PEUT S'INSTALLER ET SE DYNAMISER SI NOUS NOUS RÉFÉRONS A" LA THÉORIE DE LA VITRE BRISEE" POUR MONTRER LE LIEN ENTRE L'APPARENCE DU DÉSORDRE ET LA CRIMINALITE A NEW YORK (WILSON ET KELLlNG, 1982)IN GUADLOUPE,THE SOUND PHENOMENES MAKES US PRODUCED OR SPREAD DIFFUSED MUSIC TO LISTEN A SAFE SURE HIGH LEVEL ALL THE PLACES OF LIFE WITH THE NUMEROUS AMATEURS OF THE AMPLIFIED SOUNDS. SO, SY EXCEEDING THE ACCEPTED LEVEL THERE REGULATIONS IN FORCE, THE MUSI DIVERT- SOURCE(SPRING) OF NUISANCES. WHY A SOUND LEVEL SO HIGH IN CERTAIN PRACTICES IN GUADELOUPE? IS IT TO A CULTURE OF NOISE? THE DEMONSTRATION ( APPEARANCE) OF THIS NOISY BEHAVIORY BY THE LISTING OR THE PRACTICE OF THE MUISE IN GUADELOUPE SEEMS TO JOIN THE INDIVIUALISTIC BEHAVIOR OF THE INHABITANTS OF GUADLOUPE WHICH FIND THEIR JUSTIFICATION IN THE ORIGINAL WEAKNESS OF THE SOCIAL COFESION WEACH BECOMES MORE MARKED. THE SOUND ENVRONMENT OF GUADELOUPE IS IN REALITY A SPACE CREATED THERE JUXTAPOSITION OF NOISY BEHAVIOR SHOWING IT SELF INDIVIDUALLY AT THE FOLLOWER OF" THE CULTURE OF "THE MUSIC AMPLIFIED" ANd "NEW MUSICAL CURRENTS" WITH APPEAR IN GUADELOUPE. HOWEVER THE PRACTICE OF THE MUSIC AS 44MARKER OF THE COLLECTIVE IDENTITY 44 WICH JOINS IN ANOTHER DIMENSION THAN 44 THE MUSICAL PASSION" IS ALSO APRODUCER OF SOUND ATMOSPHERE A HIGH lEVEL. ALL THESE VARIOUS PRATICES IN THE DIVERSE TONES WHICH ARE ALSO SOCIAL EXPRESSIONS, HARMONIZE AS SOUND PHENOMENA TO GIVE AN IMPRESSION (PRINITING) OF SOUND CHAAOS IN GUADELOUPE. IN FACT, THERE IS NO CIULTURE OF NOISE IN GUADELOUPE,HOWEVRSHE CAN SETTLEDOWNAND REALIZE IF WE REFER TO" THE THEORY OF TE WINDOW BROKEN" TO SHOW THE ENTERD LINK THE APPEARANCE OF THE DISORDER AND THE CRIME IN NEW YORK WILSON AND KELLING ON 1982)
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Sun, Chun-Yen. "La pensée sociale et la notion de tradition dans les activités musicales chez les Amei de Falangaw à Taïwan." Paris 8, 2008. http://octaviana.fr/document/135533929#?c=0&m=0&s=0&cv=0.
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Pour les musiciens de Falangaw, la technique de l'improvisation et le timbre de la voix de chanteur jouent un rôle de signature personnelle, c’est-à-dire, une sorte de l'identification. L'organisation et les activités musicales d'un groupe musical sont basée sur la relation humaine entre les musiciens. Souvent, les chanteurs de groupes, de générations ou de villages différents n'ont pas la même opinion concernant la "tradition" musicale. C’est parce que la "tradition" n'est qu'un résultat de la construction de connaissance et changera en suivant la situation sociale et politique au fils du temps. On a constaté des exemples qui indiquent les décalages entre les documents historiques et les points de vue des Amei de Falangaw d'aujourd’hui, ceux-ci insistent que leurs opinions maintiennent la "vrai tradition". À travers l'examen sur le rite de Nouvel An, on étudie la hiérarchie du système des classes d’âges, la relation homme et femme, afin de proposer de nouvelles interprétations concernant le lien entre la musique et la structure sociale. Les échanges musicaux avec les cultures extérieures reflètent non seulement le goût des habitants de Falangaw, mais aussi la construction de leur identité nationale. La clé du phénomène de la polyphonie dans la musique vocale de Falangaw réside dans une technique de l'improvisation. Cette technique rend la forme musicale instable et ouvre une possibilité du changement du style. Le système musical lui-même présente donc un caractère dynamique. Les musiciens cherchant consciemment un style musical conforme à la "tradition", la pratique réelle les conduit pourtant un sens contraireFor the musicians of Falangaw, the improvisation skill and the voice represent a personal signature, ie, a kind of identification. The organization and activities of a musical group are based on the relationship between the musicians. Often, the singers from different groups, generations ou villages do not have the same opinion on the musical "tradition". That's because the "tradition" is just a result of the construction of concept and will change with the social and political situation. It was found examples which show the differences between historical documents and the point of view of Amei of Falangaw today, they insist that their views maintain the "true tradition. " Through the examination on the New Year Ritual, we will study the hierarchy of the age-grade system, the relationship man and woman, to propose new interpretations concerning the link between music and social structure. The musical exchanges with external cultures reflect not only the taste of the Falangaw people, but also the construction of their national identity. The key to the polyphony in vocal music of Falangaw lies in the technique of improvisation. This technique makes the musical form unstable and opens a possibility of the change of style. Therefore, the musical system itself is dynamic. The musicians consciously seeking a musical style consistent with the "tradition", the actual practice, however, leads to the contrary
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Sauda, Eric. "François Gervais musicien au Front de 1914 à 1919 : affirmation identitaire, sociale et artistique." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040025.
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François Gervais né à Blois en 1885, reçu bachelier en lettres et philosophie, commença très tôt des études musicales, obtenant, dès 1905, le second prix de violoncelle au Conservatoire de Paris. Entré en 1913 à l’orchestre des Concerts Lamoureux dirigé alors par Paul Paray, il était en tournée aux Pays bas quand il apprit la déclaration de la guerre. F. Gervais fut d’abord mobilisé au 313ème régiment d’infanterie, puis au 329ème jusqu’à la fin de la guerre. Malgré le fait qu’il soit parti au front sans instrument, il se distingue comme musicien jusqu’à la fin de l’année 1914. Mais au printemps de l’année 1915, F. Gervais qui souffre de l’absence de pratique instrumentale réclame auprès de ses supérieurs la permission de réaliser un violoncelle. L’instrument, fabriqué à partir des rares matériaux collectés, s’avère de qualité étonnante sur le plan acoustique. Néanmoins, il a été conçu pour obvier à toute avarie due à la vie de soldat, peu sédentaire et exposée aux intempéries. Pendant les périodes de repos à l’arrière, F. Gervais anime les troupes (concerts, revues et spectacles) et ne tarde pas à gagner l’estime de ses camarades et de ses supérieurs. Le plaisir de la pratique musicale quasi quotidienne retrouvé, F. Gervais, seul ou en formation avec d’autres camarades musiciens, jouera tout au long de la guerre, pour la détente des soldats entre deux montées en ligne. Démobilisé, il rentre au foyer avec ses souvenirs et son violoncelle. Survivant de cette guerre, il réintègre l’orchestre des Concerts Lamoureux dont il sera violoncelle solo en 1920. Il enseignera, par la suite comme professeur indépendant, (P. Tortelier sera son élève) et dans ses dernières années, il sera professeur au Conservatoire de Tours. Après sa mort en 1956, sa fille aînée Françoise Gervais conservera pieusement à son domicile, documents et violoncelle avant d’en faire don en 1999 à l’Historial de la Grande Guerre de Péronne (80)François Gervais was born in Blois in 1885. High school graduated in literature and philosophy he early started musical studies and obtained in 1905 the second prize of cello at the Conservatoire of Paris. In 1913 he joined the ochestra of the Concerts Lamoureux directed by Paul Paray. He was on tour in Netherlands when he heard the declaration of war. F. Gervais was first mobilized at the 313th infantry regiment then at the 329th till the end of the war. Above the fact that he went to the front without instrument, he’s distinguished as musician till the end of the year 1914. But in the spring of 1915, F. Gervais who’s suffering of the absence of music pratical, demand to his superiors the permission to build a cello. The instrument carried out with few collected material, reveals it’s surprising acoustic quality. Nevertheless, it’s been designed to obviate all damages caused by soldier’s living, quite sedentary and exposed to bad weather. During rest time behind the lines, F. Gervais entertains the troups (concerts, revues and shows) and rise in his friends and superiors’s estimation. The pleasure of pratical music regained nearly dayly, F. Gervais alone or in group with others musicians buddies, will play all during the war for the soldier’s relax between two moves to first line. Demobilized, he goes back home with his memories and his cello. Survivor of this war, he returns to the orchestra of Concerts Lamoureux and will become soloist cello in 1920. Later on, he will teach as independant professor (P. Tortelier will be his student) and in his last years, he will be professor at the conservatoire of Tours. After his death in 1956, his elder daughter Françoise Gervais will piousely keep at her domicile, the documents and the cello before to do a donation in 1999 to the french great war museum : l’Historial de la Grande Guerre de Péronne (80)
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Zadrozny, Ilse H. "Herwarth Walden's musical activities." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65531.
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Cerny, Frédéric. "Transcription, description et analyse fonctionnelle de l'activité musicale exploratoire d'enfants sur instrument de musique informatique." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040028/document.
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Cette étude de cas concerne des enfants âgés de 7 à 9 ans et demi, placés face à un instrument de musique informatique qu’ils n’ont jamais utilisé. Il s’agit de vérifier qu’un enfant, devant cet instrument, peut fabriquer une musique, sa musique, et d’étudier les vecteurs dynamiques orientant son activité musicale exploratoire. Nous émettons l’hypothèse qu’elle est bien évidemment musicale, mais surtout indépendante de l’instrument utilisé, et qu’elle s’appuie sur des pivots constitués à partir de l’instrument de musique ou de son utilisation, et non des seuls gestes effectués. L’analyse que nous menons est fonctionnelle. Pour l’effectuer, nous dressons de façon exhaustive le relevé des gestes observables et de la production musicale entendue. Nous décrivons ensuite le déroulement de chacune des séances observées, en tant qu’enchaînement de segments, caractérisés individuellement par un schème procédural particulier. Nous mettons en évidence la progressive évolution de ces schèmes, lesquels ont pour but de réussir, la réussite consistant dans la fabrication d’une musique, leur musique. Après avoir fractionné les séances en séquences, caractérisées par l’assimilation ou l’accommodation, nous confrontons les résultats obtenus pour en dégager la dynamique de l’activité musicale exploratoire et les pivots sur lesquels elle s’appuie, afin de définir la/les direction(s) musicale(s) empruntée(s) par les sujets lors de chaque séance. Nous terminons par une comparaison des résultats obtenus pour chaque enfant, afin d’en relever similitudes et différencesThis case study concerns children of 7;5 to 9;5 years old, without specific musical education, facing a musical computer instrument wich they have never used before. It is the matter of making sure that a child facing that instrument can make music, his music, and studying the dynamic vectors that direct the subjects’ exploratory musical activity. We put forward the hypothesis that these dynamics are of course musical, but, above all, independant of using the instrument. More, that they’re based on pivots made up from the musical instrument or the child’s use of it and not werely perpetrated movements Our analysis is functional. To make it, we draw up exhaustively, the statement of observable movements and heard musical production. We describe each studied session as a chain of segments, individually characterized by a particular procedural scheme. We underline these schemes’ progressive evolution. Their purpose is success; success consisting in this case of making music, the children’s own music. After dividing the sessions up into sequences, characterized by assimilation or accommodation, we look at the obtained results in order to bring out the dynamics of the musical exploratory activity and the pivots on which they are based, so as to specify the musical direction chosen by the subjects in each session. We finish by a comparison of the obtained results by each child, in order to note the similarities and the differences
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Redfern, Jane F. "Helping control Attention Deficit Disorder behaviour using musical activities." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79996.
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Thesis (MMus)--Stellenbosch University, 2013.ENGLISH ABSTRACT: As a recent graduate, I feel that young educators are graduating from South African universities and are teaching in schools without adequate knowledge of the various learning disabilities and behavioural disorders that many children suffer from. In the context of the Arts & Culture or music classroom, educators especially suffer as they are taught to encourage creativity. However, how can one differentiate between creative behaviour and disruptive behaviour and be certain that bad behaviour is not a symptom of a behavioural disorder? Upon graduation and starting to teach in the southern suburbs in the Western Cape, the researcher was struck by the number of children diagnosed with behaviour disorders and taking the stimulant medication Ritalin. Yet the notion of medicating a child for a behavioural disorder is not agreeable to many parents and educators to whom the researcher has spoken while researching this topic. The general feeling seems to be that a child should be given space to be creative, but a teacher cannot control a class of at least twenty-five children who are all claiming their own creative rights. This research explores various steps that a music educator can take to control a class of both medicated and non-medicated learners. The effects of music on the behaviour of learners diagnosed with Attention Deficit Disorder (abbreviated to ADD) have been investigated in various ways over the years and these are described in this thesis. Likewise, information on various prescription medications and non prescription medications that are available in South Africa are presented to offer options to an educator/parent faced with a child demonstrating behavioural problems. There is also substantiation that by increasing the intake of essential fatty acids and adjusting a child’s diet, one can positively enhance behaviour and concentration. The researcher discusses the various foods that should be avoided and those should be enjoyed generously. The researcher observed learners who were considered problematic in the general classroom in the form of observation of behaviours before and after each musical activity. Class educators were asked to assist the researcher by further observing the selected children’s behaviour in the following lesson.
AFRIKAANSE OPSOMMING: As ‘n onlangsgegradueerde, voel ek dat jong onderwysers aan Suid-Afrikaanse universiteite afstudeer en onderrig in skole begin gee sonder voldoene kennis van die verskeie leergestremdhede en gedragsafwykings waaraan ‘n groot hoeveelheid kinders ly. In die konteks van die Kuns en Kultuur of musiekklaskamer is dit vir onderwysers besonder moeilik omdat hulle geleer is om kreatiwiteit aan te moedig. Die probleem is hoe om te onderskei tussen kreatief en ontwrigtende gedrag en hoe om seker te wees of slegte gedrag nie ‘n simptoom van ‘n gedragsafwyking is nie. Na graduering en die begin van haar onderrigloopbaan in die suidelike voorstede van die Wes-Kaap is die navorser getref deur die getal kinders wat die stimulant medikasie Ritalin gebruik. Tog sou die meeste ouers en onderwysers waarmee die navorser gepraat het gedurende haar navorsing nie die gebruik van medikasie vir gedragsafwykings verkies nie. Die algemene gevoel is dat die kind die geleentheid gegun behoort te word om kreatiefe te wees, maar ‘n onderwyser kan nie ‘n klas van minstens vyf-en-twintig kinders onder beheer hou wat almal hul kreatiewe regte eis nie. Hierdie navorsing ondersoek verskillende stappe wat ‘n musiekonderwyser kan neem om ‘n klas te beheer met leerlinge wat op en sonder medikasie is. Die effek van musiek op die gedrag van leerlinge wat gediagnoseer is met Aandagafleibaarheidsindroom (afgekort na AAS) is reeds in verskeie vorme oor die jare ondersoek en word in hierdie tesis beskryf. Inligting aangaande verskeie voorskrif en nie-voorskrif medikasie wat in Suid-Afrika beskikbaar is, word verskaf om opsies te gee vir ‘n opvoeder/ouer wat gekonfronteer word met ‘n kind wat gedragsprobleme demonstreer. Daar is ook bewyse dat deur om die inname van essensiële vetsure te verhoog en ‘n kind se dieet aan te pas, gedrag en konsentrasie positief beinvloed kan word. Die navorser bespreek die verskeie kossoorte wat vermy behoort te word teenoor dié wat vryelik geniet kan word. Die navorser het leerlinge waargeneem wie se gedrag as problematies in die algemene klaskamer beskou was, voor en na elke musikale aktiwiteit. Klasonderwysers is gevra om die navorser by te staan deur verdere waarneming van die kinders se gedrag in die volgende les.
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Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.
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Hickok, Stephen Clyde Walls Kimberly C. "The relationships of parental involvement, motivating factors, and socioeconomic status to high school all-state choir and band membership." Auburn, Ala, 2009. http://hdl.handle.net/10415/1587.
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Champion, Susan Michele. "The musical activities found in selected Orff-Schulwerk elementary music classrooms /." Full text available from ProQuest UM Digital Dissertations, 2006. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1410676541&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1218549012&clientId=22256.
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Loureiro, Sonia Regina Catellino. "Música na educação infantil, além das festas comemorativas." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2014.
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This work focus on the importance of music in children s education. It was developed based on a case study approaching the practice of musical pedagogy of a teacher who teaches 4-to-5-year-old kids at a private owned kindergarten school located in São Paulo city. The interest to have chosen such a school was, in particular, meant to show how that teacher approaches music, aiming at making children s development easier and possible. Thus, the support was mainly based on authors such as Brito, Koellreutter, Schafer e Winisk, among others, in addition to the National Children Education Curricular Reference itself. Aiming at bringing subsidies to this study, the above mentioned authors have their theoretical framework based on the importance of playful experience, as of infantile cultures, silence, sonorous landscapes which outstand the sounds around us, the stimulus to attentively listen, the integration between sound and movement, the awakening to creativeness, the appreciation of a serious and planned improvisation in addition to acknowledge the sounds made by the kids themselves. Nevertheless, it was considered that for a successful pedagogical practice to exist, such as the one shown in this work, it is fundamental that, besides the theoretical reference, the child education teacher should have, at least a rather basic musical background. This being the case, the teacher will be able to make use of a more adequate musical education for today, in addition to contribute to children s own development.
Esta dissertação trata da importância da música para a educação infantil. Sua realização ocorreu mediante um estudo de caso que abordou a prática da pedagogia musical de uma professora que atua com crianças de 4 a 5 anos em uma escola infantil da rede particular de ensino situada no Município de São Paulo. O interesse em escolher esta escola, em especial, foi no sentido de demonstrar como essa professora aborda a música, tendo como objetivo facilitar ou possibilitar o desenvolvimento da criança. Para tanto, o apoio residiu principalmente em autores como: Brito, Koellreutter, Schafer e Winisk, entre outros, além do próprio Referencial Curricular Nacional de Educação Infantil. Com o intuito de trazer subsídios a este estudo, os autores citados possuem como arcabouço teórico a importância da experiência lúdica, das culturas infantis, do silêncio, da paisagem sonora evidenciando os sons que nos rodeiam, do estímulo a uma escuta atenta, da integração entre o som e o movimento, do despertar para a criatividade, de valorizar uma improvisação séria e planejada, além de reconhecer os sons produzidos pelas próprias crianças. Porém, considerou-se que para existir uma prática pedagógica de sucesso, como a demonstrada nesta dissertação, é importante que, além de percorrer este referencial teórico, é fundamental que a professora de educação infantil tenha, pelo menos, uma formação musical básica, além de sua formação em pedagogia. Assim, terá mais condições de desenvolver uma educação musical de forma mais adequada para os dias atuais, além de contribuir para o desenvolvimento das crianças.
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Nyströmer, Carl. "Musical Instrument Activity Detection using Self-Supervised Learning and Domain Adaptation." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280810.
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With the ever growing media and music catalogs, tools that search and navigate this data are important. For more complex search queries, meta-data is needed, but to manually label the vast amounts of new content is impossible. In this thesis, automatic labeling of musical instrument activities in song mixes is investigated, with a focus on ways to alleviate the lack of annotated data for instrument activity detection models. Two methods for alleviating the problem of small amounts of data are proposed and evaluated. Firstly, a self-supervised approach based on automatic labeling and mixing of randomized instrument stems is investigated. Secondly, a domain-adaptation approach that trains models on sampled MIDI files for instrument activity detection on recorded music is explored. The self-supervised approach yields better results compared to the baseline and points to the fact that deep learning models can learn instrument activity detection without an intrinsic musical structure in the audio mix. The domain-adaptation models trained solely on sampled MIDI files performed worse than the baseline, however using MIDI data in conjunction with recorded music boosted the performance. A hybrid model combining both self-supervised learning and domain adaptation by using both sampled MIDI data and recorded music produced the best results overall.I och med de ständigt växande media- och musikkatalogerna krävs verktyg för att söka och navigera i dessa. För mer komplexa sökförfrågningar så behövs det metadata, men att manuellt annotera de enorma mängderna av ny data är omöjligt. I denna uppsats undersöks automatisk annotering utav instrumentsaktivitet inom musik, med ett fokus på bristen av annoterad data för modellerna för instrumentaktivitetsigenkänning. Två metoder för att komma runt bristen på data föreslås och undersöks. Den första metoden bygger på självövervakad inlärning baserad på automatisk annotering och slumpartad mixning av olika instrumentspår. Den andra metoden använder domänadaption genom att träna modeller på samplade MIDI-filer för detektering av instrument i inspelad musik. Metoden med självövervakning gav bättre resultat än baseline och pekar på att djupinlärningsmodeller kan lära sig instrumentigenkänning trots att ljudmixarna saknar musikalisk struktur. Domänadaptionsmodellerna som endast var tränade på samplad MIDI-data presterade sämre än baseline, men att använda MIDI-data tillsammans med data från inspelad musik gav förbättrade resultat. En hybridmodell som kombinerade både självövervakad inlärning och domänadaption genom att använda både samplad MIDI-data och inspelad musik gav de bästa resultaten totalt.
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Harrison, Scott D., and n/a. "Musical Participation By Boys: The Role of Gender in the Choice of Musical Activities By Males in Australian Schools." Griffith University. Queensland Conservatorium, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040528.142148.
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This thesis seeks to examine the relationship between gender and musical participation by boys. The problem of males' non-participation in certain musical activities has been the subject of research for many years. This thesis considers some of the issues in relation to this phenomenon. The notion of gender is discussed. Historical and contemporary perspectives in stereotyping are investigated to determine the extent of the problem, with a view to enhancing the experience of boys in musical endeavours. There are no studies of this nature in existence in Australia and the existing research from other western cultures, while providing some basis, cannot be directly applied to this setting. Furthermore, existing studies have not brought about significant change in the gender order in music education. This project seeks to address these shortcomings. Masculinity in Australia is examined, with particular emphasis on the effects of hegemonic masculinity on those who do not fit this stereotype. Issues of bullying, depression and suicide are addressed. Empirical and sociological studies are re-examined in the light of more recent thought on the subject, particularly with regard to the possible causes of non-participation in singing and playing of certain instruments. The extent to which stereotyping of musical activities exists in Australian schools is reviewed through a series of studies of participation and literature. A number of subjects are interviewed to discover some of the reasons behind the choice of particular instruments. The thesis concludes with some perspectives arising from recent case studies of schools that have, to some extent, overcome some of the gender issues raised in earlier discussion. Constructs of masculinity and femininity effect musical participation in Australian schools and the extent of this effect is examined in this thesis.
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Fernandes, Thaty Mariana [UNESP]. "Atividades musicais urbanas em Ribeirão Preto nas primeiras décadas do século XX." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/93241.
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fernandes_tm_me_fran.pdf: 944846 bytes, checksum: 897883f8ad4b7f3445845c4193782a1d (MD5)A partir de notícias de jornal, relatos de memorialistas e os Códigos de Posturas Municipais da época, traçaremos um panorama das manifestações musicais, seus usos, seus ambientes e sua circulação. A música era apropriada como signo de modernidade, desenvolvimento e opulência, reforçando a imagem que se queria construir sobre a cidade nas duas primeiras décadas do século XX
From periodical notice, stories of memorialists and the Codes of Municipal Positions of the time, we will trace a panorama of the musical manifestations, its uses, its environments and its circulation. Music was appropriate as sign of modernity, development and opulence, strengthening the image that if wanted to construct on the city in the two first decades of XX century
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Sun, Chun-Yen Corre Christian Rault Lucie. "La pensée sociale et la notion de tradition dans les activités musicales chez les Amei de Falangaw à Taïwan." Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/SunThese.pdf.
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Lansdown, Louise. "The young Paul Hindemith : life, works, relationships, influences and musical activities until 1922." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495751.
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Paul Hindemith was born on 16 November 1895 in Hanau and died in Frankfurt on 28 December 1963. This dissertation examines his life, family, patrons, mentors, friendships and relationships with teachers alongside his compositional development from 1895 until 1922. Hindemith's compositional output before 1919 was largely produced with these individuals in mind (and dedicated accordingly), inspiring an eclectic combination of genres, including the so-called Puppenspiele and Dramatische Meisterwerke.
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Rojas, C. Pablo. "Le développement du savoir-faire musical." Paris, EHESS, 2015. https://halshs.archives-ouvertes.fr/tel-01231756.
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Ce travail de thèse a pour objet le développement du savoir-faire musical. Il s'agit de conceptualiser la façon dont un apprenti instrumentiste s'approprie les savoir-faire des générations antérieures de musiciens. Nous nous appuyons pour cela sur les données d'un recueil longitudinal d'enregistrements de cours d'instruments (guitare, piano et violon). Notre enquête part de l'intuition que le phénomène musical renvoie à un flux animé, un mouvement qui traverse le champ subjectif et le corps. L'écoute musicale requiert alors la participation du sujet - ce qui relève d'un savoir-faire. S'esquisse ainsi une forme de continuité entre perception et savoir-faire qui renvoie à la communauté structurelle de leurs modes de constitution et à leur expressivité intrinsèque. Dès lors, le mouvement qui incarne le phénomène musical n'est pas seulement cinétique mas aussi kinesthésique. Le développement du savoir-faire instrumentiste passe par celui de la topographie musicale de l'instrument ; ce qui intervient à travers un processus d'exploration où l'apprenti exerce son oreille, éduque son attention, et apprend des gestes spécifiques taillés pour la morphologie de son corps et les caractéristiques de son instrument. La transmission intersubjective d'un savoir-faire (musical ou autre) s'appuie en général sur le tutorat qui associe maître et apprenti dans une relation de compagnonnage didactique. Ce processus ne consiste pas à transmettre à l'apprenti des schèmes tout faits mais à le conduire à former ses propres gestes ; des gestes d'une efficacité harmonieuse, conformes à une tradition, dont l'enjeu n'est pas seulement praxique mais aussi esthétique, mythique et stylistiqueThe present thesis bears on the development of musical skills. It attempts to conceptualize the way an upcoming instrumentalist learns the skills developed by previous generations of musicians. Our research is based on longitudinal fieldwork and recordings of lessons of musical instruments (guitar, piano and violin). We start with the intuition that musical phenomena are best characterized as an animated flux, a motion carried on and across the body and the subjective field. Musical listening thereby requires active participation on the part of the subject - and forms a skill. There is an intimate connection between perception and skill due to structural community of their modes of constitution and their expressive quality. Hence, the motion that incarnates musical phenomena is not only kinetic, but kinesthetic. As she progresses through the arcana of instrumentalist craftsmanship, the apprentice develops the musical topography of her instrument. She does so via an exploratory process by which she trains her ears, educates her attention, and learns gestures that are cut out to the morphology of her body and the characteristics of the instrument. Skill transmission (musical or otherwise) usually requires tuition, a process by which instructor and apprentice engage in a form of didactic companionship. Rather than attempting to hand over ready-made schemes, the process of tuition brings apprentices to form their own gestures. These gestures aim to be harmoniously effective, compliant with tradition, yet their motivation is not merely practical, but also aesthetic, stylistic and mythical
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Reeve, Edward M. "Brain electrical activity assessment of concurrent music and event-related potential cognitive tasks /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583620978.
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Rontani, Marcos 1959. "Escola de Música de Piracicaba Maestro Ernst Mahle - EMPEM : percurso histórico e princípios pedagógicos." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285268.
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Orientador: Eduardo Augusto OstergrenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O primeiro capítulo deste trabalho trata da biografia dos três principais fundadores. As idéias musicais de Hans Joachim Koellreutter foi o que incentivou Ernst Mahle ¿ diretor artístico da instituição musical ¿ a inserir um ensino livre de música ; o Diretor e Maria Apparecida Romera Pinto por meio das atividades musicais, artísticas, educacionais, proporcionaram um desenvolvimento pedagógico para o ensino musical. No segundo capítulo, abordamos a história da Escola Livre de Música da Pró-Arte de São Paulo, a História da Sociedade de Cultura Artística de Piracicaba e seu fundador Fabiano Lozano, bem como as suas contribuições para o público piracicabano e o surgimento da idéia, levando à concretização da fundação da Escola de Música de Piracicaba, com os seus primeiros professores e os primeiros alunos. No terceiro capítulo, demonstramos a filosofia de vida, a metodologia e a pedagogia de ensino criada por Ernst Mahle favorecendo os alunos da sua escola, e também a experiência de Maria Apparecida Romera Pinto como professora de iniciação musical e diretora administrativa; o ensino musical que vivenciamos na escola nos anos sessenta do século XX; os corais para crianças e adultos, os concursos para jovens instrumentistas e as óperas escritas por Ernst Mahle que colaboraram para a sua metodologia e, finalizando, apresentamos o relato de alguns ex-alunos que seguiram a carreira musical. Sobre a parte do anexo, pensamos ser importante deixar como ponto de referência exemplos de algumas obras que foram utilizadas no processo de educação musical, inclusive os programas que foram executados em épocas diversas no decorrer da existência da Escola de Música. Como documentação adicional, incluímos também depoimentos e entrevistas no preparo desta dissertação
Abstract: The first chapter of this work deals with the biography of the three main founders of the School of Music of Piracicaba and their teaching methodology that was applied and refined over the years by faculty and students. The Hans Joachim Koellreutter methodology, the germinal ideia that encouraged Ernst Mahle ¿ Artistic Director of the musical institution ¿ to initiate a free music education process; Maria Apparecida Romera Pinto, its first Managing Director, who contributed to the pedagogical development of musical education thanks to her numerous musical, artistic and educacional activities. The second chapter discusses the history of the Pro - Arte Free School of Music of Sao Paulo, the history of the Society of Artistic Culture of Piracicaba, its founder Fabiano Lozano, their artistic contributions to the Piracicaba public and the emerging idea that led to the establishment of the School of Music of Piracicaba, its first teachers and the first students. In the third chapter we discuss the philosophy of live, the teaching principles and methodology created by Ernst Mahle that motivated students in the school, and the experience of Maria Apparecida Romera Pinto at the head of the school in the 1960¿s. It also examines the activities of children¿s and adult¿s choirs, competitions for young musicians and the performance of operas written by Ernst Mahle that helped reinforce his teaching methods and a final report of former students that were educated in this school and are now pursuing successful music careers. In the annex, because we believe in the importance of leaving as reference a few examples of musical works that were employed in the musical education process, including printed programs that document the many artistic School realizations throughout the years. We also thought it important to include interviews and testimonials given to this author during the preparation of this work
Mestrado
Fundamentos Teoricos
Mestre em Música
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Souza, João Ricardo de. "Os cancionistas urbanos e a educação musical infantil: estudos de caso: Colégios Clip e Passionista São Paulo da Cruz (SP 1996-2006)." Universidade Presbiteriana Mackenzie, 2007. http://tede.mackenzie.br/jspui/handle/tede/1889.
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Previous issue date: 2007-03-13Within this project we shall try to show the links between urban children s nursery rhymes, their history, structure, methods of production and their practical use within the class room, being used in musical activities for children aged between seven and ten years of age, helping to create a musical base. The project will involve students from two different schools in Sao Paulo. The research will consist of three chapters arranged in the following manner: The first chapter studies traditional nursery rhymes through their historical and cultural origins; we shall be aiming to analyze their inherent musical and poetical structures. The main emphasis of this chapter will be to show how this type of traditional nursery rhyme has evolved since the beginning of the last century and how they are presented today. In the second chapter we shall focus on a more specific area, being modern urban nursery rhymes from the city of Sao Paulo. We have selected three of the main composers from this area and through interviews we shall be looking to get closer to this very specific area within the musical field; which is now calling a lot of attention as a social project. The third chapter will be a practical exercise, creating two original songs, designed specifically for use within the class room and also in local choirs; This chapter will also include activities developed with pupils from the two participating schools.
Neste trabalho procuramos traçar paralelos entre a canção infantil urbana sua história, sua estrutura, meios de produção e divulgação e sua utilização prática em sala de aula, nas atividades de musicalização infantil com crianças do primeiro ciclo do ensino fundamental de dois colégios localizados na Grande São Paulo. A pesquisa consta de três capítulos dispostos da seguinte maneira: O primeiro capítulo aborda a canção popular a partir de suas matrizes históricas e estéticas, buscamos analisar suas estruturas inerentes às formas musicais e poéticas. O foco central deste capítulo foi mostrar como este gênero se desenvolveu a partir do início do século passado e como hoje se apresenta. No segundo capítulo procuramos fechar o foco de nossas observações num fenômeno mais específico que é a canção infantil urbana da cidade de São Paulo. Selecionamos três de seus principais protagonistas e por intermédio de entrevistas, procuramos nos aproximar deste universo bem específico dentre as atividades artísticas e que hoje estão merecendo bastante atenção enquanto fenômeno social. O terceiro capítulo procura relatar a aplicação de duas canções originais, criadas com o objetivo de serem cantadas por crianças em sala de aula e prática de canto coral, além das atividades desenvolvidas com alunos das duas instituições de ensino durante as aulas de musicalização.
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Ghomi, Emilien. "Designing expressive interaction techniques for novices inspired by expert activities : the case of musical practice." Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00839850.
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As interactive systems are now used to perform a variety of complex tasks, users need systems that are at the same time expressive, efficient and usable. Although simple interactive systems can be easily usable, interaction designers often consider that only expert practitioners can benefit from the expressiveness of more complex systems. Our approach, inspired by studies in phenomenology and psychology, underscores that non-experts have sizeable knowledge and advanced skills related to various expert activities having a social dimension -such as artistic activities-, which they gain implicitly through their engagement as perceivers. For example, we identify various music-related skills mastered by non-musicians, which they gain when listening to music or attending performances. We have two main arguments. First, interaction designers can reuse such implicit knowledge and skills to design interaction techniques that are both expressive and usable by novice users. Second, as expert artifacts and expert learning methods have evolved over time and have shown efficient to overcome the complexity of expert activities, they can be used as a source of inspiration to make expressive systems more easily usable by novice users. We provide a design framework for studying the usability and expressiveness of interaction techniques as two new aspects of the user experience, and explore this framework with three projects. In the first project we study the use of rhythmic patterns as an input method, and show that novice users are able to reproduce and memorize large vocabularies of patterns. This is made possible by the natural abilities of non-musicians to perceive, reproduce and make sense of rhythmic structures. We define a method to create expressive vocabularies of patterns, and show that novice users are able to efficiently use them as command triggers. In the second project, we study the design and learning of chording gestures on multitouch screens. We introduce design guidelines to create expressive chord vocabularies taking the mechanical constraints and the degrees of freedom of the human hand into account. We evaluate the usability of such gestures in an experiment and we present an adapted learning method inspired by the teaching of chords in music. We show that novice users are able to reproduce and memorize our vocabularies of chording gestures, while our learning method can improve long-term memorization. The final project focuses on music software used for live performances and proposes a framework for designing "instrumental" software allowing expert musical playing and having its elementary functionalities accessible to novices, as it is the case with acoustic instruments (for example, one can easily play a few chords on a piano without practice). We define a design framework inspired by a functional decomposition of acoustic instruments and present an adapted software architecture, both aiming to ease the design of such software and to make it match with instrument-making. These projects show that, in these cases: (i) the implicit knowledge novices have about some expert activities can be reused for interaction; (ii) expert learning methods can inspire ways to make expressive systems more usable novices; (iii) taking expert artifacts as a source of inspiration can help creating usable and expressive interactive systems. In this dissertation, we propose the study of usability as an alternative to the focus on immediacy that characterizes current commercial interactive systems. We also propose methods to benefit from the richness of expert activities and from the implicit knowledge of non-experts to design interactive systems that are at the same time expressive and usable by novice users.
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Bernardon, Karine. "Vers un facteur explicatif de la réussite de l'expérience de consommation culturelle ou les conditions d'une satisfaction partagée par le public et les interprètes d'un spectacle vivant : le cas de la comédie musicale Notre Dame de Paris." Paris 1, 2006. http://www.theses.fr/2006PA010079.
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Lors de différentes représentations d'un même spectacle vivant, pourquoi l'échange qui s'établit entre le public et les artistes est-il différent? Pourquoi l'ambiance varie-t-elle? Quels sont les éléments de nature à influencer la satisfaction ressentie par chaque individu? Quelles sont les conditions d'une expérience culturelle idéale, c'est-à-dire, d'une satisfaction partagée par les interprètes et les spectateurs? Telles sont diverses préoccupations communes à de nombreux artistes. Ces questions demeurent, jusqu'à présent, sans réponse. La présente étude tente de comber ce manque. Cette recherche exploratoire, de nature qualitative se fonde sur une étude de cas unique : la comédie musicale "Notre Dame de Paris". Le chercheur a recours à la théorie enracinée. Deux points de vue sont abordés : celui des consommateurs et celui des médiateurs entre l'oeuvre et le public. Les différentes motivations de consommation et d'interprétation de la comédie musicale en question, les diverses réponses expérentielles du public et des artistes qu'elle suscite, les perceptions hétérogènes de l'ambiance qui règne durant la représentation et enfin, les sources de satisfaction (ou d'insatisfaction) éprouvée par chacun sont comparées. Les résultats obtenus aboutissent à une meilleure compréhension de l'expèrience de consommation culturelle et à des recommandations, estinées aux producteurs de spectacles vivants, en termes de recrutement des interprètes d'une troupe et e stratégies politiques de communication, visant à favoriser le succès du spectacle produit.
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Daley, Paul B. (Paul Byron). "An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500894/.
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This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.
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Hennessey, Jaclyn Giovanello Kelly. "Differential neural activity during retrieval of specific and general autobiographical memories derived from musical cues." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2903.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2010.Title from electronic title page (viewed Jun. 23, 2010). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Psychology." Discipline: Psychology; Department/School: Psychology.
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Harris, Philip Geoffrey. "Cortical activity associated with rhythmic grouping of pitch sequences." Australasian Digital Thesis Program, 2007. http://adt.lib.swin.edu.au/public/adt-VSWT20071001.113258/index.html.
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Thesis (PhD) - Swinburne University of Technology, Brain Sciences Institute, 2007.A thesis for Doctorate of Philosophy, Brain Sciences Institute, Swinburne University of Technology - 2007. Typescript. Bibliography: p. 245-285.
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Fernandes, Thaty Mariana. "Atividades musicais urbanas em Ribeirão Preto nas primeiras décadas do século XX /." Franca : [s.n.], 2008. http://hdl.handle.net/11449/93241.
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Orientador: Tânia da Costa GarciaBanca: Pedro Geraldo Tosi
Banca: Jacy Alves Seixas
Resumo: A partir de notícias de jornal, relatos de memorialistas e os Códigos de Posturas Municipais da época, traçaremos um panorama das manifestações musicais, seus usos, seus ambientes e sua circulação. A música era apropriada como signo de modernidade, desenvolvimento e opulência, reforçando a imagem que se queria construir sobre a cidade nas duas primeiras décadas do século XX
Abstract: From periodical notice, stories of memorialists and the Codes of Municipal Positions of the time, we will trace a panorama of the musical manifestations, its uses, its environments and its circulation. Music was appropriate as sign of modernity, development and opulence, strengthening the image that if wanted to construct on the city in the two first decades of XX century
Mestre
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Narčytė, Rūta. "Karininkų Ramovės choro veikla puoselėjant muzikinę kultūrą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050616_125650-50672.
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When Lithuania became the competent member of the European Union, the goals of the perfection of the society became extremely topical. The activity, creativity and self-expression of an individual are important factors of the development of the democratic society, and personality. Because of the information, which is becoming more complicated and plentiful, the necessity of the constant training arises, which makes up the prerequisite for the development of the human values.
The value of the artistic training becomes eminently important while creating the intellectual, competent and creative society of information. Therefore, the informal artistic training of the adults tends to be much more widespread form of education in modern society, and that helps to individual to enlarge his cultural interests, to form his creative power, and to become the active citizen of the democratic society.
The choral singing, as the individual value, becomes apparent in the particular cultural context and becomes the way of the appeasement of self-expression. Therefore, it is very important to make its behaviour become live and significant to the society and individual.
While analysing the purpose of the choir in the context of musical self-expression of an individual, it becomes apparent that we have to consider the level of the musical culture of the chanters, their musical capability and needs, to plan the repertoire of the choir, which corresponds vocal-technical capabilities and... [to full text]
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Leskauskas, Aidas. "Informacinės komunikacinės ir multimedijos technologijos kaip mokinių muzikinės veiklos skatinimo veiksnys." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_174252-68609.
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Informacinės komunikacinės ir multimedijos technologijos švietimo sistemoje sudaro visas galimybes ugdyti šiuolaikišką pilietį, pasirengusį gyventi elektroninėje erdvėje. Stengiamasi, kad šios technologijos būtų integruojamos į visų dalykų mokymą. Šiandieniniame muzikos mokyme ir mokinių muzikinėje veikloje IKT ir multimedijos technologijos sudaro neribotas galimybes mokinių asmeninėms bei kūrybinėms išraiškoms.
Valstybinėse švietimo strategijos nuostatose 2003 – 2012m. ypatingas dėmesys skiriamas originalių mokomųjų kompiuterinių programų, garso, grafikos ir vaizdo priemonių (multimedijos technologijų), interneto pritaikymui ugdymo procese, akcentuojamos IKT panaudojimo galimybes integruojant jas į kitų dalykų mokymo programas, tame tarpe ir muzikos. Viena iš svarbiausių sėkmingo muzikinio ugdymo ir veiklos sąlygų yra mokėjimas jas valdyti.
Magistro baigiamojo darbo mokslinė problema orientuota į IKT ir multimedijos technologijų įtaką mokinių muzikinei veiklai ir šios veiklos skatinimui.
Darbo tikslas – atskleisti informacinių komunikacinių ir multimedijos technologijų panaudojimo kaip skatinimo veiksnio galimybes mokinių muzikinėje veikloje.
Tyrimo uždaviniai:
1. Apžvelgti informacinių komunikacinių ir multimedijos technologijų taikymo muzikinėje veikloje teorinius aspektus.
2. Atskleisti mokytojų ir mokinių požiūrį į informacinių komunikacinių ir multimedijos technologijų taikymą muzikiniame ugdyme.
3. Nustatyti informacinių komunikacinių ir multimedijos technologijų... [toliau žr. visą tekstą]Informative communicative and technologies of multimedia are great aspects to educate a present day citizen ready to live in an electronic space in an educational system. It is necessary to integrate all these technologies into teaching of all subjects. Technologies of multimedia gives a great opportunity for personal and creative student’s side in the musical education of present day and student’s musical activities informative communicative technologies. The special attention is paid to the original computer program, sound, graphics, means of video (technologies of multimedia) and the internet in the public educational norms of 2003 – 2012. The greatest attention is paid to informative communicative technologies opportunities, especially in musical education. The most important and successful aspect is an ability to operate them. The problem of the master final work is mainly concentrated to informative communicative technologies and influence of technologies of multimedia to musical activities of students and its promotion. The purpose of the work – to show the importance of informative communicative and technologies of multimedia in student’s musical education. The aims of research: 1. To overview the theoretical aspects of informative communicative and technologies of multimedia. 2. To show the teachers and student’s altitude towards informative communicative and technologies of multimedia in musical education. 3. To determine the influence of informative communicative... [to full text]
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Burgh, Theodore William. "Do you hear what I hear? A study of musical instruments and musical activity in Iron Age Israel/Palestine and surrounding cultures of the ancient Near East." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284124.
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It is true that the music of antiquity is now mute, but archaeology has provided valuable artifacts pictorial representations showing musical activity and musical instruments of the ancient world. Several scholars have conducted paramount research regarding music from every period in the ancient Near East, and contributed greatly to the field. Further study, however, is required. This paper presents new questions to previously studied Near Eastern musical artifacts and iconography. These queries explore the areas of identifying instruments in artifacts and iconographic depictions, performance techniques, gender identification of musicians in depictions, and the use of space in cultic activities involving music. The goal of this study is to shed additional light and generate further discussion in these areas of musical activity in the Ancient Near East. As expected, this study is difficult. Nevertheless, these questions must be addressed in an effort to better understand music activity in ancient Israel/Palestine and surrounding Near Eastern cultures.
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Statkevičiūtė, Eglė. "Socialinės ir kultūrinės aplinkos įtaka ikimokyklinio amžiaus vaiko muzikinei veiklai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080925_115738-50637.
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Socialinė aplinka įtakojo ir įtakoja tolimesnį žmogaus pasirinkimą, požiūrį į kai kuriuos asmeninius ir kultūrinius reiškinius. Šeima išlieka ir šiais laikais išlieka visko pagrindu, o ypač ikimokyklinio amžiaus vaikui, nes jam svarbiausia tėvų ir kitų šeimos narių nuomonė apie bet kurią jo veiklą. Vaiko ir tėvų santykių nuoširdumo vaisiai neabejotinai įtakoja vaiko gebėjimus, pozityvų požiūrį į bendravimą bei kolektyvinę (taip pat muzikinę) veiklą. Darbo autorė, kiekvieną rytą stebėdama vaikų ir jų tėvų elgesį pirmomis vaiko buvimo darželyje minutėmis, siekė atskleisti šio momento svarbą visos dienos vaiko muzikinei (ir bendrai kultūrinei) veiklai. Iš gautų tyrimo rezultatų galima daryti išvadą, kad kasdieninė veikla bei artimiausia aplinka daro didžiulę įtaką vaiko požiūriui į aplinkinius, į muzikinę veiklą, savęs kaip muzikinės veiklos dalyvio suvokimą. Šeimos narių įtaka muzikinei vaiko veiklai ir jo muzikiniams prioritetams daro neabejotiną įtaką. Tai neabejotinai įtakoja vaiko intonacinio žodyno, muzikinio skonio, muzikinių preferencijų formavimąsi.The social environment has always influenced and still influences the further choice of a person, his attitude towards some of the personal and cultural phenomena. The family remains the basis of everything nowadays, especially for the preschool child, as the opinion of his parents and other members of the family about any of his activities is very important. The progeny of the sincerity between children and parents undoubtedly influence the child’s abilities, positive attitude towards the communication and collective (as well as musical) activity. The author of the paper, every morning observing the behavior of children and parents during the first minutes of their presence at the kindergarten, sought to reveal the significance of this moment to the musical activity of the child (and general culture) for the whole day. The results of the research enable to come to such conclusions, that everyday activity and the closest environment makes a huge influence on the child’s attitude towards the surrounding people, musical activity, self-consciousness as a participant of the musical activity. The family members have an undoubtedly big influence on the musical activity of the child and his musical priorities. This, without doubt, influences the development of the child’s vocabulary of intonation, musical taste and musical preferences.
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Kasperavičiūtė, Roberta. "Paauglių patyčios bendraujant su bendraamžiais dalyvaujančiais muzikinėje veikloje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130612_151106-67821.
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Patyčios – tai sąmoningas, neišprovokuotas veiksmas prieš vieną ar kelis asmenis, siekiant sukelti nuolatinius prievartos ar įžeidinėjimų modelius. Patyčios pasireiškia įvairiomis formomis: žodiniu užgauliojimu, ignoravimu ar atstūmimu, fiziniais išpuoliais, reketu, daiktų atiminėjimu ir laužymu bei nemalonių užrašų rašymu. Patyčių reiškinys masiškai paplitęs visame pasaulyje, su juo susiduriama kasdien. Pirmi patyčių reiškinio paplitimo tyrimai pasirodė Švedijoje, vėliau patyčių reiškiniu susidomėjo kitos šalys. Pasaulio Sveikatos Organizacijos tyrimo duomenimis, Lietuvoje apie 70 proc. vaikų bent kartą yra patyrę bendraamžių patyčias. Analizuojant užsienio ir lietuvių mokslinę literatūrą matome, kad patyčios, tai opi problema mūsų visuomenėje, kuriai reikalinga efektyvi prevencinė programa. Analizuojant mokslinę literatūrą pastebėta, kad tyrimų patyčių tema nėra daug, o siekiant išsiaiškinti moksleivių, dalyvaujančių muzikinėje veikloje patiriamas patyčių apraiškas, nebuvo rasta. Tai inspiravo idėją ištirti patyčių reiškinį tarp panašaus amžiaus paauglių (dalyvaujančių ir nedalyvaujančių) muzikinėje veikloje bendravimo ypatumus, išskiriant patyčių reiškinio apraiškas. Tyrimu siekiama išsiaiškinti, ar muzikinė veikla inspiruoja patyčių reiškinio apraiškas paauglių tarpe. Tyrimo tikslas – atskleisti paauglių bendravimo ypatumus su bendraamžiais, dalyvaujančiais muzikinėje veikloje. Tyrimo uždaviniai: atskleisti teorinius patyčių sampratos aspektus; numatyti patyčių... [toliau žr. visą tekstą]Bullying is a deliberate, unprovoked action against one or a few persons, seeking to create constant abuse or harassment models. Bullying can be expressed in different forms, e.g. verbal abuse, disregard or repulse, physical attacks, ratchet, damaging or stealing things and as well, nasty notes. The phenomenon of bullying is widely spread in a whole world and students encounter it every day. The first studies on the prevalence of bullying were carried out in Sweden. Later other countries also started to pay attention to this problem. According to the World Health Organization survey results, 70% of Lithuanian children have at least once been bullied. While analysing the Lithuanian and foreign scientific literature, it becomes evident, that bullying is a relevant problem of the contemporary society and it requires an efficient prevention programme. The analysis of the scientific literature disclosed that there have been only a several investigations performed on the topic of bullying. Moreover, one could not find any bullying manifestations about students participating in a musical activity. This fact inspired the idea to investigate the phenomenon of bullying among the similar age teenagers (participating and not participating in a musical activity) communication peculiarities, distinguishing the manifestation of the bullying as a phenomenon. This study aims to determine whether a musical activity inspires the phenomenon of bullying among teenagers. The aim of the research is... [to full text]
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Liao, Hui-Chen. "Louis Laloy (1874-1944), ses activités et son influence sur les compositeurs français inspirés par la civilisation chinoise entre 1900 et 1940." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040213.
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L’objectif de la thèse est d’étudier Louis Laloy (1874-1944), ses activités et son influence sur les compositeurs français inspirés par la civilisation chinoise entre 1900 et 1940. Musicologue, librettiste et compositeur, Louis Laloy fut à la fois grand promoteur de la musique de Claude Debussy, critique musical prolifique, secrétaire général de l’Opéra de Paris et professeur d’esthétique chinoise à l’Institut des Hautes Études Chinoises et d’histoire de la musique au Conservatoire de musique de Paris. Il est cependant peu connu du grand public, malgré ses participations actives et diverses au milieu musical et artistique. En outre, en lisant son Miroir de la Chine, nous apprenons qu’il a entretenu des relations avec des personnalités chinoises et a participé aux événements significatifs et à la fois inédits dans l’histoire des relations culturelles franco-chinoises. Fort de ces premiers éléments, notre travail se propose d’aborder trois aspects : la personnalité de Louis Laloy, les relations franco-chinoises à travers les engagements de Louis Laloy et l’analyse des écrits sur la musique chinoise ainsi que des œuvres musicales d’inspiration chinoise entre 1900 et 1940. La problématique de notre sujet est d’éclaircir le rapprochement entre la théorie musicale et la production musicale, c’est-à-dire, de donner un sens aux liens entre les écrits et les processus créatifs compositionnels. Par ailleurs, l’analyse des fondements théoriques et de l’esthétique chinoise permettra d’engager une réflexion plus générale sur les stratégies du langage musical dans les œuvres dites « à la chinoise », produits d’une délicate alchimie opérée entre techniques occidentales et conceptions artistiques chinoisesThe main objective of this thesis is to study Louis Laloy (1874-1944), his activities and his influence on French composers who were inspired by the Chinese civilization between 1900 and 1940. Musicologist, librettist and composer, Louis Laloy was a great promoter of Claude Debussy’s music, a prolific critic, the Secretary-general of the Opera de Paris, the professor of Chinese aesthetics at the Institute of Advanced Chinese Studies and the professor of the history of music at the Paris Conservatory. He is, however, little known to the general public despite of his active and diverse participations in the musical and artistic environment. In addition, by reading his writing “Mirror of China”, we learn that he has maintained relations with Chinese personages and has participated in novel and significant events in the history of cultural relations French-Chinese. By virtue of these interesting elements, our work proposes to address three aspects: the personality of Louis Laloy, the cultural relationship between the France and China through the Louis Laloy’s commitments, and the analysis of the writings on Chinese music and of the compositions filled with Chinese inspiration between 1900 and 1940. Our topic is to clarify the rapprochement between the musical theory and the musical production, i.e. to suggest the links between writings and creative processes. Furthermore, the analysis of the theories and Chinese aesthetics will allow engaging a broader reflection on the strategies of musical language in the works so-called "in Chinese", which are the delicate alchemies produced by the Western techniques and Chinese artistic conception
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Cohen, Richard Scott. "The musical society community bands of Valencia, Spain a global study of their administration, instrumentation, repertoire, and performance activities /." Tutzing : Schneider, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49229037.html.
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Maestrello, Dino. "Trompete: aspectos físicos e orgânicos da performance musical - proposta de atividade física para melhor desempenho e manutenção da performance." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-31082015-134355/.
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A performance no trompete apresenta, além do contexto estético e musical, considerável componente físico, uma vez que o instrumento amplifica os sons \"produzidos\" pelo corpo. Neste ponto, o trabalho coordenado das diversas estruturas corporais (físicas e orgânicas) empregadas na execução do trompete exige do músico certo grau de desenvolvimento físico. O objetivo da pesquisa pauta-se na análise destas estruturas sobre uma proposta de atividades físicas, em sentido a manter e melhorar a performance no instrumento. Em um primeiro momento procura-se definir a atividade física em seu âmbito geral, benefícios, possibilidades de trabalho e atuação de profissionais. Tais conceitos são empregados posteriormente na análise dos diversos fatores utilizados no âmbito da performance, tais como a respiração, identificando as principais estruturas pulmonares e a respiração aplicada a performance; o \"aquecimento\" como preparação para atividade, com o exame de tradicionais estudos calistênicos; e a embocadura, desde pontos simples como dentes e ossos, até temas mais complexos como coluna de ar, vibração labial, vocalização e projeção. Todos estes temas sempre baseados em literatura e metodologia específicas do instrumento e de áreas congêneres ao assunto. A parte derradeira fica a cargo da pesquisa de campo, onde instrumentistas de sopro são questionados sobre diversos pontos do estudo/performance. Em linhas gerais, a análise demonstrou que 68% da população optam pela atividade física, e que 46% têm a mesma como forma de condicionamento para fins de saúde. Na parte específica dos instrumentos de sopro, os exercícios técnicos mais apontados são à respiração (35%), notas longas (17%) e a flexibilidade (11%). Dentre as exigências físicas mais proeminentes sobre a prática, a capacidade pulmonar é o ponto de maior consenso (53%), seguido da resistência muscular (21%). Após análise entre teoria, exemplos musicais e dados práticos coletados, conclui-se que atividade física auxilia na prática instrumental, em sentido a minimizar as exigências físicas impostas aos músicos. Apresenta-se em sequencia uma proposta de exercícios físicos baseada nos principais pontos utilizados no desempenho. Esta fica a critério de exercícios de alongamento, atividades aeróbicas (andar, correr, nadar) e ações de sobrecarga; nas questões específicas podem ser aplicados exercícios fonoaudiológicos simples e metodologia pertinente a cada instrumento.The performance on the trumpet presents, besides the musical and aesthetics context, considerable physical component, considering the instrument as an amplifier of the sound \"produced\" by our body. At this point, the coordinated work of several body structures (physical and organic) employed on trumpet performance demands from the player high levels of physical development. The objective of this research denotes the analysis of these structures about a physical activities propose, in a way to maintain and improve trumpet\'s performance. First, we define physical activity in general focus; benefits, possibilities of work and professional attendance. The concepts explained before are now employed on the analysis of other factors, considering the performance environment, such as breathing, identifying main lung structures and the breathing process applied to performance; the \"warm-up\" as a preparation to the activity, with analysis of the traditional calisthenics exercises, the embouchedure, since simple points (teeth and bones) until more complex subjects like air column, lip vibration, vocalize and projection. Everything based on the specific methodology of the trumpet and related areas. The last part is presented by the public research, where wind players are interviewed about all aspects of performance and study. In general, the interview shows us that 68% of the population choose the physical activity, and 48% place it for health purpose. On the specific instrument themes, the most answered exercises are breathing (35%), long notes (17%) and flexibility (11%). About the main physical demanding on practice, the lung capacity is the point of consensus (53%), followed by muscular endurance (21%). After an explanation among points from theory, musical examples and collected dates from the interviews, we conclude the physical activity as a useful toll to decrease the physical demanding faced by the players. In such way we present a propose with physical exercises based on the main body functions employed on performance. It is based on stretching exercises, aerobic activities (walking, running, swimming) and weight-lifting actions; specific procedures of each instrument may be applied, as well simple speech science exercises.
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Suchorukovienė, Lina. "Sustiprinto muzikinio ugdymo vaidmuo formuojant pradinių klasių mokinių muzikinius interesus." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_182902-35185.
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Sustiprintas muzikinis ugdymas pradinėje mokykloje sudaro ypatingas sąlygas vaiko muzikiniam augimui. Tam, kad muzikiniai interesai netaptų trumpalaikiais ir atsitiktiniais, reikia juos nukreipti į pastovių interesų vagą. Ypatingai sėkmingai formuojasi muzikiniai interesai tada, kada jų ugdymas tikslingai nukreipiamas žemesnėse klasėse. Tuomet galima išugdyti mokinių domėjimąsi įvairiažanre muzika.
Šio tyrimo tikslas – įvertinti ir nustatyti, kokią įtaką vaikų muzikiniams interesams turi sustiprintas muzikinis ugdymas pradinėje mokykloje. Tyrimo objektas - pradinių klasių mokinių muzikinių interesų formavimo efektyvinimas. Keliama tyrimo hipotezė, kad tik sustiprintas muzikinis ugdymas gali užtikrinti įvairiapusių muzikinių interesų ugdymo efektyvumą.
Tikrinant hipotezę buvo įgyvendinti tokie tyrimo uždaviniai: 1) išanalizuota literatūra apie interesų, taip pat muzikos interesų ugdymą; 2) atliktas tyrimas ir nustatytas sustiprinto muzikinio ugdymo pradinėse klasėse efektyvumas, formuojant įvairiapusius vaikų muzikinius interesus.
Atliekant empirinį tyrimą taikyti šie metodai: anketinė apklausa, aprašomoji statistika, interviu. Tyrimo metu apklausti Prienų Nemuno pradinės mokyklos, kurioje dirbama pagal sustiprinto muzikinio ugdymo programą, 2–4 klasių mokiniai: 181 mokinys, lankantis sustiprintą muzikinį ugdymą ir 54 mokiniai, nepasirinkę šio ugdymo. Interviu tyrimu buvo apklausti 6 gimnazijos moksleiviai, kurie pradinėje... [toliau žr. visą tekstą]Heighted musical education in primary school makes very special conditions for child‘s musical growth. It is necessary to form learner‘s interests, otherwise they can not last long and be permanent. The earlier the interests are formed, the more successful are the achievements. In that time the highest level of musical interests are fostered. The aim of this investigation is to evaluate and to establish the influence in children‘s musical interests, when they are taught in heighted musical level in primary school. In the hypothesis it is said that only heighted musical fostering can confirm the efficiency of versatile musical interests fostering. During the checking of the hypothesis those tasks were done:1) the literature of interests , musical interests fostering was analysed; 2) the investigation was made and it was established the efficiency of heighted musical fostering in formation versatile musical children interests in primary school. During the investigation such methods were pointed: questionnaire, statistics description, interview. The learners of 2- 4 classes took part in investigation. They attend Prienai Nemunas primary school (there is heighted musical fostering programme). 181 pupils who are taught by heighted musical fostering programme and 54 students who have not chosen it were interviewed. Also 6 students from gymnasium, who previously attended Nemunas school and... [to full text]
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Morgenstern, Martin [Verfasser], Wolfgang [Akademischer Betreuer] Auhagen, and Hans-Christian [Akademischer Betreuer] Jabusch. "The influence of musical rhythm on cardiovascular, respiratory and electrodermal activity / Martin Morgenstern. Betreuer: Wolfgang Auhagen ; Hans-Christian Jabusch." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2009. http://d-nb.info/1024976882/34.
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Retra, José. "Music is movement : a study into aspects of movement representation of musical activities among preschool children in a Dutch music education setting." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3189.
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Musical activities are at the centre of Music on the Lap, a Dutch approach to early childhood music education. The present study takes an in-depth look at the role of movement in these musical activities and thereby focuses on the representation of musical elements through movement. This study has among its aims the raising of more awareness for the conscious use of movement in early childhood music education. Departing from an embodied approach within an interpretative design, the premise of the current study is that movement should be considered an important form of kinaesthetic representation through which preschool children can come to understand and learn different aspects of music. The musical movement responses of children aged 18 to 36 months in a regular Music on the Lap setting were investigated. The musical movement behaviour of the children, during specific musical activities, was captured on DVD and the individual responses of 27 children were analysed. Interviews with the participating teacher provided important additional information. Through microanalysis of the children’s movements, the study arrived at a theoretical interpretation: movement responses to music can be considered enactive symbols, creating direct and indirect representations of musical characteristics. To further musical learning the movements should be firmly based in a temporal framework of aural and verbal connotations in order to stimulate purposeful movement responses. This temporal framework should be structured by the teacher through a process of appropriate movement models and verbal guidance to arrive at meaningful movement actions, which can consequently generate implicit and explicit musical kinaesthetic and musical representational knowledge. In this process the children are actively participating to construct with body and mind their own musical knowledge.
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Kruger, Karlien. "The use of a musical play in the transfer of knowledge on nutrition, a healthy lifestyle and the prevention of obesity / K. Kruger." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4249.
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Background: South Africa is experiencing a unique double burden of disease due to the nutrition transition, facing diseases related to both under and over nutrition. Childhood obesity is associated with a poor childhood diet, physical inactivity and sedentary lifestyle. Promoting healthy eating and physical activity is important. Promoting healthy eating patterns and regular activity are essential components of lifestyle modification of children. An obesity prevention programme with elements of music and dance for children aimed at improved nutritional knowledge to combat ignorance ofhealthy diets and highlight importance ofphysical activity seemed to be an ideal solution.
Aim :The aim of this study was to investigate the effect of a novel nutrition intervention programme based on the South African food-based dietary guidelines (SAFBDG; musical play) on the transfer of nutritional knowledge towards a healthy lifestyle (healthy dietary behaviour and physical activity) in primary school children. Methods: Children (n=203; boys=93; girls=110), aged 6 to 12 years from different ethnic groups were recruited. Participation was voluntary. Only children whose parents/guardians gave written informed consent were included. Children were randomly assigned to a control group (n=99) exposed to the standard school nutrition curriculum and to an experimental group (n=104) who also participated in a musical play with short messages based on the SAFBDG for two sessions a week for five weeks. After each session pamphlets on the relevant SAFBDG message were given to the children to take home. At the end of the intervention the children performed the musical play for their parents/guardians. At baseline demographic information was obtained, anthropometrical measurements taken, a validated nutritional knowledge questionnaire administered and a 24-hour dietary recall completed. All measurements except the demographic questionnaire were repeated after the intervention.
Results: Overall nutritional knowledge of the children exposed to the musical play increased with statistical and practical significance [11.9% (p < 0.05) versus. 11.1% (d> 0.05)]. Children 6 to 12 years consumed more grains and less dairy, vegetables, :fruit and meat than the recommended intakes. No measurable changes occurred in food group consumption after the intervention except for :fruit intake which increased in girls aged 8 -10 years in the experimental group (p < 0.05). Boys and girls aged 6 12 years have inadequate intakes « 67% of the Recommended Dietary Allowances (RDA)) of calcium, vitamins A, C, D, and B12, iron and folate. No statistically significant changes anthropometrical measurements were found after the intervention. Z-scores showed that children from the lower grades (grade 1 3) were more prone to stunting while children from the higher grades (grade 4 -6) were more prone to be obese. Furthermore, a high prevalence of overweight and obesity was found amongst white boys, whereas stunting was more prevalent amongst black boys and girls.
Conclusion: The results of the study showed that the musical play based on the SAFBDG improved overall nutritional knowledge in a group of primary school children. Diet quality based on food group recommendations and nutrient intakes remained low which suggests that other factors apart from nutritional knowledge influenced food choices and, therefore, the diet quality in this group of children.Thesis (M.Sc. (Nutrition))--North-West University, Potchefstroom Campus, 2010.
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Bailey, Robert E. (Robert Elwood) 1946. "An Investigation of the Laryngeal Activity of Trumpet Players During the Performance of Selected Exercises." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330597/.
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The study's purpose was to describe selected laryngeal activity of brass-wind players during the performance of selected musical exercises. Research problems included the observation and description of three internal areas of activity of ten trumpeters as they performed each exercise. Specific areas of observation were 1) movement of the epiglottis during the performance of each exercise, 2) movement of the vocal folds/arytenoid cartilage which includes changes in the size of the glottis during the performance of each prescribed exercise, and 3) movement of the thyroid cartilage during the performance of each prescribed exercise.
Musical exercises performed by each of the subjects included a sound volume change, use of vibrato, single-tonguing, step-wise descending and ascending slurs, descending and ascending lip slurs, register change, and a descending chromatic scale. In addition, each subject performed an excerpt from the second movement of the Haydn Trumpet Concerto. Data were collected through direct observation of subject performances and then described using three different means.
Data analyses revealed a prominent amount of highly individual, non-patterned laryngeal activity which played an integral role in the performance of each subject. Individuals including Law (1960), Cramer (1955), Jacobs (Stewart, 1987), and Noble (1964) have advocated an unrestricted airway during brass performance. Contrary to this advice, findings in the present study indicate that a great deal of varying, involuntary restriction is present in the laryngeal area during performance. Further, such activity appears necessary to brass performance.
Others, including Farkas (1962), Schuller (1962), and Wick (1971) , have endorsed conscious use of the glottis during brass performance. While findings in the present study imply that there is a presence of voluntary or reflexive glottal activity during brass performance, evidence does not support any theory which suggests conscious use of the laryngeal mechanism.
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Kramer, Marci D. "Relationship between frequency of musical activity participation, sense of coherence, and subjective reports of health in non- institutionalized older adults." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027116.
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This study investigated the relationship between frequency of musical activity participation, Sense of Coherence (SOC), and subjective report of health in older adults. From a sample of 197 older adults from Muncie and Anderson, Indiana, 129 (65.5%) individuals participated in this study. The participants completed an information sheet, the Musical Activity Participation Report, SOC, and Perceived Health questionnaires. Pearson r correlation coefficients found frequency of musical activity participation was not correlated with SOC but was correlated with subjective reports of health. A frequency table and chi-square analysis revealed that cohort and education were related to musical style preferences. A one-way analysis of variance (ANOVA) revealed that musical activities enhanced perceived quality of life to a lesser degree than other activities. However, many participants commented on the positive impact of music on well-being. A one-way ANOVA and t-tests found gender and musical upbringing were related to frequency of musical activity participation.Fisher Institute for Wellness
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Valladão, Mário Francisco de Farias. "O coralito Mackenzie e a contribuição dos jogos e brincadeiras musicais para crianças em processo de musicalização." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2721.
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Previous issue date: 2009-02-13Fundo Mackenzie de Pesquisa
The research where this study was based upon, had as its goal to indicate that the pedagogical role of the game, based on accounts of experiences with the researched group - Coralito Mackenzie, goes beyond musical knowledge acquisition and the development of children s intelligence. As a combined proposal, and with the same goal, some educational activities were developed using music as a privileged tool for children s whole development, namely: their sensory-motor, cognitive, musical affective development, as well as the strengthening of personal and social relationships. The theoretical framework of the study required research in literature that comprehended several aspects of musical education including its historical, artistic and cultural contextualization, as well as the characterization of Coralito Mackenzie with its programs and specific characteristics. The guiding main topic or the research problem refers to the contribution the referred games and playful activities might bring to children s music education. To support the hypothesis which shows such activities as effective resources, a field research was conducted with twenty two children from 1st and 2nd grades of Colégio Presbiteriano Mackenzie s primary school, six and seven-year-old children, as well as an activity where musical tasks were performed, through games and playful activities. In that process, the voice, as an inherent human body instrument and other sound sources were explored. Using qualitative methods such as case study, questionnaires and interviews were conducted, and the answers given were examined with the application of the content analysis technique. The results indicate that the process of developing students sensitivity and awareness to issues related to music may be more effective with the use of artistic, didactic-pedagogical actions like children s games and activities. It was also concluded, that they may affect actions and behaviors and can be an authentic extension of the classroom, where it is possible to develop group musical activities.
A pesquisa que deu origem a este trabalho teve por objetivo apontar que o papel pedagógico do jogo, a partir de relatos de experiências com o grupo pesquisado o Coralito Mackenzie vai além da aquisição de conhecimentos musicais e do desenvolvimento da inteligência infantil. Como proposta conjunta, nessa mesma direção, foram desenvolvidas algumas atividades educativas utilizando-se a música como modo privilegiado para o desenvolvimento integral da criança, quais sejam; seu desenvolvimento sensório motor, cognitivo, afetivo-musical, além do fortalecimento de relações pessoais, sociabilização. A elaboração teórica do trabalho requereu pesquisa na literatura abrangendo vários aspectos da educação musical que incluiu sua contextualização na história, na arte e na cultura, e a caracterização do Coralito Mackenzie, com seus programas e características. A questão-central norteadora ou o problema de pesquisa tange à contribuição que tais jogos e brincadeiras possam dar à educação musical infantil. Para comprovar a hipótese que aponta tais recursos como eficazes, realizou-se uma pesquisa de campo, com a participação de vinte e duas crianças do 1º e 2º anos do Ensino Fundamental I do Colégio Presbiteriano Mackenzie, crianças de seis e sete anos, assim como uma atividade em que se produziram atividades musicais, desenvolvidas por meio de jogos e brincadeiras, utilizando-se nesse processo também a voz como instrumento inerente ao corpo, além da exploração de outras fontes sonoras. Utilizando-se da metodologia qualitativa do tipo estudo de caso, efetuou-se a aplicação de questionários e entrevistas, cujas respostas obtidas foram tratadas com o emprego da técnica de análise de conteúdo. Os resultados mostram que o processo de sensibilização e conscientização dos alunos para as questões musicais pode tornar-se mais eficiente com o emprego de atividades artísticas, didático-pedagógicas como o jogo e as brincadeiras infantis. Concluiu-se, ainda, que podem possibilitar mudanças de atitudes e comportamentos e ser um autêntico prolongamento da sala de aula, onde é possível desenvolver atividades coletivas musical.
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Valiušytė, Jolanta. "Pakruojo miesto gyventojų įsitraukimas į muzikinę kultūrą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140603_130948-03775.
Full textAbstract:
Muzikinė kultūra yra viena iš sudedamųjų žmogiškosios kultūros dalių. Vertinant Lietuvos muzikinę kultūrą, reikia akcentuoti, kad ją sudaro ne tik didmiesčiuose, bet ir mažesniuose miesteliuose, kaimuose vykstantis muzikinis gyvenimas.
Tyrimo objektas – Pakruojo gyventojų įsitraukimas į muzikinę kultūrą.
Darbo tikslas: atskleisti Pakruojo miesto gyventojų įsitraukimą į muzikinę kultūrą.
Uždaviniai:
1. Pristatyti muzikinę kultūrą Lietuvoje.
2. Pateikti Pakruojo miesto kultūros plėtros retrospektyvą.
3. Apžvelgti Pakruojo miesto gyventojų dalyvavimą muzikinėje veikloje.
4. Pristatyti Pakruojo miesto gyventojų dalyvavimą muzikinėje kultūroje.
Tyrimo metodai:
1. Mokslinės literatūros ir dokumentų analizė.
2. Anketinė respondentų apklausa vykdyta Pakruojo mieste 2014 m. balandžio 20- 30d.
Darbo struktūra. Magistro darbą sudaro: įvadas, 2 skyriai, išvados, literatūros sąrašas, 1 priedas. Darbe pateikti 58 literatūros šaltiniai.
Pakruojo žmonių dalyvavimas muzikinėje kultūroje reiškiasi per: vykstančių muzikinių renginių pasyvų stebėjimą; muzikinių renginių organizavimą; muzikinių kolektyvų dalyvavimą dainų šventėse, folkloro šventėse, konkursuose, festivaliuose; atskirų asmenų dalyvavimą koncertuose, konkursuose; atskirus asmenis, kurie yra nuolatinių renginių organizatoriai; neformalius atskirų meno institucijų santykius.
Pakruojiečių dalyvavimas muzikinėje kultūroje yra aktyvus:
- 84 proc. apklaustųjų nurodė noriai dalyvaujantys muzikiniuose renginiuose,
-... [toliau žr. visą tekstą]The musical culture is an integral part of human culture. Evaluation of Lithuanian musical culture should be emphasized that it is presented not only in cities but also in smaller towns and villages in the ongoing of musical life. The object of research is an involvement of Pakruojis city population to the music culture. The aim of work is to reveal Pakruojis city people's involvement in the music culture. The objectives are: 1. to introduce the musical culture in the Lithuania. 2. to give a retrospective of Pakruojis city‘s cultural development. 3. to review the participation of the Pakruojis city population in musical activities. 4. to introduce the participation of the Pakruojis city population in musical activities. The methods of research are: 1. an analysis of scientific literature and documents. 2. a questionnaire-based survey conducted by the respondents of Pakruojis in 2014, April 20 - 30. The structure of work. The Master's thesis consists of an introduction, two chapters, conclusions, bibliography, appendix No.1. Work has provided 58 references. The participation of Pakruojis people in the musical culture is manifested in: passive monitoring of going musical events; an organiztion of musical events; a participation of musical collectives in the song festivals, folk festivals, competitions and festivals; individual participation in the concerts and competitions; individuals... [to full text]
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Pavliukova, Aliona. "Kompleksinės žaidimų pobūdžio ir muzikinės veiklos kaita pirmose - trečiose klasėse." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060629_093143-32965.
Full textAbstract:
Summary
Aliona Pavliukova
Alternation of the complex game-based activity and musical activity in the first – the third forms of the primary school
The content of the Postgraduate work comprises the analysis of a child’s activity alternation orientated towards his/her self-expression.
Learning becomes a new and basic activity at an elementary schools stage. This kind of practice requires the new content of the activity, experience, intellectual efforts and thinking from the child. The learning must be based on the natural child’s activity integrating a certain amount of knowledge in it. The learning experience and demand to learn start to ripen. At a junior school stage the key activity corresponding the characteristics of the child’s maturity, his experience, inner world is the one of the complex game-based activity. It means that the activity is orientated towards the child’s self-expression. When the child grows up and starts to gets mature, his needs, interests change together with the self-expression’s potentiality. The complex game-based activity step by step turns into the musical activity. The musical activity is available only by keeping the child’s natural activity and integrating the knowledge of the Art discipline in it. The activity should be supplemented with the Art expression means, sequentially changing the quality of the content of the activity and accumulating the experience of the self-expression. The artistic-musical activity remains not only crucial... [to full text]
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Ankudovičienė, Jelena. "Mokinių ugdymas remiantis popamokine muzikine veikla." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_173357-48443.
Full textAbstract:
Popamokinė veikla – labai svarbi moksleivių užimtumo sritis, suteikianti galimybes atsiskleisti jų gabumams, leidžianti pagilinti ir praktiškai panaudoti žinias, įgytas pamokų metu. Viena iš popamokinės veiklos rūšių yra muzikinė veikla (būreliai). Mokinių įtraukimas į jiems reikšmingą, įdomią veiklą — svarbi sąlyga asmenybės tapsmui formuotis. Pastaraisiais metais formalusis popamokinis ugdymas suprantamas kaip papildoma popamokinė veikla, atliekanti mokinių užimtumo funkciją. Tačiau pagrindinis popamokinės muzikinės veiklos tikslas — puoselėti prigimtinį vaiko muzikalumą, ugdyti kūrybišką ir emocingą, norinčią ir gebančią prasmingai dalyvauti muzikinėje veikloje asmenybę. Mokinių ugdymas remiantis popamokine muzikine veikla, traktuojant šią veiklą ne kaip užimtumo priemonę, o kaip į raišką orientuotą veiklą, yra svarbi pedagoginė problema. Todėl tyrimo objektu pasirinktas vidurinių klasių mokinių ugdymas remiantis popamokine muzikine veikla. Tyrimo tikslas — atskleisti mokinių ugdymo remiantis popamokine muzikine veikla galimybes. Formuluojama tyrimo hipotezė, kad popamokinė muzikinė veikla yra neatsiejama mokinio asmenybės ugdymo dalis, stiprinanti savarankiškumą, kūrybiškumą, iniciatyvumą bei saviraišką.
Tyrimas atskleidė, kad popamokinės veiklos ugdymo institucijose veiksmingumas priklauso nuo subjektyvių ir objektyvių sąlygų — prieinamumo, materialinių išteklių, organizacijos, informacijos sklaidos bei kitų veiksnių. Pagrindinis popamokinės muzikinės veiklos tikslas —... [toliau žr. visą tekstą]After-school activity is a very important field of pupils’ occupation, giving opportunities to reveal their talents, deepen and practically use their knowledge, gained during the lessons. Musical activity (circles) is one type of after-school activity. Pupils’ attachment to the activity they are keen on is an important condition of developing their personalities. In the last years formal after-school education is considered as an extra after-school activity carrying out the function of pupils’ occupation. However, the main objective of after-school musical activity is to cherish natural musical abilities of a child developing a creative and emotional personality who is eager and capable taking a meaningful part in a musical activity. Pupils’ education referring to after school musical activity, considering it not merely as means of occupation but as an activity seeking personal self expression - this is an important pedagogical problem. Thus an object of investigation is education of pupils on the basis of after-school musical activity in a secondary school. The purpose of this analysis is to reveal possibilities of pupils’ education based on after school musical activity. The hypothesis of the analysis is formulated that after- school musical activity is an inseparable part of developing pupils’ personality enforcing individual independence, creativity, initiative and self-expression. The analysis reflected that the effectiveness of after-school musical activity in an... [to full text]
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Pomerleau, Turcotte Justine. "État de l'enseignement de la formation auditive en contexte extrascolaire offert aux enfants de 6 à 12 ans, au Québec." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27457.
Full textAbstract:
Ce projet a pour but de dresser un portrait de l’enseignement de la formation auditive (FA) en milieu extrascolaire offert aux enfants de 6 à 12 ans au Québec. Un questionnaire en ligne complété par 147 professeurs a permis de récolter des informations sur les activités réalisées avec les élèves, leurs perceptions à propos de l’apprentissage et de l’enseignement de la formation auditive, ainsi que sur leur utilisation des technologies et des stratégies qu’ils proposent aux élèves lorsqu’ils réalisent des dictées musicales. De façon générale, les résultats obtenus permettent d’en savoir davantage sur la façon dont la FA est enseignée aux enfants au Québec, et sur les besoins des professeurs. Plus précisément, ces réponses obtenues mettent en lumière que les professeurs interrogés ont, pour la plupart, une conception traditionnelle de la pédagogie de la formation auditive. Une majorité des professeurs questionnés ont vécu une expérience positive de leur propre apprentissage de la FA, et ont une perception positive de l’enseignement de cette matière. De plus, ces professeurs semblent peu utiliser les technologies pour enseigner la FA, et ceux qui néanmoins les utilisent sont davantage les hommes, ceux n’enseignant pas le piano, de même que ceux ayant une perception plus négative de leur apprentissage de la FA ou des ressources disponibles pour l’enseigner. Finalement, le choix des stratégies pour enseigner la dictée musicale est corrélé avec des caractéristiques sociodémographiques, avec le vécu des professeurs pour l’apprentissage de la FA et avec leur perception pour l’enseignement de cette matière. Mots-clés : formation auditive, dictée musicale, enfants, milieu extrascolaire, stratégies, technologies.The goal of this project is to draw a portrait of aural skills (AS) teaching to children between 6 and 12 in studios, in Quebec. An online survey completed by 147 teachers gave insights about the activities made with their students, their perceptions of learning and teaching of AS, their use of technology, and the strategies they propose to their students during musical dictations. The results lead to a better understanding of the way AS are taught in Quebec, and of the teachers’ needs. More precisely, the data highlights the fact that most of the surveyed teachers have a rather traditional conception of AS pedagogy. A majority of participants have a positive perception of their own learning of AS and of its teaching. Furthermore, they do not use technologies a lot when teaching AS, and those who use them most are men, people who teach another instrument than piano, and those who have a negative perception of their learning experience of AS and of the resources currently available to teach it. Finally, the strategies chosen by the respondents to teach musical dictation are correlated with sociodemographic characteristics, learning experience of AS, and the perception of its teaching. Keywords: aural skills, musical dictation, children, instrumental teaching, strategies, technologies.
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Roach, Brittni R. "Patronage and Power: Women as Leaders and Activists in American Music (1890-1940)." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416315037.
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Kanevičienė, Eledija. "2-4 metų amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymas muzikine veikla." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_180813-59636.
Full textAbstract:
Besikeičiančioje Europos bei Lietuvos sociokultūrinėje situacijoje ypač aktualūs tampa muzikinio ugdymo plėtotės klausimai. Muzika, artimai susijusi su plačiu žmogaus dvasinio, pažintinio, socialinio, praktinio, religinio gyvenimo spektrais, tampa svarbia jausmų pasaulio ir su juo integruoto intelekto sudėtine dalimi. Žmogaus vaikystei būdingi pasaulio pažinimo būdai šiandien sudaro kognityvinio – sąveikaujančio mokymo(si) pagrindą. Meninė veikla padeda vaikui pažinti ir išreikšti save pačiomis įvairiausiomis meno priemonėmis bei formomis. Vaiko veiklos meninės kokybės galima siekti atitinkamai derinant proceso ir žinių, kaip vieningos sistemos komponentų, poveikį. Todėl ankstyvojo amžiaus vaikų muzikinės kultūros komponentų bei elementų, jų tarpusavio ryšių, funkcionavimo ypatumų, ankstyvojo amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymo muzikine veikla galimybių atskleidimas yra aktuali pedagoginė problema. Tyrimo tikslas - atskleisti 2-4 metų amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymo galimybes muzikine veikla. Tyrimo objektas - 2-4 metų amžiaus vaikų kognityviniai ir socialiniai gebėjimai.
Magistro darbe remiantis pedagoginės, psichologinės, metodinės literatūros bei švietimo dokumentų analize atskleista ankstyvojo muzikinio ugdymo samprata bei ankstyvojo amžiaus vaikų psichofiziniai ypatumai. Tėvų apklausos duomenys atskleidė, kad tėvai išskiria muzikinės veiklos kaip vienos iš pagrindinių priemonių formuojant asmenybės pagrindus jau ankstyvajame... [toliau žr. visą tekstą]In the changing sociocultural situation of Europe and Lithuania, issues concerning development of musical training are becoming of specific topicality. Music, closely related with wide spectra of human psychic, cognitive, social, practical and religious life, is becoming an important composite part of the world of feelings as well as intellect integrated with it. Methods of cognizing the world which are typical of human childhood, today constitute the core of cognitive – interactive training/learning. Artistic activities help a child to cognize and express himself/herself by an enormous variety of artistic means and forms. Artistic quality of a child‘s activity can be pursued by appropriately coordinating the effect of the process and knowledge as a unanimous system of components. Therefore, the revelation of components and elements, their interconnection and functioning peculiarities of musical culture of children of an early age as well as the revelation of possibilities of training social and cognitive capabilities of children of an early age by musical activity is a topical educational problem. The aim of the investigation is to reveal the possibilities of training social and cognitive capabilities of children aged 2-4 by musical activity. The target of the investigation is cognitive and social abilities of children of 2-4 years of age. The conception of early musical training as well as psycho physiological peculiarities of children of an early age are revealed in this... [to full text]
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Prakapavičienė, Violeta. "Mokinių sociokultūrinės integracijos prielaidos grojant kanklėmis muzikos mokykloje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060809_091023-32526.
Full textAbstract:
This Master Thesis analyses the peculiarities of assumptions of student social integration through teaching to play the kankles. The objective of the research is to establish the assumptions of social integration through playing the kankles.
The Thesis does not analyse the peculiarities of socio-cultural integration through teaching to play the kankles, as a pedagogical phenomenon, even though playing the kankles in our society is a familiar phenomenon and an assumption of preserving our ethnic culture. That is why the assumptions of student socio-cultural integration through playing the kankles in a music school are an important problem both from theoretical and practical aspect.
Goals of Research: to reveal the opportunities of socialization through teaching to play the kankles during a music lesson; discuss the system of socio-cultural integration of the students playing the folk instruments in a music school; reveal the connections between the cultural values and national music and a person‘s socialization and opportunities of self-expression.
Methods of Research: questionnaire answered in writing and observation.
The Research was performed in Alytus Music School in 2005. Fifty one 6-18 year student studying the kankles speciality in the Music School and twenty seven graduates of the above speciality were questioned.
The first section of the Thesis reviews the peculiarities, concept and assumptions of socio-cultural... [to full text]
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Pegg, C. A. "Music and society in East Suffolk : an examination of continuity and change in the musical activities of some villages in East Suffolk." Thesis, University of Cambridge, 1985. https://www.repository.cam.ac.uk/handle/1810/272716.
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Cross, Katelyn M. "Preservice Early Childhood, Middle Childhood, and Learning Intervention Specialists: Perceptions of Music Use in the Classroom." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428254560.
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