Relevant bibliographies by topics / Agatha's Conservatory of Music and Arts

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  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Agatha's Conservatory of Music and Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Agatha's Conservatory of Music and Arts"

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Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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Alter, Judith B. "Creativity profile of university and conservatory music students." Creativity Research Journal 2, no. 3 (June 1989): 184–95. http://dx.doi.org/10.1080/10400418909534314.

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Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (May 1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.
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Loeb, Laurence D. ": Music, Talent, and Performance: A Conservatory Cultural System . Henry Kingsbury." American Anthropologist 90, no. 4 (December 1988): 996–97. http://dx.doi.org/10.1525/aa.1988.90.4.02a00420.

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Gomes, Graziela Cintra. "Education Through the Arts — Pedagogical Experiment in the National Conservatory at Lisbon: 1971–1984." International Journal of Music Education os-10, no. 1 (November 1987): 20–24. http://dx.doi.org/10.1177/025576148701000104.

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Brooks, Arthur C. "The Price of a Free Concert." Empirical Studies of the Arts 14, no. 1 (January 1996): 79–87. http://dx.doi.org/10.2190/hblw-wwjk-jmhu-0vr0.

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While many musicians have begun to compliment their work with elements and ideas taken from a number of other disciplines, these disciplines have typically not included economics. However, economics provides an effective analytical framework that people in many seemingly unrelated fields—including music—can use to illuminate issues they commonly face over the course of their professional activities. This article is intended as an example of this: using elementary economic tools, it examines from both a philosophical-aesthetic and practical standpoint the question of whether or not a music conservatory should charge the public for entrance to its students' performances.
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Deutsch, Diana, Kevin Dooley, Trevor Henthorn, and Brian Head. "Absolute pitch among students in an American music conservatory: Association with tone language fluency." Journal of the Acoustical Society of America 125, no. 4 (April 2009): 2398–403. http://dx.doi.org/10.1121/1.3081389.

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Deutsch, Diana, Kevin Dooley, Trevor Henthorn, and Brian Head. "Absolute pitch among students in an American music conservatory: Association with tone language fluency." Journal of the Acoustical Society of America 125, no. 4 (April 2009): 2683. http://dx.doi.org/10.1121/1.4784250.

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Deutsch, Diana, Xiaonuo Li, and Jing Shen. "Absolute pitch among students at the Shanghai Conservatory of Music: A large-scale direct-test study." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 3853–59. http://dx.doi.org/10.1121/1.4824450.

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Schuijer, Michiel. "University of Amsterdam, Amsterdam Conservatory. Research MA Program in Arts and Culture Track: Music Theory. Music theory at the intersection of music practice and scholarly study." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/1 (2005): 222–27. http://dx.doi.org/10.31751/478.

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Dissertations / Theses on the topic "Agatha's Conservatory of Music and Arts"

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Murali, Meera. "Conservatory of Music and Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64379.

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Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.
Master of Architecture
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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Hardin, Gary Joe II. "IN THE DIVISION OF COMPOSITION, MUSICOLOGY, AND THEORY OF THE COLLEGE-CONSERVATORY OF MUSIC." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin960900004.

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Penny, Lori Lynn. "Mind the Gap: An Integration of Art and Science in Music Theory Pedagogy." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42032.

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My inquiry, centered on the applied practice of teaching, confronts the detachment that often disassociates the intellectual study of music theory from the physical experience of music. This pedagogical detachment, perceived as a split between opposing views of knowledge, privileges positivist science over interpretive art (Aróstegui, 2003), producing written competencies that have little or no musical meaning (Rogers, 2004). Endeavouring to re-attach music theory and the music it was initially intended to explain (Dirié, 2014), I constructed four Listening Guides to align with the intermediate-level theory curriculum of the Royal Conservatory of Music. Their construction incorporates elements of design research along with an underlying framework derived from the Kodály Method’s four-step instructional process. Given my multi-faceted personal/professional interactions with music theory, my research project is presented in the form of a quest narrative that weaves together my story and the stories of participant teachers who established the Listening Guides’ potential usefulness through reviewing and implementing interactions. This narrative, as a creative representation of arts-based research practices (Leavy, 2015), is derived from the blurring of specific cognitive findings and less definable aesthetic knowings (Greenwood, 2012). My data, both the prototypical data I designed and the empirical data I collected from focus group discussions with my participants, are filtered through an a/r/tographic lens that acknowledges the coexistence of my artist/researcher/teacher identities. The analysis of our aggregate narrative, as an exploration of music theory pedagogy with, about, in, and through music, relies on the evaluative tools of educational criticism (Eisner, 1991). Unfolding in a mostly linear climb, my quest for a fully integrated music/theory (art/science) pedagogy reaches its apex in the understanding that a music-logic organization confounds the subject-logic of traditional teaching approaches. Thus, my inquiry challenges the customary practices of scientific knowledge-building with a model for artistic “ways-of-knowing” in music theory pedagogy.
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"Cultivating Sound: Experimental Music Conservatory." Thesis, 2011. http://hdl.handle.net/1911/70419.

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This thesis examines the link between sound and perceptual space via the mechanism of the body, through an exploration of experimental music and the design of a conservatory expressly dedicated to its techniques. The use of poché space -- here defined as the space between major components of a specific program -- is critically considered, and ultimately turned on its head to provide the kind of spaces that support experimental music education and its processes. This new poché space is further linked to circulation, both of the students and faculty as well as the general public. Through the use of these circulation and experimental-space elements, combined in the poché, a new kind of porous field-object is inserted into the landscape of the city of Atlanta, specifically tuned in to its existing cultural spaces, that cultivates experimentation and participation to create entirely new forms of music.
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Magalhães, Maria João Montenegro Pinto de. "Pallco – Performing Arts School & Conservatory : experiência profissional e proposta de implementação de musicoterapia." Master's thesis, 2020. http://hdl.handle.net/10400.14/32922.

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A instituição Pallco – Performing Arts School & Conservatory, localizada no Porto, foi a entidade acolhedora do estágio curricular com a duração de seis meses, integrado no Mestrado em Gestão de Indústrias Criativas. O presente relatório de estágio estrutura-se em duas partes: uma primeira parte é dedicada a um panorama geral da instituição de estágio e à experiência que ali desenvolvi; uma segunda parte aborda o tema da musicoterapia e a possível implementação desta terapia na instituição de estágio. A instituição é integrada no contexto do sector de atividade, o ensino artístico, com os seus aspetos diferenciadores, e é caracterizada no que se refere à sua estrutura e funcionamento. As ações de estágio são descritas de forma detalhada, procurando evidenciar as competências adquiridas. O segundo aspeto do relatório apresenta a definição e aspetos da história musicoterapia, enquadrando esta prática no contexto escolar, a nível nacional e a nível internacional e explanando a figura e a profissão do musicoterapeuta. Finalmente, explora-se uma proposta de implementação de musicoterapia na instituição de estágio.
The institution Pallco - Performing Arts School & Conservatory, located in Porto, was the establishment where I performed the curricular internship, lasting six months, included in the Masters of Creative Industries Management. The present essay structures in two parts: the first part is dedicated to an overview of the internship institution and the experience I developed there; the second part addresses the theme of music therapy and the possibility of applying this therapy in the internship institution. The institution is included in the context of the artistic training, with its different aspects and it is featured in what refers to its structure and functioning. The internship activities are described in detail trying to highlight the acquired skills. The second part of the essay introduces music therapy’s definition and history, fitting this use in schoolar context, national and worldwide, explaining the figure and career of a music therapist. Lastly, it is explored a proposal to implement music therapy in the internship establishment.
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Nogueira, Maria José Pontes Gomes. "O enquadramento da disciplina de Canto no Ensino Artístico Especializado em Portugal desde o século XVIII até à atualidade." Master's thesis, 2016. http://hdl.handle.net/10284/5700.

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Este trabalho tem como principal objetivo a investigação e reflexão do ensino da música, designadamente do ensino de Canto, analisando não apenas a prática vocal, mas primordialmente a experiência pedagógica praticada ao longo dos últimos anos. Num primeiro momento, é apresentada uma contextualização histórica do ensino da música em Portugal, em meados do século XVIII. Este percurso pretende ainda expor a evolução do ensino musical desde a criação do primeiro Conservatório de Música de Lisboa em 1835 até à atualidade, identificando as especificidades pedagógicas mais recentes no que respeita à disciplina de Canto. Em segundo lugar, são identificados os aspetos progressivos e regressivos do ensino de Canto, através da análise de todos os diplomas legais aplicáveis. Relativamente à apreciação evolutiva desta disciplina, o presente estudo centra-se na Escola Artística do Conservatório de Música de Coimbra (EACMC) e nos seus 30 anos de existência. Neste sentido, são mencionadas as principais causas de sucesso e/ou insucesso da referida disciplina, apresentando algumas soluções para os problemas identificados.
The purpose of this study is mainly to provide some research and reflection on Music teaching, more specifically on the teaching of Singing. In this particular field, we conducted an analysis of the vocal practice, as well as of the pedagogical experiences throughout the last years. In the first part of the study, we present the historical contextualization of the teaching of Music in Portugal, which begins in the 18th century; we then focus on the establishment of the first Music Conservatory of Lisbon, in 1835; finally, we address the specificities of the current pedagogical practices, in particular the ones concerning the field of Singing. In the second part of the study, we address the progression and regression in the teaching of Singing by analyzing all the applicable laws. The study also focus on the Escola Artística do Conservatório de Música de Coimbra (EACMC) and on its 30th anniversary in particular, taking into account the way Singing developed through the years in this school. In this context, we refer to the main causes of students’ success/failure in Singing and present some solutions for the problems that were found.
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Books on the topic "Agatha's Conservatory of Music and Arts"

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Xiaosheng, Zhao, and Shanghai yin yue xue yuan., eds. Shanghai yin yue xue yuan xue shu wen cui 1927-2007.: Essays of the Shanghai conservatory of music 1927-2007. Shanghai Shi: Shanghai yin yue xue yuan chu ban she, 2007.

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Xiaosheng, Zhao, and Shanghai yin yue xue yuan., eds. Shanghai yin yue xue yuan xue shu wen cui 1927-2007.: Essays of the Shanghai conservatory of music 1927-2007. Shanghai Shi: Shanghai yin yue xue yuan chu ban she, 2007.

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Levine, Victoria Lindsay, and Emily Kohut. Finding a Balance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0003.

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Liberal arts colleges focus on undergraduate education, emphasizing the development of critical thought, the whole person, and values consistent with ethical participation in a civil society. Liberal arts music faculty now recognize the need to remap the music major and transform how music is taught and learned in order to remain relevant in the current economic and cultural climate, but the process is challenging. This chapter explores how liberal arts music faculty are striving to meet the challenge, using data from the Internet, a survey questionnaire, and interviews to compare the music major at thirteen colleges. We conclude that finding a balance between the conservatory-style curriculum and new curricular models does not imply replacing the Western concert tradition. Rather, it involves responding proactively to broader changes in musical life and recognizing the role of music in liberal education.
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Book chapters on the topic "Agatha's Conservatory of Music and Arts"

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Gjerdingen, Robert O. "A Beaux-Arts Framework for Music." In Child Composers in the Old Conservatories, 289–310. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0021.

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The methods for composing taught at the Paris Conservatory were similar to the three-stage, sketch-draft-refinement model of the School of Fine Arts. The chapter describes how four masters translated this model into music lessons. François Bazin shows how to sketch and elaborate the harmonization of a given melody. Édouard Deldevez takes an unfigured partimento bass by Fenaroli and makes an elaborate analysis of it to determine how it should be realized. André Gedalge demonstrates how to first sketch and then refine an episode of a fugue. Lastly, Maurice Ravel creates a stage-by-stage analysis of a difficult passage from his own Noble and Sentimental Walzes.
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Gjerdingen, Robert O. "The Beaux-Arts Framework." In Child Composers in the Old Conservatories, 275–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0020.

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The Institute of France has for centuries controlled royal or public support for the arts in France. Under its wings it has both a School of Fine Arts for the visual arts and the Paris Conservatory for music, as well as many other institutions. The schools of fine arts and music were set up along the similar lines. The goal was to train the next generation of artists and musicians in the classic arts of a past golden age. For visual artists, sculptors, and architects, this meant the art of ancient Greece and Rome. For musicians, this meant the art of sixteenth- to eighteenth-century Italy. For young artists outside the official School of Fine Arts, instructional lithographs could be purchased and copied. These lithographs showed how to make a sketch, then to refine the sketch into a set of contours, and then to add shading and texture.
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Shadle, Douglas W. "The Racial Challenge." In Antonín Dvořák's New World Symphony, 113–36. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0007.

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After the US Civil War, African American musicians and intellectuals had increasingly turned to European classical music as a tool of socioeconomic advancement while acknowledging the importance of antebellum vernacular music for defining racial identity. Violinist and composer Will Marion Cook (1869–1944) used the platform of the 1893 World’s Columbian Exposition to demonstrate Black achievement in the arts. Meanwhile, Jeannette Thurber and Antonín Dvořák had opened the National Conservatory to Black students free of charge, thus expanding educational opportunities for talented Black musicians. The premiere of the New World Symphony in December 1893 reignited a widespread and vicious public debate about the place of Black music and musicians in American national life.
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Conference papers on the topic "Agatha's Conservatory of Music and Arts"

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Tie, Yunchan, and Shupeng Lai. "The Teaching Reformation on Digital Piano Collective Class Based on Practical Piano A Case Study of Xinghai Conservatory of Music." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.182.

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Kogler, Susanne, Julia Mair, Juliane Oberegger, and Johanna Trummer. "Erich Marckhl – Musikausbildung in der Steiermark nach 1945. Brüche und Kontinuitäten." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.58.

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Nowadays, a detailed examination of the structure and development of music education in Styria after 1945 seems absolutely necessary, considering an overall lack of research on that topic and a predominant thematization of Vienna. The composer, music pedagogue and cultural politician Erich Marckhl played a pivotal role in music education before and after 1945. His network reached far beyond Styria. This article shall illustrate the development and interaction of all institutions connected to music education after 1945.the reorganization of the music school system, the reopening of the State Conservatory and its transformation into the Academy of Music and Performing Arts.
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